隋唐代聯珠環文錦의 東西交涉

Culture Relations of East-West in Pearl Studded Circlet Brocade(聯珠環文錦) of Sui-T'ang Periods

Pearl Studded Circlet(Yeonjuhwanmun, 聯珠環文) is a pattern, where several pictures are located in - and outside of pearl - like beads linked together to form a round ring shape. Pearl Studded Circlet Brocade(聯珠環文錦) is an important topic for the history of textile dyeing, or of pattern, or of East-West cultural exchanges. It was widely popular in many regions along the Silk Road during Sui and Tang dynasties. Its relics can be found in widespread areas. We have discovered that there is an internal development in the textile-dyeing technique or in the change of patterns. In order to clarify this, we sought to identify the name and the origin of the pattern, to find out the principle of the pattern construction, to analyze the motive pictures, and to understand the meaning of the exchanges of Eastern and Western cultures, by sorting out all the research outcomes of the scholars specializing in this pattern. Through our studies, we established the following findings. Firstly, this pattern used to be called as linked pearls pattern(連珠文, 聯珠文, 團窠文, etc). All these names were made in accordance with the visual and form-based traits of round beads connected together. With the exterior characteristic, the in - and outside of the ring pattern would be efficient only if straight weaving patterns are repeated. Therefore, we have decided to conclusively name this as pearl studded circlet(聯珠環文). Secondly, pearl studded circlet is said to have been originated from China or introduced from the West. There are cultural prejudices inherent in these two theories. The "China origination" theory assumes China as the center of the world cultures, whereas the "West origination" theory assumes that the Silk Road civilization started in Central Asia, making a transit via Northeast Asia, blossoming in Japan. These two theories were separately developed in the Eastern and Western countries, and became widespread in the whole region of the Silk Road during Sui and Tang dynasties, when the East-West exchanges were active. Thirdly, Yeonjuhwanmun had a symmetric, as opposed to assymmetric structure. The symmetric form considers the front sight more important and is based on the Chinese tradition that focuses on stability. The assymmetric form reflects the western tendency, which emphasizes the side sight and picturesque expression. Yeonjuhwanmun displays both of the symmetric Chinese style and assymmetric Western style. It is classified in 5 pattern styles. As for motives of the pattern style, the traditional elements of China and exotic elements from Persia, were given the equal importance. In particular, the religious sculptures, such as gods in Zoroastrianism, birds biting a string, deers with camel-backs as in 'Birds and beasts pattern(禽獸文)' or 'hunting pattern(狩獵文)', were the results of East-West exchanges. Fourthly, there were direct and indirect roles of Sogdians in the development of Yeonjuhwanmun during Sui and Tang dynasties. They lived in Central Asia and were engaged in intermediary trading in the eastern and western regions of the Silk Road. In their earlier trading, they imported Persian silk to China, but with time, they became the chief supervisors of a government office(小府監), making a headway for new styles, such as “Neungyanggong style(陵陽公樣)” or “exotic brocade(番錦)”.