近代民间服饰符号元素在现代家用纺织品设计中的应用
摘要
符号学是研究符号的科学,它的研究对象包括符号的本质及其变化发展的规律和符号所代表的各种意义,不同符号之间和人类行为之间的关系。以符号学的观点来看,一切有意义的物质形式都可以称之为符号。服饰作为一种能够反映社会文化发展状况的物质形式,它的式样变化、材质运用以及色彩搭配、纹样选择等方面能够记录特定历史时期的生产力状况和科技水平,同时也能够反映人们的审美观念和生活情趣。
汉族民间服饰是一个独立的服饰体系,它在历史的传承和发展中形成了自己的文化背景和风貌。从时间上来看,服饰史的近代时间界定为清末民国时期。这个时期中,大城市的服饰受西方影响较大,而在乡村里,由于地理环境等诸多因素的限制,西方的服饰文化并没有如在大城市那般盛行,因此乡村之中的服饰多为中国传统服饰的沿袭。本文中所提到的近代民间服饰比较倾向于这个时期中的中国乡村服饰。用符号学的理论对服饰的意义要素,即服饰的形制、色彩、材质、服饰图案和工艺这五个方面进行分析,提炼出相应的形制符号,色彩符号,材质符号,服饰图案符号以及工艺符号。
我国的家用纺织品行业既是一个传统行业,同时又是一个新兴行业,发展空间极为广阔。本篇文章中在对叠石桥国际家纺城的设计现状进行分析后,发现将中国元素应用于家纺设计具有一定的现实意义,能够让现代家纺设计更具文化内涵。中国近代民间服饰符号元素属于中国元素,它能够带给现代家纺设计无尽的创作灵感。通过总结,将近代民间服饰符号元素应用于现代家纺设计中主要有两种方式:直接应用和间接应用。同时可以通过借助打散重组、切割错位、减法法则、加法法则、中西融合等现代设计方法将近代民间服饰符号元素更为灵活地应用到现代家纺设计中去。
Semiotics is a science that used to study the symbols, the study object of semiotics including the nature and changing rules, various significance of symbols, the relationship between different symbols and the people’s behavior .From the perspective of semiotics, all meaningful things can be called symbols. The garment ,as a reflection of the social culture, its style changing, material using, color matching , pattern choosing and so on could record the particular period of productivity and technology level and reflect people’s aesthetic ideas and life interest.
The folk costume in Han nationality is an independent dress system, it has formed its own cultural background and style during historical inheritance and development. From the perspective of time, the neoteric history of garment defines as later Qing Dynasty and the republic of China. In this period, the dress in big cities received a great influence from western countries, in the countryside, due to various limitation of geographical environment and so on, the western dress culture was not as popular as big cities, so most dress in countryside were inheritance form traditional garment. In this article, the concept of neoteric folk costume tends to garment form countryside. Take an analysis with the theory of semiotics on the meaningful elements of costume, including five parts: shapes, color, texture, apparel pattern and craft and refining the shape symbols, color symbols, material symbols, apparel pattern symbols and craft symbols.
The Home Textile in our country is a traditional and new industry; it has a wide developing space. In this article, after analyzing the present situation in home textile design of Folding Stone Bridge and realizes that there is a certain practical significance about using Chinese elements in home textile design; it will make the modern home textile with more cultural connotation. The neoteric folk costume symbols belong to the Chinese elements, it will take to the modern home textile with endless creative inspiration. After summarizing, there are two ways that uses neoteric folk costume symbols into home textile design, that is, direct application and indirect application. At the same time, we could get help from the modern design methods of Scattering and Restructuring, Cutting and Dislocation, Subtraction, Addition and Combination of Chinese and Western, and apply the neoteric folk costume symbols into modern home textile design more flexibly.
汉族民间服饰是一个独立的服饰体系,它在历史的传承和发展中形成了自己的文化背景和风貌。从时间上来看,服饰史的近代时间界定为清末民国时期。这个时期中,大城市的服饰受西方影响较大,而在乡村里,由于地理环境等诸多因素的限制,西方的服饰文化并没有如在大城市那般盛行,因此乡村之中的服饰多为中国传统服饰的沿袭。本文中所提到的近代民间服饰比较倾向于这个时期中的中国乡村服饰。用符号学的理论对服饰的意义要素,即服饰的形制、色彩、材质、服饰图案和工艺这五个方面进行分析,提炼出相应的形制符号,色彩符号,材质符号,服饰图案符号以及工艺符号。
我国的家用纺织品行业既是一个传统行业,同时又是一个新兴行业,发展空间极为广阔。本篇文章中在对叠石桥国际家纺城的设计现状进行分析后,发现将中国元素应用于家纺设计具有一定的现实意义,能够让现代家纺设计更具文化内涵。中国近代民间服饰符号元素属于中国元素,它能够带给现代家纺设计无尽的创作灵感。通过总结,将近代民间服饰符号元素应用于现代家纺设计中主要有两种方式:直接应用和间接应用。同时可以通过借助打散重组、切割错位、减法法则、加法法则、中西融合等现代设计方法将近代民间服饰符号元素更为灵活地应用到现代家纺设计中去。
Semiotics is a science that used to study the symbols, the study object of semiotics including the nature and changing rules, various significance of symbols, the relationship between different symbols and the people’s behavior .From the perspective of semiotics, all meaningful things can be called symbols. The garment ,as a reflection of the social culture, its style changing, material using, color matching , pattern choosing and so on could record the particular period of productivity and technology level and reflect people’s aesthetic ideas and life interest.
The folk costume in Han nationality is an independent dress system, it has formed its own cultural background and style during historical inheritance and development. From the perspective of time, the neoteric history of garment defines as later Qing Dynasty and the republic of China. In this period, the dress in big cities received a great influence from western countries, in the countryside, due to various limitation of geographical environment and so on, the western dress culture was not as popular as big cities, so most dress in countryside were inheritance form traditional garment. In this article, the concept of neoteric folk costume tends to garment form countryside. Take an analysis with the theory of semiotics on the meaningful elements of costume, including five parts: shapes, color, texture, apparel pattern and craft and refining the shape symbols, color symbols, material symbols, apparel pattern symbols and craft symbols.
The Home Textile in our country is a traditional and new industry; it has a wide developing space. In this article, after analyzing the present situation in home textile design of Folding Stone Bridge and realizes that there is a certain practical significance about using Chinese elements in home textile design; it will make the modern home textile with more cultural connotation. The neoteric folk costume symbols belong to the Chinese elements, it will take to the modern home textile with endless creative inspiration. After summarizing, there are two ways that uses neoteric folk costume symbols into home textile design, that is, direct application and indirect application. At the same time, we could get help from the modern design methods of Scattering and Restructuring, Cutting and Dislocation, Subtraction, Addition and Combination of Chinese and Western, and apply the neoteric folk costume symbols into modern home textile design more flexibly.
引文
1.吴敬.基于南通家纺业的“艺术染整”家纺设计研究[D].无锡:江南大学,2008:1.
2.邓伍英.现代家纺设计的特征分析与发展[J].家具与室内装饰,2008(1):70-74.
3.何伟,陆卫林.南通叠石桥国际家纺城发展制约因素及对策[J].江苏商论,2008(2):32-33.
4.索绪尔著,高名凯译.普通语言学教程[M].北京:商务印书馆社,1980:100-107.
5.翟丽霞,张彩霞.皮尔斯的语言符号意指观[J].外语学刊,2006(5):29-31.
6.恩斯特·卡西尔著,甘阳译.人论[M].上海:上海译文出版社,1985:35.
7.苏珊·朗格著,滕守尧,朱疆源译.艺术问题[M].湖南:中国社会科学出版社,1983:7.
8. Raymond Scupin : Culture Anthropology: A Global Perspective, Englewood Cliffs, New Jersey, Prentice-Hall, 1992:46.
9.陈炎.陈炎自选集——关于文明与文化的概念及相互关系.桂林:广西师范大学出版社,2002:4-13.
10.马斯洛著,成明编译.马斯洛人本哲学[M].北京:九州出版社,2003:50-51.
11.叶朗.艺术的意蕴[M].北京:中国人民大学出版社,1999: 45.
12.徐恒醇.设计符号学[M].北京:清华大学出版社,2008:77.
13.苏珊·朗格著,刘大基译.情感与形式[M].北京:中国社会科学出版社,1986:51.
14.崔荣荣,张竞琼.近代汉族民间服饰全集[M].北京:中国轻工业出版社,2009:26.
15.(东汉)许慎,汤可敬.说文解字[M].长沙:岳麓书社,1997:1129.
16.周秉高.楚辞服饰考(三)[N].光明日报,2008-12-26(10).
17.董晓荣.蒙元时期蒙古族衣着左右衽与右尊卑左习俗[J].兰州学刊,2010(3):1-3.
18.海军.视觉的诗学——平面设计的符号学向度[M].重庆:重庆大学出版社,2007:8.
19.许嘉璐.说“正色”——〈说文〉颜色词考察[J].中国典籍与文化,1995(3):9-16.
20.叶大兵.论象征在民俗中的表现及其意义[J].民俗研究,1994(3):3-12.
21.崔荣荣,魏娜.近代齐鲁地域民间服饰色彩解析[J].东华大学学报(社会科学版),2007(7):42-44.
22.崔荣荣.服饰仿生设计艺术[M].上海:东华大学出版社,2005:64.
23.伊尔,赵荣璋.色彩与民族审美习惯[J].民俗研究,1990(4):34.
24.约翰内斯·伊顿著,杜定宇译[M].上海:上海人民美术出版社,1985:103.
25.张辛可,服装材料学[M].河北美术出版社,2005:54.
26.包铭新,中国传统染织纹样及其对日本染织纹样的影响[M].中国纺织大学学报,1972:18(3):31.
27.缪良玉.中国衣经[M].上海:上海文化出版社,2000:360-393.
28.张竞琼,钟铉.江南水乡妇女服饰的镶拼功能与渊源[J].纺织学报,2007,28(8):87-90.
29.张竞琼,张宇霞,徐建飞.立足于“美用一体化”的甪直水乡妇女民俗服饰[J].纺织学报,2002,23(6):86-88.
30.宋倩.苏南水乡妇女服饰的装饰工艺研究[D].无锡,江南大学,2009.
31.沈婷婷.家用纺织品造型与结构设计[M].上海:中国纺织出版社,2004:1-7.
32.侯东昱,马芳.床品设计与制作[M].北京:中国纺织出版社,2007:9.
33.张伟.民间吉祥图案在现代家纺设计中的创新应用[J].丝绸,2009(12):10-13.
34.寻胜兰.新民族图形[M].北京:中国建筑工业出版社,2003:70.
2.邓伍英.现代家纺设计的特征分析与发展[J].家具与室内装饰,2008(1):70-74.
3.何伟,陆卫林.南通叠石桥国际家纺城发展制约因素及对策[J].江苏商论,2008(2):32-33.
4.索绪尔著,高名凯译.普通语言学教程[M].北京:商务印书馆社,1980:100-107.
5.翟丽霞,张彩霞.皮尔斯的语言符号意指观[J].外语学刊,2006(5):29-31.
6.恩斯特·卡西尔著,甘阳译.人论[M].上海:上海译文出版社,1985:35.
7.苏珊·朗格著,滕守尧,朱疆源译.艺术问题[M].湖南:中国社会科学出版社,1983:7.
8. Raymond Scupin : Culture Anthropology: A Global Perspective, Englewood Cliffs, New Jersey, Prentice-Hall, 1992:46.
9.陈炎.陈炎自选集——关于文明与文化的概念及相互关系.桂林:广西师范大学出版社,2002:4-13.
10.马斯洛著,成明编译.马斯洛人本哲学[M].北京:九州出版社,2003:50-51.
11.叶朗.艺术的意蕴[M].北京:中国人民大学出版社,1999: 45.
12.徐恒醇.设计符号学[M].北京:清华大学出版社,2008:77.
13.苏珊·朗格著,刘大基译.情感与形式[M].北京:中国社会科学出版社,1986:51.
14.崔荣荣,张竞琼.近代汉族民间服饰全集[M].北京:中国轻工业出版社,2009:26.
15.(东汉)许慎,汤可敬.说文解字[M].长沙:岳麓书社,1997:1129.
16.周秉高.楚辞服饰考(三)[N].光明日报,2008-12-26(10).
17.董晓荣.蒙元时期蒙古族衣着左右衽与右尊卑左习俗[J].兰州学刊,2010(3):1-3.
18.海军.视觉的诗学——平面设计的符号学向度[M].重庆:重庆大学出版社,2007:8.
19.许嘉璐.说“正色”——〈说文〉颜色词考察[J].中国典籍与文化,1995(3):9-16.
20.叶大兵.论象征在民俗中的表现及其意义[J].民俗研究,1994(3):3-12.
21.崔荣荣,魏娜.近代齐鲁地域民间服饰色彩解析[J].东华大学学报(社会科学版),2007(7):42-44.
22.崔荣荣.服饰仿生设计艺术[M].上海:东华大学出版社,2005:64.
23.伊尔,赵荣璋.色彩与民族审美习惯[J].民俗研究,1990(4):34.
24.约翰内斯·伊顿著,杜定宇译[M].上海:上海人民美术出版社,1985:103.
25.张辛可,服装材料学[M].河北美术出版社,2005:54.
26.包铭新,中国传统染织纹样及其对日本染织纹样的影响[M].中国纺织大学学报,1972:18(3):31.
27.缪良玉.中国衣经[M].上海:上海文化出版社,2000:360-393.
28.张竞琼,钟铉.江南水乡妇女服饰的镶拼功能与渊源[J].纺织学报,2007,28(8):87-90.
29.张竞琼,张宇霞,徐建飞.立足于“美用一体化”的甪直水乡妇女民俗服饰[J].纺织学报,2002,23(6):86-88.
30.宋倩.苏南水乡妇女服饰的装饰工艺研究[D].无锡,江南大学,2009.
31.沈婷婷.家用纺织品造型与结构设计[M].上海:中国纺织出版社,2004:1-7.
32.侯东昱,马芳.床品设计与制作[M].北京:中国纺织出版社,2007:9.
33.张伟.民间吉祥图案在现代家纺设计中的创新应用[J].丝绸,2009(12):10-13.
34.寻胜兰.新民族图形[M].北京:中国建筑工业出版社,2003:70.