溯源与演化

【作者】 刘若琳；

【导师】 刘元声；

【作者基本信息】 上海戏剧学院 ， 戏剧戏曲学， 2012， 博士

【摘要】 服装产生之初与所处环境密切相关，它需要通过一定媒介以物化的形式体现。在没有发生服装交流之前，它与所处的自然环境出现了大致相同（封闭式和开放式）的服装趋势。在民国以前，中国传统服装基本是沿着开放式结构发展而来，这一方面是由于中国独特的地理位置、自然环境所产生的具有稳定机制的服装传承；另一方面也是由于君权神授的汉族衣冠与历代封建统治所强调“昭名分、辨等威、别贵贱”相契合。这种格局赋予中国服装以独特的标志、分类、认同、秩序的外化含义，它以款式、面料、纹饰、色彩的形式体现并锁定意义——形成了与其相配的衣冠体系，它的产生与完善对于后世服装的审美格局影响至深——溯源成为了民国服装发展的前提和基础。中国步入近代以后，长久以来的孤立局面被打破，进入“三千年未有之变局”。传承千年的衣冠之治，用以维系封建政权与彰显等级秩序的核心随之瓦解。服装样式、面料、色彩面临着颠覆性的重构。改良与革新夹杂着内外双重矛盾的制约，对内受到“驱除鞑虏、恢复中华、创立民国、平均地权”人人平等民主制的近代服装转型。对外受到来自西方业已成型的以人为主体的，宇宙空间为客体的对立关系的人体形态塑造的服装造型手段的冲击。这与中国传统服装所强调的“天人合一”，追求意象，以抽象的形式象征的表达人与空间的协调关系相背离。这内外两方面因素的夹杂，使嬗变成为这段时期服装的一个主要发展趋势，这一时期比以往任何时期都更为复杂，它强烈的激发起汉族人民的民族意识，寻求具有中国意义的近代服装样式。从这一时期的男性服装发展来看，作为社会结构和意识形态变更及演进的直接体现的风向标。它承载着变迁的具体象征，恪守更多的社会属性，对于样式也更为程式化，而这种形式的服装必须是一种简单的组合，可以轻易而迅速地完成，以适合近代的生活节奏。同时细节的涉及常常是不同地区服装发展符号凝练的信息传递，民国男装在西式服装的框架上赋予了典型的中国意义的细节标志，在规则与禁忌的国际男装发展朝向中，演绎出具有国人身份认同的近代男装样式。从这一时期开始，男装逐渐固定为几大经典款式，造型变化甚微。而此时的女性服装却因为摆脱了传统的禁锢，表现出强烈的自我呈现欲望，与男装发展相背离，出现了丰富多样的外观变化。以天乳运动为界点的近代女装，解放了束缚女性已久的传统女性审美观念，对旧有礼制提出反叛，出现了不同阶层的服装引领者，服装作为消费行为的特征也借以大众媒体的传播与督导开始浮现。伴随着女装自由选择权利的放开与审美方式的多元，消解了负荷于服装上凝重的政治色彩，它的解放，出现了风格不同的时装化趋势。民国服装的转型雕刻着独特变迁的痕迹，它的演化由内到外承载了巨大的跌宕与波折，复杂的形态兼具了服装发展的客观规律所在。本文试图从实物、文献、图片中挑取典型的服装样式，从服装结构的角度进行转型期服装的渐变分析，深入解读服装款式与技术以及审美的传承与变异，阐述民国服装发展的历程所在，重现民国时期服装演化。更多还原

【Abstract】 The origin of clothing is closely related with its environment. It hasto emerge as an object by a certain media. Before the clothing exchange,its situation is very similar with the natural environment at that time,which consists of isolation and opening. Before the Republic of China,the tradition Chinese clothing has almost remained the same, which islargely based on the stability of China’s unique geographical, naturalcharacteristics. In the other hand, this is also in correspondence with thebeliefs of Han people that people’s fame, cast and nobility should bedistinguished. This kind of social characteristics give the symbol,category, recognition and order of Chinese clothing. Its meanings areexpressed by its styles, materials, decorations and colors. The creationand development of clothing have tremendous impacts to the aestheticpattern for the following generations and they are the prerequisite andbasis for the development of clothing during Republic of China.Since the early of last century, the situation of China being isolatedhas changed. China has stepped into the "greatest changes in the thirdmillennium". The traditional clothing which is used to consolidatefeudal regime and represented hierarchical orders is vanished. Clothing isfacing disruptive reconstructions in terms of style, material, and colors. Improvement and innovation are constrained with both internal andexternal conflicts. Internally, many people in China were in favor of"removing the invaders from homeland, restoration of China, creation ofthe public country, and equalization of lands" and they support clothingstyles to represent equal democracy. Externally, newly accepted westernbeliefs that clothing should be focused on people not universe are comingto hit. These conflict with traditional Chinese clothing ideas whichemphasizes the harmony between people and nature and pursuessymbolic expression of the coordination between people and space. Thecombination of internal and external factors becomes the main drivenpower for the trend of clothing. This time is complicate than any othertimes before, which triggers the national consciousness of Han peopleand the pursuit of recent clothing style with Chinese characteristics.From the aspect of the development of man’s clothing during thistime, men’s clothing becomes the wind wane of evaluation of societystructure and ideology. It carries the symbol of changes and maintainsmultiple society attributes. It also becomes diverse in terms of styles.While, this clothing style must be a simple combination to be achievedquickly to adjust modern pace of life. At the same time, details presentthe developments of clothing form various regions. The clothing of theRepublic of China expresses the typical detailed symbol of Chinesecharacteristics on western suit. It shows the identity of modern Chinese men’s clothing style in the development of rules and constraints ofinternational men’s clothing. From that time, men’ clothing has graduallyevolved into several classical styles with little change.While, at this time women’s clothing gets rid of traditionalconstraints to express women themselves. It conflicts with man’s clothingand evolves with various appearances. Since the movement of "Tian Ru",the aesthetic pattern has been liberated and posed contradictions totraditions. Clothing pioneers from different society levels have emerged.Clothing as consummation behaviors is spread out by public media. Withthe liberation of women’s freedom choice and the variety of aestheticpattern, the political overtones on clothing is reduced and variousclothing styles appear.The resolution on clothing of Republic of China has its uniquecharacteristics. Its evaluation is with huge internal and external ups anddowns and its complicity coexists with the objective development law ofclothing. This work ties to deeply articulate the evaluation and variationof clothing, techniques and aesthetic pattern based on selective objects,literature, picture and reshow the live resolution of Republic of China’sclothing.更多还原