【作者】 刘咏清；

【导师】 许星；

【作者基本信息】 苏州大学 ， 服装， 2012， 博士

【摘要】 本文的核心内容是对楚国刺绣艺术的内在文化结构、文化精神，以及外在形式语言、艺术特征的研究。在此基础上，考察楚国刺绣艺术的生长源泉，探析其与地域古老民族传统文化的内在联系；同时理清楚国刺绣艺术的传播渠道，通过时空流变的观察和分析，阐述其广泛而深远的影响。基于上述研究内容，本文主要是从“道”和“器”这二个层面来进行研究。所谓“道”是指传统文化的精神内涵，“器”则是指传统文化的器物实体。在现代考古学大量实物发现的基础上，结合古今“道”之研究在历史学、哲学、美学、文学、艺术学、民族学、民俗学、神话学等方面的斐然成果，深入分析探索楚国刺绣艺术的外在形貌特点和内在文化精神，从而达到“见其器而知其道”的目的。通过研究，本文首先发现楚国刺绣艺术与北方中原华夏艺术有着迥异的艺术特征，其内在文化结构、文化精神与长江中下游地域的古老文化传统连成一体，表明了其自身的历史渊源；同时，由于楚国刺绣艺术的母体楚文化是多元一体的文化性质，因此楚国刺绣艺术的文化性质也呈现出多元的特性，但其主导的文化影响力来源于地域古老的以苗蛮为代表的民族传统文化和新兴的道家文化。其次，楚国刺绣艺术的核心内容是凤龙文化。其特殊指向性的文化内涵体现了南方古老稻作农耕民族的凤文化和北方古老游牧民族的龙文化之间亲缘般的融合，但其“崇凤轻龙”高度特化的文化模式是凤文化精神主导的显示。楚国刺绣艺术外在奇异的造型特征不仅是南方古老民族传统文化之神秘主义意识倾向的反映，同时也表明了新兴道家文化的美学观之“法天”、“齐物”、“神遇”的深刻影响。再者，楚国刺绣艺术外在造型和色彩有着自身文化传统造型观和色彩观的渊流脉络，其“惊采绝艳”的艺术特征还显示了其对于中华传统艺术美学的高度概括与总结。最后，楚国刺绣艺术成为其时代中华刺绣工艺文化高度发达之表征的内因：一是楚地优良的织绣文化传统；二是统治者的豪奢以及“好奇服”氛围下对丝织、丝绣品的大量社会需求；三是楚国重商多贾，织绣品贸易非常发达之故。总之，楚国刺绣艺术是地域古老民族刺绣工艺文化传统的重要历史篇章，它附载着地域优秀刺绣文明的精华和楚人悟性、智慧的独特创造广为后世传承。其独具特色的艺术构思和表现手法成为后世民族艺术的典范，并同时为地域刺绣工艺文化的发展和近现代转型提供了取之不尽的丰富资源。更多还原

【Abstract】 The paper mainly studies the inherent cultural structure, cultural spirit, external formsand artistic characteristic of Chu State’s embroidery. On this basis, the paper discusses itscultivated source, explores its inherent relations with ancient culture, studies thebroadcasting channel of Chu’s embroidery and states its extensive and far-reachinginfluence in accordance with the observation and analysis on the time and space.Based on the above mentioned research contents, this thesis mainly carries out theresearch from two aspects:“Dao” and “Qi”.“Dao” means the spiritual connotation of thetraditional culture, and “Qi” means the implements entity of the traditional culture. Basedon the large amounts of archaeological findings and connecting the brilliant achievementsof the research in ancient and modern on “Dao” in historiography, philosophy, aesthetics,literature, art theory, ethnology, mythology and so on, the author deeply analyzes anddiscovers the outer characteristics and inner cultural spirits of the embroidery art in Chukingdom. Therefore the aim of “understanding the Dao by seeing the Qi” is achieved.Based on the analysis and research, the paper discovers the differed artisticcharacteristic of embroidery between Chu and Northern Central Plains. Its inherent culturalstructure, cultural spirit is united with the ancient cultural of lower-middle reaches ofYangtze River, which embodies its own historical source. At the same time, for the sake ofthat the matrix of Chu’s embroidery of is plural; the cultural characteristic of Chu’sembroidery presents the characteristic of plurality. Secondly, the major content of Chu’sembroidery is Phoenix&Loong culture, the special cultural content of which shows theploughing and sowing nature of Phoenix culture in southern China and the nomadic natureof Loong culture in northern China. The bizarre external characteristic of Chu’sembroidery presents not only the tendency of mysticism mainly represented by Miao nationality, but also the deep influence from aesthetic perspective of the rising Taoistculture, namely “learning from the universe”,“equality” and “aesthetic image”. Thirdly,the gorgeous sculpt and the color of Chu’s embroidery is inherited from its own culturaltradition, and the glorious characteristic is a masterly generalization and summation ofChinese traditional aesthetics. Fourthly, the reasons that the Chu’s embroidery is therepresentative of highly developed Chinese embroidery are: the excellent embroiderytradition of Chu, the extravagant style of archons and large demand based on the “rush forfancy garment”, the highly developed embroidery under the mercantile system.To sum up, Chu’s embroidery is an extraordinary history chapter in ancient Chineseembroidery culture. It carries the essence of silk weaving culture and the wisdom of Chupeople. Its unique characteristic and artistic design becomes the model after ages and alsoprovides the rich resource for the development of embroidery art and transformation ofmodern culture.更多还原