摘要
文小生一行在川剧行当中占据非常重要的地位,在其人物塑造的过程中,不论是面部化妆、服饰穿戴,还是功法技艺,都透露出程式化、可舞性以及装饰性特征。尝试从川剧文小生传统服饰的款式、材质以及装饰等方面入手,分析其与“可舞性”之间的关系,并在此基础上从点、线、面三个角度出发,探讨川剧文小生传统服饰“可舞性”中蕴藏的形式美特征。
Wen Xiaosheng occupy a very important position in the Sichuan opera industry.In the process of character shaping,whether it is facial makeup,dress,or skills,they all reveal the characteristics of stylized,dancable and decorative.Tries to analyze the relationship between the style,material and decoration of traditional costumes of Sichuan Opera Wen Xiaosheng and the"danceability".On this basis,it discusses the formal beauty features contained in the"danceability"of traditional costumes of Sichuan Opera Wen Xiaosheng from the perspectives of point,line and surface.
作者
廖若杉
董怡
LIAO Ruoshan;DONG Yi(Southwest University,Chongqing 400715,China)
出处
《西部皮革》
2023年第6期146-148,共3页
West Leather
关键词
川剧
文小生传统服饰
可舞性
形式美
Sichuan Opera
Wen Xiaosheng's traditional costume
dancability
formal beauty