清代服饰三蓝绣基因图谱研究
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摘要
刺绣艺术是民族服饰文化重要的非生物基因,它是解读民族文化密码的钥匙。文章通过借鉴文化景观学者对文化基因的研究思路,对清代服饰三蓝绣的基因图谱进行研究,通过文献法和观察法提取三蓝绣主体基因、附着基因和混合基因的各要素,探究三蓝绣文化基因的特点及引起基因变异的民族文化的内在机理。三蓝绣服饰蕴含了丰富的中国传统的儒道文化,它的基因变异是由清代新的经济因素成长发展、封建制度衰落、服饰制度变迁及中西文化冲突融合而产生的共同结果,从而出现了有异于前代刺绣艺术的承继与变异相交织的独特风貌。
Embroidery art,an important nonmaterial gene in national culture,is a key to understanding the national culture code. The gene map of Three-Blue embroidery costume in Qing dynasty was studied by referring to the research thought of cultural landscape scholars for cultural gene. The elements of main genes,the attached genes and the mixed genes of Three-Blue embroidery were extracted through literature review and observation methods in order to explore the characteristics of Three-Blue embroidery culture genes and the internal mechanism of national culture causing genetic variation. Three-Blue embroidery costume contains rich Chinese traditional Taoism culture. Its genovariation is the joint result of growth and development of new economic factors,feudalism decline,costume system change and Chinese and western cultural conflict and fusion in Qing dynasty. Thus,the unique style and feature of intertwining inheritance and innovation different from previous generation of embroidery art emerges.
Embroidery art,an important nonmaterial gene in national culture,is a key to understanding the national culture code. The gene map of Three-Blue embroidery costume in Qing dynasty was studied by referring to the research thought of cultural landscape scholars for cultural gene. The elements of main genes,the attached genes and the mixed genes of Three-Blue embroidery were extracted through literature review and observation methods in order to explore the characteristics of Three-Blue embroidery culture genes and the internal mechanism of national culture causing genetic variation. Three-Blue embroidery costume contains rich Chinese traditional Taoism culture. Its genovariation is the joint result of growth and development of new economic factors,feudalism decline,costume system change and Chinese and western cultural conflict and fusion in Qing dynasty. Thus,the unique style and feature of intertwining inheritance and innovation different from previous generation of embroidery art emerges.
引文
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[2]理查德·道金斯.自私的基因[M].北京:中信出版社,2012:10-11.DAWKINS Richard.The Selfish Gene[M].Beijing:Citic Press,2012:10-11.
[3]赵鹤龄,王军,袁中金,等.文化基因的谱系图构建与传承路径研究:以古滇国文化基因为例[J].现代城市研究,2014(5):91-97.ZHAO Heling,WANG Jun,YUAN Zhongjin,et al.Research on genetic pedigree chart construction and transmission path:a case study of ancient dianculture gene[J].Modern Urban Research,2014(5):91-97.
[4]柏贵喜,陈文苑.南方少数民族传统手工艺资源及其基因图谱编制设想[J].中南民族大学学报(人文社会科学版),2017,37(5):43-47.BAI Guixi,CHEN Wenyuan.Traditional handicraft resources and genetic mapping of ethnic minorities in Southern China[J].Journal of South-Central University for Nationalities(Humanities and Social Sciences),2017,37(5):43-47.
[5]沈寿.雪宧绣谱[M].张謇,整理.耿纪朋,译注.重庆:重庆出版社,2010:92.SHEN Shou.Xue Yi Embroider Spectrum[M].Arrangemented by ZHANG Jian.Translationed by GENG Jipeng.Chongqing:Chongqing Press,2010:92.
[6]吴山.中国历代服装、染织、刺绣辞典[M].南京:江苏美术出版社,2011:513.WU Shan.Chinese Ancient Clothing,Dyeing,Embroidery Dictionary[M].Nanjing:Jiangsu Art Press,2011:513.
[7]赵宏,曹明福.中国纺织类非物质文化遗产概论[M].北京:中国纺织出版社,2015:91.ZHAO Hong,CAO Mingfu.An Introduction to the Intangible Cultural Heritage of China’s Textile[M].Beijing:China Textile Publishing House,2015:91.
[8]王金华.中国传统服饰清代服装[M].北京:中国纺织出版社,2015:127.WANG Jinhua.Chinese Traditional Costumes:The Qing Dynasty Clothing[M].Beijin:China Textile Publishing House,2015:127.
[9]张琼.故宫博物院藏文物珍品大系:清代宫廷服饰[M].上海:上海科学技术出版社,2006:207.ZHANG Qiong.A Large Collection of Treasures in the Museum of the Imperial Palace:Imperial Court Clothing of the Qing Dynasty[M].Shanghai:Shanghai Science and Technology Press,2006:207.
[10]丁佩.绣谱[M].北京:中华书局,2012:103-104.DING Pei.Embroider Spectrum[M].Beijing:Zhonghua Book Company,2012:103-104.
[11]刘沛林.中国传统聚落景观基因图谱的构建与应用研究[D].北京:北京大学,2011:22.LIU Peilin.Study on the Construction and Application of Genetic Map of Chinese Traditional Settlement Landscape[D].Beijing:Beijing University,2011:22.
[12]王淑华.“三蓝绣”艺术语言在茶人服上的表达探析[J].美术界,2017(7):70-71.WANG Shuhua.Three-Blue embroidery art language in the expression of tea clothing[J].Art Circle,2017(7):70-71.
[13]沈从文.中国古代服饰研究[M].上海:上海世纪出版集团,2005:630.SHEN Congwen.Research on Chinese Ancient Costume[M].Shanghai:Shanghai Century Publishing Group,2005:630.
[14]朱峰.青花瓷视觉元素的符号化认知[J].文艺争鸣,2010(18):128-129.ZHU Feng.The symbolic cognition of the visual elements of blue and white porcelain[J].Literature and Art Contend,2010(18):128-129.
[15]张松林,廖永民.唐代青花瓷探析[J].中原文物,2005(3):78-83.ZHANG Songlin,LIAO Yongmin.An analysis of the blue and white porcelain in the Tang dynasty[J].Cultural Relics of Central China,2005(3):78-83.
[16]彭吉象.中国艺术学[M].北京:北京大学出版社,2007:125.PENG Jixiang.Chinese Art[M].Beijing:Beijing University Press,2007:125.
[17]赵丰.丝绸艺术史[M].北京:文物出版社,2005:179,100,110.ZHAO Feng.History of Silk Art[M].Beijing:Cultural Relics Publishing House,2005:179,100,110.
[18]故宫博物院.清宫服饰图典[M].北京:紫禁城出版社,2010:9.The Palace Museum.Qing Palace Dress Code[M].Beijing:Forbidden City Press,2010:9.
[19]孙成成,刘元风.浅析清代宫廷服饰纹样的形式特征:以动物纹样为例[J].艺术设计研究,2012(S1):4-7.SUN Chengcheng.LIU Yuanfeng.A brief analysis of the formal features of court costumes in Qing dynasty:taking animal patterns as an example[J].Art&Design Research,2012(S1):4-7.