目录
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
摘要
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
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
&n
