摘要
辽宁省博物馆藏《竹林大士出山图》是反映古代中国与越南文化交流的重要图像史料。本文在宋元海上丝绸之路中越物质与人文互动的背景下,分析画中迎驾人物服饰,探讨中越纺织服饰物质的交汇及其背后的创作者动机、文化立场与政治意涵。研究发现,画中服饰深受宋代文化影响,反映出越南对宋代服饰制度的仿效与创新。梳理中越通过海上丝绸之路进行的纺织服饰交流,揭示了宋代服饰文化对越南服饰制度的深远影响。通过对该画的研究,丰富了中越海上丝绸之路纺织服饰交流史内容,展现了宋代服饰文化在东亚地区的广泛传播与深远影响。
This study,focusing on the painting of Mahasattva of Truc Lam Leaves the Mountain housed in the Liaoning Provincial Museum,aims to explore the dissemination and influence of Song Dynasty clothing culture along the Maritime Silk Road on Vietnam’s sartorial traditions.The artwork depicts the historical event of Emperor Tran Nhan Tong of Vietnam’s Tran Dynasty renouncing his throne to become a monk,reflecting the cultural and material exchanges between China and Vietnam during the Song and Yuan Dynasties.By analyzing the attire of the welcoming figures in the painting,the study highlights the profound impact of Song Dynasty clothing culture on Vietnam’s clothing system and the broader cultural interactions facilitated by the Maritime Silk Road.The study also situates the painting within the broader context of Sino-Vietnamese relations,emphasizing the role of clothing as a medium of cultural and political expression.This study begins by investigating the authorship and the identities of the welcoming figures in the painting.While traditionally attributed to the Yuan Dynasty painter Chen Jianru,the study suggests that the artist was likely a Vietnamese individual familiar with the Tran court’s clothing and Zen Buddhist culture.The identities of the welcoming figures are also debated,with some scholars identifying them as the King of Champa,while others arguing they are members of the Tran court.Based on historical records such as The Complete Annals of Dai Viêt,the study concludes that the painting likely depicts Emperor Tran Anh T ng and his officials welcoming Tran Nhan Tong back to the capital in 1308.This interpretation aligns with the historical context of Tran Nhan Tong’s return to the capital due to his sister’s illness,as recorded in Vietnamese chronicles.The study found out that the clothing of the welcoming figures in the painting was heavily influenced by Song Dynasty attire,particularly in the design of headwear,robes,and footwear.The“flower-patterned hats”worn by the officials resemble the Song Dynasty’s fashion of men adorning flowers,reflecting Vietnam’s adaptation and innovation of Song clothing culture.Additionally,the robes,belts,and other details closely follow Song styles,demonstrating the in-depth influence of Song clothing culture on Vietnam’s sartorial practices.The study also traces the exchange of textile and clothing culture between China and Vietnam through the Maritime Silk Road,noting that Vietnam’s Tran Dynasty developed its own clothing system based on Song models,incorporating local elements.This cultural exchange was facilitated by the frequent tribute missions and trade between the two countries,which enabled Vietnam to access high-quality Chinese textiles and clothing.Therefore,the study reveals that Mahasattva of Truc Lam Leaves the Mountain serves as a historical testament to the cultural and material exchanges between China and Vietnam during the Song and Yuan Dynasties.The painting not only reflects Vietnam’s emulation of Song Dynasty clothing culture but also underscores the political and cultural significance of such exchanges.By imitating Song clothing,Vietnam’s Tran Dynasty expressed its allegiance to Han culture,particularly during the Song-Yuan transition.This study contributes to the understanding of the spread of Song Dynasty clothing culture in East Asia and advances the study of textile and clothing exchanges along the Maritime Silk Road.Furthermore,it highlights the importance of clothing as a symbol of cultural identity and political alignment in the context of medieval Sino-Vietnamese relations.
作者
杨雪
王子怡
YANG Xue;WANG Ziyi(School of Design and Fashion,Zhejiang University of Science&Technology,Hangzhou 310023,China;School of Fashion Management,Beijing Institute of Fashion Technology,Beijing 100029,China;Research Institute of Chinese Aesthetics in the New Era,Beijing Institute of Fashion Technology,Beijing 100029,China)
出处
《丝绸》
北大核心
2025年第6期125-132,共8页
Journal of Silk
基金
浙江省哲学社会科学规划课题项目(23NDJC227YB)
国家社会科学基金艺术学项目(23BG101)
浙江科技大学教学研究与改革项目(2024-jg28)。
关键词
竹林大士出山图
宋代
海上丝绸之路
古代越南
中越文化交流
Mahasattva of Truc Lam Leaves the Mountain
the Song Dynasty
Maritime Silk Road
ancient Vietnam
Sino-Vietnamese cultural exchange
