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8ISS Symposium- Poster: Ancient

259

Application of Rare Earth as Mordant for the Dyeing of Ramie Fabrics with Natural Dyes

Guanghong ZHENGa, Hong QIAOb, JianHua RENc, Hongbin FUd

a Dyeing and Chemistry Department of Chengdu Textile College, Chengdu, China, Email: [email protected] b Sichuan Normal University clothing college P.R.China, 610101 ,Email: [email protected]

c Dyeing and Chemistry Department of Chengdu Textile College, Chengdu, China, Email: [email protected] d Dyeing and Chemistry Department of Chengdu Textile College, Chengdu, China, Email: [email protected]

稀土媒染剂在天然染料苎麻织物染色中的应用研究

郑光洪 a, 乔洪 b ，任建华 c & 伏宏彬 d

a成都纺织高等专科学校, 成都市, 四川省, Email: [email protected]

b四川师范大学服装学院, 成都市, 四川省, Email: [email protected]

c成都纺织高等专科学校, 成都市, 四川省, Email: [email protected]

d成都纺织高等专科学校, 成都市, 四川省, Email: [email protected]

Abstract

Selecting appropriate metallic compounds as mordants is essential

for the dyeing with natural dyes. This paper presented the

application of rare earth compounds as mordant for the dyeing of

ramie fabrics with four kinds of natural dyes. The influences of

pre-mordanting, simultaneous mordanting, and post-mordanting

on the dyeing effect were explored. The post-mordanting was

proved to give rise to the highest dye uptake. The effects of dyeing

conditions including dyeing temperature and time, dyeing bath pH

and the concentration of rare earth on the dye uptake were

investigated systematically. It was found that the fabrics dyed with

the natural dyes in presence of rare earth as mordant exhibited high

color shade stability in the bathes with pH varied from being acidic

to neutral and alkaline. It was revealed that employing rare earth as

mordant apparently raised the color fastness to washing, rubbing

and light of the ramie fabrics dyed with the natural extracts. In

comparison with the commonly used metallic salts, using rare earth

chlorides as mordants can greatly reduce the ionic concentration

employed in natural dyeing. This study proved that rare earth would

be a kind or promising environmentally friendly mordant in natural

dyeing.

1. Introduction

Nowadays, the colorants used in commercial textile dyeing are almost

exclusively synthetic. However, the synthetic dyes not only are

harmful to the mankind health and but also result in a great deal of

environmental pollution [1-6]. As a result, natural dyeing in textiles is

now attracting more and more attention from both academia and

industry due to its environmentally friendly attributes [1, 2, 4-16].

Natural dyes can exhibit better biodegradability and generally have a

higher compatibility with the environment [3, 4, 17-19].

Dyeing fabrics with natural dyes often leads to problems such as

lower color fastness to washing or light of the dyed textiles [12, 14,

20-22]. Most attempts for overcoming these problems involved the

use of metallic salts (e.g., aluminum potassium sulfate, potassium

dichromate, stannous chloride, ferrous sulfate and copper sulfate) as

mordants [3, 5, 6, 9, 11-13, 23-26]. The metal ions can act as

electron donor to form coordination bonds with the dye molecules.

The wastewater containing heavy metal ions from these mordants

have significant impact on the environment and public health [25].

The content of heavy-metal ions in textile is limited. Therefore,

nowadays selecting new mordant to replace traditional heavy-metal

ions has been an important part in the development of natural dyeing

of textiles.

Rare earth is ecofriendly and compatible with the environment. In

general, the coordination number of rare earth can be as large as 8, 9

and even 12 [27, 28]. Additionally, the rare earth elements have

large atom radius, which enable a good number of ligands

surrounding them [27]. Hence the rare earth ions exhibit high

capability for forming coordination compounds with natural dye

molecules. As the central ions, the rare earth ions can form

coordination bonds with the amino, hydroxyl or carboxyl groups, i.e.,

the ligands, of the natural dye molecules. When forming coordination

compounds with natural dye molecules, the rare earth ions tend to

exhibit electrolyte-like effect and thus quickly lower the Zeta electric

potential on the surface of fibers. Therefore they are easily absorbed

on the surface of fiber by static electric force. Using rare earth

products as mordants can promote the formation of coordination

compounds of natural dyes, rare earth and fibers and thus enhance

the color fastness of the fabrics dyed with natural extracts.

This work is aimed to study the application of rare earth products as

mordant for natural dyeing. The lanthanum-rich rare earth chloride

was used as the mordant in the natural dyeing of ramie fabrics. The

dyeing conditions including mordanting method, dyeing

temperature and time, pH value of dyeing bath and concentration

of mordant on the dyeing effect were investigated systematically.

The color shade stability of the dyed ramie fabrics with rare earth as

mordant was examined in the solutions having different pH values.

The effects of using rare earth as mordant on the color fastness to

washing, rubbing and light of the ramie fabrics dyed with natural

dyes were studied. As compared with conventional metallic

mordant Ferrous Sulfate (FeSO4) and Potassium dichromate

(K2Cr2O7).

2. Experimental

2.1. Materials

Ramie plain fabrics (21×21) were used in this study. The fabrics

were treated with a solution containing 5g/l non-ionic detergent

(Hostapal CV, Clariant) at 50oC for 30 minutes prior to using. Then

the fabrics were thoroughly washed with water and air dried at

room temperature for usage. Caesalpinia sappan, Rhizoma coptidis,

Garednia and Areca catechu were provided by the Chongqing 3533

Printing Dyeing and Clothing Co. Ltd. The lanthanum-rich rare earth chloride (RECl36H2O) (REO 50%, La2O3/REO=43%,

CeO2/REO=40%, Pr6O11/REO =5.0%, Nd2O3/REO=18%,

Sm2O3/REO=1.5%, Eu2O3/REO=0.2%, Tb4O7/REO=0.05%,

Non-RE Impurities/REO=2.69%) and Neodymium Chloride (NdCl36H2O) (REO 50%, Nd2O3/REO 99%, Non-RE

Impurities/REO 1%) were purchased from the Inner Mongolia

Baotou Steel Rare-earth (Group) Hi-Tech Co., Ltd. Ferrous Sulfate (FeSO47H2O)( Analytical Reagent grade, Chengdu Best Reagent

Co., Ltd.) and Potassium dichromate (K2Cr2O7) (Analytical Reagent

grade, Chengdu Best Reagent Co., Ltd.) were used as received.

Sodium hydroxide, acetic acid and lemon acid of chemical pure

grade were purchased as from Sinopharm Chemical Reagent Co.,

Ltd.

2.2. Extraction of natural dyes

At first, 150g of a selected plant was precisely weighed with the

analytical balance (TE1502S, Sartorius Co., Germany). After being

mailto:[email protected]






260

mashed it was put into a big beaker containing 800ml of water and

kept for 24 hours. Afterwards, the mixture was heated to boiling state

where it was maintained till up to only 100 ml liquid being left via

evaporation. Then the dissolving and evaporating processes were

repeated twice. After filtration, the collected colorant liquid was

distilled and condensed to 50ml. The concentrated solution containing

the plant extracts was the crude natural dye liquid. The

ultraviolet-visible (UV-vis) spectra of the aqueous solutions containing

the natural dyes were obtained from U-3310 UV-vis

spectrophotometer. As indicated in Table 1, the maximum absorption

wave length values of the solutions containing natural dyes range

from 410 nm to 460 nm, which are dependent on the different

component compositions of the natural dyes. According to the

maximum absorption wave length values, it is judged that the major

colorant ingredients of the different natural extracts are brazilin of

caesalpinia sappan, berberine of rhizoma coptidis, crocin and crocetin

of gardenia, and catechin of areca catechu. Figure 1 illustrates the

chemical structure of the major colorant ingredients of the different

natural extracts.

Table 1. The maximum absorption wave lengths of the

solutions containing natural dyes

Maximum

absorption wave

length (nm)

Caesalpinia

sappan

Rhizoma

coptidis Gardenia

Areca

catechu

412 452 458 458

2.3. Dyeing

In the dyeing process, a concentrated plant extract liquid was

diluted by 10 times and the resultant solution was used as

dyeing bath. The aqueous extracts were used as a direct dye or

with the addition of a mordant. The direct dyeing was carried

out by shaking the ramie fabrics with a natural dye solution in a

conical flask at 90oC in a thermostat shaker bath operated at

100 strokes/min. A material to liquid ratio of 1:25 was used in

the dyeing experiment. The ramie fabric was then rapidly

withdrawn after particular immersion times. After dyeing, the

ramie fabric was rinsed with deionized water to remove the

unfixed dye and then air dried. The dyeing effect of

simultaneous mordanting, pre-mordanting and

post-mordanting were compared. Figure 2 demonstrates the

three mordanting methods at the dyeing temperature of 90oC.

In the simultaneous mordanting process, the fabrics were

immersed in a dyeing bath containing mordant, lemon acid

and natural dye at 30oC. They the dyeing bath was heated to

90oC where it was maintained for a particular time (20-80

minutes). The fabrics were then rinsed with clean water at

ambient temperature followed by being squeezed and dried. In

the pre-mordanting method, the wet fabrics were first

immersed in a solution of the mordant and heated up to 70oC

where they were kept for 30 minutes. After being added with

the natural dyes the bath was heated up to 90oC where the

fabrics were treated for a particular time (20-80 minutes).

Then the dyed samples were rinsed with clean water and dried

via the similar processes mentioned above. In the

post-mordanting method, the ramie fabrics were first dyed in

the aqueous solution containing a natural dye at 90oC for 30

minutes followed by being cooled down to 70oC where the

mordant was added. Then the fabrics were kept at 70oC for

another 30 minutes. Subsequently, the dyeing bath was

heated up to 90oC again where the fabrics were dyed for a time

in the range of 20-80 minutes. At last, the fabrics were rinsed

and dried. The effects of dyeing temperature and time on the

dyeing effect of ramie fabrics with the natural dyes were

studied.

Figure 1. Chemical structure of the colorant ingredients of

different natural extracts

Figure 2. Different mordanting methods in the natural dyeing

2.4. Measurements

The dye uptake in the dyeing of ramie fabrics was obtained

through the measurement of the light absorbances at the

wavelength of maximum absorption, of the dye bath before

and after dyeing with a U-3310 ultraviolet-visible (UV-vis)

spectrophotometer. The dye uptake was calculated with the

following equation:

Dye uptake =

%1000

0

A

AA t

Where A0 and At refer to the absorbances of the dye solutions

at the beginning and the end of dyeing, respectively.

The CIELAB colorimetric values including E, L*, a*, b*, C*,

and the color strength K/S of the dyed fabrics were measured

by DatacolorSF600 Computer Color Matching System (Data

Color International) using illuminant D65 and 10o standard

observer. K/S was calculated from the reflectance values using

the Kubelka-Munk equation as follows:

Brazilin

Berberine

Crocin

Crocetin

Catechin


261

Where R represents the reflectance of the dyed fabric and K/S

stands for the ratio of the absorption coefficient (K) to

scattering coefficient (S). The higher K/S value the greater the

color strength.

The color fastness to washing of the ramie fabrics was

determined according to the standard ISO 105-C03. The

measurement was carried out with both sample and standard

ramie fabrics that were sewn together and tested under the

same conditions. The sewn fabric was washed at 42oC for 30

minutes in a standard soap solution with a material to liquid

ratio of 1:50. Both fabrics were then separated and rinsed and

dried. The color fastness to washing levels, observed against a

grey scale, were classified as numbers ranging from 1 and 5,

which corresponds to poor to excellent fastness, respectively.

Color fastness to dry and wet rubbing of the dyed fabrics was

tested according to ISO 105-X12 method. Color fastness to

light was tested according to ISO 105-BO2 method. To

examine the influence of pH change on the color shade, the

fabrics dyed in presence of rare earth as mordant were

immersed in the water bathes with different pH from 3, 7 to 11

at ambient temperature for 30 minutes. Then the wet fabrics

were rinsed and dried for further measurement.

3. Results and Discussion

3.1. Influences of mordanting method

The effect of different mordant dyeing methods is shown in

table 2. It was observed that the post-mordanting gave rise to

the highest color strength and dye uptake in comparison with

simultaneous mordanting and pre-mordanting. In

simultaneous mordanting, the colorant molecules and rare

earth ions could form insoluble coordination compounds and

thus precipitated from dyeing bath, resulting in the decrease of

effective dye uptake and K/S value, i.e. color strength. In the

case of pre-mordanting, the mordant ions absorbed on the

fibers could desorb from the fibers and form insoluble

coordination compounds with natural dye molecules. Likewise

the pre-mordanting resulted in lower color strength. Therefore,

the post-mordanting technique was employed in this study.

Table 2. Influences of different mordanting methods

Caesalpinia

sappan

Rhizoma

coptidis Gardenia

Areca

catechu

K/S

dye

uptak

e

K/S

dye

uptak

e

K/S

dye

uptak

e

K/S

dye

uptak

e

Simultaneous

mordanting

5.2

5 47.8

6.0

1 54.6

3.8

8 39.8

4.9

8 42.3

Pre-mordanting 5.8

6 52.2

6.5

8 60.1

4.2

3 43.5

5.4

5 49.8

Post-mordantin

g

6.1

2 58.0

7.2

9 64.1

5.0

7 48.4

5.9

6 54.6

3.2. The optimal conditions for dyeing

3.2.1. Influences of temperature and time on dye

uptake

Figure 3 presents the influence of dyeing temperature and time

on dye uptake. When the dyeing temperature was 40oC, the

dye uptakes of the four kinds of natural dyes increased almost

monotonically as the dyeing time rose from 10 to 80 minutes.

When the dyeing temperature was 70oC the dye uptakes of the

natural dyes increased rapidly at the beginning. With the

extension of dyeing time the increasing tendency of dye uptake

decreased gradually. The dye uptakes of the nature dyes were

apparently enhanced as the dyeing temperature increased

from 70oC to 90 oC. The increase of dye uptake arises from both

the increasing solubility of natural dyes and the expansion of

ramie fibers with the increasing temperature. In contrast, the

dye uptake of the nature colorants was slightly decreased

when the dyeing temperature increased from 90oC to 105oC.

This is caused by the different temperature dependence of

absorption and diffusion of dye molecules. Dyeing takes place

in three steps: absorption on the surface of fibers, diffusion to

the interior of fibers and desorption from fibers into the dye

bath[2]. On the one hand, a lower dyeing temperature is

favorable to absorption of the dye molecules on fibers, but

makes their diffusion inside fibers difficult. On the other hand, a

high temperature leads to expansion of fibers and easy

diffusion of natural dyes in fibers accordingly. However a high

temperature can also intensify molecular movement resulting

in desorption of more dye molecules from fibers. In a word,

either excessively low or excessively high temperatures cannot

give a desirable dyeing effect. The results show that 90oC is a

suitable temperature for dyeing ramie fabrics with the four

kinds of natural dyes. As indicated by figure 3, the dye uptake

rose gradually with the increase of dyeing time for all the four

kinds of natural dyes. When the dyeing time increased to a

certain time the dye uptake of a natural dye tent to a constant

value, indicating the dye uptake equilibrium was attained [2].

It takes 70, 60, 70 and 50 minutes for the extracts of

caesalpinia sappan, rhizoma coptidis, gardenia and areca

catechu, respectively, to attain the dye uptake equilibrium,

which relies on the molecular size and polarity of the four kinds

of natural dyes.

Figure 3. Influences of dyeing temperature and time on dye

uptake: (a) Caesalpinia sappan L; (b) Rhizoma coptidis; (c)

Gardenia; (d) Areca catechu. In each plot the symbols refer to different dyeing temperatures. (■) 40oC; (●) 70oC; (▲) 90 oC;

(★) 105oC.

3.2.2. Influence of pH value on dye-uptake

10 20 30 40 50 60 70 80 9010

20

30

40

50

60

70(b)

Dye

up

take

(%

)

Time (min)

10 20 30 40 50 60 70 80 9010

20

30

40

50

60

70(a)

Dye

up

take

(%

)

Time (min)

10 20 30 40 50 60 70 80 9010

20

30

40

50

60

70

Dye

up

take

(%

)

Time (min)

(d)

10 20 30 40 50 60 70 80 9010

20

30

40

50

60

70

Dye

up

take

(%

)

Time (min)

(c)


262

Figure 4 shows the influence of pH of dyeing bath on the dye uptake

in the dyeing with the natural extracts. The figure indicates that the

pH change could significantly influence the dye uptake in the dyeing

with caesalpinia sappan and areca catechu. When pH value was

about 2 the dye uptake of the two kinds of colorants were pretty low.

With the increase of pH, the dye uptakes of them rose gradually.

When pH value increased the maximum dye uptakes of the extracts

of caesalpinia sappan and areca catechu were attained at pH=7 and

pH=8, respectively. Afterwards, the dye uptake of them decreased

with the further increase of pH value. The effect of pH on dye uptake

can be attributed to the interaction between the natural dyes and

the ramie fabric. A certain number of OH and COOH groups exist in

the cellulose structure. Brazilin and catechin contain polyphenols in

their molecules as illustrated in figure 1. Increase of pH could

promote the ionization of phenolic OH groups resulting in the

increase of solubility of the natural dyes in dyeing bath. Hence the

dye uptakes of the two natural dyes rose with the increase of pH

value. At higher pH, the hydroxyl-ion content increased, and

phenolic OH groups in the natural dye molecules and COOH groups

in the cellulose fibres were transformed to phenolic oxygen anions

and carboxyl anions, respectively. Phenolic oxygen anions had a

repulsive interaction with OH groups and carboxyl anions which

prevented the natural dye molecules being absorbed onto ramie

fibers and thus reduced the dye uptakes of the two natural dyes[2].

As one of the major colorant ingredients of gardenia, crocetin

contains COOH groups in its molecules. As indicated by figure 4,

with the increase of pH the dye uptake of the natural extract of

gardenia increased resulting from the increasing solubility of the

natural dyes in dye bath due to the ionization of COOH groups in

crocetin. Likewise, the dye uptakes of the natural extract of

gardenia decreased when pH was above 7 because of the

increasing repulsion between the carboxyl anions on natural dye

molecules and the carboxyl anions and OH groups on ramie fibers.

In comparison with those of caesalpinia sappan and areca catechu,

the extract of gardenia exhibited less dye uptake variation with the

change of pH because of the relatively low content of COOH groups

in the molecules of its major colorant ingredients. With the increase

of pH the dye uptake of the extract rose gradually as shown in figure

4. As the major colorant ingredient of rhizoma coptidis, berberine is

a water soluble dye containing cationic quaternary ammonium salt

[9], it would interact ionically with the carboxyl groups of cellulous

fibers at higher pH via ion exchange reaction. The number of

available anionic sites on ramie fibers in alkaline conditions is

relatively larger than that in acidic conditions, and thus the dye

uptake of berberine was increased with the dye bath pH.

Figure 4. The influence of pH value on dye-uptake. (■)

Caesalpinia sappan L.; (▲) Rhizoma coptidis; (★) Gardenia; (●)

Areca catechu.

3.2.3. Influence of the amount of rare earth on dye

uptake

The electron configuration of the outer shells of rare earth ions

enables them to form complex compounds with the natural

dyes and ramie fibers. The influence of mordant amount on the

dye uptake is shown in Figure 5. It can be seen that the dye

uptake increased with the increase of the concentration of rare

earth. However when the concentration of rare earth increased

to a certain level the dye uptake tent to a constant value

because the coordination among natural dye, rare earth and

fiber reached to saturation state. The dye uptake of the

gardenia extract was the lowest among all the four kinds of

natural dyes. This should be due to the low affinity of the crocin

and crocetin components in gardenia for ramie fibers. In

contrast, the dye uptake of the extract of rhizoma coptidis is

the highest, which can be ascribed to the ionic interaction

between the cationic dyes and carboxyl anions in ramie fibers.

The influence of rare earth concentration on dye uptake of the

different natural colorants is determined by their complex

formation from rare earth ions and natural dye molecules.

Figure 5. The influence of the concentration of rare earth on

dye-uptake. (■) Caesalpinia sappan; (▲) Rhizoma coptidis; (★)

Gardenia; (●) Areca catechu.

3.3. Influence of pH on color shade of the dyed

fabrics

It was found that the fabrics dyed with the natural dyes in

presence of rare earth as mordant could resist the pH impact

and thus change less color shade in washing. To quantify the

influence of pH on color shade, the color measurements were

performed on the fabrics dyed with the four kinds of natural

dyes. L* represents lightness value in the CIELAB colorimetric

system. Higher lightness value means lower dye uptake [9, 29,

30]. a* and b* denote the red/green value and the yellow/blue

value, respectively [9, 29, 30]. The positive values of a* and

b* represent redder and yellower while negative shows

greener and bluer tones. C* stands for chroma or purity of colour [4, 9, 30]. E refers to color difference [4, 9, 30]. As

shown in table 3, the colorimetric data including E, L*, a*, b*,

and C* of the dyed fabrics did not change much when pH of the

bath changed from 3 to 7 and 11. This is ascribed to the

formation of stable complexes among rare earth ions, natural

dye molecules, ramie fibers. The formation of the coordination

bonds is irreversible. The resultant coordination compounds

are highly stable in acidic, neutral and alkaline baths. In

addition, the multiple complexes formed by rare earth ions and

natural dyes can interact with each other, which can result in

the dissociation of the electron pairs on the both sides of the

complex conjugating system. The dissociated electrons can

drift among the complexes and thus generate the so called

ultrasensitive transition effect which changes the characteristic

absorption spectrum. Thus the dyed fabrics can resist the pH

fluctuation and maintain stable color shade in either acidic or

alkaline bath. This is a significant advantage of for using rare

earth as mordant in natural dyeing.

Table 3. Influence of pH on the colorimetric data of the dyed

fabrics

E L* a* b* C*

Caesalpinia sappan (pH=3) 49.89 61.64 3.93 56.98 57.11



Rhizoma coptidis (pH=3) 58.98 50.89 5.98 48.61 48.97



Gardenia (pH=3) 48.89 82.89 5.58 30.34 30.34

Gardenia (pH=7) 50.15 79.15 5.83 30.86 30.34

Gardenia (pH=11) 54.68 83.68 5.21 32.78 32.78

Areca catechu (pH=3) 38.58 68.08 10.93 41.78 43.19

Areca catechu (pH=7) 40.63 66.65 11.56 40.89 42.49

Areca catechu (pH=11) 39.28 66.98 12.89 40.23 42.24

3.4. Color fastness of the dyed fabrics

Table 4 shows the color fastnesses ratings to washing, rubbing and

light of the fabrics dyed with the four kinds of natural dyes in

presence and in absence of rare earth as mordant. In comparison

with the fabrics colored via direct dyeing, the fabrics dyed having

2 4 6 8 1020

30

40

50

60

70

Dye

up

take

(%

)

pH

0.0 0.2 0.4 0.6 0.8 1.0 1.220

30

40

50

60

70

Dye

up

take

(%

)

Concentration (g/L)


263

rare earth as mordant exhibited much better color fastness to

washing and rubbing. The ratings of color fastness to washing and

rubbing of all the dyed fabrics having rare earth as mordant were

found to be grade 4-5. The fastness to washing and fastness to

rubbing of the fabrics dyed with the natural extracts depend on the

type of mordants, mordanting method and mordant concentrations

as well as molecular size and chemical structure of the dye, the

dye-fibre or dye-fibre-mordant interaction or bonds[7]. The most

important factor for determining the color fastness to washing and

rubbing is the dye-fibre-mordant interaction, which relies on the

formation of stable coordination bonds among rare earth ions and

natural dyes and fibers. The ratings of color fastness to light of the

dyed fabrics using rare earth as mordant were in the range 3-4

grade. However, the ratings of fastness to light of the dyed fabrics

without mordanting were found to be grade 1-2. The color fastness

to light of a natural dye is influenced by: the chemical structure of

dye, physicochemical interaction between natural dye and fiber,

physical state of the dye inside the fiber, dye concentration,

chemical structure and physical characteristics of the fiber itself,

types of mordant, mordant concentrations and mordanting method

used [7, 12, 23]. Generally, it is well known that the color fastness

to light of natural dyes was poor [7, 23]. In this sense, the light

fastness of dyed fabrics with rare earth as mordant is considerably

good. The formation of stable coordination bonds between rare

earth ions and dye molecules and ramie fibers accounts for the

improvement of fastness to light of the dyed fabrics.

Table 4. Ratings of color fastness of the ramie fabrics dyed with

rare earth as mordant

Washing Wet

rubbing

Dry

rubbing Light

Fade Strain Fade Strain Fade Strain

Caesalpinia sappan

(mordanted)

5 4 3-4 3-4 4-5 4 3-4

Caesalpinia sappan

(direct)

3 2-3 2-3 2 3 3 2

Rhizoma coptidis

(mordante)

4 4 3-4 4 4 4 3

Rhizoma coptidis (direct) 3 3 2 2 2-3 3 1-2

Gardenia (mordanted) 4-5 4-5 4 3-4 4 5 3-4

Gardenia (direct) 2 2-3 2 2 3 3 2

Areca catechu

(mordanted)

4 4-5 4 3-4 4 4-5 3

Areca catechu (direct) 2 3 3 2 3 3 2

3.5. Comparison of different metallic mordants

As mentioned above, the lanthanum-rich rare earth chloride was

proved to greatly improve the color fastness, color strength and dye

uptake. Hence it is possible to replace the commonly used heavy

metallic salts with the rare earth chloride as the ecofriendly mordant.

The authors compared the rare earth mordants with the

conventional metallic mordants FeSO4 and K2Cr2O7. The efficiency of the different mordants was explored by using RECl36H2O,

NdCl36H2O, FeSO4 7H2O and K2Cr2O7, respectively, as mordants in

the natural dyeing of ramie fabrics with Caesalpinia Sappan colorant.

Figure 6 shows the influence of mordant concentration on dye

uptake and K/S values in presence of the different mordants. As

expected, with the increase of mordant concentration the dye

uptake and color strength increased dramatically at lower

concentrations, suggesting that all of the mordants can enhance

dyeing effect significantly. After a certain mordant concentration

level, both the color strength and dye uptake tend to a constant

level for all the tests. Combining the dyeing effect together with the

consideration of using less metallic mordant, the optimal concentration of RECl36H2O, NdCl36H2O, FeSO47H2O and K2Cr2O7

was determined as 0.6g/L, 0.6 g/L, 4.0g/L and 1.6g/L, respectively.

As a result, the ionic concentration employed for deriving optimal

dyeing effect was [Nd3+]=0.24mg/L, [Fe2+]=0.81mg/L and

[Cr6+]=0.57mg/L. The total rare earth ionic concentration [RE3+] in

the RECl3 solution should be close to [Nd3+]. Apparently, employing

rare earth mordent can greatly reduce the ionic concentration

employed in natural dyeing. The coordination number of rare earth

elements is larger that that of the Fe2+ and Cr6+. The coordination

number of d-block transition metals is usually 4 or 6.

Figure 6. Influence of mordant concentration of dye uptake and

K/S values of the different mordants in the dyeing with Caesalpinia Sappan colorant. (A) RECl3 6H2O; (B) NdCl3 6H2O;

(C) FeSO4 7H2O; (D) K2Cr2O7.

In contrast, the most common coordination number of rare earth

ions is 8 or 9 because when a rare earth ion is coordinated to ligands

its 6s, 6p and 5d orbits usually participate in the formation of

coordination bonds [27, 28]. In addition, the larger ionic radius of

lanthanide elements accounts of the larger coordination number of

rare earth complex. Hence using rare earth chlorides as mordants in

natural dyeing can avoid heavy metal pollution. In addition, the

presence of metallic mordant usually changes the color shade of

dyed fabrics in natural dyeing. For example, Fe2+ usually results in

the darkening of the dyed fabrics. Using rare earth as mordants can

also enlarge the design flexibility in the dyeing process to derive the

desired color shade.

4. Conclusion

In this study, the rare earth was employed as mordant for the

dyeing of ramie fabrics with the natural extracts of caesalpinia

sappan, rhizoma coptidis, gardenia and areca catechu. The

effect of pre-mordanting, simultaneous mordanting, and

post-mordanting on the dyeing effect were compared. The

dyeing temperature of 90oC was determined as the best dyeing

temperature while the optimal dyeing time for the four kinds of

natural dyes was in the range 50-70 minutes. It was found that

the highest dye uptake was obtained when the dyeing bath pH

was 7 or 8. The fabrics dyed in presence of rare earth as

mordant exhibited higher color shade stability. On one hand,

this is owing to the stable coordination bonds among the rare

earth, natural dye and fiber. On the other hand, it is ascribed to

the interaction of the multiple complexes formed by rare earth

ions and natural dyes which enable the dyed fabrics to resist

pH impact maintaining the constant color shade. It was proved

that using rare earth as mordant apparently enhanced the

0.0 0.2 0.4 0.6 0.8 1.0 1.20

20

40

60

80

K

/S

Dye

up

take

(%

)

Mordant concentration (g/L)

K/S Dye uptake

0

2

4

6

8

10

(A)

0.0 0.2 0.4 0.6 0.8 1.0 1.20

20

40

60

80


K/S

Dye

up

take

(%

)

0

2

4

6

8

10

(B) K/S Dye uptake

0.0 0.8 1.6 2.4 3.2 4.0 4.80

20

40

60

80


K/S

Dye

up

take

(%

)

0

2

4

6

8

10

K/S (C) Dye uptake

0.0 0.4 0.8 1.2 1.6 2.0 2.40

20

40

60

80


K/S

Dye

up

take

(%

)

0

2

4

6

8

10

(D) K/S Dye uptake


264

color fastness to washing, rubbing and light of the fabrics dyed

with the natural extracts. As compared with the mordants

containing Fe2+ and Cr6+, the rare earth mordants can greatly

reduce the ionic concentration employed in natural dyeing. This

study proved that rare earth is promising in the application for

mordant in the dyeing with natural colorants.

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2010; 63: 2193 - 2222.

[29] Komboonchoo, S. and Bechtold, T. Natural dyeing of wool

and hair with indigo carmine (C.I. Natural Blue 2), a renewable

resource based blue dye, J. Clean. Prod. 2009; 17 1487–1493.

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作者简介

郑光洪男，1953 年 11 月生，毕业于华东纺织工学院染整专业，

任教于成都纺织高等专科学校染化与环境工程系。先后在日本国立

群马大学工学部留学并在日本国立福井大学生物研究科做访问学者；

2005 年 5 月－2007 年 1 月在香港理工大学形态记忆中心从事研

究工作； 1993 年享受国务院政府特殊津贴，1999 年聘为染整专

业教授，2001年任成都纺织高等专科学校染化与环境工程系主任，

兼任染整技术研究所所长、中国纺织工程学会染整专业委员会委员、

中国化学工程学会染料专业委员会委员、《染料与染色》《纺织技

术进展》等杂志编委；受聘担任四川大学轻纺与食品工程学院兼职

教授；2006 年受聘兼任教育部高职高专轻化教指委染整分会主任；

2010 年兼任四川省高校生态纺织品重点实验室主任。


265

Evolution of the Fur Clothing and Social Change in the Qing Dynasty

Lin YANa , Rongrong CUIb

aCollege of Textile & clothing,Jiangnan University, Wuxi,Jiangsu,Email:[email protected] bCollege of Textile & clothing,Jiangnan University, Wuxi,Jiangsu,Email:E-mail:[email protected]

清代裘皮服饰演变与社会变迁

闫琳 a, 崔荣荣 b

a 纺织服装学院，江南大学，无锡，江苏，Email:[email protected]

b 纺织服装学院，江南大学，无锡，江苏，Email: [email protected]

Abstract

The clothing changes can react the social, economic,

political, cultural and other aspects in the Qing dynasty. In

the early Qing when class was strictly delineated, people

wear a fur coat with strict compliance to dress etiquette;

as time goes on, people advocate luxuriously in the mid

Qing,judging from the changes of fur , the dress of

etiquette has compromise in aesthetic taste; Western

culture in the late Qing dynasty influx and impact the

traditional culture, in this period the style changes and

abuse both show the confusion between new and old social

change and the trend of western culture dominates. Study

changes of the Qing dynasty fur clothing, which has its

positive significance for understanding the change of

society at that time.

摘要

清代裘皮服饰的变迁可窥见当时社会经济、政治以及文化等各

个方面的变化。清初等级制度森严，人们对于裘服的穿用严格的遵

从于服饰礼制；随着代变风移，清中期崇尚奢华的社会风气，这一

时间段裘皮种类以及服用阶层的变化也反映出当时的服饰礼制已经

妥协于人们的审美情趣；清末西方文化的大量涌入冲击着当时清朝

的文化体系，此时裘服款式的变化以及各阶层的滥用都表现出社会

新旧更迭的混乱局面以及西风东渐的趋势。研究清朝裘皮服饰的变

化，对了解当时社会的变迁有着其积极的意义。

中国裘皮服装穿用的历史十分悠久。《白虎通·号》中描述人类

社会早起，人们的生活是―民人但知其母，不知其父······茹毛饮血，

而衣皮革‖[1],可见皮革是自然状态下人民遮羞蔽体的主要服用材

料。―宋元之前，裘褐被视为古代冬季服装的代名词，由于蚕丝产量

中用作丝絮的比例较小,这里的―裘褐‖主要是指裘皮与毛褐‖[2]。封

建统治时期制定服饰制度时，将裘服和丝绸都作为中重要的一类确

定下来。裘服礼仪的制度化早在周代或者更早之前已经确定。裘皮

作为少数民族对外的交流手段，犹如汉族的丝绸，在少数民族集权

的朝代发展迅速（清代尤甚）。将清代划分为清初、清中和清末三

个阶段来研究裘服，其变化从侧面很好的反应了清朝的社会变迁。

1. 清初裘皮服饰与森严的等级礼制

清初曾因关中大儒李因笃反穿裘皮而引起的裘皮与礼治之间的

大争论，可见清早期森严的等级礼治已经深入人心。

1.1 清初裘皮服饰概况

清初统治者承继了明朝的服饰制度，在少数民族集权的国家更

为严苛，由统治阶级强制推行实施，―对穿着者的穿着形式、用裘种

类、位置、多少以及配伍丝绸的种类、纹样、色彩等等都做了具体

的规定，以区分皇帝、名公、候伯等不同等级‖[3]。裘皮作为服饰

制度中重要的一类，在各个阶层的穿用品类上有明确的规定。《大

清会典》规定的―端罩穿用等级，皇帝的用黑狐、紫貂，明黄缎衬里；

皇子用紫貂，金黄缎衬里；亲王、郡王、贝勒、贝子、固伦额驸用

青狐，月白缎做里；民公、侯、伯下至文三品、武二品用貂皮，蓝

段做里；一等侍卫用猞猁狲，间镶以豹皮，月白缎里；二等侍卫用

红豹皮，素红缎做里；三等侍卫用黄狐皮，月白缎做里，蓝翎侍卫

同‖。其中，黑狐和紫貂穿用等级最高[4]。此外，钉子材料、翎子

眼数、当胸补子和朝珠都不尽相同，等级制度森严令人一望而知。

从毛皮的品类上可以看出官阶地位的高低，《池兆偶谈》卷四记载：

―本朝极贵玄狐……惟王公以上始得服‖[5]。叶梦珠的《阅世篇》描

述：―裘、猞猁非亲王大臣不得服,天马、狐裘、妆花缎非职官不得

服,貂帽、貂领、素花缎非士子不得服……‖[6]。满清服装秉承―严内

外，辨亲疏‖，―分等级，定尊卑‖的[7]原则，这一时期的裘皮作为

阶级社会的形象代言的作用已经多于其本身的遮体和防护功能。

1.2 清初裘皮服饰“森严礼制”的文化特质

清初的满汉文化大融合，满族统治者吸纳了汉族的孔儒文化，

用―克己复礼‖―重伦理轻美感‖的礼仪道德规范约束人们的着装，凌

驾于人们审美情趣之上。宣扬服饰作为一种礼的表现，要忽视着装

者自身的意识，对于一件服饰，首先考虑它―是否合乎身份，有否违

背礼仪，是否合群，而不是合乎人体有否，以伦理的氛围来笼罩服

饰的全部境界‖[8]。而汉族在这种强制性的服饰制度下，人们的审

美与等级礼制融为一体。在皇城禁令的干预之下，满汉之间的民俗

融合强制性的开始了。各民族各阶层穿用裘皮都必须按照相关的等

级规定，出现僭越礼制的现象会受到谴责甚至严厉的制裁。

2. 清中期裘皮服饰与奢华的社会风尚

清中人对裘皮情有独钟，―不复之有明禁，群相蹈之‖ [9]，各

个阶层对裘皮狂热的追捧，奢华之风甚啸。

2.1 清中期裘皮服饰概况

清朝统治者为了缓和清初的民族矛盾，在―十从十不从‖的条例

下，两族矛盾得到了暂时的缓解，生产力得到了恢复，出现了繁荣

发展的时期，同时这也是清朝短暂与周边国家进行贸易的时期，带

动了裘皮的贸易与发展。

康熙二十六年（1689 年）中俄签订尼布楚条约，两国之间开

始了皮货贸易，―1728 年中俄贸易总额将近一千万法郎，俄国商队

卖出一百多万张松鼠皮、十五万张狐皮、十万张貂皮和其他货

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http://dict.youdao.com/search?q=goes&keyfrom=E2Ctranslation

http://dict.youdao.com/search?q=on&keyfrom=E2Ctranslation


266

物‖[10]，国内皮货数量大为增加。皮货贸易的发展使得国内毛皮

价格降低、最终导致了使用阶层逐步扩大，毛皮服饰大为盛行。《巢

林笔谈》记载吴俗―余少时，见士人仅仅穿裘，今则里巷妇孺皆裘矣；

大红线顶十得一二，今则十八九矣‖[11]。清中期的服用毛皮的种

类也日益丰富，尤其是一些珍贵毛皮的种类以及数量都有相当增加。

―乾隆二十二年（1757 年）查抄的毛皮多为貂、猞猁狲、乌云豹、

银鼠皮天马皮之类，而到了乾隆四十五年（1780 年），抄家清单

中还出现了猿皮、虎皮，各色羊皮‖[12]。这一时期上流阶层的裘

皮服饰也纷繁奢华，各类服饰以及配伍的种类极其丰富。《红楼梦》

中描写黛玉赏雪时穿着―红香羊皮小靴‖，―大红羽纱面白狐皮里的鹤

氅‖；湘云穿着―大红猩猩毡昭君套‖，里面短短的一件―水红装缎狐

肷褶子‖；凤姐见刘姥姥穿的是―桃红撒花袄‖，―大红洋皱银鼠皮裙‖

等等，还有―宝蓝缎镶毛狐皮袄‖，―雪里金遍地锦滚花狸毛长袄‖，―墩

兰彩蝶纹红绸氅衣‖，―流岚色滚金绣凤貂裘‖[13]都是描绘这一时期

上层社会的裘皮冬装。貂狐之类的贵重裘皮不再是少数官员的专属

服用之物，《啸亭杂录》中描述的当时上流社会流行女装的冬服就

是用貂狐制作的：―女衫以二尺八寸为长,袖广尺二,外护袖以锦袖镶

之。冬则用貂狐之类……‖[14]。

等级制度森严再加上满洲民族尚裘，决定他的影响模式是一种

由上及下的，由北京的王公贵族流传开来，辐射全国，郑板桥曾在

写给他的好友的信中揶揄说到，―扬州人学京师穿衣戴帽，才赶得上，

他又变了‖[15]。松江(今上海)人叶梦珠在康熙年间指出：―自顺治

以来,南方亦以皮裘御冬,袍服花素缎绒价遂贱。‖[6]在中国手工纺

织业最发达的江南地区,各种服装织物都要让位于皮裘,可见当时的

裘皮风尚蔓延迅速。

2.2 清中期裘皮服饰“奢华风尚”的文化特质

清中期人们的审美偏爱奢华，服饰制服上的严谨已经有所妥协

于审美和爱好。这一时期的奢华风气已经迅速蔓延并影响全国，在

当时的江南各地的地方志里都有记载，《蒲溪小志》中记述：―俗尚

奢娇，婚嫁宴会率尚靡丽。殷实之家华于服御，辗转沿习，小户效

之。往往有乡村农妇，簪必金，衣必锦绣。当时嫁娶，笙歌细乐，

燕宴累日。问其职不过一生监，而于婚娶之时，鸣金开道。甚至白

丁而有钱者亦如之，则奢也而近于僭也‖[16]。风俗上尚奢，服饰

装饰上也渐趋繁复，直到最后的―十八镶‖。清初人认为裘皮的毛向

外是奢侈的行为，与中国传统孔孟思想的谦逊相违背，但在清中期

人们―耻穿布衣素‖，康熙时苏州曾有这样的谣语：―苏州三件好新闻，

男儿著条红围领，女儿倒要包网巾，贫儿打扮富儿形。一双兰镶袜，

两只高底鞋，倒要准两雪花银‖[17]。乾隆时期也曾流行过一阵反

穿马褂，以炫耀其高级裘皮，道光年间的城市乡村，―男人俱是轻裘，

女人俱是锦绣‖[18]。可见其当时的奢华之风日盛，以裘服来矜富

誇贵，在这一时期裘皮服饰被推到了历史的风口浪尖之上。服饰上

追求奢靡，艺术风格上追其繁缛是清中期人们主流的审美观，这也

是一个社会经济发展到极盛时期，开始没落的征兆。

3. 清末裘皮服饰与中体西用的趋势

清末各种思潮蜂拥而至，裘皮服饰的穿用也出现混乱的局面；

西方文化和生活方式的影响，表现在裘皮服饰上主要是形制以及穿

着形式的变化。

3.1 清末裘皮服饰概况

晚清是中国历史上重要的新旧转型时期，西方文化和技术的大

量涌入冲击着晚清的政治、经济和文化体系，影响人们生活的各个

方面。

―然道咸以来,京官之翰詹科道,及三品外官与有三品衔或顶戴

者,亦无不翻穿以自豪矣‖[19]。这种露出茸毛的裘服被称为出锋裘。

出锋裘的出现主要是源于人们对自身财富的炫耀以及对流行的追捧，

清末各阶层的人都以此为尚。―宫中的太监可有限度地翻穿裘服‖,他

们在宫苑内当差办事―准翻穿貂褂、海龙褂。有翻穿出外者即锁拏翻

穿入门者即逐出。嘉庆四年定‖[20]。到后来,连商贾人等也穿起了

出锋裘,时人咏道：―珍珠袍套属言曹,开褉衣裳势最豪。商贾近来新

学妙,石青马褂出风毛‖[17]。政治体系的瓦解，在服饰上迅速表现

出来。 ―两宫既出，京师无主，抢劫之风大盛。贫儿骤富，衣饰穿

著，皆不知所云‖[21]。以至于―秋风普起，已裘狐满街‖[21]。不

分等级的使用裘皮服饰是礼制崩溃、世风日下的表现。自 1860 年

上海开埠以来，上海这个移民城市逐渐取代北京成为中国新的时尚

中心，这也表明晚清宫廷服饰，威严的皇权对人们的影响逐步减弱，

裘皮服饰特别是西式裘皮服饰在新兴沿海城市逐渐被接受，或炫富、

或求新求异的审美情趣取代服饰制度成为主导当时着装的主要因素。

3.2 清末裘皮服饰“西化趋势”的文化特质

清末民主思想的启蒙运动引起人们对晚清繁缛、陈旧和畸形的

服饰审美产生厌倦；大量西方书籍的翻译以及留学生的派遣，一定

程度上促进了西方着装方式的引入，都对当时的中国有一定的进步

意义。清末对应的欧洲同时期，正是浪漫主义占主流影响的时期，

与清中期的新古典主义重道德不同，浪漫主义重视的是形式与审美，

强调色彩与线条，清末服装开始了由重礼教向重人性，重意境向重

形式的转变。受西风影响裘服的袍、衫款式越来越瘦，从江南大学

传习馆馆藏的十余件清末裘皮服饰来看，基本的形制并未发生较大

的改变，统治者采用中体西用的理念妄图在不动摇自身统治基础的

前提下缓和国内激烈的社会矛盾，但是终究敌不过新旧社会更迭的

历史趋势。

4. 总结

满人入关之初，汉族对其服饰的模仿可以解释为屈从于新的统

治权威，而到了清朝中后期，人们对于裘皮服饰的热衷与追捧，则

是透视出了社会流动、民族融合所带来的活力。这虽然是由于皇朝

禁令强制实施的结果，起初是由政权干预所导致，并不完全符合民

俗自然传承的基本特点，但是当这种强制形成一定规模之后，当民

间的抵抗情绪逐渐减弱直至消失之后，当人们开始接受它的时候，

一种真正意义上的民族融合便产生了。清末裘皮服用阶层的混乱，

以及各阶层对于裘皮服饰的喜爱，一方面反映出人们刚刚从森严的

等级制度中解放出来，通过服装来表现自己独立的审美，另一方面，

也说明了当时当属文化及审美处于发展的真空阶段，各种思想开始

萌芽。新旧交替，旧权威被打破，新权威还没有建立之初，人们思

想上出现强烈的不适感，各种思潮纷至沓来，洋洋大观溢于言表。

假如说服饰是历史的剪影，清代的裘皮服饰确实是大体勾勒出

了这段历史的社会生活。我们从裘皮的服用阶层、流行中心的变迁

以及裘服款式的变化可以窥见当时经济发展，习俗变迁以及人们审

美和思想的变化。

致谢

首先，感谢我的导师崔荣荣教授。从论文的选题、研究框架的

设计、资料的收集过程到最后论文的定稿都得到了崔老师的悉心指


267

导。一年多来，崔老师无论在学术上还是在为人处世上都教会我很

多，这将成为我今后人生道路上的一笔宝贵财富。在此对崔老师表

示最真挚的敬意和谢意！

参考文献

[1] (汉)班固.白虎通. (Han)BAN Gu.Baihutong.

[2] 包铭新 . 中国古代裘皮服饰概论 [J]. 中国纺织大学学

报 ,1993,19(3):16-24. BAO Mingxin.Chinese ancient fur

clothing theory[J].Journal of Renmin University of

China,1993,19(3):16-24.

[3] 沈从文.中国古代服饰研究[M].上海:上海书店出版社,2005：

4. SHEN Congwen.Research on Chinese ancient

clothing[M].Shanghai:Shanghai Shudian Publish

Business,2005：4.

[4] (清)无名氏.大清会典. (Qing)Anonymity.Qing Collected

Statutes.

[5] (清)无名氏.池兆偶谈. (Qing)Anonymity. Chizhao'outan.

[6] (清)叶梦珠.阅世篇. (Qing)YE Mengshu. Yueshipian.

[7] 宋卫忠，蒋方. 当代北京服装史话[M]. 北京:当代中国出版

社,2008：46-63. SONG Weizhong,JIANG Fang.Research on

contemporary Beijing clothing[M]. Beijing:Contemporary

China Press,2008：46-63.

[8] 张志春.中国服饰文化[M].北京:中国纺织出版社,2001：206.

ZHANG Zhichun.Chinese costume culture[M].

Beijing:China Textile &Apparel Press,2001：206.

[9] 张翰 .松窗梦语 [M].上海：上海古籍出版社 ,1986：123.

ZHANG Han. Song chuang meng yu [M].

Shanghai:Shanghai Rarebooks Publishing House,1986：

123.

[10] 中国第一历史档案馆.清代中俄关系档案史料选编[M].北京:

中华书局,1981. The First Historical Archives.The selected

historical documents of relationship between China and

Russia in the Qing dynasty[M].Beijing:Zhonghua Book

Company,1981.

[11] ( 清 ) 龚炜 . 巢林笔谈 [M]. 北京：中华书局 ,1981:113.

(Qing)GONG Wei.Chaolinbitan[M].Beijing:Zhonghua Book

Company,1981:113.

[12] 中国第一历史档案馆.乾隆朝承办贪污档案资料选编[M].北

京:中华书局,1994.

The First Historical Archives.The selected historical

documents of corruption in Qianlong[M].Beijing:Zhonghua

Book Company,1994.

[13] (清)曹雪芹,高鹗.红楼梦[M].第 5 版.上海:上海古籍出版

社,1993:302-350. (Qing)CAO Xueqin,GAO'e.Dream of the

Red Chamber[M].Shanghai:Shanghai Rarebooks

Publishing House,1993:302-350.

[14] (清)昭裢.啸亭杂录. (Qing)ZHAO Lian.Xiaotingzalu.

[15] 王振忠.明清徽商与淮扬社会变迁[M].上海：生活·读书·新知

三联书店 ,1996:156. WANG Zhenzhong.Huizhou

merchants' and its social

change[M].Shanghai:R.n.,1996:156.

[16] (清)顾传金.蒲溪小志. (Qing)GU Chuanjin.Puxixiaozhi.

[17] ( 近代 ) 徐珂 . 清稗类钞 . (Modern times)XU

Ke.Qingpileichao.

[18] ( 清 ) 李光庭 . 乡言解颐 . (Qing)LI

Guangting.Xiangyanjieyi.

[29] (清)崇彝.道咸以来朝野杂记. (Qing)ZONG Yi.Miscellanea

since Daoguang and Xianfeng.

[20] ( 清 ) 吴振棫 . 养吉斋丛录 . (Qing)WU

Zhenyu.Yangjizhaiconglu.

[21] 唐鲁孙 . 老古董 [M]. 桂林 : 广西师范大学出版

社 ,2004:38-76.TANG Lusun.Museum piece[M].

Guilin:Guangxi Normal University Press,2004:38-76.

作者简介

闫琳(1986-)，女，山东荣成人，在读硕士。研究方向为服装设计

与服饰文化。

http://dict.youdao.com/search?q=museum&keyfrom=E2Ctranslation

http://dict.youdao.com/w/piece/


268

Design Shaped by Social Thoughts—the Phenomenon of Apparel Color During Han

Dynasty

Yi Xuan WANGa

aBeijing Institute of Fashion Technology, department of fashion art and engineering，

No.2A Yinghua Road,Beijing, Email: [email protected] b China Academy of Art, Department of textile and fashion, Nanshan street，Hangzhou

社会思想塑造的设计——汉代服饰色彩现象（中文）

王艺璇 c

a 服装艺术与工程学院, 北京服装学院, 北京市, Email: [email protected]

b 染织与服装系, 中国美术学院, 杭州市, 浙江省, Email: [email protected]

Abstract

During Han dynasty of China, there was a special

phenomenon of apparel color design – thinkers and

social philosophers defined the color esthetics instead of

artists or dressmakers. When people decide which color

to wear, the social meanings color symbolized were

much more important than visual charm of a hue to

consider. Apparel colors showed an obvious style

corresponding to ―Five phases‖ and ―Yin and yang‖

theory that social philosophers emphasized, especially

Confucianism. Red, yellow and blue were treated as good

colors, and became very popular; but other colors such

as green and pink, even hardly mentioned in the

historical records of Han dynasty. After Confucianism

became the only theory accepted by government, this

esthetics about color continued through the whole

conventional era in China. But no other dynasty

presented such a strong characteristic as Han dynasty.

The purpose of this paper is to analyze in detail how

apparel color was designed under such an esthetics, and

how Confucianism shaped color design. The major

methodology this study adopts includes research on

historical references and images, and experiments of

ancient dyeing in Han dynasty with natural materials in

order to acquire real color sets.

摘要

在中国汉代，服饰色彩设计有一个特别现象——色彩审美

标准是由思想家而非艺术家或裁缝来决定的。人们设计服饰色彩

时，色彩的社会意义远比色相美感更重要。这些色彩明显呈现出

一种受到社会思想、尤其是儒家思想塑造的风格，表现着―五行‖

与―阴阳‖的象征含义。赤、黄、青色被视为正色，因而普遍为人

们穿用；但其他色彩例如绿色或粉色，被视为低等色彩，在汉代

文献中甚至很少被提及。

当儒家思想被执政者选择成为社会主流思想后，这种由社

会思想塑造的色彩审美观延续到中国整个传统时代。但是，之后

的朝代远没有汉代表现的强烈。

本文试图分析在社会思想塑造的美学下，服装色彩是怎样

设计的，以及儒家思想如何影响着色彩观念。研究方法包括对汉

代相关文献、文物图像进行分析，并通过古老的天然染色技法实

验获得真实色彩集。

1. 引言

中国传统文化史上，汉代是一个重要的时代。在它之前，

历史经历了春秋战国时代 500 年的思想繁荣发展，随后秦朝统一

中国疆域并在 15 年内迅速灭亡。作为接下来的首个延续百年以

上的统一王朝，汉沿用了一些秦时的官制，但在社会文化制度上，

它创立了以儒家思想为核心的全新模式。新的社会思想的确立，

带来分水岭般的巨大文化效应，汉代服饰色彩清晰地印证了这一

现象。

成文于战国时代的《韩非子》记载，春秋时齐桓公喜爱穿紫色，

老百姓都追随他穿紫衣。因为紫色面料比素布昂贵很多，齐桓公

因民众追求奢华造成浪费而感到烦恼。紫色被儒家思想视为象征

不端的色彩，但春秋时期，上至国君下至普通百姓都会穿着紫色。

如果这段文献记载属实，则侧面说明在春秋时代还没有―五行色为

正色‖或色彩代表等级这类约束标准。与此类似的是，在湖北荆州

博物馆展厅里，悬挂着一件战国时代马山一号墓出土的刺绣绢面

衾复制品。淡金色绢底上，活泼的鲜绿色和嫩黄色、浅棕红色刺

绣出龙凤纹样，色彩与摆放在玻璃展台里已氧化褪色的实物相去

甚远。博物馆研究员印证，这件衣服出土时的色彩就如复制品那

般鲜艳。绿色不属于―五行色‖，被儒家思想视为象征地位卑微的

色彩。但这件―后孔子‖时代的贵族衣服上以绿色为主的色彩搭配

丰富美妙，没有显示出五行色的痕迹，细节之处也没有任何阴阳

关系，缝制它的人显然没有考虑按照五行阴阳学说去设计色彩。

显然战国时期，人们对色彩的审美是遵循自然感官的。这便显示

出，服色观念由浪漫自由，转入汉代的严苛制度，的确是发生了

重要转变。

但是，五行及阴阳学说在春秋战国时期的是否在已经存在？

学术界对其形成的确切时间争论不止，其中较为谨慎的判断是―直

到春秋时期，‗以方位为基础的五的体系‘仍未出现‖ [1]，则五行

色概念也并未成熟。由于史料不充分，模糊判断从春秋到战国几

百年间，是五行色概念逐渐清晰起来的阶段。春秋末年的孔子表

达过―恶紫之夺朱也‖的观点，说明他已经有―正色‖观念。到战国

时五行色可证实存在，阴阳家邹衍将五行阴阳学说糅合而推广是

有明确记载的，他―提出‗五德终始说‘，借用五行相生相胜、终而

复始的循环变化相比附，用来说明国家政权的更迭、朝代的变化‖

[2]。从这时起，最初用于描述物质存在自然规律的五行学说，带

有了社会象征含义。例如周为火德尚赤，秦灭周则定为水德尚黑。

但汉代以前，五行色作为自然力量的象征多应用于祭祀或者礼仪

服装，较少干预到普通人的穿衣用色。服饰色彩运用完全的脱离

感官审美，以社会象征含义成为设计标准，是进入汉代之后才出

现的现象，它同步于社会思想发育的历史轨迹。


269

图 1. 战国马山一号墓出土的刺绣绢面衾复制品，绿色凤纹刺绣

2. 研究方法

为了分析汉代服饰色彩设计风格的特殊性及其原因，本文进

行了三个方面的研究，包括检索、分析著于汉代及更早的历史文

献，对目前能得到的文物图片进行色彩分析，以及用史料中所提

及的部分汉代染色素材进行染色实验，并用真实的色彩去印证可

能失真的文物色彩信息。

2.1. 历史文献的梳理

由于中国历代都没有专门针对色彩的理论著作，色彩观念

理论零星分散在史书、思想文献甚至文学作品等各类资料中。因

此，对这些文献进行梳理、提炼，可获得汉代服饰色彩应用现象

尽可能全面的记载，从而进行比较分析。

2.1.1. 汉代色彩名词整理

通过整理东汉许慎所著《说文解字》及刘熙所著《释名》这

两本解释字义、词源的古书，可发现汉时中国人已创造大量描述

色彩的名词。他们不仅给色彩命名，并且掌握了相应的染色工艺，

其中大量色彩名称都是用于描述纺织品色彩的。从而可知汉代服

饰色彩集中于少数色相，并非出于染色技术的限制，而是人为的

选择。色彩明目在《汉书》《后汉书·舆服志》等史料中出现的频

率，则可直接说明它在服饰上的使用状况。

2.1.2. 对五行阴阳及儒家理论的追溯

汉代色彩设计形式的突变，其核心动力来自儒家思想的成长。

而儒家发展到汉时，吸纳了多种学说的理论来发展它的社会伦理

及自然认知体系。《周易》《尚书》《诗经》《仪礼》《春秋》

这五经的许多理论被儒家学者重新解读以为己所用。此外，结合

孔子、荀子以及汉时儒家重要学者董仲舒等人的文献，可以找出

色彩与社会思想发展的对应轨迹。

2.2. 汉代文物图片资料分析

根据湖南马王堆西汉墓、陕西临潼骊山西汉墓、江苏徐州汉

墓、新疆楼兰高台东汉墓、新疆民丰汉墓甘肃武威东汉墓、陕西

西安红庆村汉墓等出土的 75 件汉代文物图片及 10 件战国时代文

物图片，进行色相归纳及色彩设计分析，以期得到思想塑造的色

彩美学具体的设计形式。文物品类包括纺织品、服装、围巾、包

袋、彩色人偶、帛画、壁画及少量器物。

2.3. 古代染色技法的实验

汉代主要采用的染色工艺包括矿物染色及植物染色。笔者实

验了当时用于染赤的朱砂染，用于染黄的栀子、茜草，用于染紫

的紫草，及用于染蓝的蓝草，并分别提取了色相样本及LAB数值。

3. 研究结果

根据文献、实物色彩分析结果，汉代服饰色彩设计因受到

社会主流思想―儒家学说‖的塑造，表现出以下两种明显的特征。

3.1. 五行观念渗透对服饰色彩设计

图 2. 茜草根在蚕丝平纹织物上所染得的赤、绛、纁、赬、縓等

色

图 3. 栀子在蚕丝平纹织物上所染得的黄色系

五行色指根据五种自然要素及方位概念所对应的色彩。金

为白、木为青、水为黑、火为赤、土为黄，对应方位木为东、火

为南、金为西、水为北、土为中央。要说明的是，据《说文解字》

记载，汉代命名的色彩除了典型以色相区分的颜色如代表黑色的

玄、代表蓝色的青、以及绿、紫等，还有一些按照染色过程中不

同阶段的色彩饱和程度区分的概念。例如以茜草所染的赤黄色，

根据浸染时间长短所得色彩饱和度不同，由浅入深分别称为縓、

赬、纁、绛。绛即为―大赤‖，是带有棕黄调的红色，与朱色同相

当于赤色。因此，汉代的色系划分，尤其赤与黄两色系，并不像

现代色彩学那般清晰。由茜草、栀子所染之色，在实际应用中常

被笼统视为赤、黄色系。

对 75 件汉代文物进行色相归纳后，发现其中 95%的服饰

物品色彩集中于五行色色相范围内，另外 5%在五行色主体中含

有少量绿色。其中共 20 种色相搭配组合：纯赤色织物 2 件；黄

褐色织物 1 件；赤、白两色搭配 9 件；赤、黄两色搭配 1 件；赤、

青两色搭配 6 件；赤、黑两色搭配 8 件（含 3 件漆器）；黄、黑

两色搭配 5 件；赤、黄两色搭配 1 件；青、白两色搭配 3 件；赤、

青、黄三色搭配 6 件；赤、青、白三色搭配 2 件；青、黄、白三

色搭配 1 件；赤、黑、白三色搭配 6 件；赤、黑、黄三色搭配 4

件；赤、黄、白三色搭配 1 件；赤、黄、黑三色搭配 3 件；黄、

白、黑三色搭配 1 件；赤、青、黄、白四色搭配 8 件；赤、青、

黑、白四色搭配 1 件；赤、青、黄、白、黑五色搭配 3 件；赤、

青、黄、白、绿五色搭配 4 件。出现绿色的四件衣服均出土自新

疆地区，中原地区的文物中未见绿色。紫色则没有出现在任何一

件文物上。


270

图 4. 青、赤、黄三色搭配织物，长沙马王堆汉墓出土刺绣深衣

图 5. 青、赤、黄、白四色搭配织锦，新疆民丰尼雅遗址出土

在一些富贵阶层家族中，家仆也着五行色服饰。江苏徐州

西汉墓出土的一件卫俑，身穿外层镶有黑色领缘、内层镶有赤色

领缘的白色深衣；陕西骊山汉墓出土的侍女俑，身穿同样配色的

服饰。这两者均不属于贵族阶层，但其服色亦在五行色范畴内。

但绿色及紫色等间色，并非被绝对杜绝，只是无论在史料或

文物中，出现的频率都远低于五行色。在涉及到不同等级的着装

规则中，它们会作为稍微低级的服饰出现。例如，《后汉书》记

载，礼仪中，重要阶层的着装均以红黑色系为主，玄纁成为象征

高贵的色彩组合，天子、三公、九卿、特进侯、侍祠侯，在祭祀

时，皆穿玄上纁下的礼服；卑微的佣人常穿着绿衣，―前过濯龙门

上，见外家问起居者，车如流水，马如游龙，仓头衣绿褠，领袖

正白，顾视御者，不及远矣。‖ [3]。《汉书》记载，汉成帝时代，

曾经恼怒贵族追求绮丽服饰，要求他们不得逾越礼制，追求奢华

享乐，但―青、绿民所常服，且勿止‖。从这段记述的前后文来看，

汉成帝批判一些贵族为了追求色彩绚丽，而逾越了等级礼制穿着

色彩；但对阶层低的平民来说，青色与绿色应是他们的常服，不

可禁止。更为直接的证据是，汉代影响最大的儒家学者董仲舒在

《春秋繁露》中表明―凡衣裳之生也，为盖形暖身也，然而染五采、

饰文章者，非以为益冗肤血气之情也，将以贵贵尊贤，而明别上

下之伦，使教前行，使化易成，为治为之也。‖ [4]他强调无论染

色还是纹饰，都不是为了追求性情的满足，而是明确秩序的。他

的观点，印证了为何整个汉代对服饰色彩的追求呈现出近乎虔诚

的精神追求。但同时，―森严的等级色彩把色彩审美限制在伦理道

德所划定的范围内,钳制了人们全方位享用色彩的权利‖。 [5]

以五行色为正色，弃用之外的其他颜色，尤其以汉代中前

期为重。《汉书》记载，秦朝的官职相国、丞相配金印紫绶，掌

管武事的太尉也配金印紫绶。汉武帝在建元二年取消相国，设置

大司马，汉宣帝时期，也设大司马，但不冠将军之名，亦無印绶

官属。―金与紫‖的装饰搭配，在汉代前期，是不被使用的。虽然

史料文献并未记载其原因，但这一情况的出现，与摒弃五行色之

外色彩的时代相吻合。到西汉晚期的汉成帝时期，古官职太傅配

金印紫绶曾一度回归，但很快又被汉哀帝取缔。此后的汉平帝时

期，配金印紫绶的古官职太師、太保曾再次短暂出现。《汉书》

同时记载，配金印紫綬的前后左右将军职，汉时不常设置。

3.2. 儒家思想影响下汉代服饰的阴阳设计特征

汉代服饰及纺织品的设计还呈现出另一个特征，就是对阴

阳规律有意识地运用。儒家对阴阳学说的重视首先来自对《周易》

的遵从和理论发展。孔子及其后的儒家学者吸收部分道家学说、

并揉入等级观念解读《周易》而作《系辞》。例如在《周易》原

文中，阴与阳、乾与坤是对等的矛盾两元，无尊卑贵贱之分。《系

辞》则说―天地尊卑，乾坤定矣。卑高以陈，贵贱位矣。‖[6]，表

现出明显的等级色彩与社会意识。这样一来，作为自然规律的规

则被转用成社会秩序框架理论，学术界称之为儒家对阴阳学说的

附会，是一种假托自然规律而实施对社会秩序划分的行为。汉人

戴圣所编的《礼记》同样认为遵从阴阳属行为典范，―故圣人作则，

必以天地为本，以阴阳为端‖ [7]。到汉代董仲舒的《春秋繁露》，

进一步将阴阳理论与人群关系绑定，他将父子关系、夫妻关系、

男女关系、君臣关系等，均加以阴阳尊卑贵贱来进行秩序关系的

阐述。因此，阴阳关系交错共存指导着汉代人的生活意识，成为

造物设计中变成不可忽略的元素。

战国时代出图的锦绣，不存在刻意的阴阳配色意识。例如

前文所举荆州博物馆所存的战国服饰，黄、绿、褐色等许多中性

色彩为主基调，阴阳对比不明确。但从汉代文物来看，服饰、器

物等的构色，大部分存在严格的阴阳对比关系。其―严格‖在于，

阴阳关系通常存在于器物的各个细节。如果是复杂的器物，则器

物整体色彩存在一个大的阴阳关系，而每个局部则呈现出小的阴

阳配色，几乎所有层次关系都不会忽略对阴阳的考虑。这个现象

到了汉以后的朝代便逐渐削弱。

汉代漆艺及服饰配色中可以找到许多阴阳应用的例证。如，

湖南长沙马王维 1 号墓，棺椁共有 4 个，成为一个群组。套棺第

1 层为黑漆素棺，第 2 层为黑地彩绘棺，第 3 层为朱地彩绘棺，

第 4 层为锦饰内棺。从第一层主次往后，是由阴至阳的色彩排列

次序；在分布关系上形成了一个色彩阴阳递进关系；从局部个体

来看，第二层黑地彩绘属阴阳套色棺，第三层为朱地彩绘也是阴

阳套色棺均为阴阳套色。1963 年出地于河南密县东汉墓中的陶

楼，以黑和红、赫色绘在正面平座下。此外，日常生活中使用的

木质漆器，也多为黑红配色。赤色（赫色）为阳，黑色为阴，这

两者搭配称为―玄纁‖，是汉代最有代表性的配色组合，也是高贵

的象征。

从服装来看，阴阳的搭配更具有典型规律性。一件外衣，

衣缘与衣身必形成阴阳相错；衣身上如有纹样，纹样与底色必形

成阴阳相错；如果多件衣服叠穿，则内层衣衫色彩必与外层衣衫

的主体色彩倾向阴阳相错。这体现着汉代服饰、器物色彩的设计

细节中，对儒家解释的阴阳原理遵从的两个主要因素：一是阴阳

须共存。―一阴一阳之谓道‖，阴阳须共存才调和。在一件衣服的

色彩中，不能够只有阴而没有阳，两者要同时存在。但阴阳实际

上不是绝对性质，而是相对的。只要衣服上的色彩存在比较之下

的阴阳关系，就符合这一因素。

其二，阴阳论在用于设计时，并非简单的一阴一阳，为追

求 ―调和‖，两者有特定的构成规律，也就是阴阳的排列次序。从

儒家为《易经》作《彖》说―泰……內阳而外阴，內健而外顺，內

君子而外小人，君子道长，小人道消也。否……內阴而外阳，內柔

而外刚，內小人而外君子。小人道长，君子道消也。‖ [8]因此儒

家学者认为阴阳之序，外阴内阳为佳，外阳内阴为不佳。以此设

计服装色彩时，要考虑衣缘（领缘）与衣身的色彩阴阳关系，也

要考虑内层与外层服饰的阴阳关系。


271

五行色之间存在对应的阴阳关系。根据儒家解《周易》之

《说卦传》中―帝出乎震，齐乎巽，相见乎离，致役乎坤，说言乎

兑，战乎乾，劳乎坎，成言乎艮。‖ [9 绘制的方位、阴阳的对照

关系图，被称为后天八卦，可推测出五行色之间的阴阳关系。其

中青、黑对于赤、黄、白来说为阴；白对于其余四色均为阳；赤

于白为阴，于黄、青、黑为阳。黄在五行方位中居于中，是调和

的中性，相对赤、白，为阴，相对青、黑为阳。这样再去看汉代

服装上的色彩关系，就一目了然了。例如下图中的曲裾深衣，有

三层阴阳关系：一，衣身整体为阳，衣缘、领缘、袖缘为阴；二，

衣身图案中，赤与白成一对阴阳，黑与赤成一对阴阳；三，衣缘

图案中，青与赤成一对阴阳。在本文所研究的 75 件文物中，但

凡两色以上、五色以下配色的物品，均以阴阳关系设计。

图 6.汉代深衣中的阴阳设计关系

4. 结论

汉代的服饰色彩风格与其前代大相径庭，其根本原因是儒

家思想上升为唯一的主流意识形态，并通过政治力量对社会产生

了巨大影响。由于儒家学者所推崇的礼学内容，利用了上古文化

自然观的理论，并且推崇服饰着装的目的是明确等级、维护社会

秩序。因此，原本不具备―等级‖属性的五行色，被定义为正色，

成为区分尊卑的符号。汉代服饰色彩受到社会思想塑造的最明显

的特征之一，就是五行色概念全面渗透进服饰与造物的色彩设计。

除了五行概念，儒家学者将另一个上古文化中阐述自然物质属性

的概念―阴阳‖用于社会范畴。阴阳规则在设计中的表现较为隐性，

但经过分析，可以知道在汉代的纺织品图案及服饰色彩设计中，

阴阳理念是普遍存在的。

研究过程所产生疑问的，是关于五行色用于礼制的年代。

我回避了将《周礼》所记内容作为判断这个年代的论据，因为如

果视之为周代文献，在推断色彩现象时，它过于接近汉代形式的

礼制内容却让整个推断产生了矛盾。由于《周礼》是在东汉突然

间出现，其成书年代实际存有很大争议，有观点认为它为王莽伪

作。但目前，对汉代服饰色彩的理论研究，通常将《周礼》所述

确定拿来当做对周代时期服饰状况的描述。对此，本文试图从另

一条途径，也就是从实物入手去推断历史上可能存在的用色真实

情况。另外，目前已有的对汉代五行阴阳色彩研究，多重视对思

想理论根源的探寻挖掘。在此基础上，本文的研究重点强调对―五

行色‖―阴阳‖理论在实际色彩设计中的具体运用方式。汉代的色彩

设计充满精神追求，但色相的限制，并未让它失去设计风格。其

色彩的细节处理充满理性思考和深邃的内涵。

致谢

感谢北京服装学院提供《汉唐服饰色彩与传统染色技艺研

究》课题经费及实验条件。感谢中国美术学院吴海燕教授、宋建

明教授、郑巨欣教授给予本文研究指导。

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作者简介

王艺璇，北京服装学院服装设计系讲师。2009 年进入中国美术

学院攻读设计艺术学博士。以流行趋势研究为主要专业方向，致

力于寻找现代设计与中国本土美学相通的途径。


273

The Clothing Features in Chu Civilization

Rui XU

School of Design, Central Academy of Fine Art, China, Email：[email protected]

生命的气息——楚服饰中的美学性

徐蕊

设计学院,中央美术学院, 中国

Abstract:

About 770 BC ---- 221 BC, one branch of Chinese culture,

shining like a star in South China, high developed,

magnificent and unique, existing at the same time as those

in Grace and Rome, was the well-known Chu Civilization.

The Chu civilization was gradually restored and

incorporated into Han civilization with the establishment of

centralized state power in West han. Hence Chu civilization,

as the representative of Chang Jiang civilization, is the

trunk of whole Chinese Civilization. Chinese civilization is

composed of the civilization of Yellow River valley in the

north and that of Yangtze River areas in the south. Chu

civilization, the representative of the civilization of Yangtze

River areas inheriting the civilization of Central Plains and

absorbing the culture from southern minorities is the

advanced civilization instead of a pure local one. The

simple thinking pattern and generalization with

abstraction are still superb and outstanding nowadays.

Dressing etiquette is the important characteristic in Chu

convention. In the society of Chu, the rich advocating the

nobility in dressing, gave clothing various social

significance such as the rank for superiority and inferiority

in material, color, style, pattern, even workmanship.

Loose-fitting garment with broad sleeves is Chu people‘s

charm. Deep concern with their appearance by Chu people

and the special charm in Chu art contribute to the diversity

and uniqueness in their dressing.

The influences on garment by aesthetics in Wuism, Taoism

and Saoism.In the heyday of Chu culture, Wuism, the

sciences in terms of witchcraft, falls into three branches:

Wuism(the traditional heritage in the sciences in terms of

witchcraft), Taoism(the rational part in Wuism) and

Saoism(the perceptual part). Taoist makes the world

outlook from Wuism abstract and logical and the Saoist

makes it concrete and artistic, but Wuist(witch) keeps on

his own. With fusion of fantasy of Wuism, subtleness and

abstruseness of Taoism and gorgeousness of Saoism, art

features unrestrained, mystic and magnificent charm and

dressing displays graceful air, delicateness along with

uniqueness in the style of lose-fitting garment with broad

sleeves. Creation beyond imitation is the aesthetics in

Taoism and Chu garment.

摘要

大约在公元前 770 年到公元前 223 年，在中国的南方有一支

高度发达且风格独特的区域文化，与希腊罗马的文明遥相呼应，其

辉煌灿烂的文化成就举世瞩目——这就是楚文明。中华文明是由北

方的黄河文明和南方的长江文明组成的，楚文化是长江文明的代表，

在中国文化中的地位绝不只是纯粹的地方文化，而是师承了北方的

中原文明，又吸收了南方的蛮夷文化，产生出的极具特色的一种高

级文明形态。楚文化的简捷思维模式和抽象概括特征在今天看来，

仍然十分的高超。

服制之礼是楚服饰中的重要内容。巫、道、骚的美学思想奠定

了楚服饰的基本特征。楚文化进入鼎盛期后，其传统的巫学开始分

流，其因袭罔替者仍为巫学，其理性化者转为道学，其感性化者转

为骚学。道家把巫学的宇宙观抽象化、逻辑化；骚人把巫学的宇宙

观具象化、艺术化；而巫师依然故我。巫的怪想，道的玄妙，骚的

绮丽，三者交融在一起，体现在艺术上，汪洋肆意、恍惚迷离；体

现在服装上，奇中有妙，妙中美艳。

1. 楚文化中的简洁理性思维模式

1.1. 楚文明远大于楚国的文明

大约在公元前 770 年到公元前 223 年，在中国的南方有一支

高度发达且风格独特的区域文化，与希腊罗马的文明遥相呼应，其

辉煌灿烂的文化成就举世瞩目——这就是楚文明。在楚为秦所灭的

过程中，楚文明为秦所接受、改造，随着西汉大一统中央集权的建

立，楚文明代表长江文化融入更广泛、深入的汉文化中，与黄河流

域一起，形成了中华文明的主要气质。

1.2. 楚文化的简洁思维模式和抽象概括特征

楚文化作为长江文明的代表，是极具特色的高级文明形态。楚

文化的简洁思维模式和抽象概括特征在今天看来，仍然十分的高超

（图 1，沈，1997）。

图 1，楚文化的简洁概括

这种源于道家的简洁的思维方式在许多文献中有记载。《世说

新语》卷 4 云：―南人学问，清通简要‖；―北人学问，渊综广博‖；―南

人学问如牖中窥日，北人看书如显中视月‖。《隋书·儒林列传》云：

―大抵南人约简，得其英华；北学深芜，穷其枝叶。‖顿悟本于道家

的玄览、静观、默照，是简洁的思维方式的一个例证。

2. 简洁理性思维模式下的楚服饰特征

2.1. 服装的色彩和纹样，代表了楚文化中的礼仪与贵贱

楚国的社会中，富有者崇尚着装的高贵，将服装赋予各种人为

的含义。衣料、色彩、款式、花纹甚至做工，都具有贵贱等级之分。

贵族服饰华丽，丝帛缠身、宽衣博袖，与平民的麻布短衣形成对照；



274

楚人崇尚赤色，流风及汉。朱草、彤弓、朱户、朱庭，都体现

了楚人尚赤的传统。火代表了楚人，代表了繁衍和生命、代表了权

力和威严。楚人把火星和火神联系在一起，大火为殷人的火神所掌

管，鹑火为楚族先民的火神所掌管。汉代的朱雀，即是楚凤的衍化

之物。（图 2，2006，湖）。

图 2，丝织物上赤红的凤鸟纹样刺绣

纺织品是文化的重要载体。高度发展的纺织业给服装带来广阔

的设计空间。最流行的是以丝织物为绣地的―刺绣品‖；甚至还有皮

革上刺绣纹样的―缂‖。马王堆出土的一件纱衣，50 克重，叠在手心

里只有火柴盒大小。

图腾崇拜作为最古老的宗教形式之一，频繁地出现于楚服的装

饰上。图腾纹样由早期分散的日、星、云、龟、鸟、鱼、龙、蛇、

虎、羊、桃、谷、桑椹等发展到后来的太阳部落，光融天下。其中，

楚人认为凤是人间最美的生灵，它身披五彩文，能歌善舞、品行高

尚、鼓力而风、通晓历法、能使国家安宁。风成了君王与统治者的

代名词。在楚人的服饰中，以凤鸟为主题的装饰举不胜举。凤与环

绕盘旋、婀娜多变的云纹交织在一起，构成了一幅幅精彩灵动的画

面。楚风，短尾的比长尾的更奇，花冠的比羽冠的更奇，有角的比

无角的更奇。短尾有角的凤是风神飞廉，在凤凰中最有地位。凤龙

相争是楚美术作品中经典的主题，在丝绣、漆绘、墨画、木雕等作

品中大量出现。龙，可以喻诸侯，《史记·晋世家》中将晋文公比作

龙；可以喻智者，孔子曾经将老子比做龙。但是，论其地位威力，

龙则远远不如凤（图 3，湖，2006）。

图 3，具有龙身特征的凤纹

2.2. 服装廓形的简约完整带有显著的理性特征

褒衣博袖是楚人崇尚的风度。西周以来，―上衣‖、―下裳‖的分

体式着装，到了东周时期，多数上下相连，款式逐渐变得丰富。典

型的有：边缘厚挺，整身单薄的单衣；上衣下裳相连的袍；―续衽钩

边‖、―纯之以彩‖、形制严格的深衣；直裾与曲裾的楚式衣袍；长及

腰下与膝部之间的单襦、夹襦、複襦、多幅面料裁制拼缝的裙；相

当于内衣的袴；已经具有现代裤装特征的―合裆谓之褌‖等等。无论

是在结构上，还是在工艺手法上，都符合人体机能和社会活动的要

求，具有鲜明的简约性（图 4，沈，1997）。

图 4，墓室主人着深衣图

各种款式之中，以深衣最为流行。着深衣者，有男子、也有女

子，这种服式的共同特征，都有一幅向后拥掩的曲裾，这是为了解

决上下衣相连属后出现的问题（图 5，沈，1997）从出土的楚墓帛

画中可以看见，深衣的下摆极为褒博，有一大片摇曳在身后，显得

雍容华贵。根据楚俑推断，男性深衣中的曲裾向后只掩一层，女性

深衣的曲裾则有时向后缠绕数层，而且前襟下垂出―状如燕尾‖的饰

物。女性深衣，在变化的基础上，还添加飘带作装饰，更增添了廓

形上的象征意义。在顾恺之的《洛神赋图》、《烈女传图》及许多

壁画中都能看见这种装束。

图 5，深衣结构图

2.3. 具有简洁思维特征的配饰

楚服中的配饰很特别。在《离骚》中，楚冠被描绘成―高余冠之

岌岌兮。‖《九章·涉江》：―冠切云之崔巍。‖与长沙御龙帛画的冠

接近。此外：手衣，即手套；足衣，即鞋袜；寝衣，即被子；兵服，

即甲胄；丧服；帽；领饰、蔽膝、丝带、革带、带钩；玉器饰物: 壁、


275

环、瑗、玦、琥、管、珠、佩、璜；装香料的―囊‖与―佩芳‖、表仪

容的―容刀‖与―佩剑‖等等。各种佩饰，都具有简洁的审美与象征意

味。（图 6，湖，2006）

3. 巫、道、骚的美学思想对服饰的影响

巫、道、骚的美学思想奠定了楚服饰的基本特征。楚文化进入

鼎盛期后，其传统的巫学开始分流，因袭罔替者仍为巫学，理性化

者转为道学，感性化者转为骚学。道家把巫学的宇宙观抽象化、逻

辑化；骚人把巫学的宇宙观具象化、艺术化；而巫师依然故我。巫

的怪想，道的玄妙，骚的绮丽，三者交融在一起，体现在艺术上，

汪洋肆意、恍惚迷离；体现在服装上，神秘美艳。

图 6，战国晚期的双龙同体玉佩

3.1. 自由生命的讴歌——巫学与楚服饰

楚国社会是直接从原始社会中孕育出来的，楚人的精神世界中，

保留了氏族社会巫术和祭神的遗风。楚人除了本氏族的传统信仰之

外，还把征服的各地的神灵兼包并蓄于自己的意识之中，逐渐形成

多元的信仰。这种泛神论，导致了楚人诡异灵怪的精神世界，在楚

服饰中多有体现（图 7，沈，1997）。

图 7，巫文化导致了楚美学的奇诡艳丽

楚的丝织品，制作精细、巧夺天工，可以明显的感受到一种极

具生命力的精神。那些流动着的鸟纹、云纹、气象纹和动物纹，隐

喻了生命的无限，流逝的光阴……岁月没有使它们蒙上灰尘，反而

让它们更加璀璨夺目。飞凤、蟠龙，既非对大自然的简单模仿，也

非单纯的自我艺术表现，而是一系列自由生命形象的讴歌。这些灵

动的图形，延续了远古图腾神话的含义，渗透着原始宗教的情感，

但它们似乎穿透了历史和心理的时空，今天仍然能唤起我们强烈的

共鸣。

3.2. 超越模拟——道家美学与楚服饰

艺术中的道学，择其要领有三：―法天‖、―齐物‖、―神遇‖。为

求―法天‖，返璞归真。《老子》第 25 章说：―人法地，地法天，天

法道，道法自然。‖这里说的―法天‖，只是求简练，虽非人力所及，

而亦人心能知，从宽泛的意义上说，法地，法天，是法自然而得的

道。虽像缘意生，而象在意外。从老庄的描述中可见其追求与自然

贴近的服饰风格。

为求―齐物‖，抽象变形。所谓―齐物‖，就是《庄子·天地》所

云：―万物一府，死生同状。‖大千世界，纷纭万象。齐物的要旨，

一是分合，二是转化。 ―是亦彼也，彼亦是也。‖―彼出于是，是亦

因彼。‖在这种美学观点下，分解、变形、抽象、概括的手法来处理

艺术形象，常见于面料纹样与配饰当中。以凤纹为例，抽象的极点，

是化为纯粹的曲线；分解的极点，眼爪零散，于形固有失，于神则

有得（图 8，湖，2006）。

图 8，分解又重构的抽象凤纹

为求―神遇‖，超越模拟。《庄子·养生主》中讲了庖丁解牛这个

寓言。文中庖丁说：―臣以神遇而不以目视，官知止而神欲行。‖《庄

子·人间世》，不可遇之以耳、目之类感官，不可遇之以心，直须遇

之以气方可。任何局限都要打破，任何意念都要清除，―无声之中，

独闻和焉。‖―无形之中，独见美焉。‖《老子》第 41 章中所说：―大

音希声，大象无形。‖就是解释了这种美学。楚服饰的生命力，不在

模仿，而在创造。―不肖‖、―不似‖，实现了―大美‖：或―缺‖、或―拙‖、

达到了 ―大巧‖的境界。

3.3. 理想之巅——屈原美学中的服饰特点

《离骚》是理想主义无可逾越的高峰，字里行间充满了奇思妙

想，又不乏庞大的气势。我们能从中感受到楚人俊逸的风致——高

冠、博袖，―青云衣兮白霓裳‖，―绿叶兮紫茎‖，―朱唇皓齿‖……等等。

4. 结论

楚服饰简洁抽象的概括性和艺术性，不是对古典主义的反叛，

也不同于西方的浪漫主义，比理想主义又复杂了许多，它来自巫的

怪想，道的玄妙，骚的绮丽，三者交融，汪洋肆意，恍惚迷离，形

成了中国服饰美学中特有的生命气质。

参考书目：

[1] 湖北省博物馆，《图说楚文化——恢诡谲怪惊采艳艳》，湖北

美术出版社，2006 年。


276

Hubei province Museum, Chu Civilization In Diagrams,

China, Hubei Fine Arts Publishing House, 2006.

[2] 《张正明学术文集》，湖北长江出版集团，湖北人民出版社，

2007 年。

Zhang Zhengming Academic corpus, China, Hubei Yangtze

River Press Group and Hubei People‘s Press, 2007.

[3] 涂又光，《楚国哲学史》，湖北教育出版社，1995 年。

TU Youguang, History of Philosophy in Chu Civilization, China,

Hubei Education Press, 1995.

[4] 彭浩，《楚人的纺织与服装》，湖北教育出版社，1996 年。

PENG Hao, Chu people’s Textiles and Clothing, China,

Hubei Education Press, 1996.

[5] 马世之，《中原楚文化研究》，湖北教育出版社，1995 年。

MA Shizhi, Research of Chu Civilization in Central Plain,

China, Hubei Education Press, 1995.

[6] 蔡靖泉，《楚文学史》，湖北教育出版社，1995 年。

CAI Jingquan, History of Literature in Chu Civilization，

China, Hubei Education Press, 1995.

[7] 沈从文，《中国古代服饰研究》，上海书店出版社，1997 年。

SHEN Congwen, Research on Ancient Chinese Clothing and

Adornments, China, Shanghai Book Store Publishing

House,1997.

[8] 赵丰，《中国丝绸艺术史》，文物出版社，2005 年。

ZHAO Feng, History of Silk Art in China, China, Cultural

Relics Publishing House, 2005.

[9]赵沛霖，《先秦神话思想史论》，学苑出版社，2006 年。

ZHAO Peilin，Mythology of the Pre-qin Period, China,

XueYuan Publishing House, 2006.

[10] 孙机，《中国古车服论丛》，文物出版社, 2001 年。

SUN Ji, Commentaries on Ancient Chinese Army Uniform,

China, Cultural Relics Publishing House, 2001.

[11] 杜钰洲、缪良云，《中国衣经》，上海文化出版社，2000 年。

DU Yuzhou, Miao Liangyun, Chinese Clothing Scripture,

China, Shanghai Cultural Publishing House, 2000.

[12] 高春明，《中国服饰名物考》，上海文化出版社，2001 年。

GAO Chunming, Textual Research on Celebrated Relics of

Chinese Clothing and Adornments. China, Shanghai

Cultural Publishing House, 2001.

作者简介

徐蕊，中央美术学院设计学院时装专业讲师，第11届全国美术

展暨中国首届美术奖―创作奖‖银奖获得者。中国服装设计师协会学

术委员会会员，中国流行色协会会员，中国工艺美术家协会会员。

作品多次发表于各种国内外学术艺术活动与展览。个人作品集《象

罔衣》在圈内颇受关注。

XU Rui, is a Lecturer in Chine Central Academy of Fine Arts.

She is a member of the Academic of Committee of the

Chine Fashion Designer Association and China Fashion

Color Association. Her works has been displayed in many

international exhibitions and she has published and

presented in several papers on journals, magazines and

conferences. Xu Rui has received a silver Award of the 11th

National Arts Exhibition in 2009. Her book XIANGWANGYI

is welcome in the field of Fashion study in China.


277

ShuiTianYi‗s form Beauty and Meaning in Ming Dynasty

Ke ZHENG

The Department of Fashion Design, Art and Design Academy of Tsinghua University. Beijing China.

Email:[email protected]

明代水田衣的形式美及其意义

郑可

清华大学美术学院服装设计系，北京, Email: [email protected]

Abstract

ShuiTianYi in Ming Dynasty was the unique costume in the

China Costume History. This costume was attracting the

attentions in Qing and Ming Dynasty. This shape looked

like the paddy, as it was named. It was made of different

kinds of fibers, bright and lively colors, simple and clearly

shapes which with spectacular visual effects. Inevitably,

its produce and develop have represented the aesthetic

times of Ming Dynasty.

Ming Dynasty was the end of China feudal society and the

beginning of China capitalist society. The enlightenment

has emerged and the autocracy in polity and economy has

transformed to freedom and open to public. In addition,

foreign exchange activities have flourished gradually.

These significant changes, directly or indirectly, have

influenced the wearing mind and style of Ming.

I have chosen this special time that in the late of Ming

Dynasty to see the innovative changes in the factors of

political, economy and mind. I have collected and arranged

detailed information of its emergence and development,

analyzed the shape, color, textile and the model features

systematically, summarized the regular pattern of its

composition shape. Consequently, the goal of this paper

was to reveal the underlying aesthetic taste and meaning

of ShuiTianYi in Ming Dynasty.

摘要

明代水田衣是我国服饰史中的新异作品。明清女子尤为喜爱的

装束；整身以零碎的面料交错拼接而成，造型简洁明朗，色块鲜亮

明快，形如水田而得名；具有奇特的视觉效果。它的产生及流行是

时代审美情趣的必然结果。

明代处于中国封建社会之末和资本主义萌芽时期。资本主义启

蒙思想萧然涌现、政治及经济上由专制走向开放、繁荣，中外交流

活动也逐渐兴盛起来；各方面的显著变化都直接或间接地影响着明

代人的着衣理念和服饰风格。

笔者选择中国明代中后期特殊的时代角度，了解明初及明中后

期在政治、经济及文化思想的转变，从而收集整理水田衣产生发展

的详尽资料，系统的分析水田衣的造型、色彩、质地以及形制的特

点，归纳总结明代水田衣的形式组成规律；揭示其背后的审美情趣

及意义。

1. 引言

我国古代服装史中，明代水田衣足以给人留下深刻印象。《中

国服饰美学史》中对水田衣的注释是：水田衣，明代妇女的一种时

髦装束，清时尤为女子喜尚，即以各色零碎织锦料拼合缝制而成。

因整件服装织料呈色块交错之状，形如水田而得名。如此拼缉成衣，

新颖别致，色块对比，鲜亮明快，故颇得妇女喜爱，竞相效法[1]。

水田衣，其形制以形似―水田‖而得名，它起初用于妇女的民间常服，

由于其易操作性而广泛流传于世。

1.1 明代水田衣产生的时代背景

水田衣诞生于明代中末期崇祯年间；守旧严禁的封建社会走向

末端，新兴的资本主义思潮萌芽逐步蔓延展开。当时明朝的政治、

经济、文化正处于动荡转型期，传统的政治经济文化结构在繁荣后

走向落寞；在江南沿海一带发达地区，商品经济的发展繁荣发展带

动了人们的消费意识，使人们的日常生活变得丰裕多彩；从而，积

极地带动了平常百姓对美好生活的追求、逐渐摆脱封建统治枷锁的

意识。

1.2 明代水田衣的产生原因

对于明代水田衣的产生众说不一，根据当时明代中末期的时代

背景可以得出两种最直接的原因；其一，由于受到佛教思想以及―福

田衣‖、―百衲衣‖形式上的蓝本，从而促使水田衣的产生。佛家认为

积善可得福报，犹如播种田地，秋得其实，这种行善的思想影响到

专制统治下人们的精神生活，因此，水田衣的产生可以理解为物化

的精神产物。

此外，水田衣演变为一种潮流并非偶然，在商品经济逐渐繁荣

的明代中后期，消费主义蔚然成风的社会环境影响大众的消费观及

审美意识，水田衣因整身拼接而称奇称美，成为大众争先恐后仿制

购买的消费品。同时，也反映出一个时代的审美情趣与审美追求。




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2. 明代水田衣的形式美

明代水田衣以其求新存异而风靡一时，它具有其他服饰所不具

备的特点；鲜艳夺人的色块、形式多变的拼接形式以及饱含寓意的

用料搭配随行自然的宽衣造型，俨然形成其独有的特色。以下笔者

将从色彩、材质、拼接形式以及装饰语言的角度进行一一阐述。

2.1 色彩鲜艳饱满

水田衣通常采用 3-5 种颜色，每种颜色的色调都相对饱满丰富；

并且，用色大胆，强调色彩的对比与碰撞。

明代手工艺者在面料上采用天然植物印染，用色环保又不影响

色彩的饱和度，每块颜色之间的冷暖对比鲜明却不显得突兀，形似

一幅多彩抽象的田园画卷。

另一方面，从水田衣的色彩选取可以看出，当时人们已经开始

摆脱中央集权下的严禁统治；明代初期，统治阶级要求平民禁用大

红、鸦青和黄色，只可以使用紫、绿、桃红及各种浅淡颜色；但是，

水田衣在民间的产生及流行说明违礼越禁已经成为潮流，―昔日青衣

衫,今日紫绯绿‖，人们的衣着不再局限于淡雅的颜色，反而更加趋

向于亮丽饱满的色彩，表达对于自由美满生活的向往。

2.2 同质织物相拼接

明代水田衣的制作基本采用明代织锦面料，进行同种材质的拼

接和设计，整衣的拼接大约采用 4-5 种不同纹样的织锦面料；每块

面料的图案排列方式也各不相同，植物纹样多采用规律性的组合，

讲求对称与平衡；动物纹样则是追求灵动多变，在变化中保持统一。

此外，人们通过采用织锦纹样的组合拼接来赋予水田衣吉祥寓

意以及对于生活的美好期盼。水田衣所采用的纹样题材主要分为两

类;一是动物纹样，多以花蝶为主，花蝶是美丽生机勃勃的象征，多

用于表现对于浪漫美好的追求；二是植物纹样，主要为宝相花、蔓

草、缠枝等杂锦图案为主，宝相花由来于佛家，为富贵吉祥的象征。

在明初，织锦面料一般为官宦世家使用，不得用于常服。然而，伴

随水田衣的流行，直到明朝末期，许多女眷为了做一件自己喜爱的

水田衣常不惜裁剪一匹完整的锦缎，只求拼缉出满意的形式。

2.3 灵活的拼接形式与多样化的装饰语言

水田衣的拼接形式是从规范化到多变化的演变过程。水田衣产

生初期，其拼接形式类似于佛教袈裟或僧衣（图 1），图形成矩形

状，大小不一；拼接图形简单，具有易操作性，因此得以在民间流

传开来，从而形成相对规范化的款式。伴随这种款式的深入人心，

其拼接形式也得以改良创新；在明末清初，水田衣的拼接方式更加

趋向灵活与多变。在手法上，多采用多边形或不规则图形的拼接，

其形式看似园林艺术中的冰裂纹花窗（图 2）；从水田衣的发展变

化的过程可以看出，人们在不断追求一种更新的服饰样貌，从而摆

脱长期以来专制统治下呆板单一的穿衣模式。

此外，在裙身比例不变的前提下，款式也发生着显著的变化；

云肩作为一种装饰语言被融入了水田衣的整体款式之中（图 2）；

云肩，汉族服饰；古代源自北方少数民族的肩饰。其多以锦类制成，

饰在肩背前后左右四周，多用云纹花边，有的还饰以坠线，故称―云

肩‖[2]。云肩的种类繁多，有对开云肩、四方云肩、串珠云肩、有

领云肩与无领云肩等不同造型。明代水田衣中的云肩为四方云肩，

即围绕颈部向四方成放射状；在周围搭配祥云图案，表达对于美好

生活的向往，构成了统一均衡的画面感。这种追求统一祥和的装饰

符号与灵动多变的水田状拼接形式相搭配反而形成了明显的对比，

人们更加直观的感受到二者的差异性，在对比中表现统一，在统一

中又存在差异；因此也形成了水田衣区别于其他服饰的本质特色。

3. 明代水田衣形式美的意义

3.1 我国传统拼布服装的蓝本

拼布服装是利用工艺手法将多种色彩的零碎面料拼缉而成的服

装款式。它也是我国女红文化的鲜明代表。我国拼布服装历史悠久，

起初是为生活所需发展而来，―百家衣‖、―福田衣‖等都是拼布服装

的最初表现形式。水田衣的产生及发展是建立在前者的基础之上发

展而来，最终成为我国传统拼布服装的典型代表之一。从形式上看，

水田衣的装饰手法与早期的拼布服装相比较更加丰富多彩，不仅讲

求精细的手工技艺，而且重在表现拼接形式的多样化及对比化的装

饰语言。

3.2 物态化的精神实体

从意识形态上看，水田衣产生的目的已经脱离了追求纯粹的生

活节俭意识，物尽其用的观点并不是水田衣本身的所强调的根本。

明代等级制度森严，统治阶级为巩固其统治根基针对不同人群而颁

布不同的服饰制度，服饰被当做统治阶级的工具，成为分贵贱、别

等级的标志。官场服饰刻板差繁、僵滞繁备；而民间服饰恰其相反，

黎民百姓的服饰穿着争奇斗艳、绮丽斑斓；体现出平常人的世俗心

态。

即使存在宪章礼制的约束，但毫不掩盖其对自由轻松、幸福美

满生活的向往。因此，明代水田衣的产生不仅拥有其缤纷多彩的装


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饰美感，同时也代表一定的阶级性即物化的精神实物。折射出明代

末期社会结构的错动和封建统治阶级衰败的世风民情，真实的体验

到鲜活的时代脉搏。

4. 结论

自古以来，服饰制度是人类物质文化和精神文化反映,是社会进

化的折射镜。尤其古代服饰文化是社会物质和意识形态外化的重要

内容。明代水田衣的产生与发展并非偶然，其形式美已经成为一类

标志性的服饰研究对象。类似水田般新颖的拼接、色彩鲜艳大胆，

材质寓意丰富再搭配行云流水般的宽衣造型，独一无二的形式美感

使水田衣成为深得人心的佳作。因此其拼接手法也形成―水田制‖模

式，在清代时期的内衣及云肩上都可以发现其形似水田般的分割及

拼接；可见其影响力。另一方面，明代水田衣在我国拼布服装史上

占有重要的地位，其成因更加注重其装饰性及内在精神的追求，利

用其意识形态感染人们，这也是明代水田衣区别于其他传统拼布服

装的特征之一，成为一款我国女红文化的鲜明代表作。

本论文在理论的基础上初步分析研究明代民间水田衣的形式美

感及其意义，希望得到更多设计师、创意工作者的关注，将这种形

式美感运用到现代设计领域，以行之有效的方法将其继承发扬。这

也是本文研究的所希望达到的最终目的。

致谢

感谢清华大学美术学院服装设计系对于我的培育，以及李薇教授对

于此次论文的指导。对于传统服饰文化及手工艺的学习是一项长久

的研究课题，我国传统服饰文化历史悠久，饱经时代的沧桑，具有

深远的文化价值，每件佳作的背后都隐藏着鲜明的时代背景及丰富

内涵，值得新一代的学术工作者的深入研究。当今，在拼布艺术盛

行的氛围下，我们更应该去关注传统的拼布服装形式及手法，发掘

其潜在的价值，将这种蕴含丰富美学思想的手工艺传承下去；没有

优良的传统根基，现代服饰的创新也是无力的。

最后，衷心感谢各位老师、同学、友人对我的帮助，以及本次学术

研讨会所提供的平台。

参考文献

[1] 蔡子谔.中国服饰美学史[M].北京.河北美术出版社.

2001,(01).

CaiZie.ChineseCostumeHistory[M]. Beijing.Hebei Fine Arts

Publish.2001,(01)

[2] 徐海荣;袁幼南,徐吉军,常绪源.中国服饰大典[M].北京.华夏出

版社,2000,(01).

XuHairong,YuanYounan,XuJijun,ChangXuyuan.Chinese

Costume Dictionary.2000,(01).

[3] 张志云.礼制规范、时尚消费与时代变迁：明代服饰文化探微

[D].2008,(09).

ZhangZhiyun.RitualSystem,Fashion Consumption and

Social Change:Explore on Ming Dynasty Dress Culture[D].

2008,(09).

作者简介

郑可

清华大学美术学院硕士研究生在读

导师：李薇教授

研究方向：设计艺术学

研究课题：

主要作品及荣誉：

2009 07 ―创造你的 RUBI‖中国青年创意大赛优秀奖

2009 09 设计作品《仰望》中华元素创意大赛最佳设计奖

2010 01 上海世博会非洲馆表演装设计

2010 09 设计作品《檐趣》首届爱我中华校园服饰设计大赛金奖

2010 09 中国联通―沃‖品牌职业装设计

2011 03 中国流行色协会拼布艺术委员会委员

2011 10 2010-2011 年度清华大学校内综合二等奖学金


280

―Qing Qi Gu Guai – Ancient Trees‖ in the ―Big Embroidery‖

Xuefang LIANG

Suzhou Art and Design Technology Institute,Suzhou, Jiangsu, China Email: [email protected]

―大刺绣‖中的《清奇古怪》

梁雪芳 a

a 苏州市工业美术职业技术学院, Email: [email protected]

Abstract

It is widely believed that only embroidering with a needle

is called embroidery. However, the author thinks that to

eventually achieve the real embroidery should include

more procedures. Designing, embroidering, framing and

exhibition are all integral parts of embroidery. in the

broader sense, administrative actions from the

government, consuming behaviors from the consumers

and criticisms from the critics all have significant effects

on the development of embroideries. These can also be

treated as parts of embroideries. The author defines it as

―big embroidery‖ tentatively. ―qing qi gu guai – ancient

trees‖ is a theme that many artists like to use. The

author designed and embroidered the embroidery,

combining modern technology with embroidery

techniques, to show her own opinion of the ―qing qi gu

guai – ancient trees‖. this work has its own

characteristics and is an outcome resulted from ―big

embroidery‖.

摘要

人们普遍认为拿针线绣才叫刺绣，笔者认为真正的刺绣包

括的范围应该更广，设计、制作、装帧、展示这一系列环节都是

刺绣不可或缺的一部分，从更广泛的意义上来讲，政府针对刺绣

的行政行为、消费者的购买行为、评论界对刺绣的批评建议对刺

绣发展都起到重要作用，都可将之列为刺绣的一部分，笔者姑且

称之为―大刺绣‖。―清奇古怪‖为众多文人墨客表现的一个题材，

笔者结合现代科技、运用自己熟知的刺绣手法将自己心目中的―清

奇古怪‖表现出来，它就是在―大刺绣‖的理念中创作出来的，并有

其独特之处。

1. 引言

人们普遍认为坐下来绣叫刺绣，笔者认为这只是狭义的刺绣，

真正的刺绣包括的范围应该更广，比如刺绣设计、选择材料、上

稿、绣制、装帧、展示等都应属于刺绣，它们都是刺绣流程中不

可或缺的一个环节，所有这些环节组合起来才构成了完整意义上

的刺绣，笔者姑且称之为―大刺绣‖。

2. 《清奇古怪》的诞生及讨论

2.1. 设计样稿

在―大刺绣‖中，设计是整个环节中至关重要的一环，它决

定了作品的格调。以往人们多拿别人的画稿来刺绣，一方面是限

于自己的绘画能力，另一方面也没有其他的创稿方式来表现自己

想表现的东西。现在摄影技术和图片处理软件的出现对于没有深

厚绘画功底来创作绣稿的刺绣人来说无疑是个福音，它可让刺绣

人完全独立地完成一幅作品，能自由表达自己内心的情感和思想，

不用受现成画稿的约束。笔者就经常通过摄影来捕捉生活中让人

感动的瞬间，以此作为创作的原始素材，此次作品《清奇古怪》

亦是和其他老师一起通过这种方式完成了设计稿的创作。

清奇古怪系苏州光福司徒庙内四株古柏，传为东汉大司徒

邓禹所植，曾遭雷击，大难不死，或挺立，或虬曲，或卧地，蔚

为奇观，乾隆赐名―清奇古怪‖，迄今已有近两千年历史。其坚韧

的精神气质令许多文人墨客叹为观止，著名画家吴冠中、黄永玉、

祝大年、袁运甫等都曾拜谒古柏，并创作了一系列相关作品。吴

冠中还说清奇古怪是中华民族的骨架子，应该把它做成大型的青

铜雕塑，放在天安门广场中央，并在司徒庙的留言簿上题字曰：―几

次朝拜汉柏，如见屈原，民族之魂，民族之形，愿子子孙孙，传

统骨气‖。笔者对清奇古怪倔强的生命也甚为敬畏，不断地搜集相

关的资料，适逢林乐成、王和平等老师对该命题也有浓厚兴趣，

在他们的指点下，通过摄影写生、概括提炼、图片处理结合手绘

等方式最终创作出了比较理想的清奇古怪形象。

2.2. 作品材料的选择

材料亦是刺绣中不可忽视的一方面。一个刺绣人，必须对

接触的各种材料都了然于心，如不同材质的线各有什么特性、各

自适合表现什么题材、融合使用在同一作品中会有怎样的效果，

底料在尺幅、质地、色彩等有什么特点和局限，同样的题材在不

同的底料上会呈现怎样的效果，都是刺绣人应该考虑的。同时，

也要勇于尝试新材料，惟其如此，在选择材料时才能游刃有余，

甚至达到意想不到的效果。其他材料，如与装帧有关的卡纸、木

材、金属等材料也都应有所涉猎，这样，一幅完整的作品才能以

更加完美的形式展现出来。《清奇古怪》则采用特制尺幅的、绵

密的本白色素绉缎为底料，丝线则采用色泽古朴温润的蚕丝线来

表现，以衬托出古柏的粗糙和虬劲有力。

2.3. 手绘上稿

上稿方面现已出现电脑喷绘的形式，忠实原著，且快捷，

但《清奇古怪》作品并非要还原自然形态的树，它更重表达古树

的精神气质，采用电脑喷绘反而会对刺绣产生杂色干扰，不利于

刺绣特质美的发挥，故仍旧采用手绘上稿的方式。手绘上稿是先

将设计稿转换提炼为线描稿，然后按虚实关系将绣稿的轮廓轻轻

地勾在底料上，在此基础上创作出来的作品刺绣感更纯粹，没有

任何杂色的干扰。


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图 1. 《清奇古怪》的展示

2.4. 绣制方式

《清奇古怪》主要采用了套针、施针、乱针（大乱针、小

乱针）、虚实针、接针、齐针等针法，以线条的粗细、疏密、长

短、以及交叉角度的大小，根据古柏蜿蜒屈曲的生长肌理来安排

线条的走向，根据古柏在光线下的不同色彩来安排丝线的明暗、

冷暖、鲜灰等以体现其光泽感、层次感、空间感、韵律感。这就

充分地展示出了刺绣有别于其他艺术形式的―针味‖特质美（参见

图 2）。

《清奇古怪》采用手工绣制的方式，笔者的刺绣团队耗工时近

1000 天绣制完成，折合成一个人的工时达三年多。电脑刺绣也

是目前刺绣的一种常见制作方式，但相对于手工刺绣，它速度就

快多了，而且成本低，可批量生产。前期的制版与手工刺绣相似，

花费时间较久，并且需要制版人员同时熟知美术、刺绣和电脑编

程三门技术才可设计出一幅作品。进入后期的批量生产后，它就

有着手工刺绣难以比拟的高速度、低成本了，但这同时也丧失了

手工给人带来的亲切感，完全变成了冷冰冰的重复生产。有人说

得好，科技是求同，文化是存异。如果是为满足人们日常生活需

要的话，电脑刺绣是极佳选择；如果作为艺术品来说，手工刺绣

仍有着不可替代性，它更多的是一种文化行为，追求的是新和变，

每一幅作品都包含了作者不同的思想和情感，蕴含有丰富的人文

内涵，它能满足人们更深层的精神需求。

2.5. 展示方式

《清奇古怪》借鉴刺绣绷架的元素直接将作品绷在木架上

进行展示，这样突出了刺绣本身的特点，人们可以更直观地感受

到刺绣的原生态形式，也增加了作品与人的亲近感（该装帧展示

方式由笔者经多年研究探索独创而成，另应用于笔者指导的苏州

工艺美术职业技术学院苏绣大专班的毕业作品《错位的符号》

中）。

笔者曾有位朋友，用电脑展示刺绣，只需移动鼠标就可看到作品

肌理和丝光的变化，甚是有趣，也不失为一个好的展示形式和一

个前景广阔的发展方向。而且，展示方式不光可以是二维的，也

可以是三维、四维、互动的，向更广阔的空间延展（参见图 1）。

3. 结论

通过摄影写生、概括提炼、图片处理结合手绘等方式而创

作出的清奇古怪形象，配以苏绣的各种手法，用素绉缎和丝线来

承托出古柏的粗糙和虬劲有力，而后再以新颖的展示方式突出刺

绣作品的特点，这些要素结合在一起，才形成了这独特的刺绣作

品《清奇古怪》。然而以上仅是针对一幅作品而言的―大刺绣‖，

若从行业发展角度来考虑，像政府针对刺绣的一些行政行为、社

会对刺绣的关注、消费者对刺绣的购买行为等等，都对整个刺绣

行业的发展起到了不可忽视的作用，笔者认为将这些行为统统归

之―大刺绣‖的范围内应该也不为过。以笔者所在的苏州镇湖为例，

政府投资修建绣品街、中国刺绣艺术馆，为刺绣发展提供硬件设

施；开办刺绣艺术节、姑苏绣娘大赛等，努力扩大刺绣知名度和

影响力；申请―镇湖刺绣‖国家地理标识，保证当地刺绣人的利益，

促进刺绣走向更规范的发展道路；与苏州工艺美术职业技术学院

联合创办五年制刺绣大专班，为刺绣发展培养后继人才，政府的

这些举措，为刺绣的发展提供了一个良好的大环境。另外如社会

对刺绣的关注、评论家们对刺绣的批评等对刺绣的发展都提出了

一些建议，而消费者的购买行为不仅是经济上对刺绣的支持，更

是一种文化自觉行为，让刺绣人直接感到了社会对刺绣的认可。

所以，只要是用心投入到这个活动中来的，都已变成―大刺绣‖中

的一员；而刺绣在这么多人的关注和参与中前景也将更加宽广。

图 2. 《清奇古怪》绣制完成

4. 致谢

在此特别感谢林乐成教授，王和品教授对作品的建议和帮助。


282

作者简介

Deputy Director of Tsinghua University- Fiber Art Institute

Visiting Scholar of Tsinghua University-Academy of Art

and Design

Distinguished Professor of Suzhou Art and Design

Technology Institute

Arts and Crafts Master

Director of Zhenhu Embroidery Factory

Director of Liangxuefang‘s Embroidery Studio

Works and awards:

2006:

- Took part in the project for large-scale woven frescos

―Motherland‖ in the Chairman Mao‘s Memorial Hall

2008:

- Series ―Root, Flower, Fruit‖ won special prizes at the

―Beijing Olympic Games‘ Fiber Art Exhibition‖ and the

5th ―From Lausanne to Beijing-International Fiber Art

Biennale‖

- Embroidery series ―Shui Shang Ren Jia -People Living

on Water‖ were chosen as national gifts for the

Microsoft Founder Bill Gates and the United States

Secretary of State Hillary by the Chinese

Representative Liu Yandong

- Scarves series ―Chinese Ink and Wash Painting‖ were

chosen as gifts for the 50 anniversary of Suzhou Art

and Design Technology Institute and the 6th ―From

Lausanne to Beijing-International Fiber Art Biennale‖

Recent Works:

- ―2010 EXPO Embroidery‖ was created in cooperation

with the shanghai artist Wang Xuyuan and won the

jasminum nudiflorum prize and the jasminum

nudiflorum-most popular prize at the 2nd ―Oriental

Arts and Crafts City Exposition‖

- ―Qing Qi Gu Guai-Ancient Trees‖ won the copper prize

at the 6th ―From Lausanne to Beijing-International

Fiber Art Biennale‖

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