丝绸2025，Vol.62Issue(7)：32-44,13.DOI:10.3969/j.issn.1001-7003.2025.07.004
量化与质性交叉视域下美岱召壁画供养人服饰造型特征再研究
A re-study on the characteristics of the clothing and costume of the donors in the murals of Meidaizhao from an interdisciplinary quantitative-qualitative perspective
摘要
Abstract
The murals of Tümed Medaizhao in Inner Mongolia are one of the important cultural relics of Mongolian art.Their rich thematic diversity culminates in the documentary mural Altan Khan Family Worshipping the Buddha Painting,an invaluable resource for studying Mongolian costumes and the integration of Mongolian,Han and Tibetan cultures in the Ming Dynasty.Existing analyses of patron costumes in Meidaizhao's murals mainly focus on descriptive analysis.Although some researches have paid attention to the basic form and appearance of these costumes,there are few studies on their details,such as the specific shape and structure of costume components,cultural background and the blending phenomenon of different cultures. Based on the combination of quantitative and qualitative research,this study combed the total number and proportion of male and female donors' costumes in Altan Khan Family Worshipping the Buddha Painting in detail,and made an in-depth analysis of the specific shapes and forms of their clothing components,including hair buns,hat ornaments,Bijia,outer robes,inner robes and cloud shoulders,and compared them with data in the Central Plains culture,Tibetan Buddhist culture and other northern minority costume culture.Two major conclusions were drawn.First,there are 33 male donors in Meidaizhao murals,most of whom wear Huntuo hats,half-sleeved outer robes,and narrow-sleeved right-lapel robes inside.While there are 28 female donors in total,most of whom wear double braids,hoods,cloud shoulders and waistcoats,and the shape and structure of the inner robe and outer robe are basically the same as those of men.Second,the costumes of donors in Meidaizhao murals not only profoundly embody the distinctive cultural identity of the Mongols but also vividly manifest a rich tapestry of exchanges and fusions with Han Chinese culture,Tibetan Buddhist traditions,and other northern ethnic cultures.Specifically,the shapes and structures of the garments,such as the long-sleeved robe,Bijia,Dahu and cloud shoulder,reveal the distinct characteristics of the interaction with the Central Plains clothing culture;the use of colors,ruffled shapes,auspicious totems,accessories and other elements of the overall costume reflect the profound connotation of cultural exchange with Tibetan Buddhism.In addition,clothing such as half-arm shirt,hood and Huntuo hat reflect the unique style of integration with the northern minority cultures. This study innovatively adopts a combined quantitative and qualitative research approach.It conducts quantitative statistical analysis on the overall composition and specific forms of patron attire depicted in Altan Khan Family Worshipping the Buddha Painting,while performing qualitative comparative analysis against the clothing cultures of Central Plains,Tibetan Buddhism,and other northern ethnic groups.Through this dual cross-perspective,the research reveals the cultural distinctiveness and convergence phenomena of Mongolian attire within multicultural contexts.Future research may conduct comparative analysis between archaeological artifacts and depictions of attire in murals to further cross-verify the clothing forms and historical contexts presented in the murals.关键词
美岱召壁画/《阿勒坦汗家族礼佛图》/量化与质性交叉性研究/蒙古族服饰/供养人服饰造型/文化交融Key words
Meidaizhao murals/Altan Khan Family Worshipping the Buddha Painting/quantitative and qualitative interdisciplinary research/Mongolian costumes/donors' costume form/cultural integration分类
轻工纺织引用本文复制引用
郭晓芳,王一桐..量化与质性交叉视域下美岱召壁画供养人服饰造型特征再研究[J].丝绸,2025,62(7):32-44,13.基金项目
内蒙古自治区高等学校科学技术研究项目(NJSZ23005) （NJSZ23005）
内蒙古自治区自然科学基金项目(2025LHMS06019) （2025LHMS06019）
