《搜神记》中纺织服饰信息的社会心理及品名考

Study on the social psychology and name of textile and apparel information in Soushenji

《搜神记》中蕴藏着纺织神话、织物、服饰、服妖的相关信息,对于这些信息的解读有利于厘清东晋及之前纺织服饰信息的社会心理和品名问题。通过文献和考古实物的二维互证分析,研究认为:1)《搜神记》中的纺织神话有着深刻的社会心理,可在夸张和不合所处时代习俗的描述中,找到从事“衣生产”的群体的真实社会心理。巨茧神话表达出丝织生产力的低下和丝崇拜的遗迹;董永和织女的神话在《搜神记》中只是一个关于孝的故事,无涉爱情,只是生产者渴望得到高超技艺的一种表现;马皮蚕娘的神话是生产者在生产过程中构建马、蚕、女人形象相似性的一种朴素的错误解读,以及禁原蚕、天马地蚕联系的人为建构,体现了当时人们试图从联系中窥见事物发生的机理。《搜神记》中服妖的描述不过是人们对政治人物失败寻找服饰异象的一种神秘主义做法,其出现的根源是天命思想的物象反映。2)《搜神记》中织成是一种基于服饰设计要求而织造出来的一种织物;缣比帛要细密,有别于传统认识。《搜神记》中服饰品名遵循“材质+服饰”“形状+服饰”的表征结构,它们成为中国古代服饰品名的重要表征方式。

Soushenji records many short stories,among which there is no lack of information related to textile and clothing.Soushenji includes both myths and objects of textile and clothing,and textile and clothing items that existed in the historical life at that time.However,the historians on textile and clothing have not paid enough attention to the information on textile and clothing in Soushenji because the storyline of the novels is strange.The description of textile and clothing in Soushenji is still quite valuable.Textile myths and metaphysical textile objects are the exaggerated performance of textile production,life and psychology at that time,and the emergence of them has a profound root cause and psychology of textile and clothing economy and culture.At the same time,the detailed description of the ancient real textile clothing items is also worth examining and researching.It is precisely because these descriptions in Soushenji must have a sense of immersion that readers at that time had a sense of identity with the plot of the novel.Therefore,the research in this aspect can provide a glimpse of people’s textile and clothing production and life in the Eastern Jin Dynasty from another dimension,and even some of the descriptions can be complementary to the history.Through the two-dimensional analysis of literature and archaeological objects,the article provides a cultural interpretation of the textile and clothing information in Soushenji on the one hand based on the socio-psychological point of view;and on the other hand,the textile and clothing items in Soushenji are examined and re-studied from the techno-historical point of view,with the aim of analyzing the history of textile and clothing of the Eastern Jin Dynasty in the context of two-dimensional analysis of myths and historical materials.Two major conclusions are drawn.First,the textile myths in Soushenji have a profound social psychology,and the real social psychology of the groups engaged in clothing production can be found in the exaggerated and unconventional descriptions of the period.The myth of the giant cocoon expresses the low productivity of silk weaving and the legacy of the silk cult;the myth of Dong Yong and the weaving maiden is only a story of filial piety in Soushenji,irrelated with love,but a manifestation of the producers’desire for superior skills;the myth of the silkworm maiden with horse skin is a simple misinterpretation of the similarity between the images of horse,silkworm and woman constructed by the producers in the production process,as well as an artificial link between the forbidden original silkworm,the heavenly horse and the earthly silkworm.The construction reflects the attempt to glimpse the mechanics of how things happened at the time from the connection.The depiction of Fuyao in Soushenji is nothing more than a mystical approach to finding costume visions for failing political figures,and its emergence is rooted in the physical reflection of the idea of the Mandate of Heaven.Second,Zhicheng in Soushenji is a fabric woven on the basis of the design requirements of the costume,thicker and denser than silk,unlike the traditional understanding.The names of costume items in Soushenji follow the representational structures of“material+costume”and“shape+costume”,which became important representations of ancient Chinese costume items.