【摘要】：惠山彩塑是中國民間藝苑中一種地域特色顯著、風(fēng)格手法獨(dú)特、鄉(xiāng)土氣息濃郁的傳統(tǒng)民間工藝品。手捏戲文是惠山彩塑的一大類，內(nèi)容多以戲曲人物為主，因此而得名。其風(fēng)格寫實中不失夸張、細(xì)膩中常見率性，被公認(rèn)為“惠山彩塑中最精華的部分”。手捏戲文服飾色彩是民間服飾色彩的可靠記錄者，反映了民間文化的時代性和地域性影響下的獨(dú)具特色的審美觀。 首先，分別對三個不同時間段——清末、近代、現(xiàn)代的手捏戲文服飾色彩進(jìn)行統(tǒng)計整理，總結(jié)分析了各個時期內(nèi)手捏戲文服飾色彩的表現(xiàn)特征,研究發(fā)現(xiàn)其經(jīng)歷了一個由相對單一素雅到多姿多彩百花齊放的發(fā)展過程。本文進(jìn)而歸結(jié)出了造成不同時代色彩差異的原因。 其次，從色彩元素、色彩結(jié)構(gòu)、色彩功能三個方面深入剖析了手捏戲文服飾色彩的符號化特征。在民俗文化共識的背景下，，色彩元素與特定涵義的固定關(guān)聯(lián)，構(gòu)成了色彩元素的符號化特征。色彩元素之間的有機(jī)結(jié)構(gòu)關(guān)系，使其作為媒介關(guān)聯(lián)物的符號化涵義得到進(jìn)一步的引申。在此基礎(chǔ)上，手捏戲文服飾色彩通過色彩符號的內(nèi)涵實現(xiàn)了它的重要功能。 最后，手捏戲文的服飾色彩審美觀在其流變歷史中既有經(jīng)承的一面又有權(quán)變的一面。本文將其概括為“經(jīng)”與“權(quán)”，并從這兩方面分別加以論述�！敖�(jīng)”是引導(dǎo)并推動手捏戲文服飾色彩審美觀發(fā)展的主導(dǎo)，而“權(quán)”是體現(xiàn)其本質(zhì)一面的主流。審美觀本身又是由社會化審美觀和個性化審美觀組成的二級系統(tǒng)。一件手捏戲文作品普遍整合著兩個不同的語義層面，是歷史的符號形式與現(xiàn)實的符號形式的統(tǒng)一。 通過本次研究，將進(jìn)一步明晰不同歷史時期手捏戲文服飾的色彩特征，更加深入地把握其發(fā)展規(guī)律及審美形態(tài)特征。對于我們挖掘和弘揚(yáng)傳統(tǒng)服飾色彩文化有著積極意義，亦有利于我們在現(xiàn)代色彩設(shè)計中繼承和吸收傳統(tǒng)用色精華，指導(dǎo)今天的色彩創(chuàng)新。
[Abstract]:Huishan color sculpture is a kind of traditional folk arts and crafts with distinctive regional characteristics, unique style and technique, rich local flavor in Chinese folk art garden. Hand-pinching opera is a large class of Huishan color sculpture, the content is mainly opera characters, and hence the name. Its style of realism without loss of exaggeration, delicate in the common, is recognized as "Huishan color sculpture in the most elite part of the part." Hand-pinching costume color is a reliable recorder of folk dress color, which reflects the unique aesthetics under the influence of the times and regions of folk culture. First of all, three different periods of time-the late Qing Dynasty, modern times, modern hand-pinch drama clothing color statistical collation, summarized and analyzed the performance characteristics of each period of hand-pinch drama clothing color, in the end of the Qing Dynasty, modern times, the performance characteristics of the costume color of hand-pinched opera text, The study found that it experienced a development process from relatively simple and elegant to colorful blooming. This paper further summed up the causes of color differences in different times. Secondly, from the three aspects of color elements, color structure and color function, this paper deeply analyzes the symbolic characteristics of costume color. Under the background of common understanding of folk culture, the fixed association between color elements and specific meanings constitutes the symbolic characteristics of color elements. The symbolic meaning of color elements as media associations is further extended because of the organic structure relationship between color elements. On this basis, hand-pinching costume color through the connotation of color symbols to achieve its important function. Finally, the aesthetic sense of dress color in its changing history has both the inheriting side and the right side. In this paper, they are summarized as Sutra and right, and discussed from these two aspects. "Jing" is the leading direction to guide and promote the development of the aesthetic sense of color of costume, and "power" is the mainstream which embodies its essential side. Aesthetics itself is a two-level system composed of social aesthetics and individual aesthetics. There are two different semantic levels in a hand-held play, which is the unity of the symbol form of history and the symbol form of reality. Through this study, it will further clarify the color characteristics of the costumes in different historical periods, and further grasp its development law and aesthetic features. It is of positive significance for us to excavate and carry forward the color culture of traditional dress, and it is also helpful for us to inherit and absorb the essence of traditional color in modern color design, and to guide today's color innovation.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J523.5

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