祈福文化视角下丽水提线木偶戏文创设计探究——以《夫人戏》为例  

Research on the Creative Design of Lishui String Puppet Drama from the Perspective of Blessing Culture—A Case Study of Furen Play

作　　者：郑锦珊 须秋洁[1] 

机构地区：[1]浙江理工大学服装学院,浙江 杭州

出　　处：《Design（汉斯）》2023年第4期3746-3754,共9页设计（汉斯）

摘　　要：自古以来,祈福文化一直是中华文化的重要组成部分,祈福文化往往是指在特定的时间地点举行一定的民俗仪式并传达出的一种对美好生活的祈福期盼,代表了人们对这种美好事物的期待。而木偶戏最早的发展是用于丧葬、嘉会,后通过戏剧表演的方式来满足祈福、辟邪的美好愿景。本文通过将丽水木偶戏祈福文化与文创设计相结合的角度,对丽水木偶戏作本土化阐释,并提炼出木偶戏中《夫人戏》的祈福要素,为丽水传统木偶戏文创产品的设计提供了新的参考。Since ancient times, blessing culture has always been an important part of Chinese culture. Blessing culture often refers to a certain folk ceremony held at a specific time and place and conveys a kind of blessing expectation for a better life, representing people’s expectation for such beautiful things. The earliest development of puppetry was used for funerals and festivals, and later through dramatic performances to meet the beautiful vision of praying for good luck and warding off evil spirits. By combining the blessing culture of Lishui puppet show with the cultural and creative design, this paper makes a localized interpretation of Lishui puppet show, and extracts the blessing elements of Furen Play in the puppet show, providing a new reference for the design of traditional puppet drama literary and creative products in Lishui.

关 键 词：祈福文化 丽水木偶戏 文创产品 陈靖姑 服饰纹样 

分 类 号：J82[艺术—戏剧戏曲]