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研究生:李文玉
研究生(外文):LI, WEN-YU
論文名稱:重製、穿著與具體化:晚清漢人女性服飾研究
論文名稱(外文):Recreating Embodied Experiences of Late Qing Han Chinese Women's Dress through Making and Wearing
指導教授:何兆華何兆華引用關係王廷宇王廷宇引用關係
指導教授(外文):HO, ZHAO-HUAWANG, TING-YU
口試委員:何兆華王廷宇陳華珠葉立誠楊翠竹
口試委員(外文):HO, ZHAO-HUAWANG, TING-YUCHEN, HUA-CHUYEH, LE-CHANGYANG, CHUI-CHU
口試日期:2023-07-03
學位類別:碩士
校院名稱:輔仁大學
系所名稱:織品服裝學系碩士班
學門:民生學門
學類:服飾學類
論文種類:學術論文
論文出版年:2023
畢業學年度:111
語文別:英文
論文頁數:123
中文關鍵詞:晚清女子服裝大襟衫服裝史具體化服裝重製製作轉向具體化轉向
外文關鍵詞:Women's clothing in late QingDress HistoryEmbodimentHistorical reconstructionMaking TurnEmbodied TurnDajinshan
IG URL:laurencewenyuli
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本論文旨於透過重製晚清服飾以增進我們對晚清女子服飾的具體化感受之了解,並強調研究中國傳統服飾時應一併考慮從內到外的衣服。重製的對象為天主教輔仁大學之「中華服飾文化中心」所典藏之晚清漢人女性服飾,透過與晚清文獻比對而組合出一整套晚清漢人女性的服飾,包含大襟衫、馬面裙等外衣與肚兜、飾褲、大襠褲等內衣。由於許多中式服裝採用平面裁剪,往往這些服裝會在展覽時被掛上T字形的架子,難以看出服裝穿著在人體上的實際形狀。因此,重製後的服裝可以穿在人體上,增進我們對晚清服飾的了解。重製的第一步是使用圖像化的一手資料,例如⟪點石齋畫報⟫、春宮畫、以及老照片,來協助我們了解晚清女子如何穿著與搭配其內衣。接著,我根據以上資料,從中華服飾文化中心的晚清藏品中挑出相符的藏品,並以「慢觀察(slow looking)」的方法觀察並記錄藏品的尺寸、縫製方式等細節。重製的重點是現今較少見的服裝技術,如大襟衫上的挖雲、堆綾、織帶裝飾,與馬面裙之魚鱗百摺。除了參考從藏品中得到訊息進行反向工程,本研究亦參考傳統中式服裝,旗袍與唐裝的製作技法。最後,作者穿上完整的晚清漢人女子服飾,結合⟪點石齋畫報⟫、⟪海上花列傳⟫等描繪女性的一手資料,觀察層層的服飾如何影響身體、動作、與姿態。重製這個研究方法可作為實驗性歷史的一種,從物質轉向與具體化轉向發源,並可用於輔佐中國服裝史研究中以文獻典籍、文物藏品為主等較傳統的研究方法。
This paper argues for reconstruction of historical clothing as a viable methodology for the study of historical Chinese dress, and that the study of the undergarments in Chinese dress is crucial to understanding how dress interacted with the body. The object of recreation is a late Qing Han Chinese woman’s ensemble, based on museum artifacts in the Chinese Textiles and Clothing Culture Center. This includes a type of jacket called the dajinshan, a pleated skirt called the mamian skirt, and the corresponding undergarments, such as the dudou, a belly band worn next to the skin, the shiku, short leggings, and the dadangku, closed-crotch trousers. Sources such as the Dianshizhai Pictorial, erotic paintings, and old photographs are used in tandem with the “slow looking” way of examining extant artefacts in the CTCCC to find out what how many layers were worn, how they were worn, and how they were constructed. Historical Chinese dress in museums and private collections are often exhibited or photographed lying flat or hanging from a horizontal stand. The two-dimensional mounting of these garments makes it difficult to visualize how they would look on a human body. The author argues that by observing and reconstructing this set of late Qing clothing based on extant objects, the author is able to make and wear the clothes herself, thus returning the two-dimensional flat-patterned clothes into the three-dimensional world of being worn. Information is given about construction of duiling and wayun, decorative applique methods, and of the construction of the fishscale pleats seen on some mamian skirt. The process of making and wearing also help researchers gain tacit knowledge of the methods used to construct the garments, as well as the embodied experiences that the wearer might have felt. This experimental history approach builds upon the material turn and the embodied turn, and will be used to complement more traditional dress history research methods such as documentary and material analysis. The author’s reconstruction and wearing of late Qing dress seeks to recover some of the embodied experiences of the makers and wearers of clothing of the past, such as how they affect one’s posture and bodily gestures, how the decorations on the clothes present on a three-dimensional body, and how tailoring techniques in the late Qing have been preserved in traditional qipao tailoring.
Abstract i
論文摘要 iii
Acknowledgements v
A Note on Conventions vii
Table of Contents ix
List of Figures xi
Chapter 1 Introduction 1
1.1 Motivation 3
1.2 Purpose 8
1.3 Literature Review 12
1.4 Research Method 25
1.5 Research Subjects and Limitations 29
1.6 Projected Results 31
Chapter 2 Layers of a Late Qing Han Chinese Women's Dress 33
2.1 The Dajinshan 40
2.2 The Mamian Skirt 48
2.3 The Zhongyi 56
2.4 The Dudou 61
2.5 The Shiku 65
Chapter 3 Reconstruction of a Late Qing Ensemble 67
3.1 Purpose of Reconstruction 68
3.2 Reconstruction of Underlayers 69
3.3 Reconstruction of Outer Layers 75
Chapter 4 Embodied Experiences of Late Qing Women 83
4.1 Recreating Embodied Experiences through Making 85
4.2 Recreating Embodied Experiences through Wearing 89
4.3 Historical sources of embodied experiences 98
Chapter 5 Conclusion 103
5.1 Results 103
5.2 Practical Applications 105
5.3 Future Work 106
Glossary 109
References 113
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