首页|南北方扎经染色织造技艺与艺术风格差异研究——以海南黎族绞缬染锦与新疆维吾尔族艾德莱斯绸为例

南北方扎经染色织造技艺与艺术风格差异研究——以海南黎族绞缬染锦与新疆维吾尔族艾德莱斯绸为例

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扎经染色织造技艺在我国有着悠远的历史,其在满足人们物质、审美、精神等多方面需求的同时,也呈现出文化的交流与融合.海南黎族绞缬染锦与新疆艾德莱斯绸均运用到了扎经染色织造技艺,在不同地域与文化背景中,二者既体现出相同技艺的类似之处,又有着较大的差别.本文从比较分析的研究视角,基于对两地扎经染色织造技艺的考察,从其技艺源流发展谈起,重点就二者在制作技艺以及织物风格方面的异同进行梳理,探索它们所包含的文化意义与民族文化精神.
Study on the Differences in Warp-Resist Dyeing and Weaving Techniques,as well as Artistic Styles Between the Northern and Southern Regions:Take the Hainan Li Tie-Dye Brocade and the Xinjiang Uyghur Atlas Silk as Examples
The warp-resist dyeing and weaving technique boasts a rich historical background in China,satisfying diverse material,aesthetic,and spiritual re-quirements of the populace.It also serves as a testament to cultural exchanges and integrations.Notably,both the Hainan Li tie-dye brocade and the Xinjiang Atlas silk employ this intricate technique.Despite their shared foundation,they manifest distinct similarities and discrepancies in their application within various regions and cultural milieus.This paper adopts a comparative analytical framework to delve into the developmental trajectory and evolution of the warp-resist dyeing and weaving techniques in both regions.It focuses on the similarities and differences in their production methodologies and textile styles,exploring the cultural signifi-cance and ethnic spirit embodied within these crafts.

warp-resist dyeing and weavingLi brocadeTie-dye brocadeUyghur nationalityAtlas silk

周莹、王野、许靖熙

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中央民族大学美术学院

扎经染色 黎锦 绞缬染锦 维吾尔族 艾德莱斯

国家社科基金重大项目

19ZDA183

2024

艺术设计研究
北京服装学院

艺术设计研究

CSSCICHSSCD北大核心
影响因子:0.185
ISSN:1674-7518
年,卷(期):2024.(5)