textile; 紡織品(Chinese) BM-MAS.856

Period:Tang dynasty Production date:8thC(late)-9thC
Materials:silk, 絲綢 (Chinese),
Technique:woven, patchwork, sewn, embroidered, clamp resist-dyed, 織造 (Chinese), 拼綴物 (Chinese), 縫製的 (Chinese), 刺繡 (Chinese), 夾纈 (Chinese), damask on plain weave, twill damask, jin in twill, double weave, complex gauze, 雙層錦 (Chinese), 斜紋經錦 (Chinese), 綾 (Chinese), 綺 (Chinese), 羅 (Chinese),
Subjects:flower bird insect 花 (Chinese) 鳥 (Chinese) 昆蟲 (Chinese)
Dimensions:Height: 130 centimetres (mounted) Height: 108 centimetres (unmounted) Width: 160 centimetres (mounted) Width: 147 centimetres (unmounted)

Description:
This rectangular piece has been assembled more or less symmetrically, from various silk materials, including plain woven silk, damask on plain weave, twill damask, polychrome woven silk, clamp-resist dyed plain weave, and embroideries. Stein considered it a votive patchwork; others have since suggested that it might be a kasaya (a Buddhist monastic robe made from patches of cloth). However, the size of this patchwork is smaller than a kasaya for an average adult. It was probably used for wrapping scrolls, or perhaps as a bed cover. Some of the pieces in the patchwork probably date from the early to the high Tang: these include the twill damask with small rosettes on stripes, the samite with small rosettes on stripes and the samite with small floral roundels. The embroidered and clamp-resist dyed pieces, on the other hand, are more likely to date to the mid- Tang and late Tang. Therefore, this patchwork, as a completed piece, can be dated to the mid- to late Tang period. An example of a kasaya with gold couching embroidery on red gauze, together with a list recording kasayas of this type, was excavated at the Famen Temple, Fufeng, Shanxi. A patchwork used for wrapping sutras, jingjin, was recorded in a list, dated 958, of property owned by a temple (S.1776). Weave structures: Border：Silk plain weave with floral pattern, clamp resist dyed Warp: silk, untwisted, single, 44 ends/cm; Weft: silk, untwisted, single, 26 lats/cm. Weave structure: 1/1 plain weave. 1. Jin in twill with medallions Warp: silk, untwisted, white, brown, blue and yellow etc., 37 groups/cm; Inner weft: silk, untwisted, single, brown, 14 lats/cm; Binding weft: silk, untwisted, single, brown, 14 lats/cm. Weave structure: 2/1Z warp faced compound twill. Pattern repeat: 7.5cm in warp direction and 7.5cm in weft direction. 2. Jin in twill with medallions Warp: silk, untwisted, white, brown, blue and yellow etc., 42 groups/cm; Inner weft: silk, untwisted, single, brown, 18 lats/cm; Binding weft: silk, untwisted, single, brown, 18 lats/cm. Weave structure: 2/1Z warp faced compound twill. Pattern repeat: 3.2cm in warp direction and 6.5cm in weft direction. 3. Jin in twill Inner warp: silk, untwisted, red, green, white and blue etc., 24 ends/cm; Binding warp: silk, untwisted, white, blue and greed etc., 24 ends/cm; Inner warp: Binding warp=1:2; Weft: silk, untwisted, single, light brown, 36 lats/cm. Weave structure: floats for pattern on 5/1S for ground. 4. Jin in twill Warp: silk, untwisted, red, green, white and blue etc., 46 groups/cm; Inner weft: silk, untwisted, single, light brown, 12 lats/cm; Binding weft: silk, untwisted, single, light brown, 12 lats/cm. Weave structure: 2/1Z warp faced compound twill. 5. double weave Warp A: silk, untwisted, greenish blue, 36 ends/cm; Warp B: silk, untwisted, white, 36 ends/cm; Warp A:WarpB=2:2; Weft A: silk, untwisted, greenish blue, 26 lats/cm; Weft B: silk, untwisted, white, 26 lats/cm. Weft A:Weft B=2:2; Weave structure: Warp A and Weft A woven in weft rib weave, Warp B and Weft B woven in 1/3S twill. 6. Jin in twill with medallions Warp: silk, untwisted, red, brown, dark blue and greyish blue etc., 44 groups/cm; Inner weft: silk, untwisted, single, beige, 13 lats/cm; Binding weft: silk, untwisted, single, beige, 13 lats/cm. Weave structure: 2/1Z warp faced compound twill. Pattern repeat: 3.5cm in warp direction. 7. Jin in twill with medallions Warp: silk, untwisted, red, white and green etc., 48 groups/cm; Inner weft: silk, untwisted, single, beige, 12 lats/cm; Binding weft: silk, untwisted, single, beige, 12 lats/cm. Weave structure: 2/1Z warp faced compound twill. Pattern repeat: 4.0cm in warp direction. 8. Jin in twill with medallions Warp: silk, untwisted, blue, white and red etc., 46 groups/cm; Inner weft: silk, untwisted, single, beige, 14 lats/cm; Binding weft: silk, untwisted, single, beige, 14 lats/cm. Weave structure: 2/1Z warp faced compound twill. Pattern repeat: 11.5cm in weft direction. 9. Jin in twill with zigzags Warp: silk, untwisted, yellow, blue, brown and white etc., 56 groups/cm; Inner weft: silk, untwisted, single, beige, 14 lats/cm; Binding weft: silk, untwisted, single, beige, 14 lats/cm. Weave structure: 2/1S warp faced compound twill. Pattern repeat: 0.8cm in warp direction. 10. Embroidery with floral pattern 10.a Gauze Warp: silk, untwisted, single, white; Weft: silk, untwisted, single, white. Weave structure: 4-end complex gauze. 10.b Silk plain weave Warp: silk, untwisted, single, white, 62 ends/cm; Weft: silk, untwisted, white, 36 lats/cm; Weave structure: 1/1 plain weave. Embroidery: Threads: silk, S twisted; Colours: red, orange, white, dark blue, blue, green, dark brown and purple etc. Stitch: satin stitches etc. 11. Embroidery with floral pattern 11.a Gauze Warp: silk, untwisted, single, red; Weft: silk, untwisted, single, red. Weave structure: 4-end complex gauze. 11.b Silk plain weave Warp: silk, untwisted, single, red, c.61 ends/cm; Weft: silk, untwisted, single, red, c.39 lats/cm; Weave structure: 1/1 plain weave. Embroidery: Threads: silk, S twisted; Colours: white, blue, light green and yellow etc. Stitch: satin stitches etc. 13. Silk plain weave with floral pattern, clamp resist dyed Warp: silk, untwisted, single, 21 ends/cm; Weft: silk, untwisted, single, 17 lats/cm. Weave structure: 1/1 plain weave. Pattern repeat: 9.0cm in both warp and weft direction. 14. Silk plain weave Warp: silk, untwisted, single, white, 60 ends/cm; Weft: silk, untwisted, single, white, 40 lats/cm. Weave structure: 1/1 plain weave. 15. Silk plain weave with floral pattern, clamp resist dyed Same as Border 16. Damask on plain weave with Diamonds Warp: silk, untwisted, single, blue, 42 ends/cm; Weft: silk, untwisted, single, blue, 18 lats/cm. Weave structure: 3/1S twill for pattern on 1/1 plain weave for foundation. 17. Damask on plain weave with rosettes Warp: silk, untwisted, single, red, 53 ends/cm; Weft: silk, untwisted, single, red, 18 lats/cm. Weave structure: 4-2 patterning weave for pattern on 1/1 plain weave for foundation. 18. Silk plain weave Warp: silk, Z twisted, single, red, 26 ends/cm; Weft: silk, Z twisted, single, red, 17 lats/cm. Weave structure: 1/1 plain weave. 19. Silk plain weave Warp: silk, untwisted, single, yellow, 42 ends/cm; Weft: silk, untwisted, single, yellow, 24 lats/cm. Weave structure: 1/1 plain weave. 20. Silk plain weave Warp: silk, untwisted, single, green, c.68 ends/cm; Weft: silk, untwisted, single, green, c.37 lats/cm. Weave structure: 1/1 plain weave. 21. Silk plain weave Warp: silk, untwisted, single, purple, c.35 ends/cm; Weft: silk, untwisted, single, purple, c.29 lats/cm. Weave structure: 1/1 plain weave. 22. Twill damask with checked pattern Warp: silk, untwisted, single, light brown, 46 ends/cm; Weft: silk, untwisted, single, light brown, 31 lats/cm. Weave structure: 3/1 broken twill. 長方形百衲織物，由各種面料拼縫而成。位於中間的是紅絹地的刺繡花卉，大約51X49cm，目前僅有少量殘存，大部分看到的是刺繡後面的襯裏。四周邊緣是藍地對鳥銜枝紋夾纈絹，寬約15-16cm。其餘包括絹、暗花綾、暗花綺、錦、夾纈絹、絹地刺繡品等，在製作時按一定的對稱規律拼貼。在這些織物中，有些可以早到初唐至盛唐時期，如其中的暈間小花綾和暈間小花錦，以及小窠寶花錦等，但其中的刺繡和夾纈的年代則可以到中唐至晚唐時期。因此，這件織物的最後年代應該在中唐至晚唐。 用多塊碎舊織物拼縫成更大的織物可以稱爲百衲。唐代僧人通常穿百衲袈裟，陝西扶風法門寺地宮出土物帳中有供奉蹙金繡百衲袈裟的記載以及百衲袈裟的模型。此件也有人稱其爲袈裟，但從尺寸及百衲織物拼合的對稱規律來看，它不一定用作袈裟。S.1776《後周顯德五年（958）某寺法律尼戒性等交割常住什物點檢曆狀》載：“百納（衲）經巾壹”，應該是用各種織物拼縫起來的經巾，經巾應該是用於包裹經卷的巾，其尺寸與此相仿。但此件也有可能作褥，如案褥或腳下的墊褥。據斯坦因在《西域考古圖記》中推測，它很有可能由供養人還願時奉獻給敦煌的佛或菩薩。 组织结构： Border：橙色地花卉纹夹缬绢 经线：丝，无捻，单根排列，44根/cm；纬线：丝，无捻，单根排列，26根 /cm；组织：1/1平纹。 1. 白地宝花纹锦 经线：丝，无捻，白、褐、蓝、黄等色，37套/cm；纬线：明纬：丝，无捻，单根排列，棕色，14根/cm；夹纬：丝，无捻，单根排列，棕色，14根 /cm；组织：2/1Z斜纹经重组织。宝花纹样，图案经向循环为7.5cm，纬向为7.5cm。 2. 蓝地朵花纹锦 经线：丝，无捻，蓝、白、褐等色，约42套/cm；纬线：明纬：丝，无捻，单根排列，棕色，约18根/cm；夹纬：丝，无捻，单根排列，棕色，约18根 /cm；组织：2/1Z斜纹经重组织。朵花纹样，图案经向循环为3.2cm，纬向为6.5cm。 3. 晕繝纹锦 经线：地经：丝，无捻，红、绿、白、蓝、米黄等色，24根/cm；纹经：丝，无捻，白、蓝、绿等色，24根/cm；地经：纹经=1:2；纬线：丝，无捻，单根排列，浅棕色，36根/cm；组织：地组织：5/1S斜纹；纹组织：浮长；图案经向循环为3.0cm。 4. 晕繝纹锦 经线：丝，无捻，红、绿、白、蓝等色，46套/cm；纬线：明纬：丝，无捻，单根排列，浅棕色，12根/cm；夹纬：丝，无捻，单根排列，浅棕色，12根/cm；组织：2/1Z斜纹经重组织。 5. 蓝绿地双层锦 经线：甲经：丝，无捻，蓝绿色，36根/cm；乙经：丝，无捻，白色，36根/cm；甲经: 乙经=2:2；纬线：甲纬：丝，无捻，蓝绿色，26根/cm；乙纬：丝，无捻，白色，26根/cm；甲纬: 乙纬=2:2；组织：甲经甲纬以纬重平组织交织，乙经乙纬以1/3S斜纹组织交织。 6. 晕繝朵花纹锦 经线：丝，无捻，红、棕、深蓝、蓝灰等色，44套/cm；纬线：明纬：丝，无捻，单根排列，米色，13根/cm；夹纬：丝，无捻，单根排列，米色，13根/cm；组织：2/1Z斜纹经重组织。朵花纹样，图案经向循环为3.5cm。 7. 红地朵花纹锦 经线：丝，无捻，红、白、绿等色，48套/cm；纬线：明纬：丝，无捻，单根排列，米色，12根/cm；夹纬：丝，无捻，单根排列，米色，12根/cm；组织：2/1Z斜纹经重组织。朵花纹样，图案经向循环为4.0cm。 8. 蓝地朵花纹锦 经线：丝，无捻，蓝、白、红等色，46套/cm；纬线：明纬：丝，无捻，单根排列，米色，14根/cm；夹纬：丝，无捻，单根排列，米色，14根/cm；组织：2/1Z斜纹经重组织。朵花纹样，图案纬向循环为11.5cm。 9. 齿纹锦 经线：丝，无捻，黄、蓝、棕、白等色，56套/cm；纬线：明纬：丝，无捻，单根排列，米色，14根/cm；夹纬：丝，无捻，单根排列，米色，14根/cm；组织：2/1S斜纹经重组织。齿形纹样，图案经向循环为0.8cm。 10. 白地花卉纹刺绣 10.a 白色罗 经线：丝，无捻，单根排列，白色，密度不可测；纬线：丝，无捻，单根排列，白色，密度不可测；组织：四经绞。 10.b 白色绢 经线：丝，无捻，单根排列，白色，62根/cm；纬线：丝，无捻，单根排列，白色，36根/cm；组织：1/1平纹。 刺绣： 绣线：丝，S捻，红、橙、白、深蓝、蓝、绿、褐、紫等色。 针法：平针等。 11. 红地花卉纹刺绣 11.a 红色罗 经线：丝，无捻，单根排列，红色，密度不可测；纬线：丝，无捻，单根排列，红色，密度不可测；组织：四经绞。 11.b 红色绢 经线：丝，无捻，单根排列，红色，约61根/cm；纬线：丝，无捻，单根排列，红色，约39根/cm；组织：1/1平纹。 刺绣： 绣线：丝，S捻，白、蓝、浅绿、黄等色。 针法：平针等。 13. 白地花卉纹夹缬绢 经线：丝，无捻，单根排列，21根/cm；纬线：丝，无捻，单根排列，17根 /cm；组织：1/1平纹。花卉纹样，图案经向循环为9.0cm，纬向为9.0cm。 14. 白色绢 经线：丝，无捻，单根排列，白色，60根/cm；纬线：丝，无捻，单根排列，白色，40根/cm；组织：1/1平纹。 15. 橙色地花卉纹夹缬绢 同Border 16. 蓝色菱格纹绮 经线：丝，无捻，单根排列，蓝色，42根/cm；纬线：丝，无捻，单根排列，蓝色，18根/cm；组织：1/1平纹地上以3/1S斜纹起花。菱格纹样，图案经向循环为2.5cm，纬向为2.5cm。 17. 红色小花纹绮 经线：丝，无捻，单根排列，红色，53根/cm；纬线：丝，无捻，单根排列，红色，18根/cm；组织：1/1平纹地上以4-2并丝组织起花。图案经向循环为1.2cm，纬向为1.5cm。 18. 红色绢 经线：丝，Z捻，单根排列，红色，26根/cm；纬线：丝，Z捻，单根排列，红色，17根/cm；组织：1/1平纹。 19. 黄色绢 经线：丝，无捻，单根排列，黄色，42根/cm；纬线：丝，无捻，单根排列，黄色，24根/cm；组织：1/1平纹。 20. 绿色绢 经线：丝，无捻，单根排列，绿色，约68根/cm；纬线：丝，无捻，单根排列，绿色，约37根/cm；组织：1/1平纹。 21. 紫色绢 经线：丝，无捻，单根排列，紫色，约35根/cm；纬线：丝，无捻，单根排列，紫色，约29根/cm；组织：1/1平纹。 22. 浅棕色方格纹绫 经线：丝，无捻，单根排列，浅棕色，46根/cm；纬线：丝，无捻，单根排列，浅棕色，31根/cm；组织：以3/1S斜纹为基础的破斜纹组织。
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Comments:EnglishFrom Whitfield 1985:Like the valance shown in the previous plate, this textile is an assemblage of many different fabrics, and a rare example of a once familiar type. Stein called it a “votive patchwork, ” and at first sight it appears suited to serve as an altar cloth, especially because of the symmetrical placing of the two embroidered flowers. But this symmetry has a more likely explanation, which was first suggested to me by Alan Kennedy . The two flowers form part of a regular pattern of patches, organised in seven vertical columns, and surrounded by a border with mitred corners. Such an arrangement is consistent with the prescribed form for a kasāya, or Buddhist monastic patchwork robe, which might have any odd number of columns, from five to twenty-three. Because of the size of the whole patchwork and the fragmentary state of some of the fabrics, it is not possible to reproduce in detail more than a selection of the better-preserved pieces. The various fabrics are numbered according to Stein’s drawing, and the reader is referred to the description in Serindia (Vol.Ⅱ, pp.1069-70); points of difference are also noted below. 1. (Pl.9-6) This is a warp-faced compound double weave, with a 3/1 satin twill on the front, and plain weave on the back, very fine and close. Several pieces, symmetrically disposed with respect to the two embroidered flower motifs, appear in the patchwork. 2. (Pl.9-3) This is one of four pieces. No selvedge is visible, but the piece appears to be a weft-faced weave. The pattern is of four-petalled rosettes surrounded by small trefoils. In alternate rows the rosettes seem to have been originally a rosy pink; in the other rows they appear the same buff, almost golden, colour as the trefoils. 3. This is 4/1 twill, patterned in the same very fine and close weave. When examining the several pieces of this fabric with Mary Clare Clark, we came to the conclusion that the bands of colour are in the warp, with supplementary warp threads to create the petals, flowers and leaves of the patterns. According to Stein, the opposite is the case, with the warp in fine buff, slightly stiffened, and the weft of white, brown, dark and pale blue, tomato red, light and myrtle green, running in bands across the fabric, so that each band was completed before the next was begun. In our opinion, this might account for the fact that it is not possible to recover the complete scheme of the design from the surviving three fragments, since the weaver could change the order in which the different designs appeared and vary the colour combinations. Apart from the narrower bands and those with small motifs, two bands are prominent: one with small rosettes each flanked by a pair of leaves above and below, and one of large rosettes. Both bands are found with different colour combinations, in each case about 8.5 cm apart, suggesting a repeat at intervals of 17 cm. 4. Stein noted that the design of this silk is almost effaced, “but apparently consisted of running stems forming crescent-shaped loops with flowers at tips, and detached pair of outspread leaves above each flower. ”The front is in 3/1 twill, and the back appears to be plain weave. There are no supplementary threads to elongate the pattern. 5. This silk, although much damaged and originally consisting of several small pieces, is a double cloth (see p. 347, Glossary of Textile Terms, and the notes to Pl.37), combining double warp and double weft (each of a very fine and broad soft yarn), of which only the latter shows on the surface. 6. Compound warp-faced weave, with the front in 3/1 twill and the back in plain weave. The piece is divided into two small fragments, best described by Stein (Serindia, Vol.Ⅱ, p.1069): “Larger shows part of large rosette band, dark blue on scarlet ground (faded) with dark blue trefoils and quatrefoils, and foliage in light green above and below. Smaller shows lower edge of band of large green rosettes with green trefoils in spandrels; below these white horizontal trefoils, and below them pair of confronting ducks admirably executed. Yellow heads, necks, and curling wing tips, white breasts, blue backs, green beaks and tails, red eyes. Alternating with trefoil and duck groups are elliptical white rosettes. ”These ducks, each only some 8 mm long, are exactly as Stein describes them, but unfortunately are folded under the edge of the fragment, and so are not visible in the plate. 7. (Pl.9-7, central band) This is very similar to the preceding fabric, being a compound warp-faced weave, with plain weave on the back. 8. (Pl.9-7, upper band) This appears to be a weft-faced plain weave passing over two supplementary warp threads, giving it the appearance of a twill. It is therefore different from numbers 6 and 7, although Stein thought that the design was the same as in these. The design, on an indigo ground, is a very beautiful one, with rows of six-petalled rosettes set diagonally. Above each rosette (to the right in the plate) is a mass of foliage, forming part of a zig-zag band with upward-and downward-pointing trefoils at the points. In the middle of the foliage above each rosette is a pair of confronting ducks, standing with raised wings. One duck can be clearly seen in the plate, at right angles to the edge. 9. (Pl.9-7, lower band of zig-zag design) This is a compound fabric, with a twill on the front and plain weave on the back, apparently woven, as Stein noted, in imitation of a braid. 10. (Pls.9-2, 9-4) Like other embroideries in the collection (Pls.2 and 5), these two panels were originally faced with a gauze, whose lozenge pattern is still quite visible in the places where it has not fallen away. Plate 9-2 shows this gauze best. The gauze was not “purposely cut away round [the] design after [the] embroidery was completed, ”as Stein thought. 11. Symmetrically arranged on either side of the two flowers just described-in the centre, and at the corners-are several pieces of this embroidery of flowers, long-tailed blue-winged birds, and butterflies. The embroidery is on a red silk gauze backed with red silk, but here too most of the gauze has fallen away between the embroidered motifs. 12. These two panels towards the rear are themselves composed of lines of smaller patches, mainly in damask weave in yellow, red and purple. Because of their small size, the designs, in twill on a plain ground, can only be discerned in part. One of the panels also contains two small patches of weft-faced silk. The presence of the purple silk, clearly available only in tiny pieces and most precious, suggests that the wearer of this robe was a monk of high rank: we should recall that Hongbian, chief of monks in Hexi, who was commemorated in the small cave where all these textiles were found, was accorded the right to wear purple by the Emperor when Chinese rule was restored in the Dunhuang area. Small pieces of purple silk were also found inside his statue, and a comparison might be interesting. 13,14. These, together with a piece of yellow silk in plain weave, are here used as backing for the central panel of embroidery. Both are damasks, one slate blue and the other wine red, with patterns of lozenge-shaped rosettes and small lozenges, respectively. 15. (Pl.9-5) Along the rear of the patchwork is a broad band of exceedingly coarse silk, printed in the jiaxie technique with large brown rosettes, in the middle of which are crimson spots. Similar designs, as Stein observed, can be found among the figured silks, cf.Pl.41-6. 16. (Border; Pls.9-1, 9-5) Around the whole patchwork is a border printed in jiaxie technique with twining stems and open flowers, repaired in places with another similar fabric. If this once magnificent and still splendid patchwork is indeed a kasāya, or Buddhist monastic robe, worn by a high-ranking monk, it is another instance of the comprehensive range of finds from the sealed library which shed light on so many facets of Buddhist life at Dunhuang. ChineseFrom Whitfield 1985:與上圖中的垂幕一樣，這種紡織品數量大但質地各不相同，很少能發現相同的例子。斯坦因稱其爲 “縫綴的供品”，乍看上去像祭壇上鋪設的桌布。尤其兩處左右對稱的繡花，更是讓人産生這種看法。但這裏我們還看到配有左右對稱的布。關於這一點，有另外一種更有說服力的解釋，我從Alan Kennedy處第一次聽到這種說法。即該縫綴品是將七塊各色布片整齊地豎向拼接在一起，而繡花的那兩塊布，也是其中的一部分。在縫綴品的四周均縫有斜角接縫。袈裟通常是由五至二十三條奇數條構成，這種結構符合袈裟的規制。由於袈裟非常大，且殘損的部分較多，在製作圖錄時，只能儘量多採用保存狀態較好的部分。對各個部分的說明是按照斯坦因的圖解序號展開的，請參照《西域》（卷2，1069-1070頁）中斯坦因的解說，在不同觀點之處加上註釋。1、（圖9-6）這是經錦，表面是四枚綾紋，背面是細密的平織。這件袈裟上除了兩片繡有花紋外，還有多處是左右對稱的同樣的布。2、（圖9-3）同樣的布料有四塊，這是其中的一塊。沒有布邊，看來像是緯錦。花紋是四瓣花，周圍環繞著小小的三片葉子的圖案。此花紋本來每隔一段距離就呈現出近似赤色的淡紅色，另外一段和楓葉紋的相同，是幾乎接近金色的淡黃色。3、這是斜紋織物的四分之一，具有相同條紋花樣、紋路極其細密的斜紋錦。在我與Mary Clare Clark一起調查該作品的幾塊殘片時，我們曾提出豎條紋是由經線織成的，而花紋中的花、花瓣、葉等是由整經織成的。但斯坦因的看法與此相反，他認爲淡黃色是細的經線，而白色、茶色、深藏青色、淡青色、紅色、淡綠色、青綠色等豎條紋是緯線分別織成的。之所以會出現這種意見分歧，是因爲僅以現存的三塊殘片，根本無法捕捉織者按自己的意願自由變換花樣、順序和顔色組合而成的整個圖案的構思。如果將細條紋和細花紋區分開來，則帶花紋的主要有兩種。一種花紋是上下都配有一片葉子的小花，另一種則花稍大些，但沒有葉子。兩種花紋變換著組合，間隔大約爲8.5cm。因此，可以想像，每隔17cm，相同的花紋就會重復出現。4、在斯坦因開始調查時，這種花樣的織錦幾乎已經失傳，“彎曲的莖呈月牙形，莖的頂端配有花，花上有向外伸展的一對葉”。正面是四枚紋綾，背面爲平織。 5、原本就是由雙層小布片縫成，加之破損又非常嚴重（見p.347，紡織品詞彙表及圖37注）。此布片使用了有光澤的單絲線，經線和緯線均爲兩組顔色，正面雙色交替。 6、此部分由二枚小布片組成，正面爲四枚綾紋，背面爲平織的經錦。斯坦因對這兩枚布片均有詳細的說明（《西域》卷2，1069頁）：“較大的那塊布片,在已褪色的紅色底色上，配有深藏青色的花和三葉或四葉紋，上下配有帶淡綠色葉子的花紋帶。較小的那塊，綠色大花紋帶的下邊有綠色三葉花紋。其下面還有白色的水平的三葉紋和一對鴨。鴨子黃色的頭、頸，捲曲的羽毛，白色的胸，藍色的背，綠色的嘴和尾，紅色的眼睛還能辨認得出。三葉與鴨固定搭配的是橢圓形的白花紋交替出現。”斯坦因描述說，鴨子大小只有8mm。遺憾的是，由於其一端被折了起來，所以從圖錄上無法辨認。 7、（圖9-7，中間帶狀部分）此片是與6大致相同的經錦，背面爲平織。 8、（圖9-7，上端帶狀部分）此片乍看像綾，實際上是平地的緯錦。因此斯坦因認爲其設計圖案與6和7相同。但實際上並不相同。此片的花紋浮現在深藏青色的地上，很美。六瓣花紋斜向排列，花紋周圍布有鋸齒狀的小葉紋。花紋與花紋之間有一對展翅的鴨，其中一隻在圖錄上也清晰可見。 9、（圖9-7，下方鋸齒紋帶）這是混合織品，正面爲綾，背面爲平織的錦。正如斯坦因所描述的那樣，顯然這是模仿手編織法。 10、（圖9-2，9-4）與斯坦因藏品中其他的刺繡斷片一樣（圖2，5），繡有花的這兩片，當初表面上也蒙了一層紗，今天我們還能清楚地看到，在殘存下來的紗上殘留著花紋。尤其圖9-2中的紗至今仍保存完好。斯坦因曾認爲“紗是在刺繡工作結束後，要從圖案的周圍裁切掉的東西。”其實並非如此。 11、此片上繡有長著藍色長尾羽的鳥、花和蝴蝶，其左右對稱地分佈在10中所述的繡花的兩側，此外在中間部位和後方的兩側等處，還可看到數處刺繡的殘片。刺繡是繡在用紅色的絹做裏襯的紅色紗上，但如前所述，其表面上的紗幾乎已經完全脫落了。 12、放在後面的這兩塊裝飾布，其本身就是由黃、紅、紫三種顔色的小塊綾縫綴而成的。雖然是小塊的綾，但在平底上用綾的織法織出的花紋，有很大一部分還是清晰可見的。在一塊裝飾布上，還縫入了兩小塊緯錦。此外，雖然布塊很小，但是其中含有兩塊昂貴的紫色綾，所以可以認爲這件袈裟是高僧專用的，而這位高僧有可能是洪辨，他曾經是河西佛教領袖。藏有這些染織品的藏經洞就是爲了紀念他而修建的。而且在唐朝從吐蕃手中奪回敦煌地區時，皇帝曾恩賜他有穿著紫衣的資格。在他的塑像內部還發現了紫色絹片。將這些情況與這件縫綴的作品對照起來，這一推論是否合理就變得非常清楚了。 13、14、這些絹是平地的黃色絹，被用於袈裟中部刺繡的襯裏。一爲灰藍色，一爲赤紫色，均爲織有大小橢圓形花紋的綾。 15、（圖9-5）縫綴物後面有一帶狀粗絹。中間用夾纈技術染深紅點的棕色大花紋。正如斯坦因所指出的那樣，相同的圖案也出現在錦的斷片，例如圖41-6上。 16、（邊絹，圖9-1，9-5）。這是圍在縫綴物周邊的絹，上有用夾纈技術染的彎曲的莖和花。破損部位的修補也使用了相同的絹片。如果將這件曾經是非常華麗的現在依然是絢麗多彩的縫綴物，看作是一位高僧的袈裟，則會使那些反映敦煌佛教徒方方面面生活的藏經洞遺品又增添了嶄新的意義。