A comparative analysis of the characteristics and images of costume colors in the traditional plays of Korea, China, and Japan
A comparative analysis of the characteristics and images of costume colors in the traditional plays of Korea, China, and Japan
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DOI：
10.1002/col.20673
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发表时间：
2012-08-01
影响因子：
1.4
通讯作者：
Chung, Kyung Hee
中科院分区：
文献类型：
--
作者：
Lee, Mi Suk;Sa, Jin Kang;Chung, Kyung Hee
本研究的目的是定量分析韩国、中国和日本传统戏剧中服装色彩的特征和形象。该研究基于精选的 1135 个颜色样本，重点研究了韩国假面舞会、京剧和歌舞伎服装的颜色。收集到的源数据是通过使用Photoshop 7.0的吸管工具提取数字颜色数据来选择的。将RGB颜色数据转换为H V/C并分析色调和色调的属性。使用IRI色彩设计研究所和小林茂信的彩色图像尺度对彩色图像进行分析，以提高评估图像的有效性。于是，阴阳五行理论中的五行色（红、黄、紫蓝（PB）、白、黑）被运用到韩国假面舞会、京剧、歌舞伎的常用舞台服装色彩中。红色是亚洲人喜爱的颜色，在这三部传统戏剧的服装中最常用。对比这三个东北亚国家的传统舞台服装颜色，发现的差异是色调而不是色调。首先，韩国假面舞多使用白色，符合白衣民族的传统和偏爱自然色的色彩文化观。此外，韩国人在假面中使用的色彩是基于阴阳五行理论的高彩度色调。另一方面，京剧则通过采用R、Y、PB、白、黑五行色中的高彩度色彩，展现了中国绚丽而浓烈的色彩形象。最后，在歌舞伎服饰中，各种白、黑、暗、淡、暗、浓、艳、深、亮、灰等色调在表现各种色彩形象中发挥了重要作用。三个国家传统戏剧的服装色彩形象都体现出在五元素色彩的强烈对比下，都采用了动感、轻快、华丽的形象。就差异而言，韩国假面舞会以自然色彩展现自然形象，而歌舞伎则通过使用暗淡、深色和灰色的色彩来展现现代、得体/正式的形象。研究结果表明，这三个国家普遍使用阴阳五行理论中的五行色彩，但它们的色彩图像在色调和色彩组合技术方面有所不同。这些结果反映出，这三个国家的传统服饰色彩受到其文化规范的影响，从而代表了一定民族和文化圈的特征。 (c) 2011 Wiley periodicals, Inc. Col Res Appl，2011
The purpose of this study was to analyze quantitatively the characteristics and images of costume colors in the traditional plays of Korea, China, and Japan. The study focused on the Korean Masque, Beijing Opera, and Kabuki costume colors based on a selection of 1135 color samples. The collected source data were selected by extracting digital color data by using the Eyedropper Tool of Photoshop 7.0. The RGB color data were transformed to H V/C and the attributes of hue and tone were analyzed. Color images were analyzed with the color image scales of IRI Color Design Institute and Shigenobu Kobayashi to increase the validity of the evaluated images. As a result, the five element colors (red, yellow, purpleblue (PB), white, and black) from the theory of Yin-Yang Wu-Xing were used in the common stage costume colors of the Korean Masque, Beijing Opera, and Kabuki. Red, a preferred Asian color, was used most frequently in the costumes of these three traditional plays. A comparison of the traditional stage costume colors in the three northeast Asian countries revealed a difference in tones rather than in hues. First, the Korean Masque frequently used white in accordance with the tradition of white-clad people and the cultural view of colors in which natural colors were preferred. Additionally, in the Masque, Koreans used colors based on the theory of Yin-Yang Wu-Xing with high-chroma tones. On the other hand, the Beijing Opera exhibited the gorgeous and strong color images of China, by adopting high-chroma colors in the Five Element Color: R, Y, PB, white, and black. Last, in the Kabuki costumes, a variety of white, black, dull, light, dark, strong, vivid, deep, bright, and grayish tones played an important role in showing various color images. The costume color images of the traditional plays of the three countries revealed that all shared the use of dynamic, springy/casual, and gorgeous images in the strong contrast of five element colors. Regarding the differences, the Korean Masque exhibited natural images in favor of natural colors, whereas the Kabuki displayed modern, decent/formal images by using dull, dark, and grayish colors. The study results suggested that the three countries commonly used five element colors from the theory of Yin-Yang Wu-Xing, but that their color images differed in terms of the tones used and the techniques for color combination. These results reflect that colors in the traditional costumes of the three countries are affected by their cultural codes, thereby representing the characteristics ofcertain peoples and cultural circles. (c) 2011 Wiley Periodicals, Inc. Col Res Appl, 2011