摘要
隋唐时期墓室壁画中大量出现的"襕袍"形象,即袍衫下摆设一条襕道,是汉唐之间人们服饰风格变化的重要表现之一。唐及以后的文献中有很多关于襕袍形制、襕袍穿着规范以及人物穿襕袍(衫)的记录,襕袍在宋明以后的文献记载中也表现出与隋唐时期襕袍不同的形制,然而史料中关于襕袍起源的记载仍不太明晰,大致分为三种观点,即宇文护说、马周说和胡服说。结合文献记载和考古资料,会发现宇文护说似乎更接近史实;考察襕袍的礼制含义,将襕袍和深衣、上衣下裳类传统服饰形制的关联与西魏北周时期政治背景相联系,也会发现宇文护说比较令人信服。正是襕袍的这种与礼制相关的人为解释,让其在宋明以后的制度和观念中代替了深衣成为华夏衣冠的一部分。
Lan robe[襕袍] with a horizontal stripe at the bottom was a representative type of attire in the Han and Tang dynasties. Its image could be found frequently in the murals of the Sui and Tang tombs. Historical records about Lan robe varied in Tang and Song-Ming literature and its origin has been a controversial issue. There are three hypotheses of Lan robe＇s origin, respectively from Yuwen Hu, Ma Zhou and Hu-nomadic styled attire. This article studies related historical literature and archaeological materials and points out that the ＂Yuwen Hu＂ hypothesis seems the most convincing. ＂Yuwen Hu＂ hypothesis was also supported by the ritual connotation of Lan robe and the relationship between Lan robe, Shenyi[深衣, long dress in one piece], and the attire with a blouse and a wrap-around skirt in the political context of the Western Wei and Northern Zhou. Because of the humanity connotation in the ritual system, Lan robe took the place of Shenyi and became an important part in Chinese attire after the Song and Ming dynasties.
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2018年第6期41-49,共9页
Journal of National Museum of China
关键词
襕袍
宇文护
马周
深衣
Lan robe
Yuwen Hu
Ma Zhou
Shenyi
