【作者】 王业宏；

【导师】 赵丰；

【作者基本信息】 东华大学 ， 纺织工程， 2010， 博士

【摘要】 清代龙袍代表了清代皇家织绣技术和服饰艺术表现的最高水平,受到中国纺织史、服饰史学术界和文物界的广泛关注。清代龙袍以满族的传统袍服为原型,经历了造型、装饰和制度的演变,在乾隆中期定型成为吉服。目前,传世的龙袍及其研究主要集中在清代中晚期,而对清前期(1616-1766)的龙袍则很少涉及。论文在大量的文献、实物的调查和整理的基础上,综合运用了历史学、考古学、类型学及统计学的方法,系统地论述了清代龙袍的产生、制度的形成、清代龙袍的制作方法、纹样类型及风格演变,并提出了清代前期龙袍的断代依据和参考体系。满族服饰传统是研究清代前期龙袍的基础和前提。论文首次通过对《满文老档》、《满洲实录》等史料中纺织品、服饰进行系统整理和研究,考证了满族服饰的称谓,论述了服装的形制、绘制了服饰的款式图、并对结构相似的服饰进行比较,从而较全面论述了后金社会的服饰结构,复原了清代龙袍的最初形态。对清代服饰制度的研究是论文的关键。通过对五朝《大清会典》及相关史料的整理、对比和综合分析,论文提出并建立了一个以时间、人物、服饰为轴的清代服饰制度三维坐标体系,通过这个体系可以查找任何一个有等级的人物在某一期服饰的情况。由此判断,清代龙袍起源于后金、形成于顺治、发展于康熙、成熟于雍正、定型于乾隆中期。这一结论也为后面清代龙袍纹样风格的研究提供了理论上的支撑。清代龙袍的结构、制作和纹样风格的研究是论文的核心。首先,论文根据文献资料绘制了龙袍的制作流程,并对流程中各个环节加以详细说明。结合实物,论文首次解析了《皇朝冠服志》中袍结构方法和制作工艺,还原了清代马蹄袖的裁剪法。在研究方法上,论文综合运用了考古学、图像学、类型学、历史学、统计学等多种方法,并提出新方法“量图法”,即对一些符合特征的图片进行测量,并根据实际需要计算和比较。其次,论文首先从织造到成衣探讨了龙袍整个生产流程中的制作技术,特别是首次结合实物探讨了龙袍综袖的七种类型及相关技术；第三,论文研究了清代染色技术,通过分析和实验,总结了不同蓝染中染料的配比规律；第四,论文对装饰纹样研究包括方法的探讨和论证,样本的筛选和测量,数据的计算和分析,特征的描述和规律的总结。研究表明,清前期龙袍的类型有两类八种样式,整体上采取分层设计。纹样在历史进程中的演变规律是效仿、组合,象征到程式化,其中云纹、龙纹、海水江崖纹在清前期具有较为鲜明的时代特征,十二章纹在龙袍上的出现意味着程式化样式的形成,本文也就争议较大的雍正皇帝重章龙袍提出了自己的观点,即非出版物中认为的“七章”,而是完整的十二章重章排列。论文总结了云纹、龙纹、海水江崖纹的时代特征及自身变化规律,建立较为清晰的断代要素参考系。综合各部分研究成果,论文提出了清代前期龙袍断代的新思路和新方法,并建立了一个较为完整的断代要素参考系统。在这一系统中,首先根据形制、制度、织造等要素判断研究对象是否为龙袍,其次根据制度、廓型、工艺、装饰风格等要素,再结合历史背景判断龙袍所属的时期。需要特别指出的是由于存在织造时间和成衣的时间不同步的问题,黄签不是绝对判据。龙袍装饰纹样中最具时代特征的因素有：顺治早期：团块状朵云纹,正龙姿态不固定,尖棘状眉,彩条腹甲叠云纹云气较短或省略；顺治晚期、康熙初期：有串云纹,圆宝脸,斗鸡眼,龙身较细,彩条腹甲；康熙晚期,雍正初期：壬字云,眉下垂,腮变小,背鳍变成锁链状；雍正时期：团块云,枝状云为主,后者较生硬,云头有瘤节样造型,龙脸有锯齿状棘,猪鼻。叠云纹样式化,云气开始分离；乾隆时期：大枝状云,大量火纹、蝠纹,龙耳内轮廓线条弯曲方向与雍正时期不同,云气逐渐完全分离,立水纹弯曲逐渐变直。断代时,如果这些要素仍不能形成判断,就需查找参考系中更细致的条目。最后,论文根据这一断代要素参考体系,对一些传世或是出土的清代早期龙袍实物进行了案例分析。对内蒙古赤峰市荣宪公主墓出土的一件女龙袍进行纹样、工艺分析后判断其成衣时期为雍正初期,定名为“荣宪公主黄色缎地辑珠绣八团有水夹龙袍”。对国外一件据称是果亲王墓出土的藏品通过纹样分析判断其制作年代为雍正晚期或乾隆初期。论文在文献资料方面进行了大量的整理工作,一方面满足了论文研究的需要,同时也为今后清代服饰的研究提供了更多的线索和可能性,其中的服饰制度和染色方面的史料尚属首次研究。此外,论文的研究结果被用于某博物馆清代服饰的展示,用于某某清代龙袍的鉴定研究,可以期待,这一成果将来还可用于指导清代某一历史时期的服饰复原。更多还原

【Abstract】 As one of the most important costumes in the Qing dynasty, the dragon robe has always been noticed by scholars and collectors in Chinese textile history, costume history and relic as a mirror reflecting the weaving and embroidering technique of its age. As the prototype of the dragon robe, the traditional Manchu robe had always been in evolution till middle age of Qianlong when the name called Jifu was given. By now, the most of relics have been dated to middle or late Qing, so there are rare studies on 1616AD-1766AD period. With historical, archaeological, typological and statistical researching methods used to analyze historical materials and available relics, the origination of Qing dynasty dragon robe, the evolution of concerning code, the making and manufacturing process, as well as the evolution of motifs’type and style were discussed in detail. Then the methods and references for the dating of dragon robe in early Qing dynasty were provided.The research on the tradition of Manchu’s costumes is the fundamental prerequisite of this study. For the first time, all the textiles including costumes recorded in <Man Wen Lao Dang>,<Man Zhou Shi Lu> and other files are carefully classified, the names were texturally researched, the outfits and codes were studied, the types were illustrated, the comparisons among similar items were done. Then an overall discussion on Houjin reign costumes and ornaments was done as well as the original style of Qing dynasty dragon robe was reverted.The research of Qing dynasty costume code was the key point. A collecting, comparison and analyzing on the five editions of Da Qing Hui Dian has established a three-dimensional coordinate and the axes are time, people and costume. The costume of any ranked character in certain period could be found in this system. This proved that the Qing dynasty dragon robe was from Houjin, formed in Shunzhi, developing during Kangxi, matured in Yongzheng and finally styled in middle age of Qianlong. This conclusion supported the following researches on the motifs of Qing dynasty dragon robe.The research on the structure, the manufacturing and the motif style of dragon robe was the core of this study. Firstly, historical, mathematic and typological method were combined together to serve both qualitative and quantitative analysis on fundamental structure of the dragon robe; secondly, the making process from drawing to the sewing of dragon robe was discussed. Moreover, the seven types and making skills for the lower middle sleeves were analyzed with the relics for the first time, as well as a group of formulas found in the documents of Qing dynasty called <Huang Chao Guan Fu Zhi> were analyzed and tested, then the rules of blue dying were given based on the study of archives; thirdly, much effort were endeavored in the studies concerning the ornamentation and the motif syle of the early Qing dynasty dragon robe, it included methodology study, selecting and measuring the samples, data calculation and analysis, character and rules drawing. Conclusions mainly included:all the early Qing dynasty dragon robe could be classified into two categories which could be further divided into eight styles; the motifs were layered which reflected the three-dimensional design idea; the evolution of the motif followed the course of skill developing from simulation, to combination, to symbolic design, to formulated design; the amount and the location of the symbols on the dragon robe of emperor Yongzheng were proved, the misunderstanding of "seven symbols" in documents was corrected as twelve sybols. Based on the the work of synthesizing former conclusions,a new process and method of dating was put forward, as well as a new integrated factor system was built up. The robe should be sure a dragon robe at first, then the factors such as the codes, the silhouette, workmanship and ornamental style should be used together with the historical background, and then an item was dated. There were no primary and secondary relationships among these factors in a practical running. Furthermore, due to the unknown delay between the weaving of the fabric and the sewing up of the dragon robe, the yellow tag could not tell absolutely truth.The typical factors for dating based on pattern is:An item of early Shunzhi, blocked clouds pattern, the sitten dragon varioued in its poseture, with sharp eyebows and colored breastplate, the tail of the layer clouds was samll or removed; in late Shunzhi and early Kangxi, chained clouds appeared, the dragon has a shoe-shaped face with cockeye, thin body with color band at the edge of abdomen; in late Kangxi and early Yongzheng, "壬" type clouds was typical, the dragon’s eyebows tails draped, its chin was small, the dorsal fin became chained; in Yongzheng period, together with the blocked clouds, the stiffened branched clouds with burl on the head dominated the motif. The dragon face had teeth-shaped thorns with a pig’s nose. The layer clouds was formulated, its tail was seperated from the body; to the Qianlong period, big branched clouds, amounts of fire pattern and bat pattern were appeared, the dragon ears inner ourline curved to a different direction from that in Youngzheng period, at the bottom of robe the tail stood away from the body of cloud, standing water curve became small and stright. More detailed standards should be checked in the paper if all above could not serve a perfect dateing.Finally, according to this dating factors system, several relics of early Qing dynasty were dated. For example, with an analysis on the motif and the weaving and embroidery technique, the dragon robe excavated from the tomb of Rongxian princess was dated to the early Yongzhen period and named "Robe of Rongxian Princess with Eight Dragon Roundels Embroidered with Tiny Pearls on a Yellow Satin Ground". According to the motif, another robe abroad which was called "dragon robe excavated from the tomb of Guo prince" is roughly dated to the late Yongzhen period or early Qianlong period.A work concerning great amount of documents collecting and analyzing in which the documents about coustume codes and dyeing techonoloty were found for the first time, served both the paper research and more posibilities in further studies in costume of Qing dynasty at the same time. In addition, all these works has been in use in an exahibition of certain museum, as well as in dating a Qing dynasty dragon robe. It was believed that this paper would be available in later reverting work of costume from certain period of Qing dynasty.更多还原