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时尚对话2012：BIFT-ITAA国际联合研计会论文集

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版次：1
页数：
字数：
印刷时间：2012年11月01日
开本：16开
纸张：胶版纸
包装：平装
是否套装：否
国际标准书号ISBN：9787506493017

作者:刘元风，（美）拉托尔（Littrell,M.) 主编出版社:中国纺织出版社出版时间:2012年11月

内容简介

　　本文收录了年度ITAA国际联合会议与会嘉宾论文，集结为集。作者多国别，全英文撰写，从纺织服装历史、服装材料、服装设计、服装工效、服装贸易、服装教育6大方面进行了前沿理论阐述。

作者简介

　　刘元风：教授，博士研究生导师，北京服装学院院长。

目　　录

Part
Looking to the Past
Wang Yi, Xia Mengying
Paper 2 - ROLE-REFURBISHMENT OF CLASSIC CARTOON "THREE MONKS"
Li Hongmei, Bo Fuli
Paper 3 - PANTS IN GENRE PAINTINGS OF THE SONG DYNASTY
Tan Rong
Paper 4 - SHAPE AND FUNCTION OF THE MANCHU SHORTAGE-FLY-ROBE
Wang Shuhui, Zhao Ming
Paper 5 - NATIONAL INTEGRATION IN KHITAN COSTUMES FROM MURALS INLIAO DYNASTY TOMBS
Zhou Ying
Paper 6 - FRAME AND DIVERSIFICATION IN SHIDONG MIAO EMBROIDERYDESIGNS
Ho Zhaohua
NATIONALITY AND DONG NATIONALITY WOMEN IN SOUTHEASTERNGUIZHOU

Part 
Looking to the Past 
Paper 1 - THE VALUE OF BOND-PEARL LINE IN THE EXCHANGE ON THE
SILK ROAD 
Wang Yi, Xia Mengying  
Paper 2 - ROLE-REFURBISHMENT OF CLASSIC CARTOON "THREE MONKS" 
Li Hongmei, Bo Fuli  
Paper 3 - PANTS IN GENRE PAINTINGS OF THE SONG DYNASTY 
Tan Rong  
Paper 4 - SHAPE AND FUNCTION OF THE MANCHU SHORTAGE-FLY-ROBE 
Wang Shuhui, Zhao Ming  
Paper 5 - NATIONAL INTEGRATION IN KHITAN COSTUMES FROM MURALS IN
LIAO DYNASTY TOMBS 
Zhou Ying  
Paper 6 - FRAME AND DIVERSIFICATION IN SHIDONG MIAO EMBROIDERY
DESIGNS 
Ho Zhaohua 
Paper 7 - TRADITIONAL COSTUME FUNCTIONS, CUSTOMS TABOOS, AND
WEARING HABITS OF MIAO 
NATIONALITY AND DONG NATIONALITY WOMEN IN SOUTHEASTERN
GUIZHOU 
Zhou Meng 
Paper 8 - MARY SEACOLE: A FEMALE WORLD TRAVELER AND APPEARANCE
MANAGER IN THE 1800s 
Eulanda A. Sanders  
Paper 9 - LANGUISHING CRAFTS OF INDIA 
Vandana Bhandari 
Part 
Analyzing Textiles 
Paper 10 - FABRIC PERFORMANCE OF DIFFERENT ABSORPTION AND
QUICK-DRYING FIBERS 
Chen Lihua, Zheng Rong, Wei Linna  
Paper 11 - OPTIMIZAITON OF BCF JET DESIGN BASED ON TRIZ
THEORY 
Yang Enyuan, Dong Yuchuan 
Paper 12 - CONTRAST ANALYSIS OF COLOR FASTNESS ASSESSMENT
RESULTS BY EYEBALLING AND 
INSTRUMENTAL ASSESSMENT 
Zhou Huanqing, Chen Lihua 
Paper 13 - TESTING OF SEWING PENETRATION FORCE 
Li Ying,Wang Yueping,Cao Yuansen 
 
Paper 14 - EXTRACTION OF NATURAL DYES FROM THE FRESH RIND OF
MANGOSTEEN (GARCINIA 
MANGOSTANA L.) 
Basitah Taif, Noorsaadah Abdul Rahman 
Paper 15 - EXPLORING MANUAL DYEING TECHNIQUES WITH PLANT DYES
AND PATTERN DESIGN 
Wang Yueping, Zhang Yajun, Li Ying, Wang Haijian, Zhang
Zhengxue  
Paper 16 - ANALYSIS OF HISTORICAL GOLD MOUNTING TEXTILE: "LIGHT
BROWN BROCADE WITH COILED 
DRAGON AND FLORAL GOLDEN PATTERN" AS EXAMPLE 
Chang Yiching 
Part 
Designing Apparel 
Paper 17 -THE LANGUAGE OF PATTERN ALTERATION:CLOTHING MODELING
AND VISUAL EXPRESSION 
Li Jingjing, Liu Ruipu  
Paper 18 -ANALYSIS OF TWO KINDS OF BASIC PATTERN DESIGN METHODS FOR
MEN'S COATS 
Yin FangLi , Liu RuiPu  
Paper 19 - COMPARISON AND ANALYSIS ON GARMENT PROTOTYPES 
Mu Lin  
Paper 20 - INTEGRAL GARMENTS WITH DIFFERENT KNITTED STRUCTURES:
SIZE, SHAPE, AND 
IMPLICATIONS FOR FIT 
Traci A.M. Lamar, Yanxue Ma 
Paper 21 -APPLICATION OF TRADITIONAL CHINESE ELEMENTS INTO
FASHION DESIGN-BASED ON 
DUNHUANG ARTS 
You Jia, Zhang Huiqin 
Paper 22 - APPLICATION OF CHINESE CHARACTER PATTERNS IN COSTUMES
TO MODERN CHINESESTYLE 
CLOTHING DESIGN 
Zhang Ru , Liang Jingjing 
Paper 23 - 
INCORPORATION OF CULTURAL AND CREATIVE ELEMENTS INTO MODERN PRODUCT
DESIGN: 
CASE STUDY OF FASHION SOUVENIR DESIGN FROM MUSEUMS IN LONDON 
Shen Fei, Li Dong 
Part 
Integrating Form and Function 
Paper 24 - IMPROVEMENT OF HUMAN COMFORT BY USING FUNCTIONAL
TEXTILES FOR THE LOW CUT 
BACK VEST 
Chang Yiching, Lee Kueichi, Miao Meifen, Yu Hueijen 
 
Paper 25 - HIGH PERFORMANCE VOLLEYBALL SPORTSWEAR DESIGN 
Wang Yongjin, Yuan Chutian, Diao Jie, Liu Li, Chen XinJian, Cheng
ChuMo 
Paper 26 - ODOUR EVALUATION ON ANTIMICROBIAL TREATED FABRICS:AN
ASSESSMENT OF TEST 
METHOD 
Yin Xu, Rachel McQueen, Wendy Wismer 
Paper 27 - WORKWEAR FOR PROTECTION FROM STEAM AND HOT WATER: THE
DESIGN PROCESS AND 
MOCK-UP DEVELOPMENT 
Sihong Yu, Megan Strickfaden, Elizabeth Crown 
Paper 28 - PRIMARY AND MIDDLE SCHOOL STUDENTs UNIFORM SYSTEM
INNOVATION IN BEIJING 
Gu Yuanyuan, Jiang Lei, Wang Yongjin, Pan Bo, Wang Qi  
Paper 29 - COMPARATIVE STUDY OF RAILWAY UNIFORMS 
Yang Jun, Zhang Hao  
Paper 30 - COMPARATIVE STUDY OF DOMESTIC AND OVERSEAS STANDARDS ON
HEARING PROTECTORS 
Qu Tingting, Zhang Hao, Zhou Hong, Li Jian, Guo Jing, Guo
Xinmei 
Paper 31 - COMPARATIVE ANALYSIS OF DOMESTIC AND OVERSEAS
STANDARDS ON PROTECTIVE 
CLOTHING AGAINST RADIOACTIVE CONTAMINATION 
Wu Wen, Zheng Rong, Guo Jing, Li Jian, Zhou Hong, Guo
Xinmei 
Paper 32 - COMPARATIVE ANALYSIS OF DOMESTIC AND OVERSEAS
STANDARDS ON CHEMICAL 
PROTECTIVE CLOTHING 
Zhou Yanfen, Zheng Rong, Li Jian, Guo Jing, Zhou Hong, Guo
Xinmei 
Part 
Conducting Business 
Paper 33 - THE SOFT POWER OF FASHION: THE INFLUENCE OF FASHION
SHOWS IN CHINA AFTER 
Chung Chiayu, Tsai Sulee, Ho Zhaohua  
Paper 34 - BRIEF ANALYSIS OF THREE DIMENSIONS OF UNDERWEAR
INNOVATION PATTERNS 
Shi Erle, Liu Yuanfeng 
Paper 35 - EXAMINING THE AFFECTS OF RETAIL REVITALIZATION
EFFORTS ON RURAL RESIDENTS' 
PERCEIVED SATISFACTION 
Rosita Mohd. Tajuddin, Linda S. Niehm 
Paper 36 - CHINESE MASS CONSUMERS' PERCEPTION OF THE
INTERNATIONAL LUXURY FAHSION 
WINDOW DISPLAY 
Guo Wei, Wang Ziyi 
Paper 37 - ORGANIZATION CHARACTERISTICS OF AFRO-BARBADIAN WOMEN
MICRO-ENTREPRENEURS 
Amanda J. Muhammad, Jana Hawley 
 
Paper 38 - PREDICTING INTENTIONS TO PURCHASE SUSTAINABLE APPAREL IN
CHINA 
Han Yan 
Paper 39 - SOCIALLY RESPONSIBLE ADVERTISING AND PROMOTION WITHIN
THE U.S. APPAREL AND 
AUXILIARY INDUSTRIES: AN EXPLORATION OF STAKEHOLDER
PERSPECTIVES 
Jennifer Paff Ogle, Karen H. Hyllegard, Mary A. Littrell, Marianne
Bickle, Nancy A. Rudd 
Part 
Teaching Future Professionals 
Paper 40 - NYC STUDY TOUR: NEW YORK CITY AS A CLASSROOM WHILE
BRIDGING THE GAP BETWEEN 
DESIGN SCHOOLS AND DESIGN HOUSES 
Young Kim 
Paper 41 - EXPERIMENTAL FASHION DESIGN: PRACTICAL AND
PEDAGOGICAL CONSIDERATIONS FOR 
THE ADOPTION OF AN EXPERIMENTATION-DRIVEN FASHION DESIGN STUDIO
COURSE 
Henry Navarro Delgado 
Paper 42 - DEVELOPMENT AND INTEGRATION OF SURFACE DESIGN COURSES
INTO AN APPAREL DESIGN 
CURRICULUM 
Susan M. Strawn 
Paper 43 - DIGITAL FASHION DESIGN: INNOVATIVE DESIGN BY USING
DIGITAL TECHNIQUES 
Huang Zongwen  
Paper 44 - CONSTRUCTION AND PRACTICE OF A BILINGUAL COURSE IN
FASHION DESIGN 
Li Hongmei  
Paper 45 - LAYERED LEARNING AS A NEW APPROACH TO ENHANCE THE
BENEFITS OF ACTION LEARNING 
Donna Reamy, Kristin Caskey, Rose J. Regni, Deidra
Arrington 
Paper 46 - CULTIVATING GLOBAL ENTREPRENEURS: AN EVOLVING
INTERNATIONAL EDUCATION PROGRAM 
IN TEXTILES, APPAREL AND MERCHANDISING 
Chuanlan Liu, Ye-Sho Chen, Lisa Barona McRoberts 
Paper 47 - FROM MARSH TO MARKET: A CASE STUDY OF CREATIVE
STRATEGY FOR STREAMLINING 
FUNDING, RESEARCH, AND TEACHING: PROMOTING GRADE 3 ALLIGATOR
SKINS 
Lisa Barona McRoberts, Chuanlan Liu 
Paper 48 - IMPROVING THE COMPETITIVENESS OF HIGHER EDUCATION
FASHION STUDENTS FOR 
EMPLOYMENT 
Shi Limin, Shi Jimin, Meng Qingyao 
Paper 49 - WUHAN TEXTILE UNIVERSITY'S PRACTICES TO CULTIVATE
TALENT OF FASHION STUDENTS 
Tao Hui

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前　　言

前言: 时尚对话 2012,BIFT-ITAA 国际联合研讨会今春 3月 ,北京国际时装周期间， “时尚对话2012”国际联合研讨会在北京服装学院圆满举行。此次研讨会由北京服装学院和国际纺织与服装协会共同组织，由中国服装协会、中国服装设计师协会、中国纺织出版社等机构协办。会议期间，来自中国、美国、加拿大等 9个国家和地区的128位作者就消费者行为、设计与美学、历史文化、采购及营销、视觉营销、教育学、社会心理学、持续性与社会责任、纺织与服装行业、纺织与服装科学及技术设计等议题展开研讨与陈述，共发表论文和作品近200篇（幅）。同时，时装周期间的企业、行业参观及时装秀场观摩，为与会者提供了了解中国文化与现代服装产业的机会，促进了东西方服饰文化与技术的交流。此次会议是我校与国际纺织与服装协会的首次合作，很荣幸研讨会在我校举行。北京服装学院是全国唯一以服装命名的高等学校，一直秉承“求是创新、学以致用”的办学理念，坚持“艺工融合”的特色办学。学校连续三年获得国家科技进步二等奖；承担了2008年奥运会残奥会和国庆 60周年系列服饰设计、神七、神九舱内服饰设计等重大设计任务。ITAA作为重要的纺织服装专业组织，强调“发现、传播、应用和引领”等核心价值观。很高兴此次国际联合研讨会为新老朋友搭建了相聚的平台、学术交流的平台、东西方文化碰撞的平台。从 2011年 10月到今秋，整整 2年的时间，“时尚对话 2012”BIFT-ITAA国际联合研讨会从策划、实施、举行、到此次论文集与作品集的出版，终于可以画上完美句号。在此，我们真诚地感谢 MaryLittrell、俞红、J.R. Campbell和Kim K. P.Johnson四位教授在促成和完成此次研讨会期间所付出的努力；诚挚地感谢Mary Littrell、J.R.Campbell在论文集、作品集编辑环节付出的辛勤；衷心地感谢北服团队在整个项目实施过程中付出的辛苦。希望北京作为中国政治、文化、经济中心，以源远流长的文化、海纳百川的胸怀、国际大都市的魅力，给您留下美好的记忆。期待再次的合作与相聚！刘元风，教授 BIFT-ITAA 2012组织委员会主席北京服装学院院长中国北京前言: 时尚对话 2012，BIFT-ITAA国际联合研讨会从研讨会的组织举办至本套书籍的最终出版是一段虽漫长艰巨却又令人振奋的过程。我们最初的想法是组织一次由国际纺织与服装协会（ITAA）的成员及北京服装学院（BIFT）共同参与的研讨会议，但随着全球学者逐渐聚集到本次研讨会中，我们愈发清晰地意识到通过出版论文集与作品集来纪念此次盛会的重要性。由此，催生了本套书籍的最终出版：包括研讨会的论文全文及设计作品。ITAA作为首要的纺织品和服装的专业组织，我们的核心价值观是“发现、传播、应用和引领”。北服是中国顶级的时装学校，提供一流的时尚技术和商务高等教育。2012年3月，北京服装学院和国际纺织与服装协会在北京共同组织了“时尚对话2012”国际联合研讨会。作为首都，北京是中国政治、文化和经济的中心，具有悠久的历史和独特的文化品位。北京之所以著名，不仅仅因为其拥有华丽的宫殿、寺庙和牌坊，更因这座城市印证了百年艺术传统和当代设计的交融。会议期间，与会者参与了一系列文化活动，包括参观故宫、鸟巢、茶道和长城，同时，参观了中国著名内衣企业—爱慕内衣有限公司。恰逢2012梅赛德斯 -奔驰中国时装周，与会者观摩了三场时装秀，包括一场BIFT-ITAA设计作品评审秀、一场学生作品秀、一场独立设计师作品秀和一场开幕酒会。此次研讨会的目的是提供纺织服装领域学术与设计方面的交流。设计展览体现了本次研讨会的诸多特色，该环节不仅展现了设计师杰出的设计作品，同时为设计师搭建了互动交流平台，通过展览和口头发表等形式表达其设计目的、设计内容和设计领悟。此外，会议就服装产业的可持续性、设计、营销、消费者行为、历史和社会性等广泛主题展开讨论，为学者提供了分享作品和交流心得的机会。此次会议共发表学术作品近200篇（幅），包括100余篇口头发表的论文、60余幅设计作品及数篇海报形式发表的研究论文。与会者交流与分享研究成果、教学体验和创新设计的热情最终推动了本套书籍的出版。在此，我们诚挚地感谢 Mary Littrell、J.R. Campbell、 KimJohnson、俞红等教授和北服团队为此次会议顺利召开付出的长期努力和无私奉献。衷心地感谢中国纺织出版社为此系列书籍出版给予的重要支持。在此，谨代表国际纺织与服装协会和北京服装学院预祝各位阅读论文集与作品集愉快、开卷有益。亚娜·霍利，博士顾问 ITAA

前言: 时尚对话 2012,BIFT-ITAA 国际联合研讨会今春 3月 ,北京国际时装周期间， “时尚对话
2012”国际联合研讨会在北京服装学院圆满举行。此次研讨会由北京服装学院和国际纺织与服装协会共同组织，由中国服装协会、中国服装设计师协会、中国纺织出版社等机构协办。
会议期间，来自中国、美国、加拿大等 9个国家和地区的
128位作者就消费者行为、设计与美学、历史文化、采购及营销、视觉营销、教育学、社会心理学、持续性与社会责任、纺织与服装行业、纺织与服装科学及技术设计等议题展开研讨与陈述，共发表论文和作品近
200篇（幅）。同时，时装周期间的企业、行业参观及时装秀场观摩，为与会者提供了了解中国文化与现代服装产业的机会，促进了东西方服饰文化与技术的交流。
此次会议是我校与国际纺织与服装协会的首次合作，很荣幸研讨会在我校举行。北京服装学院是全国唯一以服装命名的高等学校，一直秉承“求是创新、学以致用”的办学理念，坚持“艺工融合”的特色办学。学校连续三年获得国家科技进步二等奖；承担了
2008年奥运会残奥会和国庆 60周年系列服饰设计、神七、神九舱内服饰设计等重大设计任务。
ITAA作为重要的纺织服装专业组织，强调“发现、传播、应用和引领”等核心价值观。很高兴此次国际联合研讨会为新老朋友搭建了相聚的平台、学术交流的平台、东西方文化碰撞的平台。
从 2011年 10月到今秋，整整 2年的时间，“时尚对话 2012”
BIFT-ITAA国际联合研讨会从策划、实施、举行、到此次论文集与作品集的出版，终于可以画上完美句号。在此，我们真诚地感谢 Mary
Littrell、俞红、J.R. Campbell和Kim K. P.
Johnson四位教授在促成和完成此次研讨会期间所付出的努力；诚挚地感谢Mary Littrell、J.R.
Campbell在论文集、作品集编辑环节付出的辛勤；衷心地感谢北服团队在整个项目实施过程中付出的辛苦。
希望北京作为中国政治、文化、经济中心，以源远流长的文化、海纳百川的胸怀、国际大都市的魅力，给您留下美好的记忆。期待再次的合作与相聚！
刘元风，教授 BIFT-ITAA 2012组织委员会主席北京服装学院院长中国 北京 前言: 时尚对话 2012，BIFT-ITAA
国际联合研讨会从研讨会的组织举办至本套书籍的最终出版是一段虽漫长艰巨却又令人振奋的过程。我们最初的想法是组织一次由国际纺织与服装协会（
ITAA）的成员及北京服装学院（
BIFT）共同参与的研讨会议，但随着全球学者逐渐聚集到本次研讨会中，我们愈发清晰地意识到通过出版论文集与作品集来纪念此次盛会的重要性。由此，催生了本套书籍的最终出版：包括研讨会的论文全文及设计作品。
ITAA作为首要的纺织品和服装的专业组织，我们的核心价值观是“发现、传播、应用和引领”。北服是中国顶级的时装学校，提供一流的时尚技术和商务高等教育。2012年
3月，北京服装学院和国际纺织与服装协会在北京共同组织了“时尚对话
2012”国际联合研讨会。作为首都，北京是中国政治、文化和经济的中心，具有悠久的历史和独特的文化品位。北京之所以著名，不仅仅因为其拥有华丽的宫殿、寺庙和牌坊，更因这座城市印证了百年艺术传统和当代设计的交融。会议期间，与会者参与了一系列文化活动，包括参观故宫、鸟巢、茶道和长城，同时，参观了中国著名内衣企业—爱慕内衣有限公司。恰逢
2012梅赛德斯 -奔驰中国时装周，与会者观摩了三场时装秀，包括一场
BIFT-ITAA设计作品评审秀、一场学生作品秀、一场独立设计师作品秀和一场开幕酒会。
此次研讨会的目的是提供纺织服装领域学术与设计方面的交流。设计展览体现了本次研讨会的诸多特色，该环节不仅展现了设计师杰出的设计作品，同时为设计师搭建了互动交流平台，通过展览和口头发表等形式表达其设计目的、设计内容和设计领悟。此外，会议就服装产业的可持续性、设计、营销、消费者行为、历史和社会性等广泛主题展开讨论，为学者提供了分享作品和交流心得的机会。此次会议共发表学术作品近
200篇（幅），包括
100余篇口头发表的论文、60余幅设计作品及数篇海报形式发表的研究论文。与会者交流与分享研究成果、教学体验和创新设计的热情最终推动了本套书籍的出版。
在此，我们诚挚地感谢 Mary Littrell、J.R. Campbell、 Kim
Johnson、俞红等教授和北服团队为此次会议顺利召开付出的长期努力和无私奉献。衷心地感谢中国纺织出版社为此系列书籍出版给予的重要支持。
在此，谨代表国际纺织与服装协会和北京服装学院预祝各位阅读论文集与作品集愉快、开卷有益。 亚娜·霍利，博士顾问 ITAA

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　　Fashion Dialogue 2012BIFT-ITAA Joint Symposium
　　Looking to the Past
　　Part 1
　　001/
　　Fashion Dialogue 2012BIFT-ITAA Joint Symposium
　　Looking to the Past
　　Part 1
　　001/
　　
　　THE VALUE OF BOND-PEARL LINE IN THE EXCHANGE ON THE SILK
　　ROAD
　　
　　
　　Wang Yi, Xia Mengying*
　　Beijing Institute of Fashion Technology, China
　　
　　
　　*xiran0213@vip.sina.com,672750252@qq.com
　　

Fashion Dialogue 2012BIFT-ITAA Joint Symposium 
　　Looking to the Past 
　　Part 1 
　　001/ 
　　Fashion Dialogue 2012BIFT-ITAA Joint Symposium 
　　Looking to the Past 
　　Part 1 
　　001/ 
　　 
　　THE VALUE OF BOND-PEARL LINE IN THE EXCHANGE ON THE SILK 
　　ROAD 
　　 
　　 
　　Wang Yi, Xia Mengying* 
　　Beijing Institute of Fashion Technology, China 
　　 
　　 
　　<a href=
"mailto:*xiran0213@vip.sina.com">*xiran0213@vip.sina.com</a>,
<a href="mailto:672750252@qq.com">672750252@qq.com</a> 
　　 
　　ABSTRACT 
　　 
　　The Silk Road was a significant connecting of economy, culture,
and technology between China and the West. During trading 
　　 
　　on the ancient Silk Road, the introduction of foreign patterns
brought new vitality to traditional Chinese brocade art.
Through 
　　research of the Bond-Pearl Line evolution and development, forms,
performance methods, and decorative themes, we can 
　　 
　　analyze the Chinese human spirit that was reflected in the
evolution of traditional patterns, and the profound impact on
the 
　　 
　　society that was brought by Chinese-Western cultural exchange on
the Silk Road. The Bond-Pearl Line gradually integrated with 
　　 
　　Chinese traditional patterns, and finally formed a new feature
after development and change in several dynasties. This
article, 
　　 
　　through sorting out the origin and development of the Bond-Pearl
Line, summarizes its historical, cultural, and artistic value,
thus 
　　helping to expand the modern value of this pattern. 
　　 
　　Key Words: Silk Road, Bond-Pearl Line, Value 
　　 
　　In the Xihan dynasty, Zhang Qian explored the route lead to West,
which started from China Chang'an (now Xi'an), passed by 
　　 
　　Gansu, Xinjiang, central Asia, and some other west Asian
countries, and finally reaches Europe. This ancient trade route,
the 
　　Silk Road, was a significant link allowing exchange of economy,
culture, and technology between China and the West. During 
　　 
　　trading across the ancient Silk Road, the introduction of foreign
patterns brought new vitality to traditional Chinese brocade
art. 
　　The Bond-Pearl Line pattern which was widely used in silk fabric
is a typical style that emerged from this interchange, and
has 
　　 
　　significant value for research. 
　　 
　　The Bond-Pearl Line consisted of numerous circles. It originally
prevailed in Persia in West Asia, and was introduced into 
　　the area of the Yellow River and the Yangtze River of China in
the Southern and Northern dynasty periods. These kinds of 
　　decorations were found in the unearthed brocade of the Turpan
tombs in Xinjiang, the murals of Mogao Grottoes of Dunhuang 
　　in Gansu, and the silk fabric of the Tubo tombs in Dulan,
Qinghai. The Bond-Pearl Line was gradually integrated with
Chinese 
　　 
　　traditional patterns, and finally formed a new feature after
development and change in several dynasties. Based on the
special 
　　 
　　historical period of its existence and the unique form it
represents, this article attempts to analyze in three areas:
historical value, 
　　cultural value, and artistic value. 
　　 
　　1. HISTORICAL VALUE 
　　The Bond-Pearl Line, originally used in Persia, was formed by
circles. In Persia, it was often used in the relief decoration
of 
　　palace buildings, and later was also promoted to adornment of
fabric, pottery, and gold and silver articles. In China, the
society 
　　was not very stable during the Southern and Northern dynasties
period; the war diffused and caused migration of all kinds of 
　　minorities. During this period, the Bond-Pearl Line was
introduced into the area of the Yellow River and the Yangtze River.
The 
　　 
　　once extremely popular traditional patterns, such as floating
clouds and animal patterns, gradually declined as a large
number 
　　of patterns were influenced by Western themes. The Bond Pearl
Line's full composition and symbolism of good fortune
received 
　　 
　　people's widespread appeal and became a very popular decoration
pattern in the Sui and Tang dynasties. The Bond Pearl Line 
　　embedded the following kinds of historical value. 
　　 
　　1.1 The Emergence of New Knitting Structure 
　　Since the Pre-Qin dynasty, the silk pattern of China was mostly
in a horizontal strip arrangement. However, in the unearthed 
　　brocade of the Southern and Northern dynasties, there were
textures with some new arrangements. The Bond Pearl Line 
　　appeared as a new knitting structure, including the circular,
polygonal, arc, and a variety of other forms. It was formed in
skeleton 
　　pattern with small circles. Together with cross combination with
its theme pattern, the designer is able to present various
new 
　　 
　　002/ 
　　 
　　 
　　 
　　Part 1 : Looking to the Past 
　　 
　　style adornment patterns. 
　　 
　　For decorative purpose, although the theme and color composition
are important, it is still the knitting structure which
determines 
　　pattern style and features. The Bond-Pearl Line brought new
Western composition style which made the silk fabric more
exotic. 
　　From analysis of archaeological material, the skeleton formed by
the Bond-Pearl Line has the following forms. 
　　 
　　1.1.1 Circular Skeleton 
　　The circular skeleton is the most common form with birds, beasts,
flowers, plants, and people inside the circle of the
Bond-Pearl. 
　　 
　　In the statue of the Sui 420 grotto in Mogao Grottoes of
Dunhuang, we can clearly see the circular skeleton of the
Bond-Pearl 
　　 
　　on the skirt. See Figure 1 for example and details. In the circle
of the Bond-Pearl Line, the artisan painter filled in with a
hunting 
　　figure and a winged horse figure, represented a fighting scene
between a knight riding on an elephant and a fierce tiger. 
　　 
　　 
　　Figure 1. Bond-Pearl Hunting Winged Horse Line 
　　 
　　1.1.2 Polygonal Skeleton 
　　There are diamond, square, and hexagon polygonal shapes. Examples
include the double-beats and double-birds brocade in 
　　the museum of Xinjiang Uygur Autonomous Region. See Figure 2 for
example and details. This brocade was unearthed from 
　　No.303 Turpan Astana barrow in Xinjiang in 1959. On it, the
Bond-Pearl Line constituted a diamond skeleton connected with
a 
　　 
　　small eight-petal flower. The pattern theme was a winged horse
which was a typical design of central Asia, combined with the 
　　 
　　form of a symmetrical pattern which was a traditional technique
of Chinese artisans. 
　　 
　　 
　　Figure 2. double-beats and double-birds brocade, recovery 
　　 
　　003/ 
　　 
　　 
　　 
　　1.1.3 Arc Skeleton 
　　The skeleton is a reform style of the circular skeleton in which
there are rings, waves, etc. The ring is composed of several 
　　circles or ellipses; each individual round or oval is connected
by the Bond-Pearl Line. One form of the wave skeleton has its 
　　Bond-Pearl Line joined but not crossed. See Figure 3 for example
and details. The other has its line crossed symmetrically. 
　　 
　　 
　　Figure 3. Led Camel Line "Hu Wang" character brocade, preserved
by the museum of Xinjiang Uygur autonomous 
　　region 
　　 
　　1.2 Textile Technology Innovation 
　　Although Chinese silk had developed for many years and created
abundant colorful patterns, it was always in a horizontal
strip 
　　arrangement before the Han and Jin dynasties. Plain weave
technology was widely used and the patterns were presented by 
　　warping different color threads vertically. The appearance of the
circular, polygonal, and arc Bond-Peal Line demonstrated that 
　　the weaving technology brought change—diagonal fabric appeared.
The twill had one more ground harness on the basis of the 
　　tabby, and had three twill patterns—one on top, two below. 
　　 
　　After the Tang dynasty, twill fabrics which formed patterns by
weft threads appeared. This totally subverted chinese weaving 
　　habits and had a huge impact on future generations. Displaying
design by colors of weft threads and organizing with
twill-weave 
　　were traditions of the West, evolved from their knitwear
technology. The innovation represented changes in loom structure
and 
　　skill training of workers. Since the Tang dynasty, Chinese
brocade completely abandoned fabrics which formed patterns by
warp 
　　 
　　threads, moving towards the direction of weft jacquard. As a
result, the Tang dynasty fabric patterns were more flexible
and 
　　 
　　colorful and the silk gloss was more clear and moving. This was
not only textile technology innovation, but also art creation
by 
　　 
　　Chinese working people, reflecting ancient working people's
diligence and wisdom. 
　　 
　　2. CULTURAL VALUE 
　　After introduction to China, the Bond-Pearl Line was given more
cultural connotation through thousands of years of
inheritance, 
　　development, and innovation. Each kind of pattern or style
embodied the ancient working people's customs, religions,
aesthetic 
　　consciousness, and many other aspects. Its cultural value is
manifest in the following aspects. 
　　 
　　2.1 The Aesthetic Values of Cultural Carrier 
　　The pattern organization of different periods conveys different
aesthetic ideas. In the early stage when the Bond-Pearl Line 
　　entered China, it still kept many of the central Asian
characteristics. But on the other hand, it was also completely
different from 
　　the typical Persian Bond-Pearl Line in terms of technology and
pattern formation. Persian Bond-Pearl Line had a particular 
　　combination form. The design focused on the circle, representing
the sky which had astrological implication. The Bond- 
　　Pearl Line, formed by numerous small rounds along the circle,
meant holy light. And the theme patterns inside the circle 
　　were semantically related with the sky or God, such as Pig-Head
Line or Winged-Horse Line, which had complex religious 
　　 
　　significance. In the circles of the Persian Bond-Pearl Line,
theme patterns generally were individual patterns. Sometimes,
the 
　　 
　　theme patterns of two Bond-Pearl circles were arranged adjacently
or backwards. With improvement of Chinese craftsmen, a 
　　single Bond-Pearl circle began to appear in pairs or even warp
wise or broad wise symmetrically in the same circles. These 
　　 
　　004/ 
　　 
　　 
　　 
　　Part 1 : Looking to the Past 
　　 
　　changes accorded with Chinese aesthetic ideas; the Persian
Bond-Pearl Line revealed a new style in chinese medieval
times. 
　　 
　　Moving into the Sui dynasty, the Bond-Pearl Line had new
variation. Although circles still played a role for decoration
and 
　　defining patterns, the frequently-used persian theme patterns
such as Monster Lines were gradually replaced by Chinese 
　　traditional patterns such as the dragon, phoenix, and
Sheep-Lines. Monster Lines did not conform with the chinese
aesthetic. 
　　In the Tang dynasty, the Bond-Pearl Line started to combine with
other decoration patterns, such as the combination of double 
　　Bond-Pearl circles. See Figure 4 for example and details. Some
Bond-Pearl Lines used petals and grass outside of the circle 
　　 
　　skeleton. Some directly changed into tiny rolled cloud, flowers
and plants lines instead of small circles, but still retained the
round 
　　 
　　structure space. This groundbreaking style, fused by the Chinese
culture, sent out more graceful charm and characteristics 
　　than the original Persian Bond-Pearl Line. It had a very high
aesthetic value and gained much love among the ancient
Chinese 
　　people in the Sui and Tang dynasties. 
　　 
　　 
　　Figure 4. Bond-Pearl double dragon ghatpot, preserved by the
museum of Xinjiang 
　　Uygur Autonomous Region 
　　 
　　 
　　2.2 The Carrier of Exchange Between Chinese and Western
Cultures 
　　From development of the Bond-Pearl Line, we can see it embodied a
combination of Chinese and western culture through 
　　constant innovation. In the Northern dynasty, lots of Sogdians
entered China. As a result, the style of Hu was very popular in
the 
　　central region and enriched Chinese culture as a different
regional factor. The popularity of Bond-Pearl was closely related
with 
　　it. Observation of central Asian murals and of the images on
Sogdian mortuary objects shows that at that time, the
Bond-Pearl 
　　Line was the most popular design on fabric. At that time,
Sogdian's silk production was only just begun so imports of
Persian 
　　silk were required. Therefore Sogdian's Bond-Pearl Line was very
similar to Persian style. In the Sassanid empire which ruled 
　　the Persian kingdom, zoroastrianism was considered a state
religion. Therefore, themes of ancient astrology, mythology,
and 
　　religion became common artistic subject matter. The animals in
the Bond-Pearl circle were more than beautiful decorations; 
　　they held religious or mythological meaning. Although
zoroastrianism was taken to the central plains, the Chinese did not
widely 
　　accept it, but instead developed a special love of the Bond-Pearl
Line. 
　　 
　　China had begun imitating, processing, creating, and reprocessing
foreign cultures in the Tang dynasty and formed many 
　　characteristic Chinese design patterns. Innovation does not mean
isolation, but a kind of innovation within heritance. Chinese 
　　silks were mainly exported to central Asia and West Asian
countries. According to the national customs and religious habits
of 
　　these sales destinations, China revised and designed appropriate
patterns. The Bond-Pearl Line which derived from Persia was 
　　 
　　reserved in form, but replaced with Chinese content. With the
influence of cultural backgrounds and politics, nationality,
region, 
　　 
　　people's hobby, fashion, and custom, the innovative Bond-Pearl
Line had Chinese indigenous forms of grass, petals, and so
on. 
　　Due to these characteristics of Chinese culture, the improved
Bond-Pearl Line gained appreciation by countries of central
Asia 
　　and West Asia. 
　　 
　　005/ 
　　 
　　 
　　 
　　3. ARTISTIC VALUE 
　　The Bond-Pearl Line expressed the simplest and purest aesthetic
ideals as well as artistic concepts of working people. The 
　　pattern had high artistic value, which was an idealized art
reproducing the ancient national spirit by the hands of the
workers. 
　　 
　　3.1 Enriched Form of Chinese Pattern 
　　As an auxiliary pattern, the Bond-Pearl Line always serves as a
contrast or foil. As history progressed, the decoration
subjects 
　　of the main body, or so called theme patterns, got increasingly
rich, and the ways of combination with the Bond-Pearl Line 
　　were more varied. The transformation and differences of
Bond-Pearl Line, in terms of subject, array, size and shape, and
the 
　　combination of the local patterns greatly enriched the form of
Chinese pattern. 
　　 
　　One type of combination was integration of Bond-Pearl and Chinese
auspicious characters. Examples included Sui dynasty's 
　　Bond-Pearl ring"Gui"character brocade which was unearthed in
Xinjiang (See Figure 5 for example and details), the Sui 
　　dynasty's Bond-Pearl Double Peacock"Gui"character brocade (See
Figure 6 for example and details), the Tang dynasty's 
　　Bond-Pearl double birds double lion"Tong"character brocade, the
Tang dynasty's Bond-Pearl Double Horses"Wu"character 
　　brocade, and the Tang dynasty's Bond-Pearl double birds
"Ji"character brocade. There were no necessary connections
between 
　　characters and the Bond-pearl Line; it could be seen as the
primary stage of Bond-pearl Line synthesis. The second
combination 
　　form was integration of Bond-pearl and Chinese inherent patterns.
In the brocade unearthed in Xinjiang, there were some of 
　　these sorts called Bond-Pearl double phoenix brocade and
Bond-Pearl double dragon ghatpot. This combination of Chinese
and 
　　western elements was the sign of further Bond-Pearl Line
synthesis. 
　　 
　　 
　　Figure 5. Bond-Pearl ring "Gui" character Figure 6. Bond-Pearl
double peacock"Gui" Figure 7. Bond-Pearl small flowers 
　　brocade,copy,Sui dynasty character brocade,Sui dynasty, unearthed
brocade,Tang dynasty 
　　from Turpan,Xinjiang

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