从标本研究看晚清时期女服二十四孝情境纹样的教化作用

On the enlightenment effect of twenty-four filial piety situational patterns ofwomen’s clothing in late Qing Dynasty from specimen study

文章以王金华、王小潇两位收藏家的代表性二十四孝情境纹服饰为研究样本,结合文献研究,分析这一时期汉族女装二十四孝纹样的内涵与表现形式,深入研究晚清时期汉族女德教化的物质形态。研究表明:晚清时期汉族女装二十四孝纹样是对唐、宋、元、明等时期不同二十四孝故事的发展性继承,此时期的二十四孝纹样已成为一种“孝文化符号”,其“情境式”的表现形式成为这个时代女德教化的教科书。三件标本为解读晚清时期孝文化形态提供了生动的实证,就其所崇尚的中华儒道孝德精神而言,对当今践行文化自信具有重要的现实意义。

The twenty-four stories about filial piety are widely circulated among the people,reflecting the custom of promoting the spirit of filial piety of Confucian culture in ancient China.In the early days,they were written in Yazuo and diary stories.Through the development of dynasties,these stories of filial piety appeared in stone frescoes,engravings,Chinese paintings,etc.In the Qing Dynasty,they appeared in folk women’s clothing and became a unique pattern of the Qing Dynasty.They marked the pinnacle of embroidery art in the Qing Dynasty.Because of the extremely high requirements for embroidery workers,there are few handed down works.This article takes the representative gowns with twenty-four filial piety situational patterns of the two collectors Wang Jinhua and Wang Xiaoxiao as the research samples,combines with literature research,analyzes the connotation and expression of the patterns of twenty-four stories about filial piety on Han women’s clothing during this period,and deeply studies the physical form of Han women’s moral education in the late Qing Dynasty.Using the research methods of literature research and specimen surveying and mapping,the article compares and analyzes the patterns of twenty-four stories about filial piety of the three specimens and the Diary Stories,and draws the following important conclusions:(ⅰ)The patterns of twenty-four stories about filial piety of Han women’s clothing in the late Qing Dynasty inherit and develop the twenty-four stories about filial piety in the Tang,Song,Yuan and Ming Dynasties.The stories concerning these patterns mainly sourced from Diary Stories are published in the Ming Dynasty and integrate the image of filial persons in various historical periods.There are slightly differences on the content emphasized by each specimen,which also reflects the"intentionality"of folk costumes which are not bound by specific model norms.(ⅱ)The patterns of twenty-four stories about filial piety on folk women’s clothing in the Qing Dynasty become a cultural symbol of filial piety,and its situational expression becomes a textbook for women’s moral education in this era.(ⅲ)The embroidery of patterns about 24 filial figures shows that the embroidery skills of the Qing Dynasty reached an unprecedented height,and the embroidery techniques were mature and refined.These three specimens are an epitome of traditional Chinese Confucian filial piety culture and embroidery culture.This article systematically and deeply collects,sorts out and analyzes the connotation and similarities and differences of patterns of twenty-four filial piety stories in women’s clothing in the Qing Dynasty.The three specimens provide vivid evidence for interpreting the form of filial piety culture in the late Qing Dynasty.The Chinese Confucian and Taoist filial piety spirit they advocate have important practical significance for practicing cultural self-confidence today.