从符号学角度谈方南苗族服饰中苗龙的文化表达

On the Cultural Expression of Miaolong in Fangnan Hmong Costumes from the Perspective of Semiotics

苗龙作为方南苗族服饰主要的创作题材之一,不仅体现了方南苗族的祖先崇拜和生产生活印记,而且夸张的造型语言、丰富的表达形式和厚重的文化内涵,彰显了方南苗族女性丰富的想象力和创造力,体现了方南苗族女性在苗族社会中的地位,其服饰中的苗龙符号自由和轻松的表达进一步地体现了方南苗族众生平等的社会形态,因此,挖掘龙符号中丰富的文化信息有助于理解方南苗族服饰中图腾信仰、仪式性活动和人与人之间的关系。论文通过与中华主体的龙符号比较,发现两者之间存在着交融交汇的特点,即方南苗族服饰中的龙崇拜既与中华主体的龙崇拜同源,又与龙崇拜存在着差异性。因此,结合符号学相关理论对苗龙进行研究,对于挖掘其背后丰厚的文化内涵和独特的造型语言,剖析龙背后高度的拟人化特点和人与万物的和谐关系具有重要的参考价值。

As one of the main creation themes of Fangnan Hmong costumes, not only reflects the ancestral worship and the stamp of production life, but also reveals the rich imagination and creativity of Fangnan Hmong women and their status in the Fangnan Hmong society through its exaggerated language, rich expression and deep?cultural connotation, the free and relaxed expression ulteriorly embodies the equal social form of the Fangnan Hmong, therefore, exploring the rich cultural information in the dragon symbol helps to understand totem belief, ritual activities and the relationships between people.Through the comparison with the dragon symbols of Chinese main body, it is found that there is a confluence of communication between the two. The dragon symbol in Fangnan Hmong costumes is not only identical to but also different from the dragon symbol of the Chinese main body. Therefore, studying Miao dragon combined with Semiotics has important reference value for excavating the rich cultural connotation and unique modeling language behind it, analyzing the highly anthropomorphic characteristics behind the dragon and the harmonious relationship between man and all things.