中国服饰文化-中英版.ppt

单击此处编辑母版标题样式,单击此处编辑母版文本样式,第二级,第三级,第四级,第五级,*,单击此处编辑母版标题样式,单击此处编辑母版文本样式,第二级,第三级,第四级,第五级,中国服饰文化 中英版,Preview介绍,An,anthropologic understanding of clothing,-The origin and function of clothing in pre-history time,服装的人类学的理解，在前历史时期服装的起源和功能,Essential factors in the history of Chinese Clothing,中国服饰史上的重要因素,Material,材料,-Social custom,社会习俗,-Tailoring,or styles,剪裁，风格,As always,related readings,相关作品,-Classical Chinese literary works,中国古典文学作品中的服饰描写,An,anthropologic understanding of clothing,Clothing in pre-history time:,From nothing to everything natural,Why do people develop clothing.,诗经,小雅,采菽,：,赤芾在股，邪幅在下。郑,笺,：古者田渔而食，因衣其皮，先知蔽前，后知蔽后。,With the rise of civilization,the function of clothing changed.,礼记,郊特牲,：黄衣黄冠而祭，息田也。野夫黄冠，草服也。大罗氏，天子之掌鸟兽者，诸侯贡属焉。草笠而至，尊野服也。,-Customs,conventions,and culture were developed,礼记,深衣,：短毋见肤。长毋被土。续衽钩边。要缝半下。袼之高下。可以运肘。袂之长短。反诎之及肘。带。下毋厌髀。上毋厌胁。当无骨者。,Two leading factors in costume culture:,-Available materials,textiles,-Tailoring skills,or fashion,-Aesthetic intention and institutional conventions,A Brief History of Chinese Costumes,Natural coverings in pre-history time,尚书,禹贡,：扬州岛夷卉服，冀州岛夷皮服。,-Animal fur or skin,礼运,：未有丝麻，衣其羽皮。,墨子,辞过,：古之民未知为衣服时，衣皮带茭。,-Wild plants and weeds,孟子,尽心下,舜视弃天下，弃弊,屣也。赵岐注：屣，草履。,左氏,：乃祖吾离，被苫（,shan1,）盖，,蒙荆棘，以来归我先君。,旧称黄梅调或采茶戏，与京剧、越剧、评剧、豫剧并称中国五大剧种。它发源于湖北、安徽、江西三省交界处黄梅多云山，与鄂东和赣东北的采茶戏同出一源，其最初形式是湖北黄梅一带的采茶歌。黄梅戏用,安庆,语言念唱，唱腔淳朴流畅，以明快抒情见长，具有丰富的表现力；黄梅戏的表演质朴细致，以真实活泼著称。黄梅戏来自于民间，雅俗共赏、怡情悦性，她以浓郁的生活气息和清新的乡土风味感染观众。,黄梅戏,Huangmei Opera,The beginning of textile clothing,(,一,),麻织,1.,传说,:,伏羲氏养蚕织绵；神农氏“教民桑麻以为布帛”,2.,远古、秦汉时期主要纺织材料：,葛,大麻,(,汉麻,),苎麻,(,中国草,),纯苎麻布,Silk Textiles,周代蚕桑和丝织得到长足发展，东周时期已有,足踏织机。,2.,汉代丝织成就辉煌,丝织衣料总称“缯帛”，可细分为,缟、素、纨、锦、罗、纱、绢等近,20,种,1972,年湖南长沙马王堆汉墓出土大量丝织品,长沙马王堆,素纱禅衣,3.,唐代丝织技术进一步提高,发明双面锦织造法,应是天台山上明亮前，四十五尺瀑布泉。,中有文章又奇绝，地铺白烟花簇雪。,白居易,缭绫,4.,宋元时期创造了织金工艺，锦缎中用,金配色，图案富有鲜明的立体感,5.,明清丝织工艺精美绝伦,杭州、嘉兴、湖州等地以丝织品闻名天下,民间刺绣工艺也得到空前发展,Silk Textiles,古代翻译观与纺织的同构,译之言易也，谓以所有易所无也。譬诸枳桔焉，由易土而殖，桔化为枳，桔枳之呼虽殊，而辛芳干叶无异。又如西域尼拘律陀树，即东夏之杨柳，名虽不同，树本是一,翻也者，如翻锦绮，背面俱花，但其花有左右不同耳。,堂,吉诃德说,阅读,译本就象从反面来看花毯。,escomoquienmiralostapicesflamencosporelreves,云,锦,织金锦衣,织金锦残片,Silk Textiles,1.,棉花的传入,:,西汉以后从非洲和印度传入,2.南宋时期江南地区的棉纺织,业已较为普及,Cotton Textiles,3.,宋末元初棉纺织业与丝织业同步发展,4.,元代中期棉纺工具有重大改进,A.,搅车代替铁锭，,4,尺绳弦大弓代替小,竹弓,生产效率成倍增长,B.,发明了水力带动的水转大纺车,C.,纺织专家脱颖而出如上海松江的黄道婆,黄道婆教人纺织,黄道婆纪念邮票,Cotton,Textiles,The development of Chinese Costumes,（,一）从上衣下裳到深衣,1.5000,年前上衣下裳的形制大致形成,黄帝、尧、舜垂衣裳而天下治,易经,系辞下,到了商周上衣下裳制已经定型,绿衣黄裳,诗经,邶风,绿衣,上曰衣下曰裳,毛传,华夏族上衣形制多为,交领右衽,、,袂长而肥大,领：衣领,衽：衣襟,袂：衣袖,缘：衣的饰边，,忌间色用正色,间色：调和的颜色，,如：橘红等,正色：原色，如：大红等,衣，衣也。上曰衣，下曰裳。,说文解字,（,一）从上衣下裳到深衣,2.,周代上衣款式种类较多,常见的有“襦”,分“长襦（褂）”与“短襦（腰襦）”,又有单、夹之分，有面有里的襦称“复襦”,贴身穿的上衣的名称：亵衣、中衣、私,冬季御寒的服装还有：裘、袍,裘：毛向外的皮衣,袍：形制与复襦相近。当时战士冬季穿袍，贵族多穿裘，裘中以狐裘、羔裘最为名贵,贫民百姓穿褐（褐以粗麻布制成，短且狭）,岂曰无衣，与子同袍,诗经,秦风,无衣,无衣无褐，何以卒岁。,诗经,豳风,七月,（,一）从上衣下裳到深衣,3,.,商、周时期下身穿的衣服称为“裳”,凡裳前三幅，后四幅也。,仪礼,丧服,裳由七幅布帛缝纫而成，腰部带褶，穿有带子，,样式与裙相似,4.,春秋战国前的裤,名称：绔或胫衣,绔，胫衣也。,说文解字,形制特点：无裆，只有两个裤筒套在腿上，上端,有绳系于腰间,5.,春秋战国时期社会动荡分化带动了服饰变革,深衣式袍服作为服装的主流款式开始流行,The development of Chinese Costumes,西周贵族服饰,春秋战国服饰,The development of Chinese Costumes,深衣不是礼服，尊卑共服,形制特点：,a.,上衣下裳连为一体,b.,无男女式样区别,c.,上窄下宽，与后世的袍成筒状不同,d.,系腰带，上不及肋，下不及髋,6.,汉代衣装形制基本为深衣制,丝帛品种多样，锦锈、印花、敷彩等工艺发展,汉代深衣,The development of Chinese Costumes,论语里的着装规范,10.6(a),君子不以绀,n,緅,zou,饰,，红紫不以为亵服。当暑，袗,zhn,絺,ch,绤,x,，必表而出之。缁,z,衣，羔裘；素衣，麑裘；黄衣，狐裘。,The gentleman was never,decked,in violet or mauve;even at home he would not wear red or purple.,In hot weather he wore an unlined linen gown,but always over other clothes,.With lamb-skin he wore black,with fawn,white,and with fox-skin,yellow.(,The Saying of Confucius,Trans.,by Leonard A.Lyall,Third Edition 1935:pp43,),The superior man(Confucius)did not wear clothes with a deep green,or crimson,collar,.He did not wear clothes of a reddish,or brownish colour,as his common apparel.,In hot weather he wore a robe of fine,or coarse linen as an upper garment,.Black clothes he lined with the skin of a(black)lamb;white robes with the skin of the deer-yellow with that of,the fox.(,The Lun Yu,Shang Lun,Trans.,by David Collie,1828:pp43,),10.6(b),亵裘,长，短右袂。必有寝衣，长一身有半。狐貉之厚以居。去,丧,，无所不佩。非帷裳，必杀之。羔裘玄冠不以吊。吉月，必朝服而朝。,At home he wore a long fur gown,with the right sleeve short.His nightgown was always half as long again as his body.In the house he wore thick fur,of fox or badger.When he was not in mourning there was nothing missing from his girdle.Except for sacrificial dress,he was sparing of stuff.He did not wear lambs fur,or a black cap,on a mourning visit.At the new moon he always put on court dress and went to court.(Lyall,1935:43),Common clothes,he wore long with the right sleeve short.His night gown was one length and a half of his body.At home he wore thick warm clothes made of the hair of Hoo Ho(a kind of fox).When he put off his mourning robes he failed not to wear all the,customary,ornaments.Unless a we Shang(an undergarment)he had his lower garments plaited.With lamb-skin robes and sombre coloured cap he did not go to condole.On the first of the month,he always put on his court robes and waited on the,Prince.(Collie,1828:32),缁衣之宜兮，敝予又改为兮。,适子之馆兮，还予授子之粲兮。,缁衣之好兮，敝予又改造兮。,适子之馆兮，还予授子之粲兮。,缁衣之席兮，敝予又改作兮。,适子之馆兮，还予授子之粲兮,（,诗经,郑风,缁衣,）,宋有澄子者，亡缁衣，求之途。见妇人衣缁者，辄欲取之妇人不与，澄子曰：“子不如速与我，我亡者纺缁也，今子褝缁也。以褝缁当纺缁，子岂不得哉？”,（,吕氏春秋,审应览,）,“自佛行中国已来，国人为缁衣之学多，几与儒等。”唐 沉亚之,送洪逊师序,“某启，衰病枯槁，百念已忘，缁衣之心，尚馀此耳。”宋 苏轼,与谢民师推官书,“欧公 辟浮屠，晚乃好缁衣。”清 方文,庐山诗,之三一,魏晋南北朝战争频繁，南北民族大融合，出现了汉衣和胡衣并存、胡衣汉化的现象。,1.,东晋时玄风盛行，衣式宽松博大,2.,女性服装从深衣向衣、裳分开发展,3.,北方胡服流行,4.,衣装纹饰体现了多元化文化的影响,纹饰受佛教文化影响：缠枝纹、忍冬纹、桃形纹、生,命树等,纹饰受西部风情影响：对马、对狮、对羊、骆驼等,（二）汉衣与胡服并存,曹植洛神赋,其形也，翩若惊鸿，婉若游龙。荣曜秋菊，华茂春松。仿佛兮若轻云之蔽月，飘飘兮若流风之回雪。远而望之，皎若太阳升朝霞；迫而察之，灼若芙蕖出渌波。襛纤得衷，修短合度。肩若削成，腰如约素。延颈秀项，皓质呈露。芳泽无加，铅华弗御。云髻峨峨，修眉联娟。丹唇外朗，皓齿内鲜，明眸善睐，靥辅承权。瑰姿艳逸，仪静体闲。柔情绰态，媚于语言。奇服旷世，骨像应图。披罗衣之璀粲兮，珥瑶碧之华琚。戴金翠之首饰，缀明珠以耀躯。践远游之文履，曳雾绡之轻裾。微幽兰之芳蔼兮，步踟蹰于山隅。于是忽焉纵体，以遨以嬉。左倚采旄，右荫桂旗。壤皓腕于神浒兮，采湍濑之玄。,魏晋南北朝服饰（一）,南北朝武士图,南北朝铠甲,魏晋戴巾穿宽衫的士人,魏晋南北朝服饰（二）,皇帝的着装,釉底红凤缠枝纹瓷罐,忍冬纹,衣 装 纹 饰,唐代国力强盛、文化开放，有助于服饰文化的创新求变。,1.,唐代女装,摒弃了宽袖大袍、交领掩胸的传统款式，女性穿着开放大胆，还喜着男装，,慢束罗裙半露胸。,周濆,逢邻女,2.,唐代男装,较多保留传统款式，局部变化（流行圆领袍）胡服仍是男子喜穿的服饰,（三）新潮的唐代衣装,唐代妇女大袖衫,隋唐皇帝常服,（三）新潮的唐代衣装,虢国夫人游春图,（三）新潮的唐代衣装,1.,清代以前，宋、明服饰仍承袭汉衣定制,2.,满清入关建朝后，中国服饰又出现一次大变迁,男子：强令剃去前半部头发，后半部垂发辫,服饰为开衩长袍，下着长裤，,衣袖狭窄,（袖口装有剑袖，又称,“,马蹄袖,”,）,明代的瓜皮帽仍然流行,女子：民间汉族妇女多沿袭旧制，,南方袄衫，下配长裙；,北方妇女多穿长裤,满族妇女穿本族旗袍，外罩马甲,（四）清初的服饰变革,清男子着装,清女子着装,花盆底鞋,黄马褂,琵琶襟,捻襟坎肩,（四）清初的服饰变革,1.,配饰,玉,中国古代最重要的配饰。古人认为玉,是阴阳集于一身的山川之精英，又是,品德的象征,腰带,妇女丝编，文武官员革制,香囊、佩巾和彩缕也深受喜爱,（五）配饰、首饰与面妆,2.,首饰,簪,骨簪、玉簪（玉搔头、碧玉簪）、金银簪等,钗,由簪演变而来，簪单股钗双股,胜,新嫁娘多以胜为首饰,步摇,簪上垂珠,耳饰,环与坠,项饰,串珠与璎珞,（五）配饰、首饰与面妆,玉搔头,青玉项链,耳坠,步摇,（五）配饰、首饰与面妆,手饰,指环和手镯。,指环又称“约指,”,、“戒指”把指环作为定亲信物的风俗南北朝时由关外传入。,手镯又称“钏”,发式,常见的有：高髻式、拧旋式、盘叠,式、结椎式等,（五）配饰、首饰与面妆,玉 坠,玉 镯,（五）配饰、首饰与面妆,3.,面 妆,粉脂,始于战国，粉是米粉或铅粉，脂是胭,脂，用于面部，使肌肤白皙，两颊双,唇红艳。,眉黛,始于战国，“黛”是画眉所用的青黑,颜料眉形：西汉流行广眉、八字眉、,远山眉；唐代流行柳眉等。,贴花子,又称“靥面妆”。用极薄的金片、,银片等材料，剪成星月花鸟等花样,贴在额上或两颊。,（五）配饰、首饰与面妆,中国历代妇女点唇样式,（五）配饰、首饰与面妆,高髻 双环髻,山字帽 双髻,（五）配饰、首饰与面妆,高髻 扇形髻,抛家髻,花形髻,（五）配饰、首饰与面妆,中国古代的服饰制度,以尊卑等级关系为基础，早在西周，已形成了冕服制度。,（一）冠服制度,1.,冠类,周代贵族戴的冠主要有：冕和弁。只有天子、诸侯、卿大夫可以戴冕，而且只用于重大典礼活动。弁是仅次于冕的男式皮质礼帽，用于一般正式场合,秦汉统一中国后，对冠式作了礼仪典制的规定，冠式成为官职和品秩的标志,魏晋南北朝的冠服多承袭汉冠制度，但庶民戴的头巾开始上层流行,Ritual costumes,进贤冠的演变,冕,（一）冠服制度,皮弁,通天冠的演变,（一）冠服制度,乌纱帽,凉帽,秋帽,便帽,清朝主要帽式,暖帽,隋唐后，官员朝服与公服的冠戴和服饰搭配都有定制。其中典型冠式为进贤冠；宋代幞头方顶硬脚，两脚平展很长；,元代冠服分蒙制和汉制两类：汉制袭用宋制，蒙制戴用大檐帽；,明朝则以乌纱帽最为著名；,清代帽顶以珠玉宝石为饰，称“顶珠”，一至三品官员帽后还饰有金花或孔雀翎。,（一）冠服制度,2.,服装与饰品类,周代帝王和官员都以冕服为朝服，头戴冕，身穿有纹饰的袍。纹饰包括：日、月、星、龙、山、火等图案。,唐代官员着圆领官袍。唐代形成品色衣和章服制度,品色衣制度：以色彩区别品秩的高低。,规定帝王的服色为赫黄，饰龙纹，称为“龙袍”；,三品以上官员衣紫；,四、五品衣绯；,六、七品衣绿；,八、九品衣青,章服制度：,官员进出宫门须带鱼符，用鱼袋盛之随身鱼符者，以,贵贱，应召命,皆盛以鱼袋，三品以上饰以金，五品,以上饰以银。,新唐书,车服志,（一）冠服制度,宋朝不再使用鱼符，但仍佩带鱼袋,明朝官服以“补子”为饰,补子纹饰定为九品，,饰于官衣的前胸后背,清代官服采用满制，以补子为饰仍沿用明制，所绣图案有所不同,（一）冠服制度,明代官吏织金蟒袍,（一）冠服制度,清代文九品补子,清代文五品补子,清代文三品补子,清朝武一品补子,（一）冠服制度,丧服：死者的亲属为哀悼死者而穿戴的特殊,衣帽。中国古代丧服称为“五服”：,斩衰：丧服中最重的一种服制。服期三年,齐衰：服期为一年、五个月、三个月不等,大功：服期为九个月,小功：服期为五个月,缌麻：服期为三个月,陈情表,：外无期功强近之亲，内无应门五尺之僮。,遣兴,：共指亲戚大，缌麻百夫行。,（二）丧服制度,这个人打扮与众姑娘不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗，项上戴着赤金盘螭璎珞圈，裙边系着豆绿宫绦双衡比目玫瑰佩，身上穿着缕金百蝶穿花大红洋缎窄裉袄，外罩五彩刻丝石青银鼠褂，下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉，身量苗条，体格风骚，粉面含春威不露，丹唇未起笑先闻。黛玉连忙起身接见。（,红楼梦,）,高俅看时，见端王,头,戴软纱唐巾；,身,穿紫绣龙袍；,腰,系文武双穗条；把绣龙袍前襟拽起扎揣在条儿边；,足,穿一双嵌金线飞凤靴；三五个小逼门相伴着蹴气球。（水浒传）,头,上戴箬笠，乃是新笋初脱之箨。,身,上穿布衣，乃是木绵捻就之纱。,腰,间系环绦，乃是老蚕口吐之丝。,足,下踏草履，乃是枯莎搓就之爽。,手,执衠钢斧，担挽火麻绳。（西游记）,足,下蹑丝履，,头,上玳瑁光，,腰,若流纨素，,耳,著明月当，指如削葱根，口如含朱丹，纤纤作细步，精妙世无双。（,孔雀东南飞,）,“肢体某部,A+,动词,A+,衣饰,A,”,的人物描写,This primeval vestment,reached(1),from the throat to the knees,and served at once all the usual purposes of body-clothing;there was no wider opening at the collar,than was necessary to admit the passage of the head,from which it may be inferred,that it was put on by slipping it over the head and shoulders,in the manner of,a,modern shirt,or,ancient hauberk,.,Sandals,bound with thongs made of boars hide,protected the(2),feet,and,a roll of thin leather,was twined artificially round the,(3)legs,and,ascending above the calf,left the knees bare,like,those of a,Scottish Highlander,.,To make the jacket,sit yet more close to the body,it,was gathered(4),at the middle,by a broad leathern belt,secured by a brass buckle;,to one side of which,was attached a sort of scrip,and to,the other,a rams horn,accoutred with a mouthpiece,for the purpose of blowing.,In the same belt,was stuck one of those long,broad,sharp-pointedand two-edged knives,with a bucks-horn handle,which were fabricated in the neighbourhood,and bore even at this early period the name of a,Sheffield whittle,.,革之长自頦及膝，其制天然无襟袖，殆以顶受领，自襟底仰穿而上者。,履,为木屐，新牛革缚之。,胫,上裹牛皮，露其膝盖，状如苏格兰人。,腰,束巨鞓，亦牛革所为，以铜为钮。,左,佩囊，,右,佩巨牛角，去角尖可以吹为口号。鞓上尚带刀，形如剑，博而且短，柄以鹿角为之，镌曰歇非而刀。,Ivanhoe,Chapter I,林译原文,The man,had no covering upon his(5),head,which was only defended by his own(6),thick hair,matted and twisted together,and scorched by the influence of the sun into a rusty dark-red colour,forming a contrast with the overgrown beard upon his(7),cheeks,which was rather of a yellow or amber hue.,One part of his dress,only remains,but,it,is too remarkable to be suppressed;,it,was a brass ring,resembling a dogs collar,but without any opening,and soldered fast round his(8),neck,so loose as to form no impediment to his breathing,yet so tight as to be incapable of being removed,excepting by the use of the file.,On this singular,gorget,was engraved,in Saxon characters,an inscription of the following purport:“Gurth,the son of Beowulph,is the born thrall of Cedric of Rotherwood.”,Ivanhoe,Chapter I,露顶,不冠，,积发,弗理，蓬蓬然，受日既久，色尽赭。,虬髯,作琥珀色，,颈上,着铜圈，形若圈狗。圈天然无端，不知何人所带，竟能加诸项际。圈上镌曰：罗德渥凯特立克家奴歌斯，皮渥夫子也。,林纾译，,撒克逊劫后英雄略,