古代汉族女性服饰研究

【作者】 罗微；

【导师】 杨圣敏；

【作者基本信息】 中央民族大学 ， 人类学， 2003， 博士

【摘要】 服饰作为人类生存的基本物质基础之一，包括人类从头到脚的一切服装与妆饰。一般来说，服饰具有三种基本功能：第一个功能是保护身体；第二个功能就是美化身体；第三个功能就是社会标识作用。人类穿用服饰受时空变迁、物质基础、思想意识等多种因素的影响，因而呈现出多姿多彩的服饰文化。 《古代汉族女性服饰研究》由绪论、古代汉族女性服装概述、古代汉族女性妆饰概述、古代汉族女性服饰的人类学研究、古代汉族女性服饰文化特征和结语六部分组成。 绪论对服饰、服饰文化和人类学视野的服饰文化做出界定，回顾前人服饰观念和研究成果，概括出古人对服饰具有政治、标识、教化、美化、实用等功能的主流观念，总结出前人服饰研究成果的认知、应用、文化研究三个层面。本文在前两个研究层面已取得丰硕成果的基础上，参照古人对服饰的主流观念，以汉族女性为研究对象，对相关历史文献和考古资料进行分期、分类、分型，梳理出古代汉族女性服饰发展变化的脉络，克服以往考古学研究对考古文物资料重“物”轻“文”的现象，以文化人类学的理论为视角，展开古代汉族女性服饰的历史民族学和考古人类学研究。 第一章——古代汉族女性服装概述，将古代汉族女性的服装分作发祥期、形成期、定制期、完善期四个阶段和主服、首服和足服三个类型。第二章——古代女性妆饰概述，划分出女性化妆和配饰两大类别予以描述，将女性化妆史的历程划分为萌发期、成长期、成熟期、传承期四个阶段和面妆、眉妆、唇妆三部分来概括论述；将古代汉族女性的发式分为披发、剪发、编发、椎发、角羁、发鬟六种类型，并对发饰和理发工具也做出了分类；将古代女性配饰归纳为耳饰、颈饰、手饰和腰饰四类逐一论及。古代汉族服饰概述是为古代汉族女性服饰文化论述搭建的背景与基础。 运用人类学理论对古代汉族女性服饰进行阐释是本文的探索性研究。人类学在对文化现象进行解释时，有多种学派和理论。本文分别采用人类学的文化符号象征理论对“凤冠”这一象征女性至高身份的符号进行解释；采用“通过仪式”的理论对“盖头”这一女性人生的着重符号进行解释；采用性别理论对“五服制” 古代汉族女性服饰研究中的两性关系进行解释；采用功能理论对女性装饰心理进行解释；采用文化变迁理论对唐代女性妆饰鲜明的时代特征进行解释，来反映古代汉族女性服饰文化的丰富内涵。 基于古代汉族女性服饰的发展变化和丰富文化内涵，本文将其文化特征总结归纳出多样性、时代性、象征性和民族性的四个特征。古代汉族女性服饰的多样性依托于多样的自然与人文环境，以及染织工具和技术的发展水平。由于汉民族发展历史的漫漫历程，女性服饰始终与各个时期的思想意识和社会经济发展状况紧密关联，形成风格各异的时代性。女性服饰不同色彩、纹饰运用，表现出中国文化深厚的象征意义。古代汉族女性服饰文化的民族性也表现在多方面：端庄典雅、悬垂飘逸的宽衣体系，表现出汉族追求神韵和中和的审美趋向：服饰作为以礼为核心的中国传统文化的重要组成部分，受“男女授受不亲”和“男尊女卑”观念的影响，以其完备的衣冠制度和宽衣形制，把男女通过“服”隔离开来：妆饰，尤其是化妆游离于礼制控制边缘。古代汉族女性通过这一相对于“服”较为自由的手段来表现追求美的天性和展现个性，并使封建社会主宰者——男性赏心悦目，实现两性的亲近。因此，古代汉族女性服饰具有两性隔离与亲近的双重性。 通过论述，本文得出服饰文化研究的结论——服饰是流，文化是源。对于古代汉族女性服饰文化的命题和研究，不仅是女性文化的研究，更是人类文化的研究。它带给我们的是物质文化、制度文化、精神文化跨越时空的思考。更多还原

【Abstract】 As part of the basic necessities of life, costume includes every single piece of the dress and adornment we wear. Generally speaking, it has three functions: to protect our body, to prettify ourselves and to symbolize our social status. Several factors are decisive to what to wear and how to wear. Historical progression, social changes, material bases and ideology are all responsible so that we have various costumes that form a specific culture worth studying.This dissertation consists of six parts. They are introduction, female dress of the ancient Hans, female adornments of the ancient Hans, an anthropological study on female costumes, the cultural characteristics of female costumes and conclusion.In the introduction, the author gives her own definitions of costumes, costume culture in a common sense as well as in the anthropological sense. In the part of the literature review, the author gives a short summary on the functions of costumes, which belongs to the mainstream in academic world, and classifies the research and studies ever done before into three categories, namely, cognitive, applied and cultural. Based on these achievements, the dissertation is devoted to the anthropological study of female dress and personal adornment of Han ethnic group in ancient times with the help of both written and archaeological materials. Through combing out the development of female costumes in the ancient history, the author provides a corrective to the archaeological studies that attach too more importance to specific articles than to the cultures they dwell in.Chapter one gives a brief introduction to the four periods in the development of female costumes of the ancient Hans, namely, the origination, the formation, the institutionalization and the perfection, and classifies the ancient female dress and adornment into the following three types: clothes, headdress and footgear. Chapter two describes the cosmetics and accessories of the female respectively. In this chapter, female cosmetics are introduced according to its historical development that includes four periods: the origination, the growth, the maturity and the transmittance. The adornments of face, eyebrow and lip are illustrated as three parts. Furthermore, the hairstyle of females of Han ethnic group in ancient times is categorized as such six following types: long hair, short hair, braided hair, cone-shaped hair, horn-liked hair and bun of hair, and hair accessories and tools for hairdressing are also classified. In addition, accessories of ancient females are generalized into four categories, namely, ear ornaments, neck ornaments, hand ornaments and waist ornaments. The introduction to costumes of Han ethnic group in ancient times foreshadows the illustration of female costumes.Adopting anthropological theories to illustrate ancient female costumes of Han ethnic group is a pioneering attempt. Since there are so many schools and theories of anthropology in the interpretation of various cultural and social phenomena, this dissertation employs symbolic theory to illustrate "phoenix coronet", an emblem signifying the supreme social status of females, the theory of "the rite of passage" tointerpret the "red cloth covering the face of the bride", a token symbolizing the important point of her whole life, and gender theories to explain the relationship between males and females reflected in "costumes wearing in funeral and in mourning period by immediate family members according to their relationship with the dead". In addition, functionalism is adopted to illustrate females’ propensity for dressing up, and cultural transformation theory is employed to expound the distinctive features of the Tang Dynasty through the analysis of the adornments of females hi that era in order to reflect the abundant connotation of the culture of ancient female costumes.Based on the plentiful cultural connotation and development of female costumes of Han ethnic group hi ancient times, the author generalizes their cultural peculiarities as four basic types: diversity更多还原