文明互鉴:唐代蜀锦联珠团窠纹中的西域元素研究OA

As a material testimony of cultural exchange between the East and West during the Tang Dynasty,the evolution trajectory of the pearl-roundel pattern reflects the cumulative characteristics of artistic transmission along the Silk Road.By cross-referencing iconography with historical documents,and analyzing it from three dimensions—pattern types,artistic aesthetic features,and cultural connotations,it reveals the cultural interaction and fusion between the artistic vocabulary of Sassanian Persia and indigenous Chinese weaving techniques.The composition of the pearl-roundel pattern adopts a composite form of bead circle patterns,floral roundels,and auxiliary motifs from East Asia and West Asia,inheriting China's traditional symmetrical aesthetics and the circular forms characteristic of Persian linked pearls.In terms of color,the azure from Sichuan,the carmine from the Western Regions,and the Sassanian mud-gold mutually influenced each other,forming an aesthetic paradigm of"Barbarian style with Chinese charm."In this transformation of the Sichuan brocade paradigm,not only were the main features of local culture retained,but diverse cultural elements were creatively adapted,reflecting the wisdom of mutual civilizational learning.The historical causes of this artistic fusion lie,on the one hand,in the frequent exchange of trade and culture under the open policies of the Tang Dynasty,and on the other hand,in the role of the Silk Road as a conduit for cultural trade,establishing channels for the bidirectional flow of material and spiritual goods.Its path of fusion is manifested in the transplantation of symbols,transformation of forms,and reconstruction of meanings.It is precisely this creative wisdom of harmonious coexistence amidst differences that provides a historical reference for both Silk Road cultural studies and the theoretical construction of mutual civilizational learning.