陈申京剧戏衣收藏展“锦绣升平”

2017-04-13

艺术交流 2017年4期

为弘扬中国传统文化，经过近一年的筹备，由澳门基金会主办的“锦绣升平——陈申京剧戏衣收藏展”于11月13日至11月17日在澳门教科文中心展览厅及多功能厅举办。

澳门中联办宣传文化部副部长级助理邵彬、澳门基金会行政委员会副主席钟怡、文化产业基金行政委员朱妙丽、中国京剧艺术基金会理事长王玉珍、澳门日报社社长陆波、中华世纪坛世界艺术馆副馆长冯光生、澳门粤剧曲艺总会理事长冼深源、文化学者任崇及本次展览收藏者陈申出席剪彩仪式。

此次展览展出陈申收藏的京剧、昆曲两大剧种具有代表性的表演服装30余件，其中包括20世纪京剧著名表演艺术家、麒派创始人周信芳使用过的“香色绣麒麟改良蟒”及民国时期的戏曲表演服装。所有展品均为精细的手工刺绣品，做工讲究，既体现了不同时期戏曲舞台服装的发展概况，又富有极高的欣赏价值，其中一些藏品为首次向公众展示。

陈申是戏衣收藏家、中国摄影历史学者、出版家，同时又是中国传统戏曲服装的研究者，著有《中国京剧戏衣图谱》《中国摄影艺术史》等著作。他自幼喜爱中国京剧艺术，20世纪80年代中期就开始收藏京剧戏衣。他的收藏中有一大批戏衣是跑遍全国“淘”来的。中国的戏衣精品出自清朝至民国时期，宫内戏衣是精品中的精品，难得一见。20世纪70年代末，戏曲开始复苏、繁荣，北京、上海、苏州等戏衣制作基地生产了大量适合中国传统戏曲演出的戏衣，这一时期的戏衣制作工艺仍保留传统，这正契合了陈申的收藏要求，只要遇见，他就“一网打尽”。至今他的收藏已达200多套（堂）、千余件之多。品类繁多的京剧戏装，也通过他的摄影镜头清晰、多角度地呈现。

“中国戏曲服装在明代逐渐形成，随着清代戏曲发展的日趋完善，在以后的200多年中，京剧服装逐渐形成定制，并具备体系上的完整性。京剧戏衣与京剧表演艺术的传承发展相辅相长，它是中国京剧表演史重要实物依据。”陈申说。适逢今年是京剧一代宗师谭鑫培诞辰170周年纪念，北京戏曲界举办了隆重的纪念活动，他表示，受澳门基金会的邀请举办此次展览，是对纪念谭鑫培活动的延伸和呼应，京剧戏衣是中华民族伟大的文化遗产，希望通过收藏和展出传承下去，也为澳门观众带来更多文化享受。

The Exhibition of Peking Opera Costumes Collection of CHEN Shen, hosted by Macau Foundation after nearly a year-long preparation, has been held at the exhibition hall and multi-function hall of Macao Foundation on 13-17, November with the purpose of upholding Chinese traditional culture.

Having been presided over by the collector CHEN Shen, the ribbon-cutting ceremony was attended by SHAO Bin, Assistant Director of Department of Publicity and Culture of Liaison Office of the Central People’s Government in Macao SAR, ZHONG Yi, Vice-chairwoman of Administrative Committee of Macao Foundation, ZHU Miaoli, Administrative Member of Cultural Industry Fund, WANG Yuzhen, Director-general of China Beijing Opera Arts Foundation, LU Bo, President of Macao Daily, FENG Guangsheng, Deputy Director of World Art Museum of China Millennium Monument, XIAN Shenyuan, Director-general of Macao Guangdong Opera Association and REN Chong, a cultural scholar.

The exhibition displays more than 30 representative costumes of Beijing Opera and Kunqu Opera collected by CHEN Shen,Xiangsexiuqilingailiangmang, a costume once used by Mr. ZHOU Xinfang, founder of Qi school and a renowned performing artist of Beijing Opera in the 1990s, and opera performance clothing in the period of the Republic of China. All the exhibits are fine handmade embroidery with exquisite workmanship, not only showcasing the development of theatrical costumes in different periods, but also being of extremely high appreciation value, as some of these collections are presented to the public for the first time in history.

An opera costume collector, a Chinese photography historian and publisher, CHEN Shen is also a researcher of traditional Chinese opera costume with a number of works, such asCollection of Chinese Opera CostumesandHistory Chinese Photography Art. Being fond of the Chinese Opera art since childhood, he has started to collect the costumes of Peking Opera since the middle of 1980s, as many of which were collected from his national tour. The most exquisite model of Chinese opera costumes was from the period of Qing dynasty and the Republic of China, and the costumes from the royal palace enjoy the unprecedented reputation. Since the late 1970s, the traditional opera began to revive and flourish, resulting in manufacturing a large number of costumes tailored for the traditional opera in China from the production bases in Beijing, Shanghai and Suzhou. As the costume production process of this period still clinches to the tradition, it was exactly in line with CHEN Shen’s collection requirement. To this day, his collection has reached more than 200 sets (tang) and over a thousand suits. The costumes of Peking Opera, showing great diversities, are also presented clearly with different angles through his camera lens.

The Chinese opera clothing was gradually formed in the Ming dynasty. With the perfection of development of the opera in Qing dynasty, in the next 200 years, Peking Opera clothing has gradually formed a custom with integrity of the system. The costumes of Peking Opera, together with the complement and growth of inheritance and development of this art, they are the fundamentally crucial physical basis of performing history of Peking Opera China, said CHEN Shen. As this year witnesses the 170thanniversary of birth of TAN Xinpei, a great master of Peking Opera, the circle of Peking Opera has held a solemn commemoration, during which CHEN Shen claimed that invited by Macao Foundation, the exhibition is an extension and response to the TAN’s commemorative activities, the Peking Opera costumes are the cultural heritage of the Chinese nation,hoping that the inheritance of collection and exhibition will bring more cultural enjoyment to the audiences in Macao.