5. 丝路纹样通史 （下）—— 隋唐至明清纹样风格迭代

1. 唐代纹样里的波斯元素是怎么来的？
2. 宝相花和卷草纹在唐代有多流行？
3. 唐代纹样和之前朝代有啥明显区别？
4. 如果做汉服设计，唐代纹样怎么搭配？
5. 丝路纹样对现代设计有什么启发？

1. How did Persian elements get into Tang dynasty patterns?
2. How popular were the treasure flower and scrolling grass patterns in the Tang dynasty?
3. What are the main differences between Tang dynasty patterns and those from earlier dynasties?
4. If I were designing Hanfu, how should I combine Tang dynasty patterns?
5. What inspiration do Silk Road patterns offer for modern design?

1 00:01:48,600 --> 00:01:52,033 5.2 Patterns of the Sui Tang Dynasties: 2 00:01:52,033 --> 00:01:55,000 Plump Integration and Diverse Innovations 3 00:01:55,000 --> 00:02:00,033 So, what specific characteristics did the patterns 4 00:02:00,033 --> 00:02:03,766 of the Sui and Tang Dynasties possess? 5 00:02:03,766 --> 00:02:06,333 First of all, in terms of form 6 00:02:06,333 --> 00:02:09,766 novel patterns such as the scattered-dot style 7 00:02:09,766 --> 00:02:13,833 symmetrical style and pearl-roundel style emerged 8 00:02:13,833 --> 00:02:16,000 Designers would cleverly intersperse 9 00:02:16,000 --> 00:02:18,466 single flowers and scrolling leaves 10 00:02:18,466 --> 00:02:22,033 arranging them alternately to form various patterns 11 00:02:22,033 --> 00:02:24,333 Examples of popular designs at that time included 12 00:02:24,333 --> 00:02:27,100 the pearl-roundel “baoxiang” flower pattern 13 00:02:27,100 --> 00:02:29,733 circular motif and scrolling grass pattern 14 00:02:29,733 --> 00:02:32,033 The mainstream patterns of this period featured 15 00:02:32,033 --> 00:02:35,166 a realistic style—such as clustered flowers 16 00:02:35,166 --> 00:02:38,666 sprigged flowers and birds carrying flowers in their beaks 17 00:02:38,666 --> 00:02:41,100 Most of these patterns appeared in pairs 18 00:02:41,100 --> 00:02:43,633 presenting a plump and mellow look 19 00:02:43,633 --> 00:02:46,900 with particularly bold and smooth lines 20 00:02:46,900 --> 00:02:49,366 They perfectly embodied the in-depth integration 21 00:02:49,366 --> 00:02:52,733 of the decorative arts of Central Asia and West Asia 22 00:02:52,733 --> 00:02:55,466 with the traditional culture of the Central Plains 23 00:02:55,466 --> 00:02:58,333 Displayed in this PPT is a section of Court 24 00:02:58,333 --> 00:03:00,566 Ladies Adorning Their Hair with Flowers 25 00:03:00,566 --> 00:03:02,500 painted by Zhou Fang of the Tang Dynasty 26 00:03:02,500 --> 00:03:05,233 The patterns on the maidservants’ dresses 27 00:03:05,233 --> 00:03:07,866 are exactly the baoxiang flower patterns 28 00:03:07,866 --> 00:03:09,433 5.3 Illustrations 29 00:03:09,433 --> 00:03:12,366 This page will focus on two classic patterns 30 00:03:12,366 --> 00:03:15,233 The first is the Lingyang Duke Pattern 31 00:03:15,233 --> 00:03:17,433 It makes dyeing and weaving patterns appear 32 00:03:17,433 --> 00:03:20,033 particularly plump and gorgeous by 33 00:03:20,033 --> 00:03:22,433 extensively using complementary colors 34 00:03:22,433 --> 00:03:24,266 gold and silver hues 35 00:03:24,266 --> 00:03:27,666 and has kept evolving with innovations 36 00:03:27,666 --> 00:03:29,766 Displayed on the PPT is a partial view and 37 00:03:29,766 --> 00:03:32,166 its restored version of the Tang-dynasty brocade 38 00:03:32,166 --> 00:03:35,266 with the pattern of standing phoenixes 39 00:03:35,266 --> 00:03:38,700 amid precious flowers on a red background 40 00:03:38,700 --> 00:03:41,233 The second is the Scrolling Grass Pattern 41 00:03:41,233 --> 00:03:43,833 also known as Tangcao (Tang grass). 42 00:03:43,833 --> 00:03:47,066 With peonies and lotus flowers as the main motifs 43 00:03:47,066 --> 00:03:49,233 it is also adorned with pomegranates 44 00:03:49,233 --> 00:03:50,166 grapes 45 00:03:50,166 --> 00:03:52,733 fairies and even birds and beasts 46 00:03:52,733 --> 00:03:54,666 The overall effect is rich 47 00:03:54,666 --> 00:03:56,733 magnificent and dynamic 48 00:03:56,733 --> 00:03:58,633 making it one of the most widely used 49 00:03:58,633 --> 00:04:00,900 decorative patterns in the Tang Dynasty 50 00:04:01,133 --> 00:04:04,266 You can compare the Scrolling Grass Pattern and 51 00:04:04,433 --> 00:04:06,500 the restored version of the Lingyang 52 00:04:06,666 --> 00:04:08,133 Duke Pattern on the PPT 53 00:04:08,133 --> 00:04:09,400 and then directly perceive the grand 54 00:04:09,433 --> 00:04:11,766 spirit of the Tang Dynasty 55 00:04:11,933 --> 00:04:13,566 5.4 Sui Tang Cultural Relics: 56 00:04:13,566 --> 00:04:15,233 Integration of Foreign and Central 57 00:04:15,233 --> 00:04:17,666 Plain Elements in Patterns 58 00:04:17,833 --> 00:04:20,766 Talking about styles alone is not enough— 59 00:04:20,766 --> 00:04:24,166 let us turn to cultural relics instead 60 00:04:24,166 --> 00:04:27,533 These physical artifacts serve as more compelling 61 00:04:27,533 --> 00:04:30,300 evidence of the “fusion characteristics” embodied 62 00:04:30,366 --> 00:04:33,766 in the patterns of the Sui and Tang Dynasties 63 00:04:33,766 --> 00:04:36,233 As documented in relevant texts 64 00:04:36,233 --> 00:04:38,900 there is the Northern Dynasties Brocade 65 00:04:38,900 --> 00:04:40,466 with Checkered Animal Patterns 66 00:04:40,466 --> 00:04:44,100 unearthed from the Astana Cemetery in Turpan 67 00:04:44,100 --> 00:04:45,233 Xinjiang 68 00:04:45,233 --> 00:04:49,133 This piece of brocade features a rather distinctive motif: 69 00:04:49,133 --> 00:04:51,366 a figure riding and controlling an elephant 70 00:04:51,366 --> 00:04:54,800 It is worth noting that elephants were exclusive 71 00:04:54,800 --> 00:04:57,066 mounts of Indian military units at that time 72 00:04:57,066 --> 00:05:00,766 so this pattern clearly bears the traces of Indian culture 73 00:05:00,766 --> 00:05:04,033 indicating that silk fabrics of the Central Plains 74 00:05:04,033 --> 00:05:06,300 had already begun to absorb elements 75 00:05:06,300 --> 00:05:08,100 from surrounding civilizations 76 00:05:08,100 --> 00:05:12,266 An even more iconic example is the pearl-roundel pattern 77 00:05:12,266 --> 00:05:14,866 th ……（后略，完整文稿见视频页字幕）