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枕顶绣的文化意蕴及象征符号研究

【作者】李宏复 【导师】祁庆富

【作者基本信息】中央民族大学，民族学，2004年，博士


【摘要 (中文/英文)】 枕头有着悠久的历史，它出现以后成为人们日常生活的卧具之一。考古学资料表明，法国在旧石器时代中期发现有头枕石块的葬式，我国的战国时期开始有枕头的实物出土，先秦文献中早已记载。随着时代的发展和人类文明的进步，枕头的造型越来越多，并因民族、文化、习俗、气候等差异而不同。从质地上看，枕头有丝织、瓷、陶、玉、木、竹、石、铜、银等，银、木枕头在有的民族中多作为殡葬器。在这些质地的枕头中，枕顶花的装饰只有在长方形枕上多见。枕顶花，即枕头两端的图画案。在中国的民间，通常用的枕头是以布缝制成长柱形、六面体，两端多呈正方形，上面刺绣各种图案，即我们所说的“枕顶绣”。每个枕头有两端，所以枕顶绣都是成对的，或者图形相对称，或者内容相对应，代表了民间刺绣工艺精细水平。枕顶的造型艺术，是指枕顶的形状、质地、分类、工艺、色彩和图案艺术。可以说，枕顶绣是枕文化中民俗含量最大、艺术价值最高的组成部分。 枕顶绣属于民间美术刺绣的一个种类，是民族民间文化遗产的重要组成部分，是民族学研究“物像”的主要对象之一，而造型艺术又是附着在枕项的载体上。因此，民族学、人类学的理论与方法是研究枕顶造型艺术的基本依据。另外，民俗学、美术学...考古学、历史学的理论与方法也是研究枕顶造型艺术的主要参照，应用跨学科的综合性研究。特别是依靠民族学的“直接参与观察”方法，在收藏枕顶多年的基础上，又深入到我国东北地区的民间和博物馆对枕顶实物做了细微的调查，亲自领悟了枕顶造型艺术的魅力及蕴涵的文化象征意义。 象征是一种表达方式，是人类有意识地用某种事物或行为表现某种特定意义。这种事物或行为就是象征符号，所表示的意义是文化的内涵。枕顶图案的吉祥纹样，决定了枕顶造型艺术必然具有象征文化。 枕顶造型艺术的主要内容是由鸟兽、花卉、人物故事、建筑、器物、文字、几何形等组成的图案，其表现的文化象征符号——吉祥物，是以一种非语言的信息传递方式，通过象征意义反映人们的祈福观念和心理愿望。枕顶图案符号是其象征系统的表层结构，是 物化的符号，而隐藏在符号背面的意义是其要表达的内容，是枕项 图案象征体系的深层结构，二者构成是一个有机的统一整体。 枕顶图案所包括的纹样符号，除部分诗文外，大多都为中华民 族传统的吉祥物，即狭义上的吉样物，是指某一民族经过长期历史 形成的、约定俗成的祈福吉祥物。 从质地上看，枕分为硬质和软质二大类。在考古文物中的大量 陶瓷枕是硬质枕的典型。历史上遗留下来的陶瓷枕具有较高的文物价值，己为学术界所公认，在国内，有关陶瓷枕的研究己有多部专著问世，中国的陶瓷枕，也受到日本学界的关注。与文物瓷枕的高 贵身价相对照，传统软质枕的枕顶绣却一直受到冷落，无人问津。 然而，软质枕顶绣的文化、艺术、民俗文物价值是不可低估的。如果说，瓷枕己是翩翩登场亮相的雍容贵妇人，那么，枕顶绣己是待 字闺中的山野妙龄女郎。软质枕顶绣应该是也可以是与瓷枕交相辉 映的枕文化的另一支主千。 枕顶绣是一个前人没有做过专门研究的新课题，本文主要利用作者多年搜集的枕顶绣实物，结合历史文献和考古文物资料，采用多学科交叉方法，运用民族学象征文化理论，对于这一具有丰富文 化内涵的历史文化遗产进行全面系统的探讨、阐释。 本文包括前言、正文四章、结语等六部分。 第一章论述枕头的起源、历史演变及社会文化功能。 第二章论述枕顶绣的造型、分类、工艺和色彩。 第三章探讨枕顶绣纹样的祈福文化内涵;指出枕顶绣纹样丰富多彩，其文化内涵集中地体现了中国传统文化中的吉祥祈福观。即平民百姓的如意之福，也就是农业社会的小康之福。 第四章为枕顶绣纹样的象征符号阐释。本章划分出枕顶绣纹样中鸟兽、花卉、仙人、器物、字符等五类象征符号进行解析，阐释各种传统吉祥物的表现手法及所寓含深层意义。 结语中将瓷枕图案与枕顶绣进行比较，沦证了软质枕顶绣是中华民族传统文化中的一份不可忽略的文化遗产，进而对抢救与保护这份遗产提出了作者的见解。 本文附图 356幅。

Pillows have a long history. After have appeared, it has become one of beddings for daily life. According archaeological data, the dead body was buried lying with it's head pillowed on stones at the Old Stone Age in France; and in our country, pillows had been unearthed at the Warring States, and it has been recorded in historical documents of early Qin period. Along with the passage of time and the progress in civilization, shapes of pillows are more and more. Because of the difference of nationalities, cultures, customs, climates etc, they have different shapes. From quality of material, pillows are made of silk, china, wood, bamboo, stone, cooper, sliver, and so on. Sliver and wood pillows are used as implements that are buried with dead. The embroidery on pillow sides (one of decorate patterns of pillows) is often seen on rectangle pillows in those that were made of different materials. The embroidery on pillow sides, namely, is the patterns are decorated on both sides of pillows. Pillows are used in Chi na usually are made in rectangle pillar or hexahedron, so the both sides are square which embroidered all kinds patterns, that is "embroidery on pillow sides". Because each pillow has two sides, embroidery on pillow sides are all in pairs, and or patterns are symmetrical, or contents are corresponding, which stand for exquisite craft of folk embroidery. The plastic arts of pillow sides are its shapes, materials, classifications, crafts, colors and patterns. So embroidery on pillow sides is the parts of culture of pillows, which contains enormous content of folk custom and highest value of art. Embroidery on pillow sides belongs to one of the folk fine art embroideries, and is one of important parts of folk cultural heritage, and is also one of main objects of study in ethnology which research "visible phenomena". The plastic arts adhere to pillow sides, which are vehicles. So the theories and methods of ethnology and anthropology are basic foundation to study plastic arts of pillow sides. In addition, the theories and methods of folklore, fine art, archaeology, history are main reference. In this paper, the author used comprehensive study of Tran-disciplines, particular relies on "participate observation" of ethnology, and depends on the basis of collecting pillow sides for many years, and made a investigation for pillow sides going deep into people and museums of north-east of China, all of those made her comprehending the plastic arts charm of pillow sides and its cultural symbolism. Symbol is a method for expression, which is, used some things and acts to express certain meanings. This things and acts are symbol; the meanings be expressed are cultural connotation. Auspicious patterns on pillow sides made the plastic arts of pillow sides possessed symbolic culture. The main contents plastic arts of pillow sides are patterns which were composed of birds and beasts, flowers, stories, buildings, articles, words, geometric figures etc. Those that express cultural symbols--mascots, as non-language method of transmission messages, transmit ideas and wish of praying for good fortune through symbolism. Symbol of patterns on pillow sides is the surface structure of the symbolic system, a material symbol; what meanings behind of the symbol is the real content, the deep structure of the symbolic system. Both of them constitute an organic unity. Except some poems, most of the patterns were included in pillow sides are Chinese traditional mascots, in narrow sense mascots, which sanctioned by popular usage through long history. From the materials that were make into pillows, they were classified as hard and soft. Many china pillows in historical relic are typical hard pillows. The historical relic china pillows have higher value, which has been generally acknowledged by academic circle. Several books study china pillows had been published in domestication. And Japanese academic circle also pays close attention to the china pillows. Comparing to the noble china pillows, embroidery

【关键词 (中文/英文)】 枕顶绣; 吉祥物; 祈福文化; 象征符号 embroidery on pillow sides; mascots; culture of praying for good fortune; symbol

【发表年期】2004年03期 【网络出版投稿人】中央民族大学 【DOI】CNKI:CDMD:1.2004.073333