论女装变革下的民国丝绸纹样  

Research on Silk Pattern in the Republic of China(1912-1949) under the Reform of Women's Dress

作　　者：温润[1] 石林[2] 

机构地区：[1]东华大学纺织学院纺织面料技术教育部重点实验室,上海201620 [2]合肥学院艺术设计系,合肥230001

出　　处：《丝绸》2014年第11期73-78,共6页Journal of Silk

基　　金：国家社会科学基金艺术学项目(14CG132);上海哲学社会科学规划课题项目(2014EWY005)

摘　　要：中西文化在民国时期激荡交融,女装变革是为物化典型。受其影响,以女装为主要载体的民国丝绸纹样呈现出异于古代之新风。由平面到立体的款式促使纹样装饰趋于简洁,由厚重到轻薄的面料致使印花纹样日益流行,由迂缓到趋时的时装加速了纹样更迭,由鄙夷到崇洋的心态助推外来纹样大量涌入。女装变革在很大程度上决定了民国丝绸纹样的发展方向,使其突破了数千年一直纵向继承、自成体系的保守模式,转变为横向借鉴、多元并行的开放形态,俨然成为20世纪中国丝绸纹样演进的重要特征。Chinese and Western culture mingled in the Republic of China （1912-1949）,and the reform of women＇s dress is a typical case of materialization.Under this influence,silk pattern with the main carrier of women＇s dress in the Republic of China （1912-1949） presented a new trend different from ancient times.The styles from thickness to thinness made printing pattern to become popular increasingly.Fashionable dress accelerated pattern change.The mentality from despising national minorities to worshiping foreign things drove foreign patterns to flood into China in quantity.The reform of women＇s dress to a large extent decides development direction of silk pattern in the Republic of China （1912-1949） and makes it break through traditional conservative mode and transform to the open form with transverse reference and multielement parallel.It has become an important feature of Chinese silk pattern evolution in the 20th Century.

关 键 词：民国 女装变革 旗袍 丝绸纹样 纹样装饰 印花工艺 

分 类 号：TS941.12[轻工技术与工程—服装设计与工程]