[1]邵文静,张 宁*.霞帔形制发展特征及内涵[J].服装学报,2022,7(06):523-532.
 SHAO Wenjing,ZHANG Ning*.Development of Shape Characteristics and Connotation of Xiapei[J].Journal of Clothing Research,2022,7(06):523-532.
点击复制

霞帔形制发展特征及内涵()
分享到:

《服装学报》[ISSN:2096-1928/CN:32-1864/TS]

卷:
第7卷
期数:
2022年06期
页码:
523-532
栏目:
服装历史与文化
出版日期:
2022-12-30

文章信息/Info

Title:
Development of Shape Characteristics and Connotation of Xiapei
作者:
邵文静;  张 宁*
江西服装学院 南昌市服装数字化系统设计重点实验室,江西 南昌 330201
Author(s):
SHAO Wenjing;  ZHANG Ning*
Nanchang Key Laboratory of Fashion Digital System Design, Jiangxi Institute of Fashion Technology, Nanchang 330201, China
分类号:
TS 941.7
文献标志码:
A
摘要:
霞帔的初始形态为“披帛”,是挂于服饰外的一种衣饰,其在宋代开始被收入服制,由俗入礼并在装饰上愈加繁缛。通过对霞帔形制的比较和考物研究,并结合古籍、报告与图像资料等,梳理霞帔形制的发展史。研究表明,霞帔形制结构由披帛样式发展而来,并与各民族世俗文化、典章碰撞杂糅,最终被纳入礼制; 历经朝代更迭,霞帔自宽幅长条至清式阔如背心,古制新式,清末,其形制脱离“礼教”走向新的艺术表现形式。霞帔形制的变迁过程彰显了中国传统服饰的宽博与活力。
Abstract:
The initial form of xiapei is called "pibo", which is a kind of clothing hanging outside the clothing, it was introduced into the dress system from the Song Dynasty, from vulgarity to ceremony, and became more and more cumbersome in decoration. In this paper, the shape and system of xiapei were compared and studied combined with ancient books, reports and image materials, and the historical facts of xiapei shape and system development were summarized. This research showed that the shape and structure of xiapei evolved from the style of draped silk, collided and mixed with the secular culture and laws of various nationalities, and finally entered the ritual system. Through the changes of dynasties, xiapei changed from a wide strip to a Qing style as a broad strip as vest from the ancient system to a new style. At the end of the Qing Dynasty, its shape finally broke away from "ethics" and moved towards a new form of artistic expression. The changing process of xiapei shape shows the broadness and vitality of Chinese traditional clothing.

参考文献/References:

[1] 孙机.中国古代物质文化[M].北京:中华书局,2016:96.
[2] 马缟.中华古今注:卷中[M].上海:商务印书馆丛书集成初编本,1939:21.
[3] 脱脱.宋史[M].北京:中华书局,1997:927.
[4] 孙机.华夏衣冠[M].上海:上海古籍出版社,2016:210.
[5] 高春明.中国服饰名物考[M].上海:上海文化出版社,2001:590,592,597.
[6] 黄智高.基于龙门石窟造像研究的“帔帛”名物再考[J].丝绸,2021,58(5):114-119.
HUANG Zhigao. Re-investigation of the object of "pibo" based on the study of Longmen Grottoes statues[J]. Journal of Silk, 2021,58(5):114-119.(in Chinese)
[7] 佚名.旧唐书[EB/OL].(2017-07-04)[2022-02-18].http://m.yuwenmi.com/guoxue/jiutangshu/3750_5.html.
[8] 顾凡颖.历史的衣橱:中国古代服饰撷英[M].北京:北京日报出版社,2018:167,170.
[9] 佚名.成博敦煌印象之壁画篇[EB/OL].(2017-01-09)[2022-02-18].https://www.jianshu.com/p/177085 b2d27b?utm_campaign=maleskine&utm_content=note&utm_medium=seo_notes&utm_source=recommen dation.
[10] 福建省博物馆.福州南宋黄升墓[M].北京:文物出版社,1982:7,10,79.
[11] 高丹丹,王亚蓉.明宁靖王夫人吴氏墓出土素缎大衫与霞帔之再考[J].南方文物,2019(2):248-258.
GAO Dandan, WANG Yarong. Re-research on “dashan” and “xiapei” with plain silk excavatedfrom the grave of Wu, wife of seignior Ningjing in the Ming Dynasty[J]. Cultural Relics in Southern China,2019(2): 248-258.(in Chinese)
[12] 彭定求.全唐诗:第2版[M].吉林:延边人民出版社,2004:2532.
[13] 苏阳.浅谈宋代服饰的特点[J].知识文库,2016(6):14.
SU Yang.Discussing on the characteristics of costumes in Song Dynasty[J]. Knowledge library, 2016(6):14.(in Chinese)
[14] 于奇赫.南宋霞帔坠子造物思想与寓意研究[J].西北美术,2016(4):93-96.
YU Qihe. Study on the creation thought and moral of xiapei Zhuizi in the Southern Song Dynasty[J].Northwest Fine Arts,2016(4):93-96.(in Chinese)
[15] 张玲.南宋女装“大袖”形制特征及符号价值考[J].艺术设计研究,2017(2):44-51.
ZHANG Ling. The shape features and symbolic values of the “big sleeves” of women’s clothing in Southern Song Dynasty[J]. Art and Design Research, 2017(2):44-51.(in Chinese)
[16] 萧瑾.霞帔:古代女性社会身份的一种标志[J].新教育,2019(33):32-33.
XIAO Jin. Xiapei: a sign of ancient women’s social iden-tity[J].New Education, 2019(33):32-33.(inChinese)
[17] 赵丰.大衫与霞帔[J].文物,2005(2):76-86.
ZHAO Feng. Dashan and xiapei[J]. Cultural Relics, 2005(2):76-86.(in Chinese)
[18] 李科友,周迪人,于少先.江西德安南宋周氏墓清理简报[J].文物,1990(9):1-13,97-101.
LI Keyou, ZHOU Diren, YU Shaoxian. A brief report on the cleaning of Zhou family tomb in the Southern Song in De’an of Jiangxi province[J]. Cultural Relics, 1990(9):1-13,97-101.(in Chinese)
[19] 黎靖德.朱子语类[M].北京:中华书局,1986:2325.
[20] 张廷玉.明史[M].北京:中华书局,2015:1621.
[21] 老子.道德经[M].李择非,译.沈阳:万卷出版社, 2009:93.
[22] 吕健,张媛,周坤.大明华裳——孔府旧藏之明代传世服饰[J].文物天地,2020(12):16.
LYU Jian, ZHANG Yuan, ZHOU Kun. Ming Dynasty of Huashang—the clothing handed down from the Ming Dynasty in the old collection of Confucius Mansion[J]. World of Cultural Relics, 2020(12):16.(in Chinese)
[23] 朱正.辫子的来历[J].民主, 1998:33.
ZHU Zheng. The origin of braids[J]. Democratic, 1998:33.(in Chinese)
[24] 朱曼.论明代凤冠霞帔的定制与婚俗文化影响力[J].美术教育研究,2013(9):44- 45.
ZHU Man. Discussion the influence of marriage custom culture about the phoenix crown and xiapei in the Ming Dynasty[J]. Art Education Research, 2013(9):44- 45.(in Chinese)
[25] 谢雨.戏曲传统人物造型程式之渊源探究及思考——从戏曲《桃李梅》“嫁衣”说开去[J].艺海,2017(10):30.
XIE Yu. Research and thinking on the origin of traditional character modeling in opera— from theperspective of "wedding dress" in the opera Tao Li Mei[J]. Yi Hai,2017(10):30.(in Chinese)
[26] 李雨来,李玉芳.明清织物:2版[M].上海:东华大学出版社,2020,482.
[27] 王金华.中国传统服饰·清代服装[M].北京:中国纺织出版社,2015:216.
[28] 徐珂.清稗类钞·服饰类[M].北京:中华书局,2003.
[29] 李华文,刘瑞璞.从发式到冠式:晚清大拉翅的标本研究及形制分析[J].装饰,2019(10):73-75.
LI Huawen, LIU Ruipu. From hair style to crown type: sample study and shape analysis of big wing drawingin late Qing dynasty[J]. Art and Design, 2019(10): 73-75.(in Chinese)
[30] 允禄.皇朝礼器图式:卷5[M].牧东,点校.江苏:广陵书社,2004:163.
[31] 刘冬红.明代服饰演变与训诂[D].南昌:南昌大学,2013:59.
[32] 叶梦珠.阅世编:卷8[M].北京:中华书局,2007:205.
[33] 邵新艳.华服十字形结构与现代服装设计研究[J].艺术设计研究,2013(1):40- 44.
SHAO Xinyan. Study on the cross structure of Chinese clothes and modern clothing design[J]. Art and Design Research,2013(1):40- 44.(in Chinese)
[34] 黄弗同.论典故——诗歌语言研究[J].华中师院学报(哲学社会科学版),1979(4):107.
HUANG Futong. On allusions—a study of poetic language[J]. Journal of Central China NormalUniversity(Philosophy and Social Sciences Edition),1979(4):107.(in Chinese)
[35] 佚名.宋史[EB/OL].(2016-01-18)[2022-02-18].http://www.360doc.com/content/16/0118/17/14495 761_528884118.shtml.
[36] 兰宇.唐代服饰文化研究[M].陕西:陕西人民出版社,2017:127.
[37] 沈从文,王予予.中国服饰史[M].北京:中信出版集团股份有限公司, 2018:98.
[38] 王惠莹,陈芳.《瑶台步月图》女性冠饰考[J].艺术设计研究,2016(4):42- 45.
WANG Huiying, CHEN Fang. A study on female headdresses of yao tai bu yue tu[J]. Art and DesignResearch,2016(4):42- 45.(in Chinese)
[39] [s.n].Imperial China photographs 1850—1912[M]. London:Scolar Press, 1978:1.
[40] 佚名.清朝的统治给汉族服饰的造成了多大的影响?[EB/OL].(2017-07-17)[2022-02-18].https://www.zhihu.com/question/40676677?sort=created.
[41] 方向东.新书:卷1[M].北京:中华书局,2012:44.
[42] 张将.孔子与亚里士多德的中庸思想比较研究[D].贵阳:贵州师范大学,2009:3.
[43] 郑玄注.礼记正义[M].北京:中华书局, 1980:1221-1969.
[44] 吴自牧.梦粱录(下):卷20[M].北京:中华书局, 1985:1.
[45] 冯梦龙.醒世恒言:卷20[M].杭州: 浙江古籍出版社, 2010:267.(责任编辑:张 雪)

更新日期/Last Update: 2022-12-30