摘要
宋朝是杂剧艺术发展和形成的重要时期,杂剧服饰在此时期也形成了一定的穿戴范式,陕西韩城盘乐村西壁的杂剧壁画是目前考古发现宋时期唯一一个脚色完备、色彩丰富、服饰形制明确的图像材料。基于现有研究以服饰史的角度对其涉入较少,文章旨在从杂剧服饰的穿戴范式与图像程式性出发,通过文献与图像、图像与图像的互证对比,深入分析韩城宋墓杂剧壁画中的人物服饰。研究内容主要包括对杂剧服饰与脚色身份的辨析及其与宋人日常社会风尚和杂剧服饰文化特征的讨论。研究表明,杂剧壁画中脚色服饰的穿戴已形成一定的程式性,脚色身份从右到左依次为装孤、副末、副净、副净、末泥;杂剧服饰中的簪花与围肚均来源于宋人服饰审美风尚。此外,以诨裹为例的杂剧服饰奠定了后世戏曲服饰的滑稽逗乐的审美因子,为人们研究宋代杂剧服饰发展和演变提供新视角。
The Song Dynasty(9601279)was an important historical period in which the art of miscellaneous operas took shape and flourished,and during this period,miscellaneous operas’costumes accordingly built up specific patterns of wear.The mural painting of miscellaneous drama(M218)on the west wall of Panle village in Hancheng,Shaanxi,China is the only archaeological source of the Song Dynasty that has a complete set of characters,rich colors,and clear costume patterns.However,there is a relative lack of in-depth research on this mural from the perspective of costume history.The article takes the costumes of the characters in the mural paintings of miscellaneous dramas in the Song tombs of Hancheng as the core research object,using the method of cross-referencing and comparing literature with imagery,as well as imagery with imagery.This study deeply analyzes the paradigms of costume wearing and the visual stylistic features of costumes in Song miscellaneous dramas.It explores the cultural connotations embedded in the costumes,their association with character identities,and their intrinsic connections to the social trends of the Song Dynasty.Three following conclusions were drawn from the study.Firstly,the costumes of the characters in the mural paintings of Hancheng Song tombs in miscellaneous dramas have a relatively fixed programmatic pattern,and their roles are,from right to left,Zhuanggu,Fumo,Fujing,Fujing and,Moni.The Zhuanggu character resembles the image of Song dynasty officials,featuring hairpin and black turban,and wearing a red round-necked,big-sleeved robe;the Fumo character is wearing round-necked,red,slit robes with comical and amusing costumes and signifying behaviours;and the two Fujing characters are similarly dressed,both in grey and blue,with head masks or special facial make-up to enhance the comical and amusing features;the Moni character wearing a footless turban and a round-necked black narrow-sleeved robe is responsible for hosting the performances in the miscellaneous dramas.Secondly,the costumes of the characters are closely tied to the fashion trends of daily attire.During the Song Dynasty,it was popular for men to wear fitted garments with belts.In murals,most characters are depicted with broad sashes around their waists,which served as aprons.According to historical records and related imagery,these sashes were convenient for holding props,reflecting a unique fashion of miscellaneous operas.In the Song Dynasty,it was fashionable to wear flowers on the head,from the court to the people,and it became fashionable to wear flowers on the head as a result of the influence of the artists of the miscellaneous dramas.Weidu and flowers on the head are both deeply rooted in the aesthetic fashion of the Song Dynasty.Thirdly,the mural paintings of miscellaneous dramas have obvious cultural characteristics of characters’costumes.In terms of clothing colours,Song miscellaneous opera character costumes were influenced by the Tang Dynasty’s seneschal’s theatre,to the Song suit lone costume changes,reflecting changes in the official colour system,and miscellaneous drama artists dress experience from restricted to be accepted process.In terms of the costume factor,the Hunguo evolved from the everyday crown and scarf,with a variety of forms,which is a characteristic costume of the opera,increasing the theatricality of the performance.It also has its origins in the theatre costumes of the later generations.The innovation of this study is that it focuses for the first time on the unique and valuable image resource of the miscellaneous drama murals on the west wall of Panle village in Hancheng,and systematically conducts a special study on the costumes of miscellaneous dramas in the Song Dynasty.By closely integrating and deeply comparing literature and imagery,this study accurately interprets the multifaceted connections between the costumes of miscellaneous operas and the social culture of the Song Dynasty,breaking through the limitations of the previous single research perspective,and providing a brand new perspective and a strong basis for the understanding of the art of miscellaneous dramas as well as the cultural exchanges and dissemination of the Song Dynasty from the micro perspective of the costumes.
作者
任佳欣
张彬
REN Jiaxin;ZHANG Bin(Apparel&Art Design College,Xi’an Polytechnic University,Xi’an 710043,China)
出处
《丝绸》
北大核心
2025年第4期112-121,共10页
Journal of Silk
基金
中国博士后科学基金第17批特别资助项目(2024T170537)
西安工程大学研究生创新基金项目(chx2024010)。
关键词
杂剧壁画
人物服饰
脚色名称
日常服饰
服饰时尚
服饰文化
mural paintings of miscellaneous dramas
character costumes
character names
daily dress
dress fashion
dress culture
