以图像为主要材料的蒙元服饰研究
发布时间：2018-08-25 17:33
【摘要】：公元十二世纪,蒙古势力逐渐强大,成为蒙古草原上五大部落之一。成吉思汗继承汗位,通过长期的兼并争战,最终统一了蒙古各部。公元1206年,成吉思汗建立蒙古汗国。建国后继续对外扩张,先后灭亡西夏、金、宋,远征中亚、西亚。至元八年(1271年),忽必烈在中原正式建国号为大元。成吉思汗建国后位传九帝至顺帝妥欢帖木儿,1368年明军攻下大都,元朝灭亡。自成吉思汗建国至元灭,在中原地区的统治历十四帝,一百六十三年,史称蒙元。 蒙元帝国的形成实现了欧、亚、非三大洲的联系和交通,使许多不同宗教信仰、不同文化背景、不同生活习俗的民族从此有了频繁的的往来和广泛的交流,开创了古代中西文化交流最繁荣的时代,同时也形成了极具特色的蒙元文化。作为最能体现蒙元文化的蒙元服饰,在面料、形制、种类以及服饰配饰方面,都达到了极高的水平,体现了多元化的特征。 蒙元时期的服饰研究在20世纪80、90年代至21世纪初取得了较大进步,主要集中在文物考古资料的研究和一般性研究,研究方向也多偏向于服饰方面的词义考释,以图像为主要材料的服饰研究较少。本文将以图像作为主要材料,使用图像学方法对蒙元时期的服饰进行研究。涉及的图像材料主要分为平面和立体两大类,平面图像材料包括卷轴画、壁画等,立体图像材料则为雕塑或陶俑,其他可能涉及到的还有版画或缂绣等。研究方法以图像与文献、实物交叉研究为主,对服饰进行视觉复原,完善关于蒙元服饰的一般性研究成果。再选取具有代表性的图像材料进行专题性研究,并在理论研究的基础上,运用实验制作的方法进行二维图像到三维图像的复原制作。通过本课题的研究,期望对图像材料中的蒙元服饰进行系统地梳理,并为服饰史研究方法论提供实践。 全文共分为四章,主要包括一般性研究和专题性研究两大部分。 第一章是对蒙元服饰研究的社会背景进行简单的介绍。元代是一个多民族共融的时代,文化的交流和碰撞也在服饰文化上有所体现。而元代实行的极具特色的民族政策也为服饰文化的发展起到了一定的推动作用。 第二章是对蒙元服饰进行的通述和一般性研究,按照服用人群的社会地位分为民间服饰、贵族服饰两大类,分别讨论了男性和女性的服饰特征。同时还单独讨论了蒙元戎装。并在前人的研究基础上,结合史料及文物资料,利用线描的方法复原服饰形制、结构和纹样。 第三章是对具有代表性的图像中的蒙元服饰进行专题性研究,选取的样本为元代纸本绘画、宫廷绘画(包括缂绣)及安西榆林窟壁画。本章的后半部分中,笔者在理论研究的基础上,对榆林窟第3窟中蒙古族男供养人思钟达里太子所着服饰的款式结构、面料色彩、配饰制作工艺进行研究,并将前人推测与笔者观点进行比对。最后,通过实验制作论证观点可能性,并完成复原制作。 第四章是结合前文的研究内容,对蒙元服饰的影响进行探讨。主要讨论蒙元服饰与其他北方少数民族、汉族及后世明朝服饰的异同及关系。 通过理论研究、图像研究、视觉复原和实物复原相结合的方法,使蒙元服饰的特点及具体形制更加清晰,大量的视觉复原为蒙元服饰研究提供了更加直观的认识。
[Abstract]:In the 12th century, Mongolia became one of the five tribes on the Mongolian grassland. Genghis Khan inherited the throne of Khan and eventually unified all the Mongolian ministries through a long merger war. In 1206, Genghis Khan established the Mongolian Khanate. After the founding of the People's Republic of China, he continued to expand and perished the Western Xia, the Jin, the Song, the expedition to Central Asia and Western Asia. In 271, Kublai Khan was officially named Da Yuan in the Central Plains. Genghis Khan was successively passed on from the Ninth Emperor to the Shun Emperor Tu Huan Tie Mu Er. In 1368, the Ming army captured most of the land and the Yuan Dynasty was destroyed. From the founding of Genghis Khan to the end of the Yuan Dynasty, the reign of the Central Plains lasted for fourteen emperors. In 163, the historic name of the Mon
The formation of the Mongol-Yuan Empire realized the connection and communication among the three continents of Europe, Asia and Africa, thus enabling many different religious beliefs, different cultural backgrounds, and different customs of life to have frequent exchanges and extensive exchanges, creating the most prosperous era of cultural exchanges between ancient China and the West, and forming a unique Mongol-Yuan culture. The Mongolian and Yuan costumes, which can reflect the Mongolian and Yuan culture, have reached a very high level in fabrics, shapes, types and accessories, reflecting the characteristics of diversification.
From the 1980s to the early 21st century, the clothing research in the Mongolian and Yuan Dynasties has made great progress, mainly focusing on the research of archaeological materials and general research. The research direction is also more inclined to the meaning of clothing, and the clothing research with image as the main material is less. Methods The costumes of the Mongolian and Yuan Dynasties were studied. The image materials involved were mainly divided into plane and three-dimensional. The plane image materials included scroll paintings, murals, and so on. The three-dimensional image materials included sculpture or pottery figurines. The other possibly involved were prints or embroidery. Secondly, select representative image materials for special research, and on the basis of theoretical research, use experimental methods to restore two-dimensional images to three-dimensional images. Ornaments are systematically sorted out, and practice is provided for research methodology of costume history.
The full text is divided into four chapters, including two parts: general research and thematic research.
The first chapter is a brief introduction to the social background of the study of Mongolian and Yuan costumes.Yuan Dynasty is an era of multi-ethnic integration.Cultural exchanges and collisions are also reflected in costume culture.
The second chapter is a general and general study of the Mongolian and Yuan costumes. According to the social status of the wearers, they are divided into folk costumes and aristocratic costumes. Restore clothing shape, structure and pattern.
The third chapter is a special study of Mongolian and Yuan costumes in representative images. The selected samples are paper paintings of Yuan Dynasty, palace paintings (including embroidery) and murals of Yulin Grottoes in Anxi. In the latter part of this chapter, on the basis of theoretical research, the author studies the costumes worn by Prince Sizhongdari, the male supporter of Yulin Grottoes in Cave 3. The style structure, fabric color, accessories making technology were studied, and the predecessors'speculation was compared with the author's point of view. Finally, the feasibility of the point of view was demonstrated through experimental production, and the restoration was completed.
Chapter four is to discuss the influence of Mongolian and Yuan costumes, mainly discussing the similarities and differences between Mongolian and Yuan costumes and other northern minorities, Han and Ming Dynasty costumes.
Through the combination of theoretical research, image research, visual restoration and physical restoration, the characteristics and specific shape of Mongolian and Yuan costumes are clearer. A large number of visual restoration provides a more intuitive understanding for the study of Mongolian and Yuan costumes.
【学位授予单位】：东华大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J523.5
本文编号：2203602
[Abstract]:In the 12th century, Mongolia became one of the five tribes on the Mongolian grassland. Genghis Khan inherited the throne of Khan and eventually unified all the Mongolian ministries through a long merger war. In 1206, Genghis Khan established the Mongolian Khanate. After the founding of the People's Republic of China, he continued to expand and perished the Western Xia, the Jin, the Song, the expedition to Central Asia and Western Asia. In 271, Kublai Khan was officially named Da Yuan in the Central Plains. Genghis Khan was successively passed on from the Ninth Emperor to the Shun Emperor Tu Huan Tie Mu Er. In 1368, the Ming army captured most of the land and the Yuan Dynasty was destroyed. From the founding of Genghis Khan to the end of the Yuan Dynasty, the reign of the Central Plains lasted for fourteen emperors. In 163, the historic name of the Mon
The formation of the Mongol-Yuan Empire realized the connection and communication among the three continents of Europe, Asia and Africa, thus enabling many different religious beliefs, different cultural backgrounds, and different customs of life to have frequent exchanges and extensive exchanges, creating the most prosperous era of cultural exchanges between ancient China and the West, and forming a unique Mongol-Yuan culture. The Mongolian and Yuan costumes, which can reflect the Mongolian and Yuan culture, have reached a very high level in fabrics, shapes, types and accessories, reflecting the characteristics of diversification.
From the 1980s to the early 21st century, the clothing research in the Mongolian and Yuan Dynasties has made great progress, mainly focusing on the research of archaeological materials and general research. The research direction is also more inclined to the meaning of clothing, and the clothing research with image as the main material is less. Methods The costumes of the Mongolian and Yuan Dynasties were studied. The image materials involved were mainly divided into plane and three-dimensional. The plane image materials included scroll paintings, murals, and so on. The three-dimensional image materials included sculpture or pottery figurines. The other possibly involved were prints or embroidery. Secondly, select representative image materials for special research, and on the basis of theoretical research, use experimental methods to restore two-dimensional images to three-dimensional images. Ornaments are systematically sorted out, and practice is provided for research methodology of costume history.
The full text is divided into four chapters, including two parts: general research and thematic research.
The first chapter is a brief introduction to the social background of the study of Mongolian and Yuan costumes.Yuan Dynasty is an era of multi-ethnic integration.Cultural exchanges and collisions are also reflected in costume culture.
The second chapter is a general and general study of the Mongolian and Yuan costumes. According to the social status of the wearers, they are divided into folk costumes and aristocratic costumes. Restore clothing shape, structure and pattern.
The third chapter is a special study of Mongolian and Yuan costumes in representative images. The selected samples are paper paintings of Yuan Dynasty, palace paintings (including embroidery) and murals of Yulin Grottoes in Anxi. In the latter part of this chapter, on the basis of theoretical research, the author studies the costumes worn by Prince Sizhongdari, the male supporter of Yulin Grottoes in Cave 3. The style structure, fabric color, accessories making technology were studied, and the predecessors'speculation was compared with the author's point of view. Finally, the feasibility of the point of view was demonstrated through experimental production, and the restoration was completed.
Chapter four is to discuss the influence of Mongolian and Yuan costumes, mainly discussing the similarities and differences between Mongolian and Yuan costumes and other northern minorities, Han and Ming Dynasty costumes.
Through the combination of theoretical research, image research, visual restoration and physical restoration, the characteristics and specific shape of Mongolian and Yuan costumes are clearer. A large number of visual restoration provides a more intuitive understanding for the study of Mongolian and Yuan costumes.
【学位授予单位】：东华大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J523.5
【引证文献】
相关硕士学位论文 前1条
1 张楠;蒙元时期女性宴饮研究[D];兰州大学;2013年
，本文编号：2203602
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