重庆文理学院学报(社会科学版)

川剧作为我国西南地区重要的地方戏曲，其戏服以绚丽多彩、工艺精湛著称。在川剧戏服中蜀绣图案的运用尤为突出，不仅有着独特的视觉美感，更承载了地域文化的精神内涵与象征意义。当前学界对川剧与蜀绣的研究多集中于历史溯源、工艺技法或纹样分类，鲜有从符号学与戏剧美学的交叉视角阐释蜀绣图案在川剧中的审美特质与文化隐喻。通过实物考察、文献分析与田野考察，从视觉审美与文化隐喻的双重维度揭示蜀绣图案在川剧戏服中的结构性作用，试图为蜀绣图案构建一套川剧服饰规制、角色身份的视觉符号语汇，实现图案符号与戏剧情境的价值共生。蜀绣图案隐喻了地方的民间吉祥观念、五行五色哲学与社会身份意义，它是川剧传播伦理道德、地域认同与审美品格的重要物质媒介，也使这一程式化的艺术形式呈现出丰富的叙事意义，在观演互动中不断强化着中华文化认同意识。

As a significant local opera in s outhwestern China, Sichuan opera is renowned for its dazzling and exquisite costumes. The application of Shu embroidery patterns in Sichuan opera costumes is particularly prominent, embodying not only unique visual aesthetics but also the spiritual connotation and symbolic significance of regional culture. Current academic researches on Sichuan opera and Shu embroidery primarily focuse on historical origins, craftsmanship techniques, or pattern classification, rarely interpreting the aesthetic characteristics and cultural metaphors of Shu embroidery patterns in Sichuan opera from an interdisciplinary perspective of semiotics and theatrical aesthetics. Through material investigation,literature analysis, and field research, this study reveals the structural role of Shu embroidery patterns in Sichuan opera costumes from the dual dimensions of visual aesthetics and cultural metaphors. It attempts to construct a visual symbolic vocabulary of Shu embroidery patterns for Sichuan opera costume regulations and character identities, achieving a symbiotic relationship between pattern symbols and theatrical context. Shu embroidery patterns metaphorically reflect local folk auspicious beliefs, the philosophy of the Five Elements and Five Colors, and social identity meanings. They serve as an important material medium for Sichuan opera to disseminate ethical and moral values, regional identity, and aesthetic character. Furthermore, they enrich this stylized art form with narrative significance, continuously strengthening the awareness of Chinese cultural identity through audience-performance interaction.