明代《章子钧夫妇子孙容像》人物与服饰研究

Study on Figures and Costumes in the"Portraits of Zhang Zijun Couple and Descendants"of the Ming Dynasty

安徽博物院藏《章子钧夫妇子孙容像》是徽州地区具有代表性的明代祖宗容像群画作之一,画中包含章子钧与夫人练氏及其子孙共23位人物,生活时代跨越唐末五代、宋代和明代,所着服饰形式依时而绘,包括朝服、公服、常服、命妇服饰等。笔者根据画作上题写的《御制练氏全城传》判断容像绘制于明永乐十七年(1419年)《为善阴骘》撰成之后。另从章子钧穿着的蟒服加襴及其夫人所戴发冠形制等细节推断成画时间不早于弘治年间(1488~1505年)。此外,容像服饰存在不同时代混搭及内容不准确的现象,应与当时对服饰僭越的容忍程度放宽和画师对历史服饰认知程度较低有关。

The“Portraits of Zhang Zijun Couple and Descendants”,preserved in the Anhui Museum,is one of the representative group portraits of ancestors in the Ming Dynasty in Huizhou area.The painted 23 figures,including Zhang Zijun,his wife Lian,and their descendants,lived from the late Tang and Five Dynasties to Song and Ming dynasties.Their costumes correspondingly reflected the characteristics of the times,involving the court dress,official dress,regular dress,noblewomen's dress,etc.According to the inscribed"Story of Lian Saved the Whole City"on the painting,the author determined that the portraits were painted after the writing of Wei Shan Yin Zhi in the 17th year of the Yongle Era(1419)in the Ming Dynasty.In addition,based on details such as the python robe worn by Zhang Zijun and the shape of the hair crown of Lian,it can be inferred that the painting was finished no earlier than the Hongzhi Era(1488-1505).Moreover,the costumes show obscure and inaccurate styles of the times,which is related to the relaxation of tolerance for dress code violations at the time and the painter's less knowledge of the historical clothing.