基于民俗仪式与符号阐释的《大傩图》补证
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摘要
大傩图》中人物极具符号性的装饰及道具所蕴含的民俗信仰因素,可以证明此图所画为仲春民间兼有驱傩、祈雨、娱乐功能的社火表演,更名为《社火图》较准确,不更名亦可。图中人物妆饰有"溪蛮"色彩,保有南方民族融合的痕迹。以执帚者为一号人物的一般说法可能有误,领队或一号人物当为蝶冠者。他们且行且吹打,滑稽搞笑,显然领队的临时掉头导致了队伍一团混乱,但此乱非真乱,抽去表象便可见队形乃呈反"S"或"龙抬头"状,属于太极图式,具有深刻的寓意,且能最优化集中定格12个人物,如此匠心不能不令人击节。人物衣袍多着补子,而补子至明代方形成制度,故此图断代为宋值得怀疑。人物假面黑符至今仍存在于社火及戏曲脸谱中,当为我国戏曲脸谱之早期形式。
The Great Nuo Picture collected by the Forbidden City in Beijing is a masterpiece offigure and genre painting,and has attracted the attention of many scholars.This article analyzesthe extant original documents to determine the original meanings of the Nuo,the Rain Praying,theRain Stopping and the Shehuo.The details of the symbolic decoration and props of the figures aretabulated to reveal the beliefs behind the folklore.The following five conclusions have been reached:First,this painting depicted a team of Shehuo which had the multifunctions of Nuo(exorcism),rain praying and entertainment.The flowers and branches worn by the charactersembody both the vigor and power of spring.There are twelve figures,which conforms to thetwelve beasts of the Nuo.The figures all wear masks,conforming to the rituals of Nuo.Thecostumes and props were designed to expel the evil.The frogs,tortoises,thunder patterns,moire,and clouds on the costumes not only appeals to the longevity of life,but also are related tothe water.Therefore,it is more accurate to rename this painting as″the Shehuo″,though theoriginal name might still fit.Second,adornments of the figures are characteristic of″Ximan″people.″Ximan″,or″Wuximan″,is the general name for the modern Miao and Yao ethnic groups since the Qin andHan Dynasties.But during the Tang and Song Dynasties,most Miao people from the middle andlower reaches of the Han River to Huaihe River had been gradually merged with Han,and theirdifferences disappeared.The figures in this painting show great interest in the patterns of mapleleaves,butterflies,moths and birds,and give special significance to them.This differs from therecords of literature,and echoes with Miao people's worship for the maple,the butterfly motherand birds of paradise.In addition,the figure with a butterfly cap has story patterns on the chestand left shoulder of his dress,featuring an honorable man with a Guanjinscarf and a feather fan.This honorable man might be Zhuge Liang who has a sacred status among the Miao people andother southern minority nationalities.In the same pattern on the chest of the man with a butterflycap,there is a man presenting agift.He wears a headscarf,dancing and playing the barrel ofLusheng,which is still a common image of the modern Miao people.Therefore,we believe thatthis painting is characteristic of″Ximan″.It can also be considered that this painting retains sometraces of ethnic integration in southern China since Tang and Song Dynasties.Third,the man with a broom is generally regarded as the leader or the most importantfigure,but we think that the man with a butterfly cap is the leader,and according to the mannerand bearing of the figures,we restore the procession as a reverse S shape,or″the Rise of theDragon″,which is a type of the Tai Ji schema.The figures are performing while they proceed.The procession is in a bit of a mess because the leader temporarily changes the course.Thepainter ingeniously captured the confusing moment of the procession,not only to illustrate theprofound implication of″the Rise of the Dragon″,but also to convey that strong festive andentertaining atmosphere.Fourth,the date of the painting should not be set in the Song Dynasty.Figures 1,6,7,9,and 11 have″Buzis″(patches)clearly painted on the chest.In particular,there is a″Buzi(patch)″on the chest and back of Figures 7 and 9 respectively.This is the real″Xiongbei(chest-back)″(the alias of the Buzi).According to the unearthed relics and related research on Chineseclothing,the Buzi was formed in the Ming Dynasty,and was a new symbol of official ranks ofthe Ming Dynasty.Therefore,the scene in this painting should occur in the Ming Dynasty,andthe painter also seems to be living in the Ming dynasty.Fifth,the black symbols on the masks of the figures still exist in the masks of the Shehuoand operas,and should be the early form of the facial makeup of Chinese operas.In the painting,except No.4,No.7 and No.10,the other figures have black dots and tadpole points on theirmasks.These black symbols seem to be related to water,or suggestive of facial features,and arestill used in the opera facial makeup of the later generations.
The Great Nuo Picture collected by the Forbidden City in Beijing is a masterpiece offigure and genre painting,and has attracted the attention of many scholars.This article analyzesthe extant original documents to determine the original meanings of the Nuo,the Rain Praying,theRain Stopping and the Shehuo.The details of the symbolic decoration and props of the figures aretabulated to reveal the beliefs behind the folklore.The following five conclusions have been reached:First,this painting depicted a team of Shehuo which had the multifunctions of Nuo(exorcism),rain praying and entertainment.The flowers and branches worn by the charactersembody both the vigor and power of spring.There are twelve figures,which conforms to thetwelve beasts of the Nuo.The figures all wear masks,conforming to the rituals of Nuo.Thecostumes and props were designed to expel the evil.The frogs,tortoises,thunder patterns,moire,and clouds on the costumes not only appeals to the longevity of life,but also are related tothe water.Therefore,it is more accurate to rename this painting as″the Shehuo″,though theoriginal name might still fit.Second,adornments of the figures are characteristic of″Ximan″people.″Ximan″,or″Wuximan″,is the general name for the modern Miao and Yao ethnic groups since the Qin andHan Dynasties.But during the Tang and Song Dynasties,most Miao people from the middle andlower reaches of the Han River to Huaihe River had been gradually merged with Han,and theirdifferences disappeared.The figures in this painting show great interest in the patterns of mapleleaves,butterflies,moths and birds,and give special significance to them.This differs from therecords of literature,and echoes with Miao people's worship for the maple,the butterfly motherand birds of paradise.In addition,the figure with a butterfly cap has story patterns on the chestand left shoulder of his dress,featuring an honorable man with a Guanjinscarf and a feather fan.This honorable man might be Zhuge Liang who has a sacred status among the Miao people andother southern minority nationalities.In the same pattern on the chest of the man with a butterflycap,there is a man presenting agift.He wears a headscarf,dancing and playing the barrel ofLusheng,which is still a common image of the modern Miao people.Therefore,we believe thatthis painting is characteristic of″Ximan″.It can also be considered that this painting retains sometraces of ethnic integration in southern China since Tang and Song Dynasties.Third,the man with a broom is generally regarded as the leader or the most importantfigure,but we think that the man with a butterfly cap is the leader,and according to the mannerand bearing of the figures,we restore the procession as a reverse S shape,or″the Rise of theDragon″,which is a type of the Tai Ji schema.The figures are performing while they proceed.The procession is in a bit of a mess because the leader temporarily changes the course.Thepainter ingeniously captured the confusing moment of the procession,not only to illustrate theprofound implication of″the Rise of the Dragon″,but also to convey that strong festive andentertaining atmosphere.Fourth,the date of the painting should not be set in the Song Dynasty.Figures 1,6,7,9,and 11 have″Buzis″(patches)clearly painted on the chest.In particular,there is a″Buzi(patch)″on the chest and back of Figures 7 and 9 respectively.This is the real″Xiongbei(chest-back)″(the alias of the Buzi).According to the unearthed relics and related research on Chineseclothing,the Buzi was formed in the Ming Dynasty,and was a new symbol of official ranks ofthe Ming Dynasty.Therefore,the scene in this painting should occur in the Ming Dynasty,andthe painter also seems to be living in the Ming dynasty.Fifth,the black symbols on the masks of the figures still exist in the masks of the Shehuoand operas,and should be the early form of the facial makeup of Chinese operas.In the painting,except No.4,No.7 and No.10,the other figures have black dots and tadpole points on theirmasks.These black symbols seem to be related to water,or suggestive of facial features,and arestill used in the opera facial makeup of the later generations.
引文
[1]张照等编:《石渠宝笈》,见《景印文渊阁四库全书》第825册,台北:商务印书馆,1983年。[Zhang Zhao et al.(eds.),Shiqu Baoji,in Siku Quanshu:Vol.825,Taipei:The Commercial Press,1983.]
[2]孟凡玉:《南宋〈大傩图〉名实新辨》,《中国音乐学》2011年第1期,第33-38页。[Meng Fanyu,″The True Name of the Great Nuo Picture of Song Dynasty,″Musicology in China,No.1(2011),pp.33-38.]
[3]孔含鑫:《论阴阳文化视域中的“大傩图”》,《西北民族大学学报(哲学社会科学版)》2017年第5期,第137-144页。[Kong Hanxin,″On the Great Nuo Picture from the Cultural Perspective of Yin and Yang,″Journal of Northwest University(Philosophy and Social Science),No.5(2017),pp.137-144.]
[4]孙景琛:《〈大傩图〉名实辨》,《文物》1982年第3期,第70-74,102页。[Sun Jingchen,″The True Name of the Great Nuo Picture,″Cultural Relics,No.3(1982),pp.70-74,102.]
[5]孙景琛:《宋代大傩图考》,《舞蹈论丛》1982年第2期,第63-71页。[Sun Jingchen,″A Textual Research on the Great Nuo Picture of the Song Dynasty,″Dance as Sciences,No.2(1982),pp.63-71.]
[6]廖奔:《无名氏〈大傩图〉》,见《宋元戏曲文物与民俗》,北京:文化艺术出版社,1989年,第170-174页。[Liao Ben,″The Great Nuo Picture of John Doe,″in Cultural Relics and Folk Custom in Song and Yuan Opera,Beijing:Culture and Art Publishing House,1989,pp.170-174.]
[7]孔晨:《宋人〈大傩图〉所行之事并非大傩》,见麻国钧等主编:《祭礼·傩俗与民间戏剧》,北京:中国戏剧出版社,1999年,第1-6页。[Kong Chen,″The Great Nuo Picture of the Song Dynasty Is Not a Great Nuo,″in Ma Guojun et al.(eds.),Rites,Nuo Customs and Folk Drama,Beijing:China Theatre Press,1999,pp.1-6.]
[8]杨伯达:《关于宋人〈大傩图〉的正名问题》,见《杨伯达论艺术文物》,北京:科学出版社,2007年,第38-45页。[Yang Boda,″On the Proper Name of in the Great Nuo Picture,″in Yang Boda's Discussion on Artistic Relics,Beijing:Science Press,2007,pp.38-45.]
[9]麻国钧:《〈大傩图〉综合论说》,《中国音乐学》2012年第2期,第106-113页。[Ma Guojun,″The Comprehensive Comment on the Great Nuo Picture,″Musicology in China,No.2(2012),pp.106-113.]
[10]常任侠:《中国的傩舞与日本的能乐》,见《常任侠文集》第3册,合肥:安徽教育出版社,2002年,第153-156页。[Chang Renxia,″Chinese Nuo Dance and Japan's Nougaku Music,″in Collection of Chang Renxia:Vol.3,Hefei:Anhui Education Press,2002,pp.153-156.]
[11]吴津津:《宋人〈大傩图〉主题与假面涂面之辨》,《西北美术》2015年第3期,第86-89页。[Wu Jinjin,″ADiscussion on the Theme and False Face&Smear Face of the Great Nuo Picture in the Song Dynasty,″Northwest Fine Arts,No.3(2015),pp.86-89.]
[12]姜伯勤:《敦煌悉磨遮为苏摩遮乐舞考》,《敦煌研究》1996年第3期,第1-13页。[Jiang Boqin,″The Sumozhe Dance in Dunhuang,″Dunhuang Research,No.3(1996),pp.1-13.]
[13]贾玺增:《中国古代立春与元夕节象生头饰(中)---闹蛾》,《紫禁城》2010年第8期,第84-86页。[Jia Xizeng,″Moth:The Bionic Headwear During the Spring and Lantern Festivals in Ancient China(Ⅱ),″Forbidden City,No.8(2010),pp.84-86.]
[14]郑玄注:《周礼郑氏注(附札记)》,见《丛书集成初编》第867册,上海:商务印书馆,1936年。[Zheng Xuan,Zheng Xuan's Annotation to Zhouli(Additional Notes),in Congshu Jicheng Chubian:Vol.867,Shanghai:The Commercial Press,1936.]
[15]范晔:《后汉书》第11册,北京:中华书局,1965年。[Fan Ye,Houhan Shu:Vol.11,Beijing:Zhonghua Book Company,1965.]
[16]董仲舒:《春秋繁露》,凌曙注,北京:中华书局,1975年。[Dong Zhongshu,Chunqiu Fanlu,annotated by Ling Shu,Beijing:Zhonghua Book Company,1975.]
[17]傅璇琮等编:《全宋诗》第41册,北京:北京大学出版社,1998年。[Fu Xuancong et al.(eds.),Complete Poetry of the Song Dynasty:Vol.41,Beijing:Peking University Press,1998.]
[18]田艺蘅:《留青日札》,上海:上海古籍出版社,1992年。[Tian Yiheng,Liuqing Rizha,Shanghai:Shanghai Classics Publishing House,1992.]
[19]黄震:《慈溪黄氏日抄分类古今纪要》第52册,北京:北京图书馆出版社,2005年影印本。[Huang Zhen,Cixi Huangshi Richao Fenlei Gujin Jiyao:Vol.52,Beijing:Beijing Library Press,2005.]
[20]李时珍:《本草纲目》,北京:人民卫生出版社,2013年。[Li Shizhen,Bencao Gangmu,Beijing:People's Medical Publishing House,2013.]
[21]陈澔注:《礼记集说》,见宋元人注:《四书五经》,天津:天津市古籍书店,1988年影印本。[Chen Hao,Liji Jishuo,in The Four Books and the Five Classics,Tianjin:Tianjin Classics Bookstore,1988.]
[22]朱熹:《诗经集传》,见宋元人注:《四书五经》,天津:天津市古籍书店,1988年影印本。[Zhu Xi,Shijing Jizhuan,in The Four Books and the Five Classics,Tianjin:Tianjin Classics Bookstore,1988.]
[23]萧统编:《文选》,李善注,北京:中华书局,1977年。[Xiao Tong(ed.),Wenxuan,annotated by Li Shan,Beijing:Zhonghua Book Company,1977.]
[24]郭霭春主编:《黄帝内经素问校注》,北京:人民卫生出版社,2013年。[Guo Aichun(ed.),Annotation to Huangdi Neijing Suwen,Beijing:People's Medical Publishing House,2013.]
[25]孙星衍、孙冯翼辑:《神农本草经》,戴铭、黄梓健等点校,南宁:广西科学技术出版社,2016年。[Sun Xingyan&Sun Fengyi(eds.),Shennong Bencao Jing,proof.by Dai Ming&Huang Zijian,Nanning:Guangxi Science and Technology Press,2016.]
[26]郭璞:《山海经传》,北京:中华书局,1983年影印本。[Guo Pu,Shanhaijing Zhuan,Beijing:Zhonghua Book Company,1983.]
[27]崔富章等注:《诗骚合璧》,杭州:浙江古籍出版社,1995年。[Cui Fuzhang et al.,The Book of Songs&The Songs of Chu,Hangzhou:Zhejiang Classics Publishing House,1995.]
[28]彭定求等编:《全唐诗》,北京:中华书局,1960年。[Peng Dingqiu et al.(eds.),Complete Poetry of the Tang Dynasty,Beijing:Zhonghua Book Company,1960.]
[29]燕宝整理:《苗族古歌》,北京:中国国际广播出版社,2016年。[Yan Bao(ed.),The Ancient Songs of the Miao Nationality,Beijing:China International Broadcasting Publishing House,2016.]
[30]石莉芸、李云兵:《苗族》,沈阳:辽宁民族出版社,2014年。[Shi Liyun&Li Yunbing,The Miao Nationality,Shenyang:Liaoning National Publishing House,2014.]
[31]徐静主编:《中国服饰史》,上海:东华大学出版社,2010年。[Xu Jing(ed.),A History of Chinese Costume,Shanghai:Donghua University Press,2010.]
(1)根据姜伯勤原文及麻国钧所引,其“戴粟特式胡王冠”者即此图中戴蝴蝶冠者。
(1)广德军,南宋属江南东路,今属安徽省宣城市,位于安徽省东南端,皖、苏、浙三省结合部。
(2)绢本设色,纵67.4厘米,横59.2厘米,北京故宫博物院藏。下图未标出处者来源皆同此处。
(1)孙景琛等认作梅花有误。
(2)吴津津文依孙景琛人物编号,分别作5号与2号人物。
(3)3号人物帽右侧插戴兰草(佩兰)类枝叶。5号人物帽右侧绘兰草(佩兰)类纹样,帽前额正中有马兰花纹样,头巾垂脚边有马兰花连续纹样。7号人物右侧腰挂汗巾有马兰团花连续纹样。9号人物青绿半臂肩背有马兰花枝叶满地纹样,袍服前补子下有黑地马兰花枝叶满地纹样。11号人物袍服前补子上有马兰花枝叶满地纹样。2号人物帽右侧插戴无名花草,因为他与3号人物属击鼓组合,很可能也是兰草(佩兰)类的枝叶。
(1)赵秀琴所设计之罗义群《苗族文化与屈赋》(中央民族大学出版社1997年版)一书封面图案。
(1)参见王文章主编《清升平署戏装扮像谱》,(北京)学苑出版社2008年版。
(2)田荣军《陕西社火脸谱》,(西安)陕西师范大学出版总社有限公司2014年版,第165页。
(3)同上,第240页。
[2]孟凡玉:《南宋〈大傩图〉名实新辨》,《中国音乐学》2011年第1期,第33-38页。[Meng Fanyu,″The True Name of the Great Nuo Picture of Song Dynasty,″Musicology in China,No.1(2011),pp.33-38.]
[3]孔含鑫:《论阴阳文化视域中的“大傩图”》,《西北民族大学学报(哲学社会科学版)》2017年第5期,第137-144页。[Kong Hanxin,″On the Great Nuo Picture from the Cultural Perspective of Yin and Yang,″Journal of Northwest University(Philosophy and Social Science),No.5(2017),pp.137-144.]
[4]孙景琛:《〈大傩图〉名实辨》,《文物》1982年第3期,第70-74,102页。[Sun Jingchen,″The True Name of the Great Nuo Picture,″Cultural Relics,No.3(1982),pp.70-74,102.]
[5]孙景琛:《宋代大傩图考》,《舞蹈论丛》1982年第2期,第63-71页。[Sun Jingchen,″A Textual Research on the Great Nuo Picture of the Song Dynasty,″Dance as Sciences,No.2(1982),pp.63-71.]
[6]廖奔:《无名氏〈大傩图〉》,见《宋元戏曲文物与民俗》,北京:文化艺术出版社,1989年,第170-174页。[Liao Ben,″The Great Nuo Picture of John Doe,″in Cultural Relics and Folk Custom in Song and Yuan Opera,Beijing:Culture and Art Publishing House,1989,pp.170-174.]
[7]孔晨:《宋人〈大傩图〉所行之事并非大傩》,见麻国钧等主编:《祭礼·傩俗与民间戏剧》,北京:中国戏剧出版社,1999年,第1-6页。[Kong Chen,″The Great Nuo Picture of the Song Dynasty Is Not a Great Nuo,″in Ma Guojun et al.(eds.),Rites,Nuo Customs and Folk Drama,Beijing:China Theatre Press,1999,pp.1-6.]
[8]杨伯达:《关于宋人〈大傩图〉的正名问题》,见《杨伯达论艺术文物》,北京:科学出版社,2007年,第38-45页。[Yang Boda,″On the Proper Name of in the Great Nuo Picture,″in Yang Boda's Discussion on Artistic Relics,Beijing:Science Press,2007,pp.38-45.]
[9]麻国钧:《〈大傩图〉综合论说》,《中国音乐学》2012年第2期,第106-113页。[Ma Guojun,″The Comprehensive Comment on the Great Nuo Picture,″Musicology in China,No.2(2012),pp.106-113.]
[10]常任侠:《中国的傩舞与日本的能乐》,见《常任侠文集》第3册,合肥:安徽教育出版社,2002年,第153-156页。[Chang Renxia,″Chinese Nuo Dance and Japan's Nougaku Music,″in Collection of Chang Renxia:Vol.3,Hefei:Anhui Education Press,2002,pp.153-156.]
[11]吴津津:《宋人〈大傩图〉主题与假面涂面之辨》,《西北美术》2015年第3期,第86-89页。[Wu Jinjin,″ADiscussion on the Theme and False Face&Smear Face of the Great Nuo Picture in the Song Dynasty,″Northwest Fine Arts,No.3(2015),pp.86-89.]
[12]姜伯勤:《敦煌悉磨遮为苏摩遮乐舞考》,《敦煌研究》1996年第3期,第1-13页。[Jiang Boqin,″The Sumozhe Dance in Dunhuang,″Dunhuang Research,No.3(1996),pp.1-13.]
[13]贾玺增:《中国古代立春与元夕节象生头饰(中)---闹蛾》,《紫禁城》2010年第8期,第84-86页。[Jia Xizeng,″Moth:The Bionic Headwear During the Spring and Lantern Festivals in Ancient China(Ⅱ),″Forbidden City,No.8(2010),pp.84-86.]
[14]郑玄注:《周礼郑氏注(附札记)》,见《丛书集成初编》第867册,上海:商务印书馆,1936年。[Zheng Xuan,Zheng Xuan's Annotation to Zhouli(Additional Notes),in Congshu Jicheng Chubian:Vol.867,Shanghai:The Commercial Press,1936.]
[15]范晔:《后汉书》第11册,北京:中华书局,1965年。[Fan Ye,Houhan Shu:Vol.11,Beijing:Zhonghua Book Company,1965.]
[16]董仲舒:《春秋繁露》,凌曙注,北京:中华书局,1975年。[Dong Zhongshu,Chunqiu Fanlu,annotated by Ling Shu,Beijing:Zhonghua Book Company,1975.]
[17]傅璇琮等编:《全宋诗》第41册,北京:北京大学出版社,1998年。[Fu Xuancong et al.(eds.),Complete Poetry of the Song Dynasty:Vol.41,Beijing:Peking University Press,1998.]
[18]田艺蘅:《留青日札》,上海:上海古籍出版社,1992年。[Tian Yiheng,Liuqing Rizha,Shanghai:Shanghai Classics Publishing House,1992.]
[19]黄震:《慈溪黄氏日抄分类古今纪要》第52册,北京:北京图书馆出版社,2005年影印本。[Huang Zhen,Cixi Huangshi Richao Fenlei Gujin Jiyao:Vol.52,Beijing:Beijing Library Press,2005.]
[20]李时珍:《本草纲目》,北京:人民卫生出版社,2013年。[Li Shizhen,Bencao Gangmu,Beijing:People's Medical Publishing House,2013.]
[21]陈澔注:《礼记集说》,见宋元人注:《四书五经》,天津:天津市古籍书店,1988年影印本。[Chen Hao,Liji Jishuo,in The Four Books and the Five Classics,Tianjin:Tianjin Classics Bookstore,1988.]
[22]朱熹:《诗经集传》,见宋元人注:《四书五经》,天津:天津市古籍书店,1988年影印本。[Zhu Xi,Shijing Jizhuan,in The Four Books and the Five Classics,Tianjin:Tianjin Classics Bookstore,1988.]
[23]萧统编:《文选》,李善注,北京:中华书局,1977年。[Xiao Tong(ed.),Wenxuan,annotated by Li Shan,Beijing:Zhonghua Book Company,1977.]
[24]郭霭春主编:《黄帝内经素问校注》,北京:人民卫生出版社,2013年。[Guo Aichun(ed.),Annotation to Huangdi Neijing Suwen,Beijing:People's Medical Publishing House,2013.]
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[31]徐静主编:《中国服饰史》,上海:东华大学出版社,2010年。[Xu Jing(ed.),A History of Chinese Costume,Shanghai:Donghua University Press,2010.]
(1)根据姜伯勤原文及麻国钧所引,其“戴粟特式胡王冠”者即此图中戴蝴蝶冠者。
(1)广德军,南宋属江南东路,今属安徽省宣城市,位于安徽省东南端,皖、苏、浙三省结合部。
(2)绢本设色,纵67.4厘米,横59.2厘米,北京故宫博物院藏。下图未标出处者来源皆同此处。
(1)孙景琛等认作梅花有误。
(2)吴津津文依孙景琛人物编号,分别作5号与2号人物。
(3)3号人物帽右侧插戴兰草(佩兰)类枝叶。5号人物帽右侧绘兰草(佩兰)类纹样,帽前额正中有马兰花纹样,头巾垂脚边有马兰花连续纹样。7号人物右侧腰挂汗巾有马兰团花连续纹样。9号人物青绿半臂肩背有马兰花枝叶满地纹样,袍服前补子下有黑地马兰花枝叶满地纹样。11号人物袍服前补子上有马兰花枝叶满地纹样。2号人物帽右侧插戴无名花草,因为他与3号人物属击鼓组合,很可能也是兰草(佩兰)类的枝叶。
(1)赵秀琴所设计之罗义群《苗族文化与屈赋》(中央民族大学出版社1997年版)一书封面图案。
(1)参见王文章主编《清升平署戏装扮像谱》,(北京)学苑出版社2008年版。
(2)田荣军《陕西社火脸谱》,(西安)陕西师范大学出版总社有限公司2014年版,第165页。
(3)同上,第240页。