阶级与性别:20世纪中国马面裙的西方再语境化设计——以美国大都会艺术博物馆的两件女裙为例  

Class and Gender:The Western Recontextualized Design of Chinese Panel Skirts in 20th Century and Taking Two Women’s Skirts from the Metropolitan Museum of Art in the US as an Example

作　　者：马玉儒 卞向阳 郑宇婷 Ma Yuru;Bian Xiangyang;Zheng Yuting

机构地区：[1]东华大学服装与艺术设计学院

出　　处：《艺术设计研究》2024年第1期45-53,共9页Art & Design Research

基　　金：国家社科基金艺术学重点项目“观念史视野下的中国历代服饰与当代汉服传承”(项目编号:21AG013);中央高校基本科研业务费专项资金“19世纪末至20世纪西方‘中国风’服饰研究”(项目编号:23D110715)的阶段性成果。

摘　　要：本文通过考察美国大都会艺术博物馆收藏的两件由中国马面裙裁改设计的西式女裙,揭示西方中国风服饰中裁改再造中华传统服饰的设计方式,并将其置于时尚社会背景中,探究促成其设计形式的社会因素及其在西方再语境化后所呈现出的文化意义。研究表明,两件女裙是特定历史时期西方吸纳中国服饰艺术的产物,它们所展现的设计形式与中西服饰文化差异及彼时的时尚背景密切相关。其在跨文化语境中起到了塑造穿着者精英身份的作用,也是促进20世纪50年代西方时装回归女性化家庭形象的审美支持。By examining two Western-style women’s dresses that were cut and redesigned from Chinese horse-face skirts collected by the Metropolitan Mu-seum of Art,this paper reveals the design ways of cutting and redesigning traditional Chinese clothing in the West,and places them in the social background of fashion,to explore the social factors that facilitated their design forms and the cultural significance presented after being recontextualized in the West.The research shows that the two women’s dresses are the products of Western absorption of Chinese costume aesthetics during a specific historical period,and the design forms they show are closely related to the differences between Chinese and Western dress culture and the fashion background at that time.They played roles in shaping the elite identity of the wearers in the cross-cultural context,and were also the aesthetic support for promoting the return of Western fashion to the femi-nine family image in the 1950s.

关 键 词：马面裙 中国风 中华传统服饰 西方时装 再语境化 

分 类 号：J523[艺术—艺术设计] J18