【作者】 李斌；

【导师】 杨小明；

【作者基本信息】 东华大学 ， 中国古代纺织工程， 2013， 博士

【摘要】 中国长三角地区拥有丰富的染织类非物质文化遗产。目前,该地区已有多项染织技艺入选国家级和世界级非物质文化遗产名录。然而,学术界对长三角地区染织类非物质文化遗产缺乏整体性的研究。本文以长三角地区的染织类非物质文化遗产为研究对象,主要采用田野调查与历史文献分析的研究方法,对长三角地区具有代表性的染织技艺进行了尽可能系统的整理和研究,以期更加客观地展示长三角地区的传统染织技艺和染织文化。论文内容分为九章：第一章为绪论。首先,基于非物质文化遗产保护的视角,阐述本论文选题的意义。其次,通过对数据库相关文献的数据分析,阐明国内外相关研究的现状,同时对国内外的重要研究成果进行了分析和评述。最后,对研究方法和研究对象的范围进行了界定。第二章、第三章为棉染织篇。第二章主要讨论了乌泥泾手工棉纺织技艺——对棉花传入上海地区的问题、乌泥泾手工棉纺织的工序、黄道婆的“错纱配色、束综挈花”技术、“先蚕”和“先棉”的比较以及乌泥泾手工棉纺织技艺的传承等五个主要问题进行了深入的研究。第三章为南通蓝印花布印染技艺。首先,详细介绍了南通蓝印花布的起源、工艺及其特征；其次,深入探讨了南通蓝印花布与剪纸艺术之间的关系；最后,对南通蓝印花布的产生、发展原因以及工艺的传承与发展等问题进行了探讨与分析。第四章到第八章为丝纺织篇。第四章主要讨论了长三角地区丝纺织技艺发展的基础,首先,对长三角地区丝织技术发展的历程进行了分期,将其划分为活跃期、沉寂期、复兴期三个阶段。其次,对长三角地区桑蚕技术、缫丝技术、丝线加工技术以及织造技术分别进行了详细的分析,展示了古代长三角地区高超的丝织技术水平。第五、六、七、八章从织物的起源、品种、特征、工艺、传承等几个方面分别对苏州宋锦织造技艺、苏州缂丝织造技艺、南京云锦织造技艺、杭州杭罗织造技艺进行了详细的论述,揭示了长三角地区丝织技术的发展与其独特的社会政治、经济、文化之间的密切联系。第九章为染织文化篇,即长三角地区的染织文化。从长三角地区传统染织行业中的禁忌、风俗、传说以及相关的表演艺术四个方面对该地区的染织文化进行了系统的分析,认为长三角地区的染织文化在其社会发展的过程当中扮演了极其重要的角色。通过研究,本文有以下认识：1、黄道婆在改进汉族丝、麻织造工具的基础上将其应用于棉纺织业,并结合黎族的挑花技术创造出松江乌泥泾地区独特的手工棉纺织技术。2、嫘祖崇拜和黄道婆崇拜有着本质的区别：嫘祖崇拜是一种祖先崇拜,它是由自上而下的路径完成其作为“先蚕”的崇拜,即官方祭祀和崇拜→民间祭祀和崇拜→丝纺织文化。而对于黄道婆的崇拜则完全相反,它是由自下而上的路径完成其作为“先棉”的崇拜,即民间祭祀和崇拜→官方祭祀和崇拜→棉纺织文化。3、南通蓝印花布直接起源于药斑布,本质上与夹缬、蜡缬有着密切的联系。由于南通蓝印花布采用刮浆式的防染工艺,因此,其纹样图案一般具有造型平面化、构图规整化、题材多样化的特征。4、本文认为,良渚人的迁徙是长三角地区先进的丝绸技艺传入中原并促成两地丝绸文明大融合的直接原因。浙江吴兴的钱山漾遗址(约公元前2750年)出土的丝织物显示,长三角地区良渚文化时期的丝织技术水平远远高于同时期中原地区的水平,大约四千二百年前良渚人的大规模的迁徙使得他们的丝绸技艺传入中原并迅速融入中原文明当中,进而引爆中国的丝绸文明。我们有理由相信,长三角地区与中原地区应同为中国丝绸文明的发源地。5、花楼织机早在唐代就已经产生,正是在使用花楼织机的基础上,南宋时期长三角地区才能生产出像宋锦、云锦这类织造工艺复杂、纹样图案独特的丝织物。6、对于“宋锦”这一名称出现的时间,一般认为是在清代康熙年间,然而我们通过考察明代《天水冰山录》中的相关记载,认为“宋锦”这一称呼的出现时间应该不晚于明代嘉靖年间,远远早于清代。7、宋代以来缂丝的生产中心沿着自北向南的方向转移,其具体路线为：华北(北宋之前)→定州、卞梁(北宋)→临安、苏松地区(南宋)→苏松地区(元代)→苏州、北京宫廷(明代)→苏州、杭州、湖南祁阳、浙江温州(清代)→苏州(民国)。由此路径可知,自南宋以后,苏州始终是缂丝的生产中心,对中国缂丝技艺的传承和保护起到了关键性的作用。8、云锦应产生于南宋时期,并非人们普遍认为的元代。我们对云锦织机、织金和妆花技术的产生时代以及南京丝织业的发展状况进行了综合研究,发现云锦织机早在唐代就已经出现,而织金和妆花技术在辽代开始普遍运用。同时,南京的丝织业在南宋时期得到了复兴,因此,云锦极有可能在南宋时期就已出现。更多还原

【Abstract】 Yangtze River Delta is abundant in the intangible cultural heritages of textile. Many of traditional textile techniques in Yangtze River Delta have been listed on the national or world non-material cultural heritage list. However, there are no systematical studies conducted on them. This research investigated on the intangible cultural heritages of textile in Yangtze River Delta by the main methods of field investigation and historical documents study, and expected to objectively display the techniques and culture of traditional Textile in Yangtze River Delta.The dissertation comprises nine chapters.The first chapter introduced the study background and research methods. Firstly, based on the perspective of protecting the intangible cultural heritage, the significance of the dissertation was described. Secondly, the current situation and important findings of domestic and foreign research on the intangible cultural heritage and the traditional textile of Yangtze River Delta were introduced and commented by analyzing relevant literature in some databases. Finally, the research methods and the range of research objects were briefly defined.The second and third chapters stated the traditional cotton textile technology in Yangtze River Delta. The second chapter mainly focused on the manual cotton textile techniques of Wunijing town. In this part, five topics were discussed in detail, such as, the problem of how the cotton was introduced into Shanghai, the spinning and weaving techniques of cotton in Wunijing town, Huang Daopo’s traditional cotton textile skills of pick-weaving and brocading, the comparison of Xian Can(originator of silk skills)and Xian Mian(originator of cotton skills) and the inheritance of the manual cotton textile techniques of Wunijing town. The third chapter mainly discussed blue calico printing and dyeing techniques of Nantong. Firstly, such topics as the origin, production techniques and main features of blue calico of Nantong were discussed in detail. Secondly, the relation between the blue calico techniques and paper cutting art was analyzed. Lastly, the inheritance of blue calico printing and dyeing techniques in Nantong were discussed.The main contents from the fourth chapter to the eighth chapter introduced the research on spinning and weaving techniques of silk in ancient Yangtze River Delta. The fourth chapter emphasized the importance of Yangtze River Delta as a foundation of silk techniques. Firstly, we divided the course of development of silk techniques about spinning and weaving into three stages, i.e., active period, recession period and renaissance period. Secondly, the silk techniques as mulberry planting, silkworm raising, silk-reeling, silk yarns processing and silk-weaving in Yangtze River Delta were analyzed and studied, the results showed that the silk techniques in ancient Yangtze River Delta had a very high level. The fifth Chapter to eighth Chapter introduced the ancient weaving techniques employed in fabrics such as Song Brocade, Kesi Arts, Nanjing Brocade and Hangzhou Leno, especially about their origin, varieties, characters, arts and inheritance. The results indicated that the silk techniques in ancient Yangtze River Delta were closely related to the special social politics, economy and culture in the time.The ninth chapter stated the textile culture of Yangtze River Delta. In this part, the information about taboos, customs, legends and relative performing arts of traditional textile industry, which represented the textile culture of Yangtze River Delta, were systematically analyzed. The results indicated that the textile culture of Yangtze River Delta played a key role in the development of the society.The conclusions of the dissertation are as follow.1. It was Huang Daopo who improved the silk and linen textile tools and applied them to cotton textile industry and chose Li nationality’s pick-weaving skills, thus, successfully practiced the traditional manual cotton textile techniques of Wunijing town in Songjiang area.2. The worship to Lei Zu (originator of the silk techniques) and the worship to Huang Daopo (originator of the cotton techniques) were essentially different. The worship to Lei Zu transferred from official to civilian along the path as the following, i.e., official sacrificial activity→folk sacrificial activity→forming silk textile culture. By contrast, the worship to Huang Daopo transferred from civilian to official, the route is, folk sacrificial activity→official sacrificial activity→forming cotton textile culture.3. The blue calico of Nantong evolved from Yaoban cloth (prints with blue figures on a white ground or white figures on a blue ground), and was essentially related to Jia Xie cloth (stencil-plate printed fabrics) and wax-resist dyeing fabrics closely. Meanwhile, being employed the resist-dyeing techniques of "scraper printing", the designs of blue calico of Nantong were characterized with complanation, integrated layout and diversified subject.4. Liangzhu people’s immigration into Central Plains is the main reason for their advanced silk techniques transmitting into Central Plains and contributing to the integration of the two forms of silk culture. The scraps of silk found in a Liangzhu culture site at Qianshanyang in Huzhou, Zhejiang, dating back to2700B.C, showed that the silk textile techniques of Liangzhu culture of Yangtze River Delta in early ancient China was much more advanced than that of contemporary cultures of Central Plains. About4200years ago, Liangzhu people migrated into Central Plains and brought in the silk techniques and developed silk culture. Thus, Yangtze River Delta and Central Plains both are the places where silk culture originated.5. The draw loom with pattern sheets appeared no later than the Tang Dynasty. With the application and improvement of the draw loom with pattern sheets, diverse silk fabrics with complicated craft and beautiful designs, such as Song brocade and Nanjing brocade, were produced in Yangtze River Delta during Southern Song Dynasty.6. The weaving process of Song brocade evolved from the weaving process of Shu brocade, and there existed a relation of inheritance between them. It was generally believed that the term "Song brocade" appeared in the Emperor Kang Xi Year of Qing Dynasty. However, by analyzing the records in Tian Shan Bin Shui Lu, a book published in the Ming Dynasty, we held that the term "Song brocade" originated not late than the Emperor Jia Jing Year of Ming Dynasty, which is noticeably earlier than the Qing Dynasty. 7. By analyzing the development state of Kesi Skill since the Song Dynasty, we found that the productive centers of Kesi fabric were transferred from north to south. The route is North China (before Northern Song Dynasty)→Dingzhou, Bianliang (Northern Song Dynasty)→Linan, SuSong Area(Southern Song Dynasty)→SuSong Area (Yuan Dynasty)→Suzhou, Beijing Palace (Ming Dynasty)→Suzhou, Hangzhou, Qiyang of Hunan Province, Wenzhou of Zhejiang Province (Qing Dynasty)→Suzhou (Republic of China). This route indicated that Suzhou had been always the productive center of Kesi fabric since Southern Song Dynasty, and it played a very important role in the protection of Kesi Skill.8. By analyzing the weaving machine of Nanjing brocade and the time at which gold-woven brocade and jacquard silk fabrics of Zhuanghua were generated, we found that the weaving machine of Nanjing brocade emerged as early as the Tang Dynasty. And, the weaving techniques of gold-woven brocade and jacquard silk fabrics of Zhuanghua were widely employed in the Liao Dynasty. Meanwhile, the silk industry of Nanjing was re-developed in Southern Song Dynasty, thus, Nanjing brocade had been produced in Southern Song Dynasty rather than the Yuan Dynasty as widely believed.更多还原