胡化·汉化·涵化:蒙元时期“华夷之辨”的嬗变——以绘画人物服饰“左右衽”变化为中心  

Hu-hua,Sinicization and Acculturation:Evolution of“Hua-Yi Distinction”in the Mongol-Yuan Period:with Focus on the Change of the Painting Figures’“Left and Right Overlapping”

作　　者：裘江 QIU Jiang

机构地区：[1]中国社会科学院文学研究所,北京100732

出　　处：《中南民族大学学报（人文社会科学版）》2022年第11期80-88,184,共10页Journal of South-Central Minzu University (Humanities and Social Sciences)

基　　金：教育部产学协同育人项目“数字媒体时代的品牌传播创新”(202101111021);中南民族大学校级教研项目“品牌识别与设计理论创新与课程体系构建”(JYX21009)。

摘　　要：地域气候、生活习性等不同因素造就了汉民族右衽、少数民族左衽的主要服饰特征。左右衽背后是一直以来的“华夷之辨”的正统论观念,历代也默认遵循着汉人右衽、少数民族左衽的认同规则。蒙元时期绘画作品开始出现汉人形象左右衽并存的现象,集中体现在同一经典母题画的衣襟改动。蒙元绘画中产生人物左右衽变化现象的原因主要有三:宋与辽、金对峙时民间服饰交流的前期铺垫;蒙元大一统环境加速服饰文化融合;蒙元绘画机制重立及迎合性献画风气。其本质是蒙元时期“华夷之辨”观念从“胡化”“汉化”到“涵化”的嬗变过程。Differences in regional climate,living habits and other factors have created the main clothing customs of right-overlapping for Han people and left-overlapping for ethnic minorities.Behind the left or right overlapping is the orthodoxy conception of“Hua-Yi Distinction”.The general rule of right-overlapping for Han people and left-overlapping for ethnic minorities has been followed in many dynasties.However,in the painting works of the Mongol-Yuan period,there are Han figues with both left-overlapping and right-overlapping,which was mainly reflected in the change of lapels with the same classic motif.There are three main reasons for the change of overlapping pattern for the figures in the Paintings of the Mongol-Yuan period:the folk costume exchange during the confrontation between Song Dynasty and Liao and Jin Dynasties at the early stage;the accelerated cultural integration of costumes in the unified environment of the Mongol Yuan;and the reestablishment of the painting mechanism at the Mongol-Yuan period and the fashion of painting as catering.In essence,there is the transmutation of“Hua-Yi Distinction”from“Hu Hua”and“Sinicization”to“acculturation”in the Mongol-Yuan period.

关 键 词：左右衽服饰 华夷之辨 文化融合 绘画 蒙元时期 

分 类 号：C95[社会学—民族学]