【摘要】：本文以敦煌圖像中人物服裝上龜背紋為研究對(duì)象,對(duì)敦煌圖像中服用龜背紋相關(guān)的文獻(xiàn)進(jìn)行收集、梳理的基礎(chǔ)上運(yùn)用二重證據(jù)法、統(tǒng)計(jì)分析法、歸納法、比較法對(duì)龜背紋出現(xiàn)年代、紋樣構(gòu)成、著裝者身份等進(jìn)行深入研究。同時(shí),結(jié)合相關(guān)文獻(xiàn)與實(shí)物資料進(jìn)行對(duì)比分析。敦煌圖像中的龜背紋與同時(shí)期龜背紋織物等對(duì)比分析中總結(jié)敦煌圖像中服用龜背紋的裝飾風(fēng)格。試圖對(duì)敦煌圖像中服用龜背紋年代、紋樣構(gòu)成、裝飾部位等進(jìn)行研究。最后以北京服裝學(xué)院民族服飾博物館館藏龜背紋斜襟錦袍為個(gè)案,與敦煌圖像服用龜背紋對(duì)比、分析。全文共分為7章,第1章是緒論;第2章是對(duì)敦煌圖像中各時(shí)期龜背紋的概述;第3章是敦煌圖像中服用龜背紋的解析;第4章是敦煌莫高窟圖像中服用龜背紋所裝飾的服裝品類的介紹;第5章是敦煌圖像中的服用龜背紋和其他龜背紋的比較;第6章是北京服裝學(xué)院民族服飾博物館館藏龜背紋斜襟錦袍紋樣分析;第7章結(jié)論,是文章的結(jié)語(yǔ)部分,對(duì)本論文的主要論點(diǎn)進(jìn)行簡(jiǎn)要總結(jié)。通過(guò)研究發(fā)現(xiàn),敦煌莫高窟圖像中人物服用龜背紋有幾何紋、聯(lián)珠紋、朵花紋樣等多種組合元素且富于變化的排列方式。敦煌莫高窟圖像中服用龜背紋主要出現(xiàn)在盛唐至五代時(shí)期;敦煌莫高窟圖像服用龜背紋的著裝者有世俗人物帝王和佛國(guó)世界里的菩薩、風(fēng)神和天王等。以龜背紋的排列方式為依據(jù)分為橫向排列和豎向排列;以填充紋樣的題材分類基本是幾何紋和朵花紋樣。以龜背紋的單位框架形式分為兩類:一類為線型框架,一類為聯(lián)珠型框架。
[Abstract]:This article takes the figure on the figure clothing in Dunhuang image as the research object, carries on the collection to the Dunhuang image to take the tortoise pattern related literature, combs the foundation to use the double evidence method, the statistical analysis method, the induction method, Comparative method is used to study the appearance of tortoise pattern, pattern composition and the identity of the dresser. At the same time, combined with the relevant literature and physical material for comparative analysis. The decorative style of wearing moire pattern in Dunhuang image is summarized in the comparative analysis of the moire pattern in Dunhuang image and the fabric of tortoise back in the same period. This paper attempts to study the age, pattern composition and decorative parts of tortoise in Dunhuang images. Finally, a case study of the collection of tortoise slanting robes in the Museum of ethnic clothing of Beijing Institute of Garment is made, which is compared with Dunhuang images. The full text is divided into seven chapters, the first chapter is the introduction, the second chapter is the overview of the Dunhuang images of each period, the third chapter is the Dunhuang images of the analysis of the moire patterns; The fourth chapter is an introduction to the clothing categories decorated with tortoise pattern in the image of Dunhuang Mogao Grottoes, the fifth chapter is the comparison between the wearing mottle pattern and other moire pattern in Dunhuang image. The sixth chapter is the analysis of the pattern of the tortoise-back slanted lapel robes in the Museum of ethnic clothing of Beijing Institute of Garment; the conclusion of the seventh chapter is the conclusion of the article, the main points of this paper are summarized briefly. It is found that the figures in the image of Dunhuang Mogao Grottoes have geometric patterns, bead patterns, flower patterns and so on. The image of Dunhuang Mogao Grottoes mainly appeared in the period from the Tang Dynasty to the five dynasties, while the image of the Mogao Grottoes used the mottle pattern of Dunhuang Grottoes were dressed by the secular emperor and the Bodhisattva in the Buddha world, the wind god and the king of heaven and so on. According to the arrangement pattern of tortoise back, it can be divided into horizontal arrangement and vertical arrangement, and geometric pattern and flower pattern are the basic classification of filling pattern. The unit frame of tortoise back is divided into two types: one is linear frame, the other is beaded frame.
【學(xué)位授予單位】：北京服裝學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J523.5

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本文編號(hào)：2203329