[1]梁惠娥,张华怡,贾蕾蕾.羌姆面具的审美特征及设计应用[J].服装学报,2022,7(02):165-172.
 LIANG Huie,,et al.Aesthetic Characteristics and Design Application of Vcham Mask[J].Journal of Clothing Research,2022,7(02):165-172.
点击复制

羌姆面具的审美特征及设计应用()
分享到:

《服装学报》[ISSN:2096-1928/CN:32-1864/TS]

卷:
第7卷
期数:
2022年02期
页码:
165-172
栏目:
服装设计与营销
出版日期:
2022-04-30

文章信息/Info

Title:
Aesthetic Characteristics and Design Application of Vcham Mask
作者:
梁惠娥1; 2; 3;  张华怡1; 2;  贾蕾蕾1; 2
1.江南大学 设计学院,江苏 无锡 214122; 2.江南大学 江苏省非物质文化遗产研究基地,江苏 无锡 214122,3.无锡学院 传媒与艺术学院,江苏 无锡 214063
Author(s):
LIANG Hui’e1;  2;  3;  ZHANG Huayi1;  2;  JIA Leilei1;  2
1.School of Design,Jiangnan University,Wuxi 214122,China; 2.Intangible Cultural Heritage Research Base in JiangsuProvince,Jiangnan University,Wuxi 214122,China; 3.College of Media and Art,Wuxi University,Wuxi 214063,China
分类号:
TS 941.2
文献标志码:
A
摘要:
羌姆面具是藏族本土宗教(苯教)与藏传佛教的艺术结晶,也是宗教文化和民族文化相融合而成的文化符号。归纳整理收集到的羌姆面具实物资料,并对其进行分类,同时分析羌姆面具的形成原因及审美特征,最终提炼羌姆面具的造型、色彩等元素应用在服装设计中。研究表明,羌姆面具具有风格写实、造型夸张、色彩分明、图案精致、质地多样化等审美特征。结合现代审美需求,将羌姆面具应用于服装设计中,力求推动民族文化遗产在当代社会的传承与发展。
Abstract:
Vcham mask is the artistic crystallization of Tibetan native religion(Bon religion)and Tibetan Buddhism, and it is also a cultural symbol formed by the integration of religious culture and national culture. This paper summarized and sorted out the collected physical data of vcham masks, classified the vcham masks, analyzed the formation reasons and aesthetic characteristics of the vcham masks, and finally refined the shape, color and other elements of the vcham masks and applied them in costume design. The study shows that the vcham masks have aesthetic characteristics such as realistic style, exaggerated shapes, distinct colors, exquisite patterns and diverse textures. Combined with modern aesthetic needs, vcham masks are applied in costume design, and strive to promote the inheritance and development of national cultural heritage in contemporary society.

参考文献/References:

[1] 郭净.心灵的面具:藏密仪式表演的实地考察[M].上海:上海三联书店,1998.
[2] 张鹰.面具艺术[M].重庆:重庆出版社,2001.
[3] 叶星生.西藏面具艺术[M].重庆:重庆出版社,1990.
[4] 杨嘉铭.藏族面具与寺庙“羌姆”[J].西南民族大学学报(人文社科版),2006,27(10):16-22.
YANG Jiaming. Tibetan mask and temple "qiangmu" [J]. Journal of Southwest University for Nationalities(Humanities and Social Science Edition),2006,27(10):16-22.(in Chinese)
[5] 达哇卓玛. 拉卜楞寺“羌姆”研究[D].兰州:西北民族大学,2015.
[6] 银措. 藏传佛教宁玛派“羌姆”研究——以化隆县支哈加寺为例[D].成都:西南民族大学,2020.
[7] 周晓晗.“羌姆”作为宗教仪式的社会角色和传播功能[D].上海:上海交通大学,2014.
[8] 周万茹.羌姆的佛教观念与审美研究[D].成都:四川省社会科学院,2019.
[9] 豆海红.白马藏族傩面具与羌姆面具比较研究[J].佳木斯大学社会科学学报,2017,35(6):158-161.
DOU Haihong. Comparative study of baima Tibetan nuo mask and qiangmu mask[J]. Journal of Social Sciences of Jiamusi University,2017,35(6):158-161.(in Chinese)
[10] 益西群珍.中国西藏“羌姆”和日本“能乐”之面具的比较[J].北方文学,2017(27):166.
YI Xiqunzhen.A comparison of Tibetan qiangmu masks and Japanese nogaku masks [J]. Northern Literature,2017(27):166.(in Chinese)
[11] 康·格桑益希.藏传佛教寺院“羌姆”神舞面具艺术探秘[J].宗教学研究,2005(1):71-77.
KANG Gesang Yixi. Probe into the art of "qiangmu" god dance mask in Tibetan buddhist temple[J]. Religious Studies,2005(1):71-77.(in Chinese)
[12] 顾朴光.中国面具史[M].贵州:贵州民族出版社,1996.
[13] 黄可筠.西藏羌姆面具艺术的装饰美探析[D].福州:福建师范大学,2016.
[14] 纵瑞彬.藏族装饰纹样的历史文化考察[J].西藏艺术研究,2000(1):50-57.
ZONG Ruibin. Historical and cultural investigation of Tibetan decorative patterns[J]. Tibetan Art Research,2000(1):50-57.(in Chinese)
[15] 叶玉林.假面也宜巧装饰——西藏艺术面具美漫议[J].西藏艺术研究,2002(4):53- 64.
YE Yulin. Masks should be skillfully decorated—on the beauty of masks in Tibetan art[J]. Tibetan Art Studies,2002(4):53- 64.(in Chinese)
[16] 杨嘉铭,杨环.藏戏及其面具新探[J].西南民族大学学报(人文社科版),2008,29(4):8-12.
YANG Jiaming, YANG Huan. New exploration of Tibetan opera and its masks[J]. Journal of Southwest University for Nationalities(Humanities and Social Sciences Edition),2008,29(4):8-12.(in Chinese)
[17] 王抗生.民间面具 [M].北京:中国轻工业出版社,2008.
[18] 吴玥.地域差异下传统服饰中童子纹的比较研究及应用[D].无锡:江南大学,2020.(责任编辑:张 雪)

更新日期/Last Update: 2022-04-30