“虾夷锦”纹样在江户时代的传播与演变——以服饰和绘画为中心  

The Spread and Evolution of the"Ezo Brocade"Pattern in the Edo Period:Centered around Clothing and Ukiyoe Painting

作　　者：熊瑛 Xiong Ying

机构地区：[1]华东师范大学美术学院

出　　处：《艺术设计研究》2024年第3期63-70,共8页Art & Design Research

基　　金：2019年度国家社科基金艺术学一般项目“明代织绣史”(项目编号:19BG126)的阶段性成果。

摘　　要：虾夷锦原本是清代的上等袍服和锦缎,在贡赏贸易中从北方丝绸之路进入日本北海道,又以“虾夷物产”之名传入日本内地,受到上流社会的珍爱。18世纪北海道的地方志插图、风俗画、肖像画中常常重点描绘虾夷锦制作的阿伊努盛装,其中清代蟒龙服饰纹样被提炼为新颖华美的图像程式,并传播至日本内地。虾夷锦被制为歌舞伎、艺伎服装之后,其典型纹样也迅速进入了版画,成为“役者绘”和“美人绘”服饰中的流行元素,不仅丰富了浮世绘创作的语言,还推动了江户晚期演艺服装纹样的效仿之风。尽管仿制的虾夷锦纹样从形象到内涵都发生了变化,却始终保留着蟒龙、祥云、江崖海水的固定格套,彰显着辗转而来的华夏风貌。Ezo Brocades were originally noble robes and silk from the Qing Dynasty.In the tribute trade,they were transported from the Northern Silk Road to Hokkaido and were introduced to mainland of Japan as"Ezo products",which were cherished by the upper-class society.In the 18th century Hokkaido's local chronicles,genre paintings,and portraits,the focus was often on depicting Ainu costumes made of Ezo brocade.The patterns of python or dragon on the noble robes were refined into novel and eye-catching image styles,which were spread to mainland Japan.After being made into Kabuki and geisha costumes,the typical pattern of Ezo Brocade quickly entered printmaking,becoming a popular element in the costumes of"Yakusha-e"and"beauty painting".These images enriched the language of Ukiyoe creation,while also promoting the imitation of patterns in the late Edo performing costumes.Although the imitated patterns of Ezo Brocade have changed in both image and connotation,they still retain the fixed patterns of Python or Dragon,auspicious clouds,and cliff in seawater,revealing the inherited Chinese style.

关 键 词：虾夷锦 阿伊努 清代官服 蟒龙纹样 浮世绘 

分 类 号：J523[艺术—艺术设计]