[1]李涵棋,胡霄睿*.宋代暗花丝织品的视觉艺术特征及其成因探析[J].服装学报,2026,11(01):85-96.
 LI Hanqi,HU Xiaorui*.Analysis of the Visual Artistic Characteristics and Causes of Damask Silk Fabrics in the Song Dynasty[J].Journal of Clothing Research,2026,11(01):85-96.
点击复制

宋代暗花丝织品的视觉艺术特征及其成因探析()

《服装学报》[ISSN:2096-1928/CN:32-1864/TS]

卷:
第11卷
期数:
2026年01期
页码:
85-96
栏目:
服装设计
出版日期:
2026-02-28

文章信息/Info

Title:
Analysis of the Visual Artistic Characteristics and Causes of Damask Silk Fabrics in the Song Dynasty
作者:
李涵棋;  胡霄睿*
江南大学 设计学院,江苏 无锡 214122
Author(s):
LI Hanqi;  HU Xiaorui*
School of Design, Jiangnan University, Wuxi 214122,China
分类号:
K 244; J 523.5
文献标志码:
A
摘要:
宋代暗花丝织品作为中国古代经纬同色的单层提花丝织品的典型代表,其独特的视觉艺术特征与制作工艺具有重要的学术研究价值。以考古出土的宋代暗花丝织实物为研究样本,结合文献典籍与历史图像资料,从织物组织结构、色彩纹理表现及图案构图布局3个方面分析其视觉艺术特征。研究发现,宋代暗花丝织品以花地异色的巧妙处理、虚实结合的层次表现与自然均衡的构图法则,结合对植物纹样的独特诠释,形成了独具特色的设计审美范式。在技术层面,这种艺术效果的实现得益于宋代制丝工艺的精进、花地组织结构的差异化设计以及罗织机等织造技术的突破性发展。从文化视角来看,暗花丝织品在宋代的广泛流行,既反映了理学思想影响下儒雅化生活方式的形成,又体现了宋代社会崇尚简约内敛的审美取向,同时满足了不同社会阶层对服饰实用性的多元需求。
Abstract:
The dark-patterned silk fabrics of the Song Dynasty, as a typical representative of single-layer jacquard silk fabrics with the same color of warp and weft in ancient China, have significant academic research value due to their unique visual art features and manufacturing techniques.This paper takes the physical objects of dark-patterned silk weaving unearthed by archaeology in the Song Dynasty as the research samples, combines literature and classics, historical image materials, and analyzes its visual art characteristics from three aspects: fabric tissue structure, color and texture expression, and pattern composition and layout. Research has found that the dark-patterned silk fabrics of the Song Dynasty formed a unique design aesthetic paradigm through the ingenious treatment of different colors of flowers and the ground, the layering expression of the combination of reality and illusion, the composition rule of natural balance and the unique insights into plant patterns. On the technical level, the realization of this artistic effect is attributed to the improvement of silk-making techniques in the Song Dynasty, the differentiated design of the pattern structure, and the breakthrough deve-lopment of weaving techniques such as the loom.From a cultural perspective, the wide popularity of dark-patterned silk fabrics in the Song Dynasty not only reflected the formation of a refined lifestyle under the influence of Neo-Confucianism, but also demonstrated the aesthetic orientation of the Song society that advocated simplicity and restraint. At the same time, it met the diverse demands of different social strata for the practicality of clothing.

参考文献/References:

[1] 吴文寰. 从瑞光寺塔发现的丝织品看古代链式罗[J]. 文物, 1979(11): 40- 42.
Wu Wenhuan. Looking at the ancient chain luo from the silk products found in Ruiguang Temple Tower[J]. Cultural Relics, 1979(11): 40- 42.(in Chinese)
[2] 罗群. 缥缈变化的“宋”罗[J]. 丝绸, 2012, 49(4): 52-56.
Luo Qun. Leno weaving techniques in Song Dynasty[J]. Journal of Silk, 2012, 49(4): 52-56.(in Chinese)
[3] 周赳, 彭稀. 中国古代提花织物组织结构的历史沿革和主要特征[J]. 丝绸, 2023, 60(3): 120-131.
Zhou Jiu, Peng Xi. Historical evolution and main characteristics of the weave structure of jacquard fabrics in ancient China[J]. Journal of Silk, 2023, 60(3): 120-131.(in Chinese)
[4] 包铭新. 中国古代暗花丝织物[J]. 华东纺织工学院学报, 1985, 11(1): 89-101.
Bao Mingxin. The monochrome floured silk in angient China[J]. Journal of Donghua University(Natural Science), 1985, 11(1): 89-101.(in Chinese)
[5] 杨颖. 中国传统纱罗的服用规律研究[D]. 北京: 北京服装学院, 2019.
[6] 俞敏敏.浅议南宋丝绸和服饰文化[J].丝绸,2002(5):50-51.
Yu Minmin. A brief discussion on Southern Song silk and clothing culture[J].Journal of Silk, 2002(5): 50-51.(in Chinese)
[7] 段卫红. 宋代劝农制度及其对丝织业的影响[J]. 丝绸, 2018, 55(12): 102-107.
Duan Weihong. Agriculture encouragement system in Song Dynasty and its influence on silk industry[J]. Journal of Silk, 2018, 55(12): 102-107.(in Chinese)
[8] 蔡欣. 宋代民间丝织业的发展[J]. 丝绸, 2015, 52(8): 75-82.
CaiAI Xin. Development of nongovernmental folk silk-weaving industry in the Song Dynasty[J]. Journal of Silk, 2015, 52(8): 75-82.(in Chinese)
[9] 吴自牧. 梦粱录[M]. 王旭光, 校注. 南京: 江苏凤凰文艺出版社, 2019: 387.
[10] 辛更儒.杨万里集笺校:卷14[M].北京:中华书局,2007:701.
[11] 屠恒贤, 张培高. 商周时期的提花技术[J]. 丝绸, 2004, 41(5): 43- 45.
Tu Hengxian, Zhang Peigao. Patterning technique of silk in Shang and Zhou Dynasties[J]. Journal of Silk, 2004, 41(5): 43- 45.(in Chinese)
[12] 陈娟娟. 两件有丝织品花纹印痕的商代文物[J]. 文物, 1979(12): 70-71.
Chen Juanjuan. Two Shang cultural relics with silk prints[J]. Cultural Relics, 1979(12): 70-71.(in Chinese)
[13] 张孝祥. 张孝祥词校笺[M]. 北京: 中华书局, 2010: 152.
[14] 刘志峰, 周杨静. 基于色彩物理学本质的色错觉研究及应用[J]. 南京艺术学院学报(美术与设计版), 2011(3): 138-141.
Liu Zhifeng, Zhou Yangjing. Study and application of colour illusion based on the nature of colour physics[J]. Journal of Nanjing Arts Institute(Fine Arts and Design), 2011(3): 138-141.(in Chinese)
[15] 李建亮, 温润. 南宋“生色花”丝绸纹样探析[J]. 丝绸, 2014, 51(1): 65- 69.
Li Jianliang, Wen Run. Exploration and analysis on "shengsehua" silk pattern in Southern Song Dynasty[J]. Journal of Silk, 2014, 51(1): 65- 69.(in Chinese)
[16] 刘凯旋, 陈祥平, 程明. “冷盆”缫丝技术与阆中源考[J]. 丝绸, 2025, 62(1): 94-100.
Liu Kaixuan, Chen Xiangping, Cheng Ming. "Cold-basin" silk reeling technique and its Langzhong origin[J]. Journal of Silk, 2025, 62(1): 94-100.(in Chinese)
[17] 周启澄, 赵丰, 包铭新. 中国纺织通史[M]. 上海: 东华大学出版社, 2017: 305-209.
[18] 顾野王. 大广益会玉篇[M]. 影印本. 北京: 中华书局, 1987: 558.
[19] 蔡欣,苏淼,赵丰,等.南京长干寺出土的平经暗花丝织品研究[J].丝绸,2012,49(8):52-56.
Cai Xin, Su Miao, Zhao Feng. A study on damasks excavated from Nanjing Changgan Temple relic [J].Journal of Silk, 2012, 49(8): 52-56.(in Chinese)
[20] 福建省博物馆. 福州南宋黄升墓[M]. 北京: 文物出版社, 1982: 26-72.
[21] 蔡欣,赵丰作. 中国历代丝绸艺术[M]. 杭州: 浙江大学出版社,2021: 15-20.
[22] 薛景石. 梓人遗制图说[M]. 济南: 山东画报出版社, 2020: 107-117, 139-154.
[23] 朱丽娉.无固定绞组链式罗织物的发展历史及其仿制[D].浙江: 浙江理工大学,2022.
[24] 蔡欣, 单珊珊, 陈晓风, 等. 《梓人遗制》所载 “罗机子” 结构再研究[J]. 丝绸, 2019, 56(6): 105-113.
Cai Xin, Shan Shanshan, Chen Xiaofeng, et al. Further study on mechanical structure of Luo-ji-zi recorded in Practice of Carpentry[J]. Journal of Silk, 2019, 56(6): 105-113.(in Chinese)
[25] 蔡欣. 宋代绞经丝织物研究[J]. 丝绸, 2016, 53(2): 61-72.
Cai Xin. Study on warp twisted silk fabrics in Song Dynasty[J]. Journal of Silk, 2016, 53(2): 61-72.(in Chinese)
[26] 朱熹. 朱子文集[M]. 新1版. 北京: 中华书局, 1985: 383-384, 404- 405.
[27] 托克托. 宋史[M]. 北京:中华书局,2013:3997-3998.
[28] 黄士毅. 朱子语类汇校[M]. 修订本. 徐时仪,杨艳汇, 校. 上海: 上海古籍出版社, 2023: 270-286.
[29] 程颢. 二程集[M]. 王孝鱼, 点校. 北京: 中华书局, 1981: 807-810.
[30] 陈来. 宋代理学概说[J]. 河北学刊, 2023, 43(4): 62-73.
Chen Lai. Overview of Song Dynasty neo-confucianism[J]. Hebei Academic Journal, 2023, 43(4): 62-73.(in Chinese)
[31] 杨秀繁. 宋代美学思想在视觉传达设计中的创新应用研究[D]. 吉林: 东北电力大学, 2023.
[32] 周敦颐.钦定四库全书周元公集[M].北京:中国书店,2018:14.
[33] 张青山. 宋代服装图案与色彩的美学追求[J]. 印染, 2021, 47(6): 82-83.
Zhang Qingshan. Aesthetic pursuit of clothing patterns and colors in Song Dynasty[J]. China Dyeing and Finishing, 2021, 47(6): 82-83.(in Chinese)
[34] 陈长美. 宋朝女子服饰流行变迁的社会影响因素[J]. 服装学报, 2023, 8(5): 424- 427, 440.
Chen Changmei. Social influential factors of the popular changes of women’s clothing in Song Dynasty[J]. Journal of Clothing Research, 2023, 8(5): 424- 427, 440.(in Chinese)
(责任编辑:卢 杰)

相似文献/References:

[1]杜 雪,谢 静*.宋代女子冠饰[J].服装学报,2018,3(06):557.
 DU Xue,XIE Jing*.Crown Decoration of Woman in Song Dynasty[J].Journal of Clothing Research,2018,3(01):557.
[2]付晓彤.宋代服饰“四季花卉”组合纹样的文化探析[J].服装学报,2025,10(05):447.
 FU Xiaotong.Cultural Exploration of the "Four Seasons Flowers" Combined Pattern in Song Dynasty Costume[J].Journal of Clothing Research,2025,10(01):447.

更新日期/Last Update: 2026-02-28