基于结构符号学共时分析理论的湘西苗族服饰刺绣纹样阐释

The Explain of Embroidery Patterns of Miao People's Clothing in Western Hunan Based on the Synchronic Analysis Theory of Structural Semiotics

湘西苗族服饰纹样有着美形吉意的美学特征,沉淀历史文化的厚重与民族智慧的光芒。透过纹样的视觉形式寻求其后隐藏的设计思维与设计方法的艺术规律。以罗兰·巴尔特(Roland Barthes,1915-1980)结构符号学方法的共时性分析为切入点,将湘西苗族服饰纹样看作一个整体的符号系统,对其进行纹样题材、符号能指、符号所指、符号约定、符号类型、创作思维的图表形式的解构、分析、归纳。解析得出纹样题材以蝴蝶纹、花蝶纹、双凤牡丹纹最为普遍,具有生活化、地域化、民族化的特征。纹样符号所指主要集中于祖先崇拜、生命崇拜、坚贞爱情、吉祥富贵主题,具有吉祥化、图腾化、生殖化、情感化特征。湘西苗服纹样的符号约定包含有文化约定、民俗约定、象征约定、谐音约定类型。纹样常见创作思维有相关联想、相似联想、谐音联想等方式。

The clothing pattern of the miao nationality in western hunan has the aesthetic characteristics of beautiful shape and auspicious meaning, which precipitates the weight of historical culture and the light of national wisdom. Through the visual form of pattern, we seek the art rule of design thinking and design method hidden behind. Starting from the synchronic analysis of Roland Barthes (1915-1980) structural semiotics, The clothing pattern of miao people in western hunan is regarded as a whole symbol system. It deconstructs, analyzes and summarizes the subject matter of patterns, symbol signifier, symbol signified, symbol convention, symbol type and chart form of creative thinking. The analysis shows that the most common patterns are butterfly pattern, flower pattern, double phoenix peony pattern and disc long pattern, which have the characteristics of life, region and nationality. The signified of pattern symbols mainly focus on the themes of ancestor worship, life worship, faithful love and auspicious wealth, with auspicious, totemic, reproductive and emotional characteristics. The symbolic conventions of miao clothing patterns in western hunan include cultural conventions, folk customs conventions, symbolic conventions and homophonic conventions. Patterns of common creative thinking have related association, similar association, homophonic association and other ways.