摘要
“渔樵耕读”是有清一代流行的人物装饰纹样,表现为渔父、樵夫、农人、书生各司其职的生产生活图景。其人物形象刻画以成年男性为主,辅以山水田园等自然风光,构图灵活多样,色彩明艳亮丽,呈现较强的写实性和装饰性。渔樵耕读纹样多以刺绣技艺加以表现,也有少量提花,在服饰、室内装饰等方面有广泛应用,彰显了中国人的审美理想。文章以相关织绣实物的文献调查和图像分析为基础,通过钩沉史料、回溯清代历史文化语境,发现“渔樵耕读”纹样的盛行顺应了装饰艺术发展的趋势,并与清代重农劝农思想、隐逸与耕读文化、传统礼治文明有关。它不仅是中国古代农耕及礼治文明的缩影,更隐射了传统社会的生活模式和价值趋向。
The “fisherman-woodcutter-farmer-scholar” character pattern is a kind of decorative design prevailing in the Qing Dynasty, intensively manifesting scenes of production and real-life of fishermen, woodcutters, farmers and scholars who performed their daily duties. It has generally developed in ceramics, architecture, embroidery, wood engraving and other arts and crafts carriers. Nevertheless, there is not much research on the pattern in the design academic circle and even less discussion about how this pattern behaves on silk fabrics. There is little doubt that the pattern is of enormous significance to reflect the development of textile technology and the reality of humanistic thought in the Qing Dynasty.Based on literature reviews and image analysis related to embroideries of this decorative pattern, we traced its historical process through literature research, comparative analysis and historical research methods. We summarized and analyzed its textile types, production techniques and artistic characteristics meaningfully. And we explored the reasons for the popularity of this pattern by looking up historical materials. Conclusions are drawn as follows:(i) in terms of its forms, the fisherman-woodcutter-farmer-scholar characters are mainly depicted as adult males, supplemented by idyllic landscapes, such as mountains, streams and beautiful countryside views. The composition is flexible and diverse, and the stylized manifestation can also be seen. The colors are bright, presenting strong realism and decoration.(ii) As indicated by handicraft technology, the pattern is generally presented by embroidering, sometimes by weaving, and is comprehensively used in costume, interior decoration and other settings, highlighting the aesthetic idea of Chinese philosophy.(iii) A large quantity of decorative patterns depicting civil-life emerged in the Qing Dynasty, and the “fisherman-woodcutter-farmer-scholar” decorative pattern conformed to the development tendency of decorative art at that time. It is also in connection with the ideology of agriculture-emphasizing and agriculture-encouraging, seclusion culture, farming-reading culture and traditional ritual civilization in the Qing Dynasty. It is not only the epitome of farming and ritual civilization in ancient China, but also hints the lifestyle and value orientation of the people in the traditional society.We collect and sort out the legends and real objects of embroideries involved in the “fisherman-woodcutter-farmer-scholar” pattern, analyze this pattern on needlework in the Qing Dynasty from the perspectives of iconography, history of science technology and culture, and strip away the subjective standpoint of modern researchers. In accordance with the historical and cultural context of the Qing Dynasty, we objectively restore the factors of the times when the “fisherman-woodcutter-farmer-scholar” pattern prevailed. Although the Qing Dynasty, as the last feudal dynasty in China, has come to an end, the spiritual dimensions such as seriousness and pragmatism, timely progress and retreat contained in the pattern still have continuous significance in the present.
作者
王硕
袁宣萍
WANG Shuo;YUAN Xuanping(School of Design and Architecture,Zhejiang University of Technology,Hangzhou 310023,China)
出处
《丝绸》
CAS
CSCD
北大核心
2023年第3期149-157,共9页
Journal of Silk
关键词
清代
织绣
渔樵耕读
人物纹样
文化释读
装饰
Qing Dynasty
needlework
fisherman-woodcutter-farmer-scholar
character pattern
cultural interpretation
decorative
