【作者】 李雪垠；

【导师】 赵伶俐；

【作者基本信息】 西南大学 ， 美学， 2010， 博士

【摘要】 人类在追求外观形态最优化的过程中,创生了服装。它的产生使人类具备了改变自然外观,按照主观意图来积极塑造自身形象的能力。在这自身形象塑造过程中,人类渐渐发现,服装必须有人的穿着才能使之然也,服装真正的审美价值就嵌入在身体与服装相互整合后的相宜状态关系之中。服装因为有了人的穿戴被注入了灵魂和生命,在经历了原材料的选取(一度创作)、设计制作(二度创作)过程后,更由于人的穿着,身体的在场,进行着审美三度创作。着装美的价值对人的影响是最普遍、最经常、最持久的,它全面地反映着人生存状态的质量,是最典型的大众审美活动,作为美的本质特征在着装美上体现得更为鲜明。它使服装自身的审美价值得以升华,也使人的内在精神价值得以彰显。着装的美感状态因人体的形式和动态美感而生动,更是人类、人类每个个体自我本质的对象化!因此,对人类和人类个体着装审美价值的研究是对服装审美价值深刻而生动地展示,通过每个人切实的外在着装形象而对每个人审美价值和人生价值的一次洗礼和弘扬。但人们真正意义上意识到展示服装之美,需要通过着装形态之美来表达的意识诞生,确是晚在服装产生后的19世纪。而在学术界长期把服装美等同于着装美,服装学中服饰美学只是服装造型论的研究领域,但却在引导人们“如何去穿”的着装论中缺位。让决定着装形象的美丑判断质量与水平的高低的价值判断标准问题,停留在“趣味无争辩”之地,这已成为替代对审美标准进行深刻而完整研究可能性的托辞。美学中有关日常生活审美化的研究,多把服饰穿着的美学问题看作是关注身体的外在形式或表现的日常生活的浅表层审美化现象,成为一个被忽略的重要研究领域。对着装审美活动的研究由于未找寻到打开审美主客体文化审美心理机制互动生成、内化与外化的那把钥匙,导致服装产业链(包括服装设计、制作、审美、表演、销售)的审美化生产环节断裂,着装审美教育理念上多表现为一种教人如何运用色彩、选择款式的服装穿着搭配的训练。把人穿衣服的问题,简单抽象成人体的外在形式美与服装形式之间的匹配问题,缺失人的内心审美价值观、人格、审美能力、社会文化等精神教育内涵。本研究基于对以上问题的反思,采取美的本体的哲学研究与审美心理学中的实证研究方法方法相结合,对着装审美经验的心理学分析上升为哲学概括。首先(正文第一章)探寻服装的审美价值本质到底是什么,对服装美、身体美、着装美之间的内在关系进行辨析,认为服装美与着装美有着内在的同一性,但服装美却又不等于着装美,着装美的内涵大于服装美,而外延小于服装美。服装美与身体美之间由于着装活动,架设了一个审美交流融通的桥梁。服装穿在身上,构筑着装者的一种身体形态美,着装让三者之间发生着一种审美交互震荡。着装之美是一种基于身体经验的着装审美体验,这种审美体验的对象不是直接存在的服装实在物(服装色彩、款式、质料等形式美要素),也不是人身体的自然物质性,而是着装与社会身体审美价值在意向性过程中所建构起来的新质——着装意象。它是人以审美价值取向为内、外在尺度,对自我或他人着装后的身体形态进行审美观照,产生伴随审美感知、审美情感、审美价值判断的服饰心理图像及其外化的着装形象。着装审美活动就是以着装意象为核心的审美心理对象性活动。着装意象中“象”与“意”的各种要素相互联系、制约、渗透,按一定组合方式结合起来,形成具有不同程度的美感意象。它表现为一个动态的过程,同时又呈现为一个静态的结构,因而对它的研究可以采取两种方法：一种是对生成过程的内在逻辑分析,一种是对其结构的描述。第二章主要就是对着装意象静态结构的描述,对着装意象的内涵、结构、功能、特征和分类进行探讨。第三章至第五章则是对其生成动态过程内在逻辑的分析。人类在不知不觉地着装之美的判断与评价中,以着装审美标准为内外在调节器,生成极富美感的着装意象,并将内在着装意象外化生成自我的着装审美价值取向与社会的身体审美价值观之间构成一种具有内在一致性的、动态平衡的、美的着装形态过程,即着装切身化过程。形成切身着装意象的起点、过程和结果中,总是伴随对着装形象或着装形态美丑的审美价值判断而推进,也就说着装意象的切身化过程必须是在一定审美标准指导下的审美意象生成过程。第三章专门针对着装意象审美生成,即着装切不切身的审美公理(标准)进行自觉的提炼和归纳,提出了影响着装意象审美生成的形式美标准、功能标准、情感标准、社会文化情境标准与人格标准5大维度。而且各审美标准维度间是相互作用、互为影响的关系性存在。某种着装意象的形成往往是由主导的一种或二种标准,在与其他次级审美标准的相互作用下完成的。在不同时期不同社会群体中,有了给予某种社会文化审美标准的统一,着装审美意象才定向明晰确定,而融入审美情感的审美标准以理性的调节、指导,使情感从盲目欲望冲动走向有一定意向的着装审美情感表达。第四章通过语义分析法获得着装意象切身化审美词表,再编制着装意象调查问卷,运用问卷调查法、投射法,实证研究结果验证：在当代无论男性还是女性总体都把着装的形式美标准和人格标准排在选择和穿着服装时的最重要审美标准。而在不同职业群体中则差异明显：教师、学生、白领认为形式性标准和人格标准更为重要,而蓝领工人则认为社会文化情境标准更重要；在评价自我着装形象和他人着装形象时,着装意象的审美标准对着装意象审美生成起着核心调控作用。第五章从人类历史文化审美心理语境分析为什么会有如此繁复多变,而又不失其深刻内在一致性的着装形象产生背后的一种切身化逻辑演变进程。它形成了一种从自然的身体——到“衣”的文化身体——“服”的他者身体——“装”的自我身体的“情景身体审美实践”的逻辑转换进程,与此同时人类在感性与理性、自我与他人、遮蔽与敞开之间转化生成一种审美化“辨证服装自我”。最后一章指出被判定为切身的着装必须建立在真善美的统一中。切身的着装形象最根本的不是让人感到合体之美,止于得体美,而是人们在找寻切身着装过程中直观自身的“本质力量”与自我生命价值之美。但是能真正体会、欣赏、表达、创造这自由、愉悦、动人心魄的着装之美的背后,必须是爱美之人自身内在充实、完满,综合审美能力高度整合,体现出的独立理性判断和自由精神生活表达。而这一切必须由着装意象审美生成教育及其行之有效的策略指导下才能达成。更多还原

【Abstract】 The human being creates clothing in the process of pursuing the optimization of our appearance modality. The creation of clothing makes us have the ability of changing the natural appearance to actively figure the self-image according to our subjective intention. During this process, the human being marginally finds that clothing should be dressing by men to express its beauty, and the real aesthetic value of clothing exists in the worthwhile relationship by the body integration with clothing. Clothing is injected with soul and life by human being’s dressing, and passing the original materials selection (the first artistic invention), to the designing and making-up process (the second artistic invention), reaching the third stage of aesthetic invention because of the being of the body and human’s dressing. The aesthetic value of dressing influences at large, most often, and most persistent to men, it roundly reflects the life quality of human being, is the most typical aesthetic appreciation activity for mass people and it expresses the more outstanding features of the nature of beauty from dressing’s beauty. It sublimes the aesthetic value of clothing, and unfolds the inner spiritual value of human being. The status of aesthetic feeling of dressing is with lifelikeness under the body form and its dynamic aesthetic feeling, and the self genius objectivenization! Therefore, to research the aesthetic value of dressing of human being and each one are the deeply and vividly presentation to aesthetic value of clothing. Through the embodiment dressing of each person baptisms and carries forward the aesthetic value and life value of each person.However, to have the real consciousness of expressing the clothing beauty needs through the beauty of dressing configuration, coming late in 19th century after the creation of clothing. Within the academic region, clothing beauty is regarded as dressing beauty, clothing aesthetics only belongs to the researching area of clothing sculpt while absence from the area of the dressing theory which inducts people how to dress in good taste. Leaving the question of aesthetic judgment standard which decides the quality and level still stay in the place of "no agreement on aesthetic taste", this becomes an excuse to deepen and integrate researching possibility on aesthetic judgment standards. In the everyday life aesthetic academic research, clothing aesthetics and dressing aesthetics are regarded as only concerning the appearance form of body or the superficial aestheticization in everyday life academic phenomenon. So the dressing aesthetics is a neglected yet an importance academic researching region. Because of not finding the key to opening the aesthetic subject and object’s cultural aesthetic psychology on mutual becoming, internalization, and externalization processing system in the research of dressing aesthetic activities, broken are taking place on the aestheticization links of clothing industry chain including clothing designing, making, aesthetic appreciation, performing and selling, and the idea of dressing aesthetic education is no more than educating people how to make the best use of color, to choose clothing style and their matching training. The problem of knowing how to dress is simply abstracted to the matching problems between the external formal beauty of body with clothing, and the spiritual concept of aesthetic out-look value, personality, aesthetic appreciation ability and social culture etc.This research is based on the reflection of the above problems, and adopted the researching methods of the ontology of aesthetic philosophy with psychology of empirical aesthetic to elevate psychological analysis of the dressing aesthetic experience to philosophical generalization. The first main chapter explores what is the nature of the aesthetic value of clothing, we distinguish the inner relationship among clothing aesthetics, body aesthetics and dressing aesthetics, and it concludes that there is inner identity between clothing aesthetics and dressing aesthetics. But the clothing aesthetics is not equals to the dressing aesthetics, the connotation of dressing aesthetics is bigger than clothing aesthetics, while the extension is smaller. Clothing aesthetics and body aesthetics are bridged and communicated by dressing activities. Clothing is dressed on the body, and constructed a kind of body configuration aesthetics of the dresser. The dressing activities intertwine the aesthetic vibration among them. The aesthetics of dressing is the body experience oriented dressing aesthetic experiences, the object of this aesthetic experience is not directly existed in the clothing existence, as clothing color, style and materials formal aesthetic elements, not in the natural elements of the human body, but in the new identity---the dressing imagery which is constructed in the intentional process between the dressing and the social body aesthetics out-look of view. It is measured by aesthetic value orientation to direct the aesthetic appreciation towards one’s self or others’ body configuration after dressing, and to create an inner dressing imagery and transform to the outside dress image with aesthetic apperception, aesthetic emotion, and aesthetic value judgment. The dressing aesthetic appreciation activities are the aesthetic psychological objectiveness activity characterized by the dressing imagery.In the dressing imagery, different elements of the images and meaning are interrelated, restricted, penetrated and to be organized in certain style to form into different level of aesthetic imagery. It behaves both a dynamic process, and a static state. Therefore, the researching method to it can be both the logical analyzes to the becoming process and the description to its structure. The second chapter is mainly the static state description of the dressing imagery, to discuss the configuration, structure, function, characters and classification. The chapter three to the chapter five is the inner logic analysis of its dynamic becoming process. Human being are unconsciously in the process of the aesthetic judgment and evaluation to dressing aesthetics, regarding the dressing aesthetic standard as the inner and outside transmitter to create the profound dressing aesthetic imagery, and to reach an inner consistence, dynamic equilibrium and harmonious dressing configuration, that is the process of dressing embodiment, by externalizing the inner dressing imagery to transform the self dressing aesthetic value to the social body aesthetic out-look of view. The aesthetic judgment is always accompanied the dressing image or dressing configuration to form the starting point, the process and results of embodiment dressing imagery. That is to say, the whole embodiment process of the dressing imagery must be the aesthetic becoming process under the guidance of certain aesthetic standards. The chapter three specially extracts and inducted the aesthetic standards of the dressing embodiment or the aesthetic imagery becoming of the dressing imagery, which is concluded the first five standards dimension:the formality aesthetics standard, function standard, emotion standard, social cultural context standard and personality standard.And these standards are existed interacted and mutual influenced with each other. The formation of a kind of dressing imagery is dominated by one or two standards, and to accomplish the formation with other sub-standards interaction. In different social groups in different periods of time, the consistence of aesthetic standards in a cultural society ensure the dressing imagery into perspicuity, and the aesthetic standards with the aesthetic emotion would be oriented to rational adjustment, induction which would lead the irrational desire of emotion to the intentionally expression of certain aesthetic feeling of dressing. The chapter four uses the empirical aesthetic psychological researching methods, including method of semantic differential to get the aesthetic words bank of dressing imagery embodiment, method of questionnaire and projective methods to develop the dressing imagery investigation questionnaire which is concluded that the formality aesthetics standard and personality standard are the two most important standards both in choosing and dressing aesthetic activities of male and female, but there is much sharper difference among different professional groups:teacher group, student group and office men group regard the formality aesthetics and personality standards are much important while blue-collar workers group social cultural context standard is of great importance; Both in evaluation the self dressing image or others’ dressing image, the aesthetic standards exert the key adjustment function to formation of the dressing imagery. The chapter five analyses why there are such heavy and complicated yet still having the inner profound consistence embodiment evolvement process behind the dressing images on the perspective of human historical culture aesthetic psychology. It forms a kind of contextual body aestheticzational practices from the natural body to the cultural body with apparel to the other’s body of clothing, at last to the dressing self-body logical transformation process, at the same time, the human being transform a kind of aestheticzational dialectic clothing-self through the sensibility and reason, self and others, hiding and unfolding.The last chapter points out that the embodiment aesthetic dressing should be evaluated in the consistence of truth, goodness and beauty. The embodiment dressing images fundamentally make people not only feel the beauty of fitness to the natural body features, the beauty of social body features, but the beauty of genetic power of the self-reflection and the beauty of self life value. While to really understand, appreciate, express and create this kind of free enjoyable inspiring beauty of dressing aesthetics must need the highly integration of the one’s inner profoundness, richness and complex aesthetic ability development. That would embody the expression of independent critical judgment and the spiritual life freedom. And all these must be reached through an aesthetic education of dressing imagery aesthetic becoming and under the induction of its effective educational strategies.更多还原