「織金」是以加入金線構成紋樣的一種織造方式。以此種方式製成的織物如織金錦、織金羅、紗、緙金等，又可泛稱為金線織物。由於用料貴重，織造費工，具有絢爛華麗的視覺效果，而在我國古代織物發展史中形成一特殊的體系，且包含多方面的文化意義。元明時期是織金工藝的高峰時期，以「納石失」聞名於世的元代織金錦，在織造技術、紋樣設計上均有突破唐宋傳統之處。對於明清織品的發展，影響深遠。 長久以來，蒙元史研究中有關中外交通、工匠制度的探討均已在不同程度上揭示了元代織金工藝的特殊意義。自二十世紀初葉迄今，中外學者在文獻的鉤稽整理與傳世實物的風格特色二方面，亦累積了頗多珍貴的成果。近年來大陸地區考古文物的相繼面世，則顯示蒙元時期織物發展的更多面貌，也為重新檢視既有認知開啟了重要的契機。然而以元代幅員之遼闊、域外接觸之頻繁，無論是現存有關紡織工藝的文字與圖像資料，或是實物遺存，相對而言仍是相當有限的；同時，在流散於多處不同地點的傳世實物與近年出土文物之間，亦存在著諸多未易釐清的問題。本文論述之主旨，在於以文獻與實物資料說明流通於蒙元時期之金線織物的多樣性與複雜性：如「納石失」「答兒答思」、「金襴」等名詞之具體指涉，猶有待置於相關時空脈絡中加以考量定位；紋樣的譜系與傳播軌跡亦需旁徵同時期多種類型的文物如伊斯蘭織物、陶瓷器、金屬器、建築裝飾等之發展；而有關金線材質特色與織造技法的探討或更有助於在紋飾的流衍之外，發掘植根於不同文化傳統的屬性與類別。

　　　　　The term "woven-gold" (chih-chin) refers to a weaving technique characterized by the use of thin gold wire as a decorative element. Textiles produced with this technique include woven gold brocade, woven gold gauze, tabby, and "cut-gold" (k'o-chin) tapestry. The combination of fine skill and rare material gives these textiles a splendid visual effect. They compose a unique aspect of Chinese textile tradition, and are culturally significant in many ways. With its famous nasij (nashih-shih) brocade, the Yuan-Ming period represents the apogee of woven-gold craftsmanship. The work of this period surpassed in both technology and decorative design the traditions of the T'ang and Sung, and exerted a powerful influence on later Ming and Ch'ing developments. Studies of cross-cultural exchange and craft traditions during the Mongol-Yuan period have long recognized the importance of Yuan dynasty gold weaving. Since the early years of the twentieth century, Chinese and foreign scholars have made substantial progress in the stylistic analysis of woven-gold textiles and the examination of related textual evidence. With recent archeological discoveries in mainland China exposing previously unknown aspects of Mongol-Yuan textile development, the scholarly community now has an opportunity to redefine its understanding of this critical period. However, despite the vast scale of the Mongol empire and the frequency of its contacts with the outside world, the period offers only a few examples of surviving textiles and textile-related texts and images. Moreover, efforts to relate transmitted textiles to those from recent excavations face many difficult problems. This essay addresses, through an examination of documentary and material evidence, the variety and complexity of the woven gold textiles that circulated during the Mongol-Yuan period. It explores and defines terms such as nasij, ta-erh-ta-ssu, and chin-lan in their temporal and spatial contexts. It also analyses decorative motifs and evidence of their transmission that can be gleaned from Islamic textiles, ceramics, metalware, architecture, and other contemporary materials. In so doing, the paper aims to not only further our knowledge of these motifs, but also highlight the relevance of woven gold to the understanding of different cultural traditions.