本文選題：晉祠圣母殿　切入點：宋代　出處：《太原理工大學(xué)》2017年碩士論文

【摘要】：服飾文化作為一個民族傳統(tǒng)文化體系的重要組成部分之一,他一直在這個體系中占據(jù)其不可動搖的地位。中國歷史數(shù)千年,服飾文化伴隨著中國歷史亦經(jīng)歷了數(shù)千年的發(fā)展,到今天使其擁有了深厚的文化底蘊,成為了具有鮮明中國傳統(tǒng)文化和民族特色的文化符號。近年來,由于國學(xué)的興起,漢服熱也隨之不斷升溫,不管是漢服復(fù)興還是以漢文化為元素的服裝設(shè)計,都受到了國內(nèi)外設(shè)計師的廣泛關(guān)注和追捧。從中國服飾發(fā)展史的角度來看,唐、宋兩個朝代是中國傳統(tǒng)服式服制的規(guī)定和風(fēng)格確立階段,特別是宋朝,盡管當(dāng)時與遼、金兩政權(quán)對峙,但未像魏晉那樣發(fā)生民族大遷徙,所以宋代的確是保留了比較多的漢文化傳統(tǒng)包括服飾傳統(tǒng)風(fēng)格,而且歸納、提煉之后,又有所升華,為明代的服飾文化大一統(tǒng)局面奠定了基礎(chǔ),可以說宋朝服飾是漢文化服飾的典型代表。而晉祠彩塑建于北宋元佑年間,圣母殿經(jīng)歷了歷史的洗禮后仍然大放異彩,尤其是圣母殿中的彩塑人物,承載了宋代工匠們的高超技藝,每一尊彩塑像都有著與真人相接近的人體比例關(guān)系,其衣紋隨身體的擺動而呈現(xiàn)出的轉(zhuǎn)折關(guān)系也被表現(xiàn)的妙不可言,一尊尊彩塑像神色各異,從他們的眼神中我們似乎能夠探聽到他們之間正在發(fā)生的故事。儼然是一個北宋宮廷生活的小縮影。本文在對晉祠圣母殿彩塑人物的實際觀察之上,結(jié)合大量的文獻(xiàn)資料和出土文物以及地上文物進(jìn)行比對,融合北宋政治、經(jīng)濟(jì)、文化、科技等方面會對宋代服飾產(chǎn)生的影響,從晉祠圣母殿宋代彩塑服飾入手,分析其服裝款式、色彩搭配等來探析宋代宮廷對服飾制度的規(guī)定和偏好,并從其所表達(dá)的服飾文化來分析彩塑人物之間的關(guān)系,還原一個有血有肉的宮廷生活場景。本文在研究時利用服裝設(shè)計者的專業(yè)實踐能力,做出了每一尊彩塑像的服裝展示平面圖,相信為現(xiàn)代服飾的設(shè)計和應(yīng)用都能夠提供了一個豐富的研究依據(jù)。幫助設(shè)計者在以漢服為靈感來源的作品中能做出真正具有中國漢儒文化韻味的設(shè)計;也為宋服還原設(shè)計提供一個可靠的參照。最后為晉祠彩塑人物的服飾文化傳承提出方案,包括影響傳承的因素以及傳承的方面還有傳承的具體方法。另外本文在研究時發(fā)現(xiàn),晉祠彩塑群像隨著年代的變遷,不斷出現(xiàn)褪色、風(fēng)化等文物損毀的現(xiàn)象,作者感受到了那份珍貴的地上遺產(chǎn)正在與我們漸行漸遠(yuǎn),特在此提出晉祠圣母殿的彩塑人物群像不僅是雕塑史上的瑰寶,更是服飾史上不可忽視的一筆巨大的財富,應(yīng)加強對彩塑人物的保護(hù),盡量使其損毀程度不至于愈發(fā)嚴(yán)重,為日后其他學(xué)者對晉祠彩塑人物群像進(jìn)行更深入的研究提供更有價值的依據(jù)。
[Abstract]:As an important part of a national traditional culture system, costume culture has always occupied an unshakeable position in this system.With thousands of years of Chinese history, dress culture has experienced thousands of years of development with Chinese history, so that today it has a profound cultural heritage, has become a distinctive Chinese traditional culture and national characteristics of the cultural symbol.In recent years, due to the rise of traditional Chinese culture, the popularity of Han clothing has also been heated. Both the revival of Han clothing and the clothing design with the elements of Chinese culture have been widely concerned and sought after by designers at home and abroad.From the perspective of the history of Chinese dress development, the Tang and Song dynasties were the stage of the establishment of the regulations and styles of Chinese traditional clothing system, especially the Song Dynasty. Although the two regimes of Liao and Jin were confronted at that time, there was no great migration of nationalities like the Wei and Jin dynasties.Therefore, the Song Dynasty did retain more Han cultural traditions, including the traditional style of dress, and after induction and refinement, it was sublimated, which laid the foundation for the unification of the dress culture of the Ming Dynasty.It can be said that the Song Dynasty dress is a typical representative of Han culture dress.The Jinci color sculpture was built in the years of North Song Yuan you. After the baptism of history, the Hall of the Virgin was still brilliant, especially the colorful figures in the Temple of the Virgin, which carried the superb skills of the craftsmen of the Song Dynasty.Each color statue has a human body proportion close to that of a real person, and the turning relationship between the patterns of its clothing and its body is also shown to be marvellous. One color statue looks different.From their eyes we seem to be able to hear the story that is happening between them.It is a miniature of the court life of the Northern Song Dynasty.On the basis of the actual observation of the color sculptures of the Jinci Hall of the Virgin, combined with a large number of documents and cultural relics unearthed as well as above ground cultural relics, this article compares the influence of politics, economy, culture, technology and other aspects of the Northern Song Dynasty on the dress of the Song Dynasty.Starting with the dress of the Song Dynasty color sculptures in Jinci Temple, this paper analyzes the style and collocation of the dress, and analyzes the rules and preferences of the dress system of the court of the Song Dynasty, and analyzes the relationship between the characters of the color sculpture from the dress culture it expresses.Restore a living court life scene.This paper makes use of the professional practical ability of the clothing designer to make the clothing display plan of each color statue, which is believed to provide a rich research basis for the design and application of modern clothing.To help designers in the works inspired by Han clothing can make a real Chinese Confucian culture flavor of the design, but also for the Song Dynasty to restore the design to provide a reliable reference.In the end, it puts forward the scheme for the cultural heritage of Jinci color sculpture figures, including the factors that affect the inheritance and the specific methods of inheritance.In addition, in the course of this study, we found that with the change of time, the colored statues of Jinci continued to appear the phenomenon of fading, weathering and other cultural relics, and the author felt that the precious heritage on the ground was moving away from us.It is proposed here that the colorful statues of the Jinci Virgin Hall are not only a treasure in the history of sculpture, but also a great wealth that can not be ignored in the history of clothing. We should strengthen the protection of the painted figures so that the extent of their damage will not become more serious.It provides a more valuable basis for other scholars to further study Jinci color statue groups.
【學(xué)位授予單位】：太原理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：TS941.12

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