| The opening of the Silk Road makes the art of weaving and embroidery in Xinjiang gorgeous colorful.As a transfer station for economic,trade and cultural exchanges,in the continuous development and evolution of history the types of weaving embroidery are richer and more varied in the eastern Xinjiang with Turpan and Hami as its core.Based on the historical combing and investigation of Uygur weaving and embroidery art in Hami and Turpan in the eastern Xinjiang,this dissertation discusses changes of Uygur embroidery culture from "weaving" to "embroidery" with the geographical distribution from southwest Xinjiang(south Xinjiang with Kashgar and Hotan as the center)to northeast Xinjiang(east Xinjiang with Hami and Turpan as the center).In the history of Uygur gradual change from the early to the Qing Dynasty to the Republic of China,and to the contemporary,embroidery culture in east Xinjiang also showed the same trend of "weaving" to "embroidery".This trend stems from the influence of inland culture behind weaving and embroidery.This paper is a combination of literature research and field work.It combines the embroidery culture of several important time nodes in history with the current Uygur embroidery art in the eastern Xinjiang.It is mainly the study of facts with research into the uniqueness and genesis of Uygur weaving and embroidery,and present situation of the inheritance and development of Uygur embroidery patterns in the eastern Xinjiang.The dissertation comprises four chapters apart from the introduction and conclusion.Chapter one is an analysis of the overall features and causes of weaving and embroidery art in Xinjiang,based on which the differences between the eastern Xinjiang and other Uygur agglomerations in Xinjiang(especially Kashgar,Hotan and Aksu prefectures in the southern Xinjiang)are explored.Thus leads to the topic.Chapter two classifies,collates and analyzes Uygur weaving and embroidery patterns appearing in history and the present in the eastern Xinjiang in order to show its characteristics different from those in southern Xinjiang under different decorative systems.Chapter three carries out pattern composition and form analysis of Uygur weaving and embroidery patterns for different types of schemas in the eastern Xinjiang.Through the multidimensional comparison with inland pattern,the thesis of the paper is confirmed.The design of patterns in inland China has an important influence on the construction of Uygur weaving and embroidery art system in the eastern Xinjiang.Chapter four analyzes the development trend of Uygur embroidery industry in the east Xinjiang under the current mechanism system on the basis of field investigation.It illustrates the current survival and development of Uygur embroidery art from the perspective of Folk Art Studies,that is,the exchange and inheritance of the inland embroidery art and intangible cultural heritage protection experience.This is determined by the current history and reality of embroidery art in the region.As an integral part of Chinese national art,the dissertation emphasizes that the formation of the Uygur embroidery art system in the eastern Xinjiang has never been independently constructed by a single nationality,but has been formed in continuous communication and integration with other brotherly ethnic groups as well as the inland culture.The random modern embroidery patterns gradually replace the rational embroidery patterns in Uygur's life in the eastern Xinjiang.And this is the inner aesthetic demand of the Uygur moving towards secular beauty and life beauty in the integration with the inland culture.The dissertation starts with the original materials of the field investigation,which is based on historical documents,archaeological reports,museums and private collections,the feature atlas,the drawing,and the weaving of the patterns,trying to find the roots of the culture.It also has the effect of correcting and strengthening out stereotypes in historical narration and discussion. |
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