东周楚地乐舞服饰艺术再现研究――以严仓1号墓漆画为基本材料  

Study on the Artistic Reproduction of Music and Dance Costumes in the Chu Region of the Eastern Zhou Dynasty——Based on the Lacquer Painting of Tomb No.1 in Yancang

作　　者：练可馨 郭丰秋 LIAN Kexin;GUO Fengqiu(School of Fashion,Wuhan Textile University,Wuhan,Hubei 430073,China)

机构地区：[1]武汉纺织大学服装学院,湖北武汉430073

出　　处：《浙江纺织服装职业技术学院学报》2025年第1期9-15,24,共8页Journal of Zhejiang Fashion Institute of Technology

基　　金：湖北省高等学校哲学社科重大项目(22ZD084);2024年武汉纺织大学校级研究生创新基金项目(523058)。

摘　　要：东周楚地乐舞博采众长,蕴含着独特的艺术风格,但关于其服饰的研究较为匮乏。严仓漆画涵盖了形式丰富的乐舞艺术,以其中一例舞人形象作为典型案例,运用多重证据法与图像分析法对相关服饰信息进行分析,并探索其服饰艺术再现。研究表明,从款式结构看,该服饰融合了北方游牧民族服饰中的立领形式,彰显了南北民族互动与服饰文化交流的时代特色;从用色特点看,楚地乐舞服饰较日常服饰而言,更注重色彩所承载的特殊象征意义;从装饰纹样与服佩形式看,体现出楚地鲜明的地域特色和审美风格。这一形象的再现为丰富楚地乐舞服饰文化研究提供实证资料。The dance and music of the Chu region during the Eastern Zhou Dynasty incorporates various influences,embodying a unique artistic style.However,research on the costume remains scarce.The lacquer painting from Yancang showcases a diverse array of dance and musical arts.Taking the image of a dancer as a typical case,this study employs multi-evidential and image analysis methods to analyze the relevant costume information and explore its artistic representation.The research shows that from the perspective of style structure,the design of this costume integrates the stand-up collar style from the northern nomadic costumes,reflecting the era's characteristics ofinteraction between northern and southern ethnic groups and their costume cultural exchanges.Regarding color usage,the dance and music costumes in Chu region paid more attention to the special symbolic meanings carried by colors compared to daily wear.Moreover,the decorative patterns and accessory forms demonstrate Chu's distinct regional characteristics and aesthetic styles.The reconstruction of this image provides empirical data for enriching the study of dance and music costume culture in the Chu region.

关 键 词：乐舞服饰 楚地 严仓1号墓 漆画 艺术再现 

分 类 号：J18[艺术—艺术理论]