蜡染工艺在舞台服装中的创意设计研究——以“蚩尤”“蝴蝶妈妈”形象设计为例  

Creative application of batik techniques in stage costume design:A case study of the character designs of“Chiyou”and“Butterfly Mother”

作　　者：廖晔英 汪洋 王莉 LIAO Yeying;WANG Yang;WANG Li(School of Fashion Media,Jiangxi Institute of Fashion Technology,Nanchang 330201,China)

机构地区：[1]江西服装学院时尚传媒学院,江西南昌330201

出　　处：《染整技术》2025年第4期34-38,共5页Textile Dyeing and Finishing Journal

基　　金：2024年江西省社会科学基金艺术学青年项目:中国传统服饰色彩中的“白色”文化研究(24YS35);2023年国家级大学生创新创业训练计划项目:“生生遗续代代相承”——非遗蜡染服饰的数字化呈现与传播(202313418004)。

摘　　要：蜡染是中国古代传统染色技艺中的重要组成部分,其独特的制作技法与丰富的色彩表现,使其曾在以苗族为代表的西南少数民族地区广为流行。然而,蜡染目前却遇到了从传统到现代转型的问题,亟待解决。基于此,尝试为上古神话与传说中的苗族祖先“蚩尤”与“蝴蝶妈妈”进行角色形象设计,创新性地借助蜡染技艺,通过舞台服装设计的手法,将两位苗族先祖的形象进行艺术再现。作为蜡染工艺的现代转化方式之一,这样的方法不仅能够赋予舞台服装设计新的视觉语言,也为中华优秀传统文化的传承与创新提供新的可能,扩大了非遗蜡染技艺的影响力。Batik is an important component of ancient Chinese traditional dyeing techniques.Its unique production methods and rich color expressions made it widely popular in the southwestern ethnic regions,especially among the Miao nationality.However,batik now faces the challenge of transitioning from traditional to modern practices,a problem that urgently needs to be addressed.Based on this,attempt to design character images for the Miao ancestors“Chiyou”and“Butterfly Mother”in ancient myths and legends.Innovatively utilizing wax printing techniques and stage costume design techniques,the images of two Miao ancestors are artistically reproduced.As one of the modern adaptations of batik craftsmanship,this approach not only provides a new visual language for stage costume design but also offers new possibilities for the inheritance and innovation of China’s outstanding traditional culture,thereby expanding the influence of intangible cultural heritage batik.

关 键 词：苗族 蜡染 蚩尤 蝴蝶妈妈 舞台服装设计 

分 类 号：TS941.7[轻工技术与工程—服装设计与工程]