宋朝满池娇图案设计的艺术特征与文化意蕴

The Artistic Characteristics and Cultural Connotation of the Pattern Design of Man Chi Jiao in the Song Dynasty

摘要: “满池娇”始于宋朝，最早见于南宋吴自牧的《梦梁录》，其描写宋人市井生活的易物“挑纱荷花满池娇背心儿”因此定名。文章以宋朝“满池娇”图案设计为研究对象，通过图像及表格对宋朝满池娇相关文物进行设计元素的整合梳理与比较分析，从“满池娇”图案设计的概述﹑题材组合﹑文化意蕴三个方面归纳其艺术特征与价值。在宋朝“存天理，灭人欲”崇尚简朴的时代风尚的影响下，“满池娇”的图案设计呈现出了宋人对有限人生仔细的思索、对自然世界理性的观察，是宋人真实生活有力的呈现。

Abstract: “Man Chi Jiao” began in the Song Dynasty, and was first seen in Meng Liang Lu written by Wu Zimu in the Southern Song Dynasty, its description of life in the streets of the Song Dynasty barter “Pick Yarn Lotus Man Chi Jiao Sleeveless” so named. This paper takes the pattern of “Man Chi Jiao” in the Song Dynasty as the research object, integrates and compares the design elements of the Song Dynasty through images and tables, and summarizes its artistic characteristics and values from three aspects: Overview of Pattern Design, Theme Combination, and Cultural Connotation. Under the influence of the simple fashion of “preserving the nature and destroying the human desire” in the Song Dynasty, the design of “Man Chi Jiao” shows the Song people’s careful thinking of the limited life and the rational observation of the natural world, which is a powerful presentation of the real life of the Song people.