基于青春版《牡丹亭》戏服的昆曲戏衣“世俗化”解析

An analysis of the secularization of Kunqu Opera clothes based on the youth version of Peony Pavilion

[研究意义]昆曲戏衣的形成与发展植根于明代社会文化,其反映了明代“以服辨人”的等级化。因此,研究昆曲戏衣的“世俗化”特征,可溯源昆曲戏衣本质,拓展明代服饰研究的方向与范畴。[研究方法]文章以青春版《牡丹亭》为研究切入点,通过文献研究法对昆曲戏衣的相关史料记载进行梳理与分析,并结合服装心理学研究视角,对昆曲戏衣的“世俗化”特征进行细化论述。[研究结果和结论]研究认为:在明代封建礼教式社会背景以及民间生活特征的融合影响下,昆曲戏衣呈现出了多元的社会文化符号。戏服基于不同角色的差异化设定,折射出明代社会通过服饰划分群体社会定位的作用;同时,戏服设计的严格要求,也是对明代封建社会伦理关系、信仰、礼教等方面的呈现,从服饰的角度还原了明代社会的基本状况。

The formation and development of Kunqu opera costumes are rooted in the social culture of the Ming Dynasty,which reflects the hierarchical representation of"identifying people with clothes"in the Ming Dynasty.Therefore,the study of the"secularization"characteristics of Kunqu opera costumes can trace back to the essence of Kunqu opera costumes and ex-pand the direction and scope of dress research in the Ming Dynasty.Taking the youth version of Peony Pavilion as the starting point,this paper combs and analyses the relevant historical records of Kunqu opera costumes through literature research,and elaborates the"secularization"characteristics of Kunqu opera costumes from the perspective of clothing psychology.Under the influence of the integration of feudal ethical social background and the characteristics of folk life in Ming Dynasty,Kunqu opera costumes presented multiple social and cultural symbols.The costume is based on the different roles,which reflects the role of the Ming Dynasty society in dividing the social orientation of groups through costume.At the same time,the strict re-quirements of costume design also presented the ethical relationship,beliefs,etiquette and other aspects of the feudal society in the Ming Dynasty,restoring the basic situation of the Ming Dynasty society from the perspective of costume.