1. The costume patterns of Dunhuang Mogao Grottoes in the Sui Dynasty reflect the method of obtaining brocade patterns in the Sui Dynasty. Dunhuang Mogao Grottoes in Sui Dynasty have rich and diverse clothing patterns, and flowers, animals and geometric patterns appear in large numbers, among which flowers and plants account for the largest proportion. Lotus and honeysuckle, which appeared in the Northern Dynasties, were still the most important theme in the Sui Dynasty, dotted with caves in the Sui Dynasty individually or in combination. Another most common flower pattern is the dot pattern, which consists of white dots. A floret does not correspond to a real flower, but a conceptual image. Animal patterns include real animal patterns such as tigers, lions and horses, as well as imaginary animal patterns such as phoenix and flying horse. These animal images are general, and they don't emphasize details, but win by dynamics. Geometric patterns include diamond, square, wave and other forms. These geometric patterns are all found in the brocade patterns of the same period, breaking through the simple and tough architectural pattern characteristics of the Northern Dynasties, and creating a brocade effect with continuous shape, tight combination, continuous color conversion and delicate and gorgeous warp and weft texture. There are also a large number of exotic beaded patterns in the clothing patterns of Mogao Grottoes in the Sui Dynasty, which are brocade patterns imported from West Asia in the Sui Dynasty. Beads are connected into a circular skeleton, and the circle is filled with various patterns. The vertical Buddha skirt on the north wall of Cave 427 in Mogao Grottoes adopts a layered combination of beaded patterns and linear geometric patterns. The vertical pattern is divided into several broad bands, and there are narrow color bars at intervals. The broadband is decorated with diamond patterns, square patterns and beaded patterns respectively. The diamond pattern is a block texture, and the square pattern draws thin lines crossing vertically on the color block. The beaded pattern is decorated with round Kobanawa honeysuckle leaves. The whole pattern is dense and very textured, which is a typical combination of various patterns.
It can be seen from the theme of clothing patterns in the Mogao Grottoes in the Sui Dynasty that the brocade patterns in the Sui Dynasty are closely combined with the use and technology of brocade. The main use of brocade in Sui Dynasty is clothing and bedding, which requires the brocade pattern to be soft and elegant, so flowers have become the most popular brocade pattern theme. Compared with animals and figures, flowers have greater freedom of deformation and organization. Because branches and leaves can be bent at will, flower patterns can be organized into suitable patterns of any shape, which appear as the main patterns of large-scale comprehensive patterns and are interspersed with other fine patterns to meet the pursuit of hierarchy and rhythm in traditional brocade patterns. The vertical interweaving of warp and weft in brocade technology can easily show the regularity of geometric patterns, and the infinite form and rich colors of geometric patterns can enhance the gorgeous feeling of brocade, so geometric patterns have become an important theme of brocade patterns in Sui Dynasty, and the brocade patterns in Sui Dynasty are therefore full of geometric beauty.
Second, the clothing patterns of Dunhuang Mogao Grottoes in the Sui Dynasty reflect the deformation methods of brocade patterns in the Sui Dynasty. The main deformation method of Sui Dynasty costume patterns in Dunhuang Mogao Grottoes is simplification and planarization. Flowers and animal patterns are greatly simplified on the basis of realistic images, only the most basic structure is retained, and the interior is flat. Because the image of the pattern is generally small, internal ornamentation is rarely added. The clothing patterns of the Sui Dynasty in Mogao Grottoes inherited the idealized deformation method of the Northern Dynasties. Lotus and honeysuckle were often organized on the same plant in the form of lines and surfaces, forming beautiful and lively lotus and honeysuckle patterns. In the Tang Dynasty, the lotus and honeysuckle patterns were divided into two realistic flower patterns, and the lotus and honeysuckle appeared alone in a more realistic image, which no longer had a strong religious meaning. Most of the geometric patterns in the clothing patterns of the Sui Dynasty in Mogao Grottoes appear in two forms, one is an independent geometric pattern, and the other is the skeleton of a combined pattern. Independent geometric patterns generally appear in continuous forms such as diamonds, squares, ellipses and broken lines; Different geometric patterns are alternately arranged in rows, forming rich geometric pattern forms. Generally speaking, the geometric patterns in the Sui Dynasty are relatively simple and not as complicated as those in the Song Dynasty. As the geometric shape of the skeleton, a certain decorative area is divided into several units, and each unit is decorated with flowers, animal patterns and geometric skeletons, which makes the brocade patterns in Sui Dynasty show distinct rhythmic characteristics.
It can be seen from the deformation techniques of clothing patterns in Dunhuang Mogao Grottoes that the brocade patterns in Sui Dynasty were deformed on the principle of practicality. Traditional brocade technology is not suitable for expressing too detailed and random images, so the deformation of brocade patterns in Sui Dynasty is based on simplification and planarization, and flowers, animals and figures are refined into simple points, lines and surfaces, which are expressed by flat drawing and hook line method. Influenced by contemporary modern painting, the images in Sui brocade patterns are generally small, and even if there are big images, they are often the combination of many small images, which is different from the big images and big trends in Tang brocade patterns. The organization of geometric patterns is relatively free, because the thinner lines in the patterns can be realized by the warp and weft textures during weaving, and the slightly larger area can be realized by the flat weaving process, so the geometric patterns in the brocade patterns of the Sui Dynasty are rich in density and can be freely interspersed.
Thirdly, the clothing patterns of Dunhuang Mogao Grottoes in the Sui Dynasty reflect the organizational form of brocade patterns in the Sui Dynasty. There are many organizational forms of clothing patterns in Dunhuang Mogao Grottoes in the Sui Dynasty, such as four-way continuity, two-way continuity and parallel pattern, which are commonly used in the clothing patterns in the Sui Dynasty, sometimes used alone, and sometimes used in combination.
Four-way continuous Mogao Grottoes The main pattern of Sui Dynasty costumes is four-way continuous. The quadrilateral continuous patterns of clothing in Sui Dynasty generally have geometric skeletons, which are filled with vivid and flexible patterns, among which the most typical quadrilateral continuous patterns are rhombic patterns. The diamond pattern intersects with the straight line to form a unit, and it extends in all directions with the extension of the straight line. These straight lines generally have a certain width and are banded. The interior is decorated with straight lines and beaded lines or single lines to avoid monotony, and the intersections are mostly decorated with small round flowers. Decorative patterns in rhombic units or the same or two patterns arranged alternately are all suitable for organizing flexible rhombic skeletons to form a pattern form suitable for square continuous patterns. Some diamond squares are very small, and there are no decorative patterns in the squares, but five colors of azurite, turquoise, earth red, white and gold are evenly coated at intervals to form a continuous colored diamond square. On the costume of the Buddha statue in Cave 420, the flying horse tiger-taming pattern is connected in four directions by connecting beads in a continuous form, and scattered in four directions by connecting large beads in parallel.
The double-sided continuous edge decoration pattern in the clothing pattern of the Sui Dynasty in Mogao Grottoes adopts the form of double-sided continuous, and the geometric pattern of double-sided continuous is the most common. These geometric patterns are mainly rhombic and spread to both ends in the form of straight lines crossing. Do more interval processing in color to avoid monotony and enhance the sense of rhythm. The continuity of waveform is also a typical form, and the unit is composed of relative waves; Extend to both ends in waves. The scattering bicontinuity formed by the linear arrangement of annular beads also often appears. This bicontinuity has become the main pattern in a group of patterns because of its large area. The border decoration patterns in Sui Dynasty adopted a two-way continuous form with a strong sense of order. By the Tang Dynasty, the method of repeating unit patterns was still widely used, but a large number of free edge decoration patterns appeared, which did not pay attention to unit repetition, but stretched into dynamic patterns with the free growth of a flower.
Well-qualified mode Well-qualified mode is the main organization form of unit mode in square continuum. The conformal patterns in the clothing patterns of the Sui Dynasty in Mogao Grottoes include circular conformal patterns, diamond conformal patterns, square conformal patterns, oval conformal patterns and other forms, among which the circular bead pattern is the most typical. The beading pattern in the outer ring of the annular beading pattern is in the form of dispersion and bidirectional continuity, and the inner ring is circular to adapt to the pattern. Through shape and dynamic adjustment, different images gather in a circle, which has perfect significance.
It can be seen from the organization form of clothing patterns in the Mogao Grottoes in the Sui Dynasty that the brocade patterns in the Sui Dynasty adopted geometric skeleton, which first organized the patterns into single design units, and then arranged multiple units into a complete pattern form. The brocade patterns in Sui Dynasty adopted all the typical organizational forms of dyeing and weaving patterns, and organized the four-sided continuous, two-sided continuous and suitable patterns together to form a large-scale comprehensive pattern with diverse themes and forms. There are various methods of synthesis, and sometimes different patterns are arranged alternately; Sometimes it consists of one mode form and another mode form. Various patterns are unified with harmonious colors and the same expression, which is rich but not messy.
Fourthly, the costume patterns of Dunhuang Mogao Grottoes in the Sui Dynasty reflect the color matching method of brocade patterns in the Sui Dynasty. Dunhuang Mogao Grottoes in the Sui Dynasty are mostly blue-green, with warm colors such as khaki and ochre dotted in the blue-green main color, which enlivens the color atmosphere. Blue and green are the most widely used colors in the clothing patterns of the Sui Dynasty in Mogao Grottoes. In the early Sui Dynasty, some grottoes inherited the warm colors of the Northern Dynasties, and a large number of earth red and dawn red appeared in the costume patterns, but most of them were also blended with azurite and stone green, which constituted a harmonious contrast effect. The Buddha's costume in Cave 427 of Mogao Grottoes is rich and colorful, and the small diamond pattern on a painted Buddha's costume east of the pillar in the grottoes is very beautiful. This pattern is a wide diamond pattern with soil red as the background color and azurite painted, with a white ring diamond pattern inside and multi-petal florets painted by azurite inside. The contrasting colors of soil red and azurite achieve a loud and lively harmonious effect with different areas.
It can be seen from the colors of clothing patterns in the Mogao Grottoes in the Sui Dynasty that the color collocation of brocade patterns in the Sui Dynasty was deeply influenced by Confucian aesthetic thought and pursued the beauty of neutrality and harmony. No matter how many colors there are in a pattern, the overall effect is harmonious. There are two main color matching methods of Sui brocade patterns reflected from the clothing patterns of the Sui Dynasty in Mogao Grottoes. One is to form a unified tone with similar colors, embellished with small areas of contrast colors, and pursue small contrast changes in coordinated tones; The other is to organize the colors with strong contrast colors together, and achieve the coordination effect through area contrast and mutual infiltration and fusion of small color blocks. These two methods are inseparable from colored interlining, which can be said to be the main methods to create rich and gorgeous effects of fabric patterns in Sui Dynasty.
From the characteristics of clothing patterns in Dunhuang Mogao Grottoes in the Sui Dynasty, we can see that the brocade patterns in the Sui Dynasty not only inherited the themes of lotus and honeysuckle in the Northern Dynasty, but also promoted the traditional decorative patterns in China to the era of flowers and plants, and also absorbed the beaded patterns and brocade patterns of lions and flying horses in Bossasan Dynasty in West Asia. Designers in Sui Dynasty organized flowers, plants and animals in geometric skeleton, and flexibly applied formal rules such as unity and change, contrast and harmony, rhythm and rhythm, forming a vivid and well-organized exquisite brocade pattern in Sui Dynasty. Influenced by the aesthetics of the Six Dynasties, the brocade patterns of the Sui Dynasty pursue the beauty of elegant temperament and free and easy design style, and express the aesthetic feeling of gorgeous and elegant coexistence with beautiful images, small pieces, thin lines and frequently interspersed colors, so that the brocade patterns of the Sui Dynasty are no longer simple decorations, but full of spiritual beauty, which has become a typical feature of the decorative art of the whole Sui Dynasty.
References:
Dunhuang art research institute. China Grottoes Dunhuang Mogao Grottoes. Beijing: Cultural Relics Publishing House, 1984. Chang Shanna. Clothing patterns in Dunhuang, China. Beijing: China Light Industry Press, 200 1. Author: School of Art and Design, Beijing University of Technology.