郭昭吟。〈晚清戲曲團花圖案的使用與特殊性〉。《民俗曲藝》216 (2022.6): 109-39。
Kuo Chao-yin. “Application and Uniqueness: Embroidered Roundels with Theatrical Figures in Late Qing Garments.” Journal of Chinese Ritual, Theatre and Folklore 216 (2022.6): 109-39.
Abstract
本文從中華服飾文化中心的晚清藏品「藍緞地人物團花刺繡大襟褂」出發，透過藏品實物分析法，釐清大襟褂上十個團花圖案的構圖表現方式與戲曲故事題材，大襟褂使用了《牡丹亭》〈驚夢〉、《珍珠塔》〈贈塔〉和《連環計》〈擲戟〉等多個男女愛情故事的散齣，並透過組合、排列這些不同的戲曲散齣，創造了一個屬於使用者自己的故事，講述了女性從自由戀愛到結婚生子、孝順公婆的內容。
接着以「藍緞地人物團花刺繡大襟褂」的團花題材為基礎，探討這些戲曲題材在清代刊本插圖、瓷器和年畫上的圖案表現方式與功能性，透過互文性的分析來理解這些媒材之間的關係與異同，以及流行戲曲文化對於這些不同媒材上的圖案表現所造成影響與重要性，並凸顯晚清戲曲團花如何作為一個可重組的借代性圖案元素，在女性服裝上乘載文化價值和情感的特殊性。
The purpose of this
article is to analyze a piece of garment, “Blue Satin Jacket with Embroidered
Roundels of Theatrical Figures,” held in the collection of Chinese Textiles and
Clothing Culture Center. I first describe the pictorial composition of the
roundels, then demonstrate how each of the ten roundels on the garment depicts
a theatrical scene.
The jacket features the
following scenes “A Surprising Dream” from The Peony Pavilion, “Endowing the Tower” from The Pearl Tower, “Tossing a Spear” from Series of Stratagems, and other highlights from love
stories in Chinese opera. Through the arrangement and combination of different
scenes from Chinese opera, the wearer created a unique narrative that details
the story of a woman falling in love of her own free will, marrying and having
children, and taking care of her parents-in-law.
I use the narrative
roundels on the jacket as a basis to discuss how these Chinese opera figures
are applied and depicted in Qing illustrations, ceramics, and New Year
woodblock prints. Intertextual analysis is used to demonstrate the similarities
and differences between various types of media, as well as how the popular
opera culture has impacted the presentation of such figures on different visual
mediums. This will highlight how these late Qing Chinese opera roundels are
used as modular semiotic elements and how uniquely they convey cultural and
emotional values in women’s dresses.