Examining the name of the"brocaded face cover of the pearl-linked double phoenix pattern"from Tomb 169 in Astana
The clothing patterns unearthed in the ancient tomb complex of Astana in Turfan,Xinjiang,especially the"peal-linked pattern"originating from the Sassanid Persian Dynasty,are colorful.Animal images such as lions and elephants are relatively easy to be recognized,but it is very difficult to name bird images.The"brocaded face cover of peal-linked double phoenix pattern"(72TAM169:34)unearthed from Tomb 169 in Astana has the peal-linked pattern as its skeleton and pairs of birds as its main motifs,so it is characterized by peacocks,vermilion birds,and phoenixes.There is room for further discussion and debate in the academic community about the naming of this"face cover".On the basis of discussing the naming rules of clothing patterns,this paper renamed the"face cover".With the help of historical,cultural and graphical research methods,the social and cultural background of this"brocaded face cover of peal-linked double phoenix pattern"unearthed from Tomb 169 in Astana was restored.From the aspects of user identity,ideological belief,artistic and cultural identity,and through vertical and horizontal image comparison analysis,the following two important conclusions were drawn.Firstly,in the Northern Dynasties,the forms and meanings of the peacock,the vermilion bird and the phoenixes were gradually confused and fused.When the divine bird appeared with the elements of immortal mountains,immortals,and divine stones,and had obvious Taoist or Confucian auspicious connotations,it might be the phoenix,or the vermilion bird or peacock,and in order to avoid fallacies,it should be collectively referred to as the"phoenix",and be distinguished according to its stylistic features.Secondly,the"brocaded face cover of peal-linked peacock-shaped double phoenix pattern"(72TAM169:34)unearthed from Tomb 169 in Astana is a vivid example of the artistic and cultural exchange and integration between the East and the West along the Silk Road,and the fabric is likely to come from the Central Plains.In terms of the pattern theme,the craftsmen chose phoenixes,which were popular with Confucianism,Buddhism and Taoism.In the specific visualization of the image,with the classic peal-linked pattern in Persian-Sasanian art as the framework,the two phoenixes stood tall in the Chinese symmetrical composition,and the Western peacock tail feathers turned up high,supplemented by the Western style flowers,incense burner,lotus,and circle type coins,with a unique style and rich symbolism.Because of its colorful symbolic elements,the bird's shape,which is both Chinese and Western,makes it difficult for later generations to determine its name.After a comprehensive analysis,the"brocaded face cover of the pearl-linked peacock-shaped double phoenix pattern"is more appropriate and reasonable to be summarized.Based on the academic research on the naming of traditional Chinese clothing patterns,a new naming method is proposed:the naming of the image not only requires consideration of its shape but also should not ignore the cultural relationship between the constituent elements of the image,and the naming method combining form and meaning can better embody the historical and cultural connotation reflected by ancient Chinese dress patterns.With regard to the naming of the many face covers excavated from Tomb 169 in Astana,the article puts forward the new viewpoint of the"brocaded face cover of the pearl-linked peacock-shaped double phoenix pattern"through in-depth research and discussion.This naming study will provide references for the naming study of bird patterns in the academic world and provide new ideas and new methods.
国家科技期刊平台
NSTL
万方数据
