《春社图》中的人物服饰形象与民俗场景表达  

Representation of Costume Image and Folk Scenes in Chunshe Figure

作　　者：吕奕含 牛犁 张秋莹 LYU Yihan;NIU Li;ZHANG Qiuying(School of Digital Technology and Innovation Design,Jiangnan University,Wuxi 214400,China)

机构地区：[1]江南大学数字科技与创意设计学院,江苏无锡214400

出　　处：《服装学报》2024年第3期259-267,共9页Journal of Clothing Research

基　　金：教育部哲学社会科学重大课题攻关项目(21JZD048)。

摘　　要：以明代风俗画《春社图》中所绘人物服饰为主要研究对象,采用文献研究、图像分析、艺术考古的研究方法,从《春社图》中选取具有代表性的士、庶、艺民间人物着装,探究服饰对人物身份的标识作用和对民俗场景的表达呈现,管窥明代民间服饰。通过《春社图》所呈现的民俗场景可发现,服饰不仅是区分士人、庶民、艺人等不同人物身份的符号,其被穿着状态也反映了人物的不同环境背景。《春社图》中展现了3类人物,他们服饰的差异表现在3个方面,分别是礼仪规制性、休闲实用性、模拟表演性。Taking the costumes of the characters painted in the custom painting Chunshe Figure of the Ming Dynasty as the main research object,this paper employed methods of literature research,image analysis,and art archaeology.It selected the representative dresses worn by scholars,common people,artists and folk characters from the Chunshe Figure to explore the role of costumes in identifying character identities and the expression of folk scenes,so as to have a glimpse of the folk costumes of the Ming Dynasty.The research shows that through the folk scenes presented by Chunshe Figure,clothing not only serves a symbol of the identity of scholars,common people and artists,but also reflects different environmental backgrounds through its wearing state.The costumes thus presents three differences:adherence to etiquette,practicality for leisure,and simulation in performance.

关 键 词：明代 春社祭祀 服饰形象 民俗文化 

分 类 号：TS184.3[轻工技术与工程—纺织材料与纺织品设计]