中国服饰文化中英版

1、Preview介绍介绍An anthropologic understanding of clothing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。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。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。A Brief History of Chinese Costumes尚书禹贡：扬州岛夷卉服，冀州岛夷皮服。孟子尽心下屣也。赵岐注：屣，草履。左氏：乃祖吾离，被苫（shan1）盖， 旧称黄梅

2、调或采茶戏，与京剧、旧称黄梅调或采茶戏，与京剧、越剧、评剧越剧、评剧 、豫剧并称中国五大剧、豫剧并称中国五大剧种。它发源于湖北、安徽、江西三种。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。黄梅式是湖北黄梅一带的采茶歌。黄梅戏用戏用安庆安庆语言念唱，唱腔淳朴流畅语言念唱，唱腔淳朴流畅，以明快抒情见长，具有丰富的表，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，以现力；黄梅戏的表演质朴细致，以真实活泼著称。真实活泼著称。 黄梅戏来自于民间黄梅戏来自于民间，雅俗共

3、赏、怡情悦性，她以浓郁，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的生活气息和清新的乡土风味感染观众。观众。 黄梅戏黄梅戏Huangmei OperaThe beginning of textile clothing纯苎麻布Silk Textiles1.1. 周代蚕桑和丝织得到长足发展，东周时期已有周代蚕桑和丝织得到长足发展，东周时期已有 足踏织机。足踏织机。2. 2. 汉代丝织成就辉煌汉代丝织成就辉煌 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Silk Textiles古代翻译观与纺织的同

4、构古代翻译观与纺织的同构云锦织金锦衣织金锦残片Silk TextilesCotton Textiles黄道婆教人纺织黄道婆纪念邮票Cotton TextilesThe development of Chinese Costumes衣，衣也。上曰衣，下曰裳。 说文解字 The development of Chinese Costumes西周贵族服饰春秋战国服饰The development of Chinese Costumes汉汉代代深深衣衣The development of Chinese Costumes论语论语里的着装规范里的着装规范10.6(a)君子不以绀n緅zou饰，红紫不以为亵

5、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 Sayin

6、g 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

7、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, wi

8、th 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 ca

9、p, 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 h

10、e 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

11、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（二）（二） 汉衣与胡服并

12、存汉衣与胡服并存曹植曹植洛神赋洛神赋魏晋南北朝服饰（一）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戴巾穿宽衫的士人魏晋南北朝服饰（二）魏晋南北朝服饰（二）皇皇帝帝的的着着装装 釉底红凤缠枝纹瓷罐釉底红凤缠枝纹瓷罐忍冬纹忍冬纹（三）新潮的唐代衣装（三）新潮的唐代衣装唐代妇女大袖衫唐代妇女大袖衫隋唐皇帝常服隋唐皇帝常服（三）新潮的唐代衣装（三）新潮的唐代衣装虢国夫人游春图虢国夫人游春图（三）新潮的唐代衣装（三）新潮的唐代衣装（四）（四） 清初的服饰变革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）（四） 清初的服饰变革清初的服饰变革（五）配饰、首饰与面

13、妆（五）配饰、首饰与面妆（五）配饰、首饰与面妆（五）配饰、首饰与面妆玉搔头玉搔头青玉项链青玉项链耳坠耳坠步摇步摇（五）配饰、首饰与面妆（五）配饰、首饰与面妆 （五）配饰、首饰与面妆（五）配饰、首饰与面妆玉玉 坠坠玉玉 镯镯（五）配饰、首饰与面妆（五）配饰、首饰与面妆（五）配饰、首饰与面妆（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（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（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（五）配饰、首饰与面妆Ritual costumes 进贤冠的演变进贤冠的演变冕冕皮弁皮弁通天冠的演变通天冠的

14、演变乌纱帽凉帽 秋帽 便帽清朝主要帽式清朝主要帽式暖帽明代官吏织金蟒明代官吏织金蟒袍袍清代文九品补子清代文九品补子清代文五品补子清代文五品补子清代文三品补子清代文三品补子清朝武一品补子清朝武一品补子（二）（二） 丧服制度丧服制度高俅看时，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）“肢体某部肢体某部A+动词动词A+衣饰衣饰A”的人物描写的人物描写Th

15、is 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

16、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

17、 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 o

18、f those long, broad, sharp-pointed, and 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

19、剑，博而且短，柄以鹿角为之，镌曰歇非而刀。Ivanhoe, Chapter I林译原文林译原文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 rat