【摘要】 晚清《百苗图》文献种类浩繁，其详细记录了清代贵州各民族的生活图景，蕴藏着诸多少数民族历史文化、风俗习性、服饰特征。潘诺夫斯基提出图像学的三种层面，即前图像志描述、图像学分析、图像学解释，为研究《百苗图》提供新的思路。文中通过前图像志描述《百苗图》中的苗族女性的具体形象，如女性的服饰、发饰、形态等；在此基础之上，就其服饰类型、构图等相似现象进行图像学分析，从而得到《百苗图》程式化的创作方式；最后，进行图像学解释，揭示出隐喻于女性形象中民族同化与协从华夏文明的目的。更多还原

【Abstract】 There are many kinds of “Bai Miao Tu” literature in the Qing Dynasty, which records the life picture of all ethnic groups in Guizhou in the late Qing Dynasty in detail and contains the history, culture, customs, and clothing characteristics of all ethnic groups. Panofsky proposed three levels of iconology, namely pre-image description, iconological analysis, and iconological interpretation, which provided new ideas for the study of “Bai Miao Tu”. In this paper, the specific image of Miao women in “Bai Miao Tu”, such as women ‘s clothing, hair ornaments, shape, and so on, is analyzed and studied by pre-image analysis. On this basis,some similar phenomena such as costumes and composition are analyzed by iconography, to obtain the stylized creation method of “Bai Miao Tu”. Finally, an iconological interpretation is made to reveal the purpose of national assimilation and coordination from Chinese civilization in the images of female images.更多还原