新东方主义语境下十二章纹内涵及组织传播功能分析——以历史剧《三国机密之潜龙在渊》人物服饰为例  

An Analysis of the Connotation and Organisational Communication of the Twelve Imperial in the Context of Neo-Orientalism——Character Costumes of the Historical Drama Secret of the Three Kingdoms:The Subterranean Dragon in the

作　　者：王沛然 WANG Peiran(College of Art and Design,Wuhan Textile University,Wuhan Hubei,430070,China)

机构地区：[1]武汉纺织大学艺术与设计学院,湖北武汉430070

出　　处：《文化创新比较研究》2024年第18期89-92,共4页Comparative Study of Cultural Innovation

摘　　要：新东方主义作为一种通过影视剧中服饰的创新设计来渗透东方独特审美意象的美学理念,源于对传统“东方主义”的超越,旨在消除对东方文化的偏见与误解。而具有深刻文化底蕴和艺术特征的中国传统图案十二章纹,常常被作为图形的经典样式广泛运用于影视剧的服饰当中。以历史剧《三国机密之潜龙在渊》为例,其人物服饰所体现的十二章纹,提供了一个剖析视角,以此探讨在古装影视剧中十二章纹的展现形式,以及在新东方主义美学理念下的服饰传播功能和文化内涵。这一探讨旨在深化对古装影视文化的理解,彰显其独特艺术魅力,并为新东方主义美学的理论探讨提供实证支持。New Orientalism,as an aesthetic concept that penetrates the unique aesthetic imagery of the Orient through the innovative design of costumes in film and television dramas,emerged from the transcendence of traditional"Orientalism",aiming at eliminating the prejudice and misunderstanding of Oriental culture.The traditional Chinese pattern of twelve chapters,which has profound cultural heritage and artistic characteristics,is often widely used as a classic style of graphics in the costumes of movies and TV dramas.Taking the historical drama Secret of the Three Kingdoms as an example,the twelve patterns embodied in the characters'costumes provide us with a perspective to analyze the forms of its presentation in the costume dramas,as well as the function and cultural connotation of the costumes under the concept of the new orientalist aesthetics.This discussion aims to deepen the understanding of costume film and television culture,highlight its unique artistic charm,and provide empirical support for the theoretical discussion of New Orientalism aesthetics.

关 键 词：十二章纹 新东方主义 冕服 影视剧服饰 组织传播 比较艺术 

分 类 号：B83-05[哲学宗教—美学] J918[艺术—电影电视艺术]