《红楼梦》中的几种服饰塑造手法——以王熙凤、贾宝玉出场形象为例  

Several Costume Shaping Techniques in the Dream of the Red Chamber:Taking the Appearance Costume of Wang Xifeng and Jia Baoyu as Examples

作　　者：陈诗宇 Chen Shiyu(Bejing Institute Of F ashion Technology,Beiing 100029,China)

机构地区：[1]北京服装学院,北京100029

出　　处：《艺术与设计（理论版）》2024年第8期98-100,共3页Art and Design

摘　　要：曹雪芹在创作《红楼梦》时,虽刻意回避具体时代背景,试图呈现架空基调,但和大多数明清小说一样,具体的风俗、服饰、器物描述不可避免地使用了大量作者生活时代的细节。为了达到模糊时代的目的,在服饰上采用了一些塑造手法。如女装描述倾向于选用清前期尤其是康熙末到乾隆前期的女汉装元素,男装描述则杂了旗装、戏装、古装元素设计,相对虚化,避免时代感太明显。这与清前期女汉装相对沿袭旧制,男装则时代特征极明显有一定关系。结合同时期服饰实物及图像,可初步复原其形象。When creating Dream of the Red Chamber,Cao Xueqin deliberately avoided specific historical backgrounds and attempted to present fictional backgrounds.However,like most Ming and Qing novels,the specific customs,costumes,and object descriptions inevitably used a large amount of details from the author's life era.In order to achieve the goal of blurring the era,some shaping techniques were adopted in clothing design.For example,descriptions of women's clothing tend to use materials from the early Qing Dynasty,especially from the end of Kangxi to the early Qianlong period,while descriptions of men's clothing mix elements of Manchu clothing,theatrical costumes,and ancient costumes,creating a fictional historical background.This is related to the fact that women's clothing in the early Qing Dynasty relatively followed the old system,while men's clothing underwent significant changes in style.We can preliminarily restore these clothing designs by combining cultural relics and imagesfromtheQingDynasty.

关 键 词：红楼梦 服饰 复原 王熙凤 贾宝玉 

分 类 号：J0[艺术—艺术理论]