摘要
[研究意义]“羌姆”作为藏传佛教驱鬼、祈福的一种宗教仪式有着悠久的文化历史,其表演中穿着的袍服形色各异,在对羌姆服饰研究时发现羌姆袍的纹样显现出明显的汉地风格,在羌姆袍各类纹样中龙纹无论是从数量还是纹绣质量最为显著,一方面龙是中华民族的精神象征、文化标志、祥瑞的征兆,其尊贵地位无可比拟,也因其特殊地位从明清开始作为皇室的象征,广泛的应用在皇家用品中,象征地位高低的服饰上对龙的使用数不胜数,另一方面龙纹之于藏地有着不可替代的神圣地位,羌姆袍龙纹蕴藏无限奥秘,极具研究价值。[研究方法]文章以西藏文化博物馆展出的两件夏鲁寺龙纹羌姆袍为研究对象,通过对标本信息采集、绘制及整理,采用“二重考据”法和比较研究法得出,[研究结果与结论]通过对羌姆袍龙纹眉眼、爪等细节的分析得出其在形态上与汉地龙纹同出一脉,汉地龙纹贯彻的是“天人合一”的一元化,因此象征至高皇权的龙纹在置陈中呈现中心龙概念,而藏地信奉“万物皆灵”,龙作为藏地万物神灵之一,在藏地的使用则并未遵循汉地理念,而是以均匀排布的方式承载藏地“万物皆灵”思想和传达藏传佛教宗教仪轨,因此羌姆袍的龙纹并无“中心龙”置陈的形式。这不单是汉地与藏地文化巧妙结合的智慧结晶,更是藏俗汉制、形汉神藏的绝佳诠释,亦是中华民族服饰“一统多元”文化特征的生动物证。
"Vcham"(Qiangmu) has a long cultural history as a religious ceremony of Tibetan Buddhism for exorcising ghosts and praying for blessings. The robes and costumes worn in its performances are of different shapes and colors. During the study of Vcham costumes, it was found that the patterns of Vcham robes show obvious Han style, such as peony pattern, lotus pattern, sea and mountain pattern, etc. among all kinds of patterns of Vcham robes, the dragon pattern is the most prominent in terms of both quantity and embroidery quality. On the one hand, the dragon is the spiritual symbol of the Chinese nation As a cultural symbol and auspicious sign, its noble status is unparalleled, and because of its special status, it has been widely used as a symbol of the royal family since the Ming and Qing Dynasties. There are countless uses of dragons in clothing symbolizing high and low status. On the other hand, the dragon pattern has an irreplaceable sacred status in Tibet. The dragon pattern of Vcham robe contains infinite mysteries and is of great research value. This paper takes the two pieces of Vcham robes with dragon patterns of Shalu Temple displayed in the Tibetan cultural museum as the research object. Through the collection, drawing and collation of specimen information, the "Dual Attention" method and comparative research method are adopted. Through a detailed analysis of the Longwen eyebrows, eyes, trunk, claws and other parts of the Vcham robe, we found that the dragon patterns of Vcham robes are in the same vein as those of the Han Dynasty in terms of morphology. This means that the dragon pattern on the Vcham robe is at least in the same vein as that in the Han Dynasty. This is the same point between the two, which also shows that Tibet hopes to use the dragon pattern of the Han Dynasty as a symbol of supreme power to achieve the purpose of Tibetan nobles to enhance their ruling position and power. The two also present different points, the Han Dynasty dragon patterns implement the unity of pursuing the unity of heaven and man. Therefore, the dragon patterns, which symbolize the supreme imperial power, present the concept of the central dragon in the display, As one of the gods of all things, the use of the dragon in Tibet does not follow the concept of Han, but carries the idea of "all things are spirits" in Tibet and conveys the religious rituals of Tibetan Buddhism in a uniform arrangement. Therefore, the dragon pattern on the Vcham robe does not have the form of "central dragon". The similarities and differences between the Han and Tibetan dragon patterns just illustrate that it is not only the wisdom crystallization of the ingenious combination of Han culture and Tibetan culture, but also the best interpretation of Tibetan customs, Han system and Han shape, Tibetan spirit. It is also the vivid material evidence of the cultural characteristics of the "unity and diversity" of the Chinese national costumes.The innovation of this article is as follows: firstly, there is little research on costumes in the study of Vcham, and most of them only focus on color and style. This paper analyzes Vcham robes in depth from the perspective of pattern. secondly, most of the studies on clothing patterns in the literature mainly interpret the form and connotation of patterns from the perspective of art, this paper analyzes the display rule with patterns by combined the patterns and structures.Because the arrangement of patterns in the Chinese national costume system is also a reflection of the hierarchy.The analysis of Vcham costumes from the dragon pattern described in this paper is only the tip of the iceberg of cultural meaning contained in Vcham costumes. Vcham costumes used in different sects, different Vcham dramas, and different roles in different dramas are not the same. The humanistic thoughts and social culture contained in other forms of Vcham costumes need to be further explored. The integration of Tibetan customs and Chinese wisdom represented by the dragon pattern of the Vcham robe can be said to be a perfect example. Such integration can be used for reference in the design of modern clothing for cultural integration. The wisdom of the ancients benefits people a lot.
作者
周玲
刘瑞璞
ZHOU Ling;LIU Ruipu(School of Fashion Arts and Engineering,Beijing Institute of Fashion Technology,Beijing 100029 China)
出处
《服饰导刊》
2022年第6期108-113,共6页
Fashion Guide
基金
北京服装学院2022年研究生科研创新项目(120301990131)。
关键词
羌姆袍
龙纹
藏俗汉制
夏鲁寺
二重考据
对比法
Vcham robe
dragon pattern
Tibetan custom
Han’s system
Shalu Temple
dual attention
comparative research
