摘要
文章以民国社会为研究背景,结合历史文献、图像资料,以江南大学民间服饰传习馆所藏民国时期旗袍实物为研究对象,通过对旗袍上西方艺术元素类型和构图形式的考察,发现受到"装饰艺术"运动影响的纹样造型和团花式的平接构图方式在其中占比较大。而阶级意识的逐步淡化、女性审美的逐步觉醒以及科技与文化的进步是民国旗袍纹样呈现中外文化交融特征的主要原因,反映了民国时期"兼收并蓄"的服饰文化。
Focusing on the cheongsams from the Jiangnan University Gallery of Folk Clothing,this paper studies historical documents,visual resources,and other collected items from the Gallery to understand the patterns of cheongsam during the Republic of China.Through the classification of Western-style elements and the analysis of these patterns,it is proposed that those patterns of Decorative Arts Movement and compartmentalized flower-patterns are the majority.The gradual weakening of class consciousness,the awakening of women’s aesthetics,and the advancements of science and culture were the drives behind those new patterns.They reflected“tolerant and assimilative”of Eastern and Western culture during the Republic era and embodied the aesthetics of Western elements.
出处
《艺术与民俗》
2021年第3期33-38,共6页
Journal of Arts and Folklore
关键词
民国时期
旗袍
西方元素
花纹设计
The Republic of China Period
Cheongsam
Western Elements
Pattern Design
作者简介
刘可,江南大学设计学院2018级硕士研究生;吴欣,江南大学设计学院副教授;牟洪静,江南大学设计学院2019级硕士研究生。
