清代女褂戏曲主题服饰纹样的叙事研究——以“白纱地洒线绣戏曲人物女褂”为例  

A Narrative Study of Costume Patterns with Theatrical Themes in Women's Garment of the Qing Dynasty:Taking"Woman's Upper Garment with Embroidered Operatic Figure on a White Sha Gauze Ground"as an Example

作　　者：卞向阳[1] 言婷 Bian Xiangyang;Yan Ting

机构地区：[1]东华大学 [2]山东轻工职业学院

出　　处：《艺术设计研究》2023年第4期57-64,共8页Art & Design Research

基　　金：国家社科基金艺术学项目“观念史视野下的中国历代服饰与当代汉服传承”(项目编号:21AG013)的阶段性成果。

摘　　要：服饰是一种无声的语言,在清代女装的戏曲主题纹样中,其叙事功能体现得尤为突出且具有独到的特色。本文以“白纱地洒线绣戏曲人物女褂”为例,引入文学叙事和图像叙事等叙事学的原理和方法,一方面探究主体纹样的叙事空间、叙事结构,将叙事方法归为单一场景、组合场景和相似场景叙事三类加以分析,另一方面就辅助纹样的叙事形式和功能展开讨论,认为创作者通过有意识的叙事方式呈现出递进式的故事脉络,并引导观者对叙事内容进行自我建构。研究同时表明,戏曲主题服饰纹样叙事受服饰材质、建构空间和创作者主观意识的影响,是展示社会生活与文化情趣的有效载体,为深入了解清代女子服饰文化提供了重要途径。Costume is a silent language,and in the costume patterns of women's garment in the Qing Dynasty,its narrative function is particularly prominent and distinctive.This paper takes the"Woman's Upper Garment with Embroidered Operatic Figure on a White Sha Gauze Ground"as an example,introducing principles and methods of narrative studies such as literary narrative and visual narrative.On one hand,it explores the narrative space and narrative structure of the main patterns,categorizing the narrative methods into three types:single-scene narrative,combined-scene narrative,and similar-scene narrative.On the other hand,it discusses the narrative forms and functions of auxiliary patterns.It is argued that the creators present a progressive story framework through intentional narrative techniques and guide the viewers in constructing their own understanding of the narrative content.The study also indicates that the narrative of costume patterns with opera themes is influenced by the material of the costumes,the construction space,and the subjective consciousness of the creators.It serves as an effective medium for displaying social life and cultural aesthetics,providing an important approach to deepen the understanding of women's costume culture in the Qing Dynasty.

关 键 词：纹样 叙事 女装 清代 戏曲主题 

分 类 号：J18[艺术—艺术理论] J523