English
Received 17.11.2023, Revised 07.02.2024, Accepted 03.03.2024
Goal: this study aims to analyze the influence of Silk Road culture on the style of brocade patterns in the Tang and Ming Dynasties of China, as well as to consider the practices of using brocade motifs of ancient dynasties in modern design. Methodology: based on the research of scientific literature, this article compares and analyses the stylistic characteristics of brocade patterns: connected beads, curly grass, treasure and cloud; the analysis makes it possible to trace the process of formation and evolution of brocade patterns in the Tang Dynasty. The methods of figurative and stylistic, formal analysis, methods of systematisation, and processing of results are also involved. Results. The study pointed out that the opening of the Silk Road promoted cultural exchanges between East and West, and the prosperity of politics, economy, and culture in the Tang Dynasty promoted the diversity and development of patterns. The above-mentioned motives, through integration with foreign cultures, formed symmetrical beauty, curvilinear beauty, and symbolic characteristics of Tang Dynasty patterns. In the example of the creativity of the modern Chinese designer Chen Liwen, the transformation of the motif «Tiger Sniffs the Rose» and the image of the Chinese tiger of the Ming Dynasty period in the development of modern design products is shown. Scientific novelty. This article reveals the historical evolution of the popular brocade patterns in the Tang and Ming Dynasties of China, summarizes his unique artistic style, and provides inspiration for contemporary clothing innovation design. Practical significance. The significance of this study lies in providing historical data for the integration of ethnic cultures and demonstrating the overall characteristics and evolution process of the Tang and Ming Dynasties patterns
Silk Road; intangible cultural heritage; brocade; pattern; art; contemporary design; transformation; design practice
[1] Khan Academy. (n.d.). A Tang silk brocade. Retrieved from https://www.khanacademy.org/humanities/art-asia/imperial-china/tang-dynasty/a/a-tang-silk-brocade.
[2] Brown group pattern brocade collection of the China Silk Museum. (2023). Retrieved from https://www.chinasilkmuseum.com/zggd/info_21_itemid_2328.html.
[3] Chen, Y. (2013). Dressing for the times: Fashion in Tang Dynasty China (618-907). (Doctoral thesis, Columbia University, New York, USA). doi: 10.7916/D8KK9B6D.
[4] Collection of brocade with treasure patterns in the China Silk Museum. (2013). Retrieved from https://www.chinasilkmuseum.com/zggd/info_21_itemid_2291.html.
[5] A World of Looms: Weaving Technology and Textile Arts in China and Beyond. (2018). Retrieved from https://www.chinasilkmuseum.com/yz/info_98.aspx?itemid=26752.
[6] Dang, Q., Luo, Z., Ouyang, C., Wang, L., & Xie, M. (2021). Intangible cultural heritage in China: A visual analysis of research hotspots, frontiers, and trends using citespace. Sustainability, 13(17), article number 9865. doi: 10.3390/su13179865.
[7] Gu, P., Wang, F., & Lin, Z. (2016). A study on the cultural connotations of the joint bead pattern, the treasure-like flower pattern, and the group pattern. Chinese Art Space-Time, 1, 16-23.
[8] Kuang, Y. (2012). Archeological evidences: Embroidered textiles of the Han and Tang Dynasties (206BC-907AD). Unearthed along the Silk Road. Asian Social Science, 8(8), article number 5010. doi: 5539/ass.v8n8p50.
[9] Liu, J. (2015). "The Silk Road" from the perspective of Orientalism. Journal of Tsinghua University. Philosophy and Social Sciences Edition, 4, 64-71.
[10] Lu, S. (1995). Mythological archaeology. Beijing: Cultural Relics Press.
[11] Jieshi, M., Xiaoming, J., & Zheng, L. (2023). Analysis of the artistic characteristics of lotus patterns and digital innovative design methods. Frontiers in Art Research, 5(7), 22-31. doi: 10.25236/FAR.2023.050705.
[12] O’connell, R. (2023). Chinese brocade is intricate and stunning. Here’s where to find the real deal. Retrieved from https://www.nationalgeographic.com/travel/article/chinese-brocade/.
[13] Shi, C. (2017). Selected basic theories of "Formal Composition". Industrial Design, 3, 52-54.
[14] Talbot, L. (2021). Ancient and medieval Chinese textiles in the cotsen textile traces study collection, Washington, D.C. Retrieved from https://www.iias.asia/the-newsletter/article/ancient-and-medieval-chinese-textiles-cotsen-textile-traces-study-collection.
[15] Wang, J. (2017). Protection and restoration of the Tang Dynasty red-ground brocade with birds on a square pattern in the collection. Cultural Relics Protection and Archaeological Science, 29(3), article number 9196. doi: 10.16334/j.cnki.cn31-1652/k.2017.03.017.
[16] Wang, Y. (2014). The origin, transformation and representation of the double lotus (Peer-Reviewed). Retrieved from https://www.academia.edu/8659441/The_Origin_Transformation_and_Representation_of_the_Double_Lotus_Peer_Reviewed_.
[17] Wang, Z. (2019). The evolution of the meaning of the joint pearl patterns from the Mogao Grottoes in the Sui and Tang Dynasties. Art Panorama, 2, 144-145.
[18] Yuche, L. (2022). Chinese brocade designer grabs attention by innovating on tradition. Retrieved from https://www.globaltimes.cn/page/202211/1278916.shtml.
[19] Yue, Z. (2021). Discussion on the staged features of the development of cloud patterns in the Sui and Tang Dynasties. Footwear Technology and Design, 19, 107-109.
[20] Zhang, W., Chen, Y., & Zhou, C. (2021). Analysis and innovative design of brocade pattern in Tang Dynasty. Silk, 58(9), 126-132.
[21] Zhou, Z. (2007). Exploring lotus flower: Analysis of the evolution of the lotus flower pattern. Journal of Shanghai Business College, 2, 42-43.
[22] The great turning point of the Han-Tang Silk Road: From "Han-Jin Yunqi" to "Great Tang New Style". (2023). Retrieved from https://wapbaike.baidu.com/tashuo/browse/content?id=fa52d463250ee68f0d256a1f.
Українська