為弘揚中國傳統(tǒng)文化，經(jīng)過近一年的籌備，由澳門基金會主辦的“錦繡升平——陳申京劇戲衣收藏展”于11月13日至11月17日在澳門教科文中心展覽廳及多功能廳舉辦。

澳門中聯(lián)辦宣傳文化部副部長級助理邵彬、澳門基金會行政委員會副主席鐘怡、文化產(chǎn)業(yè)基金行政委員朱妙麗、中國京劇藝術(shù)基金會理事長王玉珍、澳門日報社社長陸波、中華世紀(jì)壇世界藝術(shù)館副館長馮光生、澳門粵劇曲藝總會理事長冼深源、文化學(xué)者任崇及本次展覽收藏者陳申出席剪彩儀式。

此次展覽展出陳申收藏的京劇、昆曲兩大劇種具有代表性的表演服裝30余件，其中包括20世紀(jì)京劇著名表演藝術(shù)家、麒派創(chuàng)始人周信芳使用過的“香色繡麒麟改良蟒”及民國時期的戲曲表演服裝。所有展品均為精細(xì)的手工刺繡品，做工講究，既體現(xiàn)了不同時期戲曲舞臺服裝的發(fā)展概況，又富有極高的欣賞價值，其中一些藏品為首次向公眾展示。

陳申是戲衣收藏家、中國攝影歷史學(xué)者、出版家，同時又是中國傳統(tǒng)戲曲服裝的研究者，著有《中國京劇戲衣圖譜》《中國攝影藝術(shù)史》等著作。他自幼喜愛中國京劇藝術(shù)，20世紀(jì)80年代中期就開始收藏京劇戲衣。他的收藏中有一大批戲衣是跑遍全國“淘”來的。中國的戲衣精品出自清朝至民國時期，宮內(nèi)戲衣是精品中的精品，難得一見。20世紀(jì)70年代末，戲曲開始復(fù)蘇、繁榮，北京、上海、蘇州等戲衣制作基地生產(chǎn)了大量適合中國傳統(tǒng)戲曲演出的戲衣，這一時期的戲衣制作工藝仍保留傳統(tǒng)，這正契合了陳申的收藏要求，只要遇見，他就“一網(wǎng)打盡”。至今他的收藏已達(dá)200多套（堂）、千余件之多。品類繁多的京劇戲裝，也通過他的攝影鏡頭清晰、多角度地呈現(xiàn)。

“中國戲曲服裝在明代逐漸形成，隨著清代戲曲發(fā)展的日趨完善，在以后的200多年中，京劇服裝逐漸形成定制，并具備體系上的完整性。京劇戲衣與京劇表演藝術(shù)的傳承發(fā)展相輔相長，它是中國京劇表演史重要實物依據(jù)?！标惿暾f。適逢今年是京劇一代宗師譚鑫培誕辰170周年紀(jì)念，北京戲曲界舉辦了隆重的紀(jì)念活動，他表示，受澳門基金會的邀請舉辦此次展覽，是對紀(jì)念譚鑫培活動的延伸和呼應(yīng)，京劇戲衣是中華民族偉大的文化遺產(chǎn)，希望通過收藏和展出傳承下去，也為澳門觀眾帶來更多文化享受。

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.

開幕式京劇演出 Peking Opera Performance at Opening Ceremony

紅緞團(tuán)龍蟒戲衣 Red Peking Opera Costume

麒派改良蟒戲衣 Improved Peking Opera Costume of Qi School

開幕式剪彩 Ribbon-cutting for the Opening Ceremony

陳申向澳門基金會贈送紀(jì)念品 CHEN Shen presents souvenirs to Macao Foundation

開幕式上嘉賓合影 Guests’Group Photo at Opening Ceremony

陳申向嘉賓介紹展品 CHEN Shen introduces artworks to guests