符号学视角下苏幕遮乐舞服饰特征研究  

Study on the Image Features of Sumuzhe Dance Costumes from the Perspective of Semiotics

作　　者：王晓雅 乔洪 WANG Xiao-ya;QIAO Hong(School of Fashion and DesignArts,Sichuan Normal University,Chengdu 610000,China)

机构地区：[1]四川师范大学服装与设计艺术学院,四川成都610000

出　　处：《纺织科技进展》2022年第1期53-56,共4页Progress in Textile Science & Technology

摘　　要：1903年新疆库车出土的佛舍利盒上的乐舞图像,为研究西域乐舞"苏幕遮"及其服饰文化提供了图像资料。考证以文献史料、图像、出土实物为依据,基于符号学的理论方法,分析了苏幕遮乐舞服饰特征和文化内涵。通过分析考证认为:"苏幕遮"乐舞服饰一是展现了西域本民族的服饰特点;二是舞者所戴"猴头、狗头、将军"等假面象征了"驱鬼除灾"的文化内涵;三是初具歌舞戏的表演形式及戏剧化的服饰影响了唐代以后乐舞和戏剧服饰的形成。通过对苏幕遮乐舞服饰的分析为丝路上西域乐舞服饰研究作一点补充和思考。The music and dance images on the Buddha relic box were unearthed in Kuche,Xinjiang in 1903,which provided image data for the study of the Western Region music and dance"Sumuzhe"and its costume culture.The textual research was based on historical documents,images and unearthed objects.Based on semiotic theoretical methods,the characteristics and cultural connotation of Sumuzhe dance costumes was analyzed.Through analysis and research,it was believed that the"Sumuzhe"music and dance costumes firstly showed the characteristics of the costumes of the Western Regions;Secondly,the masks such as"monkey head,dog head,general"and other masks worn by the dancers symbolized the cultural connotation of"exorcising ghosts and eliminating disasters";Third,the initial form of singing and dancing and dramatic costumes influenced the formation of music,dance and dramatic costumes after the Tang Dynasty.Through the analysis of Sumuzhe music and dance costumes,it was expected to make some supplements and reflections on the study of Western Region music and dance costumes on the Silk Road.

关 键 词：佛舍利盒 苏幕遮 服饰 文化内涵 

分 类 号：TS941.7[轻工技术与工程—服装设计与工程]