科尔沁蒙古族女性敖吉的装饰特征研究

Study on the decorative features of Horqin females’ Aoji

科尔沁蒙古族女性敖吉多以黑色绸缎面料制作,缘边以库锦、织锦装饰,敖吉上以花卉为主的刺绣图案具有较强的识别性与代表性,与其他蒙古族部族的服饰风格形成鲜明对比。文章以实物样本为基础,从款式结构、色彩特征、装饰形式、图案寓意等方面对科尔沁女性敖吉的装饰特征进行解读。研究表明:科尔沁蒙古族女性敖吉以中华传统服饰“十”字形结构为缘,形成了以“十”字形中心为视角的局部装饰特征。“点”“线”“面”的图案构成形式,以一种看似“无秩序”构图分布,呈现“空”与“满”“虚”与“实”“繁”与“简”的强烈对比。以花卉为主的装饰图案虽受绣面布幅空间局限,但绣面内“满”绣的刺绣形式构成了主次分明、和谐有序的图案布局,凸显当地人以“满”为美、以“多”为贵的审美喜好,映射出科尔沁蒙古族女性敖吉在装饰形式上展现的独特灵动之美与感性之美。

Horqin Grassland is located in Tongliao city in the northeast of Inner Mongolia,and was once divided into six banners of Horqin left and right(front,middle and back).In Mongolian,Horqin is pronounced “Khorchins”,meaning “the archer”.“Aoji” means the long waistcoat or shoulder-length long coat.“Aoji” of Mongolian women in Horqin is made of black satin fabric and decorated with kujin and brocade at the edges.The embroidery patterns mainly based on flowers on Aoji are highly identifiable and representative,and are in sharp contrast with the clothing styles of other Mongolian tribes.This paper used the ethnological field investigation method to interpret the decorative features of female Aoji in Horqin from the aspects of style structure,color features,decorative forms and pattern meanings,based on the physical samples obtained through the field investigation and related literature.Three important conclusions are drawn from the research.First,Horqin Mongolian females' Aoji is based on the cross-shaped structure of traditional Chinese clothing,forming a local decorative feature with the cross-shaped center as the angle of view.The pattern composition form of “dot”,“line” and “face” presents a strong contrast of “emptiness” and “fullness”,“virtuality” and “reality”,as well as “complexness” and “simpleness” in a seemingly “no order” composition distribution.Second,although the decorative patterns dominated by flowers are limited by the embroidery space,the embroidery form of “full” embroidery in the embroidery surface constitutes a clear,harmonious and orderly pattern layout,highlighting the local people's aesthetic preferences of “fullness” as beauty and “abundance” as value,and reflecting the unique intelligent beauty and perceptual beauty displayed by Horqin Mongolian females' Aoji in the decorative form.Third,the embroidery patterns dominated by flowers in Horqin Mongolian females' Aoji mainly originated from nature.Such flower decoration is not only a local description of the natural landscape,but also contains their worship of nature and love and longing for a better life,reflecting the local Mongolian's love and recognition of the grassland culture and ethnic memory.In this decorative form dominated by flowers,a decorative form with “fullness” as beauty is formed,and the overall sense of balance and stability of Aoji is set off by the decorative way of “filling” the part,so as to constitute the aesthetic similarity psychology of “fullness” as beauty and “abundance” as value in the decorative structure of Horqin Mongolian females' Aoji.Through the research,it is found that the current academic studies on the Mongolian costumes in Horqin mainly focus on several aspects,such as embroidery craft,pattern implication,inheritance and development.Such studies provide a solid foundation for the protection of the Mongolian costume culture in Horqin,but they fail to dig deeply into the inner meaning and cultural value of the costumes from a macro perspective.Therefore,through in-depth collection,sorting and analysis of the overall characteristics of Horqin Mongolian costumes,based on previous studies,this paper focused on Aoji worn by local women,and tried to explain the artistic implications and cultural values behind it from the perspectives of style structure,color features,decorative forms and aesthetic features.At the same time,according to the shape characteristics of Aogi,the paper analyzed the decorative organization characteristics of Aogi from the angle of the front part.Aiming at the floral pattern composition of Aogi,this paper interpreted the perceptual beauty conveyed in its aesthetic implication.This unique decorative form,which “takes the image from nature” and focuses on flower embroidery,is not only the life practice formed in the cultural exchanges between Horqin Mongolian people and other nationalities,but also the true portrayal of nature and beautiful life and reflects the unique aesthetic and wisdom of Horqin Mongolian people.In addition,it is found through the field investigation that although the decorative form of Aoji dominated by flowers is limited by the embroidery space,in the limited embroidery space,it seems that flowers,leaves and branches are piled up “randomly”,but in fact,they are reasonably distributed through the winding combination of flowers,leaves and branches.This “free” combination form makes the local decorative embroidery patterns more diverse,so that the whole and the local Aoji show full,unified and orderly pattern matching characteristics.