從宋韻華章到宋韻時尚

文/沈聽雨 姜曉蓉

交響音畫《宋韻·華章》第一樂章《雅韻》。董旭明/攝Artists perform during the symphony orchestra show Song Culture: Splendid Music. Photo by Dong Xuming.

千年宋韻，生機煥發(fā)。浙江“宋韻文化傳世工程”實施一年來，宋之韻味正活化為可知可感的重要文化標(biāo)識，潤澤著浙江人的精神面貌。11月18日，2022宋韻文化節(jié)開幕，以“宋韻今輝”為主題，聯(lián)動杭州、溫州、紹興、衢州、臺州等地共同舉辦。從繪畫、音樂到服裝、閱讀等，我們聚焦本屆宋韻文化節(jié)上的“宋元素”，對話專家學(xué)者，探尋千年宋韻在新時代的發(fā)展路徑。

從音符中，沉浸式感受千年宋韻

音樂是世界共通的語言。11月20日晚，一場關(guān)于“宋韻”的美學(xué)視聽盛宴在浙江音樂學(xué)院大劇院拉開大幕。

《宋韻 · 華章》，是國內(nèi)首部以宋韻主題創(chuàng)作的大型民族交響音樂作品。它重新挖掘整合了宋畫、宋詞、宋樂、宋學(xué)等最具代表性的宋代文化元素，分為序曲《宋韻—我欲乘風(fēng)歸去》、第一樂章 《雅韻》、第二樂章 《神韻》、第三樂章 《風(fēng)韻》、第四樂章 《意韻》、尾聲 《華章—勝卻人間無數(shù)》等6個樂章，從音樂的角度對“宋韻”進行深度解讀和全新詮釋。

演出由浙江省委宣傳部、浙江省文旅廳、浙江省文聯(lián)作為指導(dǎo)單位，浙江音樂學(xué)院、浙江省音樂家協(xié)會主辦。值得一提的是，《宋韻 · 華章》從創(chuàng)作到演繹，均由浙江音樂學(xué)院200多位師生擔(dān)綱。

宋代，音樂文化走向繁榮。但這場演出，并不僅限于音樂本身。演出總負(fù)責(zé)人、浙江音樂學(xué)院院長王瑞說：“仔細看演出的名稱《宋韻 · 華章》，這中間還有一個點，其實就是為了彰顯兩種意思—‘宋韻’，是要挖掘優(yōu)秀的傳統(tǒng)文化；‘華章’，則是要守正創(chuàng)新，表達新時代對未來的憧憬。”

如此，《宋韻 · 華章》其實是創(chuàng)新形成了一明一暗、一主一輔兩條線索。對宋韻文化理念的詮釋是明線，對新時代的謳歌是暗線，以此構(gòu)成跨越千年的時空軸線，讓宋韻的“敘事”與華章的“抒懷”交替滲透，互成音樂語境，重塑了一部詞畫媲美、樂理筑美、意境大美、人文恒美的大型民族音樂精品力作。

在王瑞看來，“宋韻”之“韻”，它可以是和諧悅耳的聲音，是“羌管弄晴、菱歌泛夜”的低吟婉轉(zhuǎn)；或者是詩詞格律的要素，是“知否，知否？應(yīng)是綠肥紅瘦”的朗朗清音；也可以是情趣、是風(fēng)度、是意蘊，更是“先天下之憂而憂，后天下之樂而樂”的家國情懷。《宋韻 · 華章》就是要在“韻”的串聯(lián)下，重新解讀以宋文化為底蘊的極致大美，譜寫出民族復(fù)興情境下的盛世華章。

《宋韻 · 華章》的創(chuàng)作周期歷時近1年，每個樂章都頗為講究。比如，第一樂章《雅韻》，以《西園雅集圖》為意境，展示了蘇軾、黃庭堅、米芾等文人雅集的盛況；又比如，第四樂章《意韻》，以朱熹理學(xué)和沈括的《夢溪筆談》為藍本，用民族交響的寫實與浪漫結(jié)合，既有抽象的人文思考，又有具象的人間煙火。

交響音畫《宋韻·華章》節(jié)目之一—《飲湖上初晴后雨》。董旭明/攝Artists perform during the symphony orchestra show Song Culture: Splendid Music.Photo by Dong Xuming.

交響音畫《宋韻·華章》節(jié)目之一—《飲湖上初晴后雨》。董旭明/攝Artists perform during the symphony orchestra show Song Culture: Splendid Music.Photo by Dong Xuming.

現(xiàn)場，當(dāng)絲竹管弦之聲與歌聲共同響起，豎起耳朵仔細聽，仿佛能感受到音樂聲中所傳遞出來的中華文化大美之勝境。

對于各個樂章的結(jié)構(gòu)設(shè)計，也是創(chuàng)作中最難的一項。宋朝文化繁榮發(fā)展，是中國文化歷史中的豐盛時期，理學(xué)、文學(xué)、史學(xué)、藝術(shù)以及科學(xué)技術(shù)領(lǐng)域都碩果累累。如何用音樂進行較為完整的表達？直到今年7月，每個樂章才最終定型。從宋畫、宋詞，到宋學(xué)、宋樂，《宋韻 · 華章》要以藝術(shù)形式集大成式展現(xiàn)宋代文化的高峰成就。

“這場大型交響音畫，更為關(guān)鍵的一點是要拉近普通觀眾和作品間的距離。”王瑞說，為此，創(chuàng)作團隊特意選擇了“欲把西湖比西子，淡妝濃抹總相宜”等一些膾炙人口的詩句，融入作品。

不僅如此，作品還突破了傳統(tǒng)的音樂會模式，以沉浸式的舞臺呈現(xiàn)、高科技的音畫效果展示宋韻美學(xué)。王瑞說，當(dāng)音樂藝術(shù)與視覺藝術(shù)相互結(jié)合，樂器聲、歌聲、舞者搭配舞臺屏幕上出現(xiàn)的宋畫、宋詞，觀眾在欣賞音樂的同時，也能更沉浸式地去感受宋韻文化，產(chǎn)生一加一大于二的效果。

以音樂為“筆”、舞臺為“卷”，《宋韻 · 華章》希望能以民族管弦樂譜寫、演繹中華風(fēng)骨，喚醒每位觀眾心靈深處對中國傳統(tǒng)文化的熱情。

“作品力圖呈現(xiàn)中國民族音樂的最佳表達，既有宋韻的風(fēng)格延續(xù)，又有創(chuàng)新的藝術(shù)語匯；既聚焦民族、承續(xù)傳統(tǒng)，更放眼世界、面向未來。”王瑞表示，這不僅是《宋韻 · 華章》的創(chuàng)作原則，更是接下來以音樂為依托，在表達、傳播宋韻文化時需要堅持的原則。既要傳承、更要發(fā)展，如此，宋韻文化才能在新時代煥發(fā)活力。

在時尚里，一場傳統(tǒng)與現(xiàn)代的對話

一襲宋服傳千年。11月22日晚，作為2022宋韻文化節(jié)的活動之一，“華夏衣裳 · 宋韻時尚”2022全國宋韻服裝時尚設(shè)計大賽決賽暨頒獎典禮在杭州舉行。比賽邀請了相關(guān)業(yè)界專家擔(dān)任評委，于今年8月啟動。經(jīng)過3個月的征集，共有來自22個省（區(qū)、市）及中國澳門等地200多名選手報名參賽。經(jīng)過層層篩選，共有24組74件作品進入決賽成衣打樣制作階段，并在決賽當(dāng)晚產(chǎn)生了金獎1名、銀獎2名、銅獎3名，商業(yè)價值獎、文化創(chuàng)新獎、女裝新才獎、男裝新才獎各1名，入圍獎14名。

這是一場傳統(tǒng)文化與現(xiàn)代潮流的跨時空對話。

2016年，臺州黃巖發(fā)現(xiàn)了趙匡胤七世孫趙伯澐墓，出土了76件較為完整的絲綢服飾，其中大部分保存完好，且形制豐富、紋飾題材多樣，織物品種齊備，被譽為“宋服之冠”。此次大賽正是以這76件絲綢織物為靈感來源，希望能深度挖掘宋服的歷史人文價值。

本次大賽的評委之一，中國絲綢博物館館長季曉芬表示，通過服裝設(shè)計大賽這一平臺，更多年輕服裝設(shè)計師得以更好地運用現(xiàn)代化手段和時尚理念對宋服進行活化和詮釋，這一華夏精美文化元素在當(dāng)代也有了更好的傳播。

大賽另一位評委，中國美術(shù)學(xué)院設(shè)計與藝術(shù)學(xué)院教授、中國美術(shù)學(xué)院紡織服裝研究院院長吳海燕對此頗為贊同。她說：“當(dāng)年輕一代的設(shè)計師真正從他們的角度去品味宋韻時，浙江宋韻文化的魅力將更多地被全國乃至全世界所觸摸、所感知、所熱愛。”

從決賽現(xiàn)場大秀的《新生》這一主題中，也可以看到主辦方的意圖。當(dāng)身著宋服元素的模特，在融合數(shù)字化科技的舞臺上緩緩走過，舞臺兩側(cè)的觀眾情不自禁拿起手機記錄下這一刻并立即轉(zhuǎn)發(fā)微信朋友圈時，也意味著宋服在當(dāng)下的一種“新生”。

浙江理工大學(xué)服裝設(shè)計專業(yè)研一學(xué)生趙雯設(shè)計的3套男裝入選了本次決賽，她也獲得此次大賽的男裝新才獎。在趙雯看來，參賽作品中對宋朝服裝的呈現(xiàn)，不僅是復(fù)原，更是傳統(tǒng)文化與現(xiàn)代的巧妙融合。

10月上旬，主辦方曾組織參賽者到臺州黃巖采風(fēng)，除了參觀博物館，還舉辦關(guān)于宋朝服飾的專題講座。“這次采風(fēng)讓我收獲很大。”趙雯回憶，黃巖博物館的“宋服之冠”展覽中，趙伯澐墓出土的76件絲綢織物工藝精湛、紋樣精美、端莊雅致，讓她驚嘆于宋朝的服裝設(shè)計及工藝。

這些經(jīng)歷也給了她創(chuàng)作靈感。宋朝的服裝寬衣大袖，可以看出宋朝人的穿衣追求舒適自由，因此她大量使用了絲綢、棉麻等富有中國特色的面料。她還在服裝設(shè)計中融入了宋朝書畫，其中一件服裝大面積采用了宋朝書法家米芾作品《集賢林舍人》中的元素。此外，她也借鑒了宋畫《千里江山圖》，設(shè)計了一款山巒重疊的面料，使用在本次參賽服裝中。

據(jù)了解，獲獎設(shè)計師將免費獲得由浙江省創(chuàng)意設(shè)計協(xié)會提供的時尚產(chǎn)業(yè)創(chuàng)業(yè)基地空間及數(shù)字營銷體系服務(wù)，享受孵化獨立設(shè)計師的扶持機會。

歷經(jīng)雍容華貴的大唐，浪漫淡雅的大宋服飾被不少人稱為和現(xiàn)代服裝最為相近的一種。近年來，國潮風(fēng)逐漸走紅，在《東京夢華錄》《清平樂》等與宋朝有關(guān)的影視劇影響下，宋文化被越來越多人所感知。而這次大賽和這場大秀，也帶給了我們更多驚喜—創(chuàng)作出既能體現(xiàn)宋韻文化精髓又符合時代潮流的優(yōu)秀作品，是宋朝生活方式帶來的啟發(fā)，更是對美的追求和從容的生活態(tài)度。

“華夏衣裳·宋韻時尚”2022 全國宋韻服裝時尚設(shè)計大賽決賽現(xiàn)場大秀。呂之遙/攝Models are seen during the final of the 2022 National Song Yun Fashion Design Competition on November 22, 2022. Photo by Lyu Zhiyao.

From Song Music to Song Fashion

By Shen Tingyu Jiang Xiaorong

The millennium-old Song dynasty (960-1279) culture is full of vitality. Since the implementation of Zhejiang’s program to “pass down the Song dynasty culture for generations” one year ago, the flavor of the Song is becoming an important tangible cultural symbol, embellishing the spiritual outlook of Zhejiang people. On November 18, 2022, the Song Yun Cultural Festival was opened, with the theme of “Song Culture Today”, simultaneously in Hangzhou, Wenzhou, Shaoxing, Quzhou and Taizhou. From painting, music to garment, reading, we focus on the “Song elements” of this cultural festival, talk with experts and scholars, and explore the development path of the Song culture in the new era.

Music is the common language of the world. On the evening of November 20, 2022 an aesthetic audio-visual feast on Song culture opened in the Grand Theater of Zhejiang Conservatory of Music.

Song Culture: Splendid Musicis the first large-scale national symphony with the theme of Song culture in China. It has rediscovered and integrated the most representative cultural elements of the Song, such as Song painting, Song ci poetry,Song music, and academic Song studies. It is divided into six movements, including the overture “I Want to Return by the Wind”, the first movement “Elegant Culture”, the second movement “Taste”, the third movement “Charm”, the fourth“Artistic Rhyme”, and the epilogue “Music: Overwhelming the Countless World”. It gives a deep and new interpretation of Song culture from the perspective of music.

The performance was hosted by Zhejiang Conservatory of Music and Provincial Musicians Association. It is worth mentioning that more than 200 teachers and students from Zhejiang Conservatory of Music are responsible for the creation and interpretation of this symphony.

In the Song dynasty, music culture prospered. But this performance is not limited to the music itself. Wang Rui, the chief executive of the performance and the dean of Zhejiang Conservatory of Music, told the reporter, “The titleSong Culture:Splendid Musicis to highlight two layers of meaning — Song culture, which is the fine traditional culture and music, which is to observe rules and innovate, and express our vision of the future in the new era.”

2022年11月22日晚，市民、游客沿著南宋御街放祈福小橘燈。呂之遙/攝Visitors release lanterns to pray for happiness during the final of the 2022 National Song Yun Fashion Design Competition on November 22, 2022. Photo by Lyu Zhiyao.

In this way, the symphony is actually an innovation of two clues: one explicit and one hidden, one main and one auxiliary.The interpretation of the cultural concept of Song is the explicit line, while the eulogy of the new era is a hidden line, which constitutes a time-space axis spanning a millennium.

At the scene, when the sound of the music and the singing came together, we could feel the great beauty of Chinese culture conveyed by the music. The structural design of each movement is the most difficult one in creation. The cultural prosperity of the Song dynasty was a high point in the history of Chinese culture, with rich achievements in the fields of Confucianism,literature, history, art, and science and technology. How to express it completely with music? In July, each movement was eventually finalized, to show the peak achievements of Song culture in an integrated artistic form. “The key point of this symphonic painting is to narrow the distance between ordinary audiences and art,” Wang Rui said. For this reason, the creation team specially incorporated some well-known poems to awaken the enthusiasm of the audience for traditional Chinese culture.

On the evening of November 22, as one of the activities of the 2022 Song Yun Cultural Festival, the final and award ceremony of the 2022 National Song Fashion Design Competition of“Chinese Clothing in Song Fashion” was held in Hangzhou. The relevant industry experts served as judges and after three months of solicitation, more than 200 contestants from 22 provinces,autonomous regions and municipalities entered the competition.After layer upon layer of screening, a total of 24 groups and 74 works entered the final. At the final, there were awarded 1 gold prize, 2 silver prizes, 3 bronze prizes, 1 commercial value prize, 1 cultural innovation prize, 1 women’s new talent prize, 1 men’s new talent prize and 14 finalists.

In 2016, in Huangyan, Taizhou, the tomb of Prince Zhao Boyun was discovered and 76 pieces of quite complete silk clothing were unearthed, with rich shapes, diverse decorative themes, and complete varieties of fabrics, known as the “crown of Song clothing”.This competition was inspired by the silk fabrics, in the hope of deeply exploring the historical and cultural value of Song clothing.

Ji Xiaofen, one of the judges of the competition and director of the China Silk Museum, said that through the bridge of fashion design, more young designers could use modern means and fashion concepts to activate and interpret the Song clothing, which would help to better spread this fine Chinese cultural element in the contemporary era.

Wu Haiyan, another judge of the competition, a professor of the School of Design and Art of China Academy of Art and the dean of the academy’s Textile and Garment Research Institute,agreed with this. She said, “When designers of the younger generation really taste Song culture from their perspective, I believe that in the future, Zhejiang’s Song culture will be appreciated by the whole country and even the entire world.”

Wen, a graduate student of fashion design at Zhejiang University of Science and Technology, had her three sets of men’s clothes qualified for the finals, and she won the New Talent Award for Men’s Clothes.

In early October, the organizer led the contestants to Huangyan in Taizhou, visiting museums and attending a special lecture on Song clothing. Zhao Wen recalled that in the “Crown of Song Costumes”exhibition in Huangyan Museum, 76 pieces of silk fabrics unearthed were exquisite in craftsmanship and in patterns, dignified and elegant. This gave her inspiration. The loose clothes and large sleeves in the Song show that Song people pursue comfort and freedom in dressing, so she used a lot of fabrics with Chinese characteristics,such as silk, cotton and linen. She also integrated Song calligraphy and painting into her costume design. One of her costumes was full of elements from the work of Song calligrapher Mi Fu (1051-1107).In addition, she drew on a Song painting to design a fabric with overlapping mountains, which was used in this competition.

After the elegant and stately Tang dynasty (618-907), the romantic and hazy garment of the Song is regarded by many as the closest to modern clothing. In recent years, the Chinachic style has gradually become popular. Under the influence of films and TV plays related to the Song dynasty, such asDongjing Menghua Lu, or The Eastern Capital: A Dream of Splendor, the Song culture has been perceived by more and more people. And this competition and this show brought us pleasant surprises —creating excellent works that can reflect the essence of Song culture and conform to the trend of the times is an inspiration from the Song lifestyle, as well as the pursuit of beauty and a leisurely attitude towards life.

交響音畫《宋韻·華章》序曲《宋韻—我欲乘風(fēng)歸去》。董旭明/攝Artists perform during the symphony orchestra show Song Culture: Splendid Music. Photo by Dong Xuming.