以图像为中心的“羲之巾”形制考析与流行探究

Image-centred analysis of the form and popularity of the“Xizhi scarf”

“羲之巾”这一巾式出现于众多王羲之画像与明代士人的画像、古籍、文物中。《汝水巾谱》中亦有其图绘与记载,但在明代首服的研究中,对于“羲之巾”形制、发展与演变的研究较少。文章基于图像,运用艺术考古法、文献法及归纳法等对“羲之巾”形制特征进行分类与总结,并探究其背后的流行原因。研究表明:“羲之巾”的巾身造型为软巾包裹式与筒形贯头式,披幅造型为一体折叠瓦楞式与相叠层檐式,巾后垂系长至肩部的飘带。根据现有资料可知,“羲之巾”形象最早出现于南宋时期王羲之人物画像中,于明清时期广为士人佩戴而流行于世,其流行原因主要受明代中晚期“好古惟新”“文化偶像”的士人风尚对首服造物美学与流行表现的影响。

The“Xizhi scarf”refers to a type of headscarf that was often worn by Wang Xizhi.This style of headscarf appears in numerous portraits of Wang Xizhi,as well as in portraits,ancient books and cultural relics of scholars in the Ming Dynasty.According to the existing historical records,there are very few ancient recordings that mention“Xizhi scarf”.Only Zhu Shuxun’s Rushui Headscarf Catalog and the Various Scarf Styles preserved in the Gyujianggak—an Institute of Korean Studies in South Korea-contain textual descriptions and illustrations of it.Modern scholars have not conducted exhaustive research on this topic,and only Sun Ji,in his Studies on the Forms of Ancient Chinese Transportation and Clothing,categorizes the“Xizhi scarf”under a style classification that features flaps both in front and at the back of the headscarf.Therefore,in studies on headwear from the Ming Dynasty,there is little research on the form,development and evolution of the“Xizhi scarf”.Based on images,this paper classified and summarized the stylistic features of the“Xizhi scarf”using methods such as art archaeology,document analysis and induction,while exploring the reasons behind its popularity.According to the collected data,23 samples of images were sorted out and analyzed in conjunction with ancient documents to examine the origins of its name and stylistic features.Among the images of the“Xizhi scarf”,there are three categories:portrait paintings depicting Wang Xizhi himself wearing the headscarf,depictions of the“Xizhi scarf”in ancient paintings and books,and representations of the“Xizhi scarf”beyond images.From aspects such as the carrier of each image,the time of creation,the painter’s style and techniques,the scarf’s body,flaps,and ribbons were analyzed separately.Four basic stylistic forms of the“Xizhi scarf”were summarized:its overall shape,when viewed from the front,resembles a house,with flaps extending both in front and behind the headscarf body;the headscarf body can be categorized into a straight-tube hood style and a soft cloth wrapping style;a ribbon is added at the back of the scarf for tying,extending to the shoulders or waist;the flaps can be divided into a one-piece folded corrugated style and an overlapping eaves style.The“Xizhi scarf”first appeared in the paintings Wang Xizhi Playing with Geese by Ma Yuan and Wang Xizhi Writing on a Fan by Liang Kai during the Southern Song Dynasty.During this period,the image of the“Xizhi scarf”only existed in paintings.Later,in the Ming Dynasty,as scholars pursued“newness”,“novelty”,and“strangeness”in the innovation of headwear styles,leading to the re-extraction of the form and shape of the“Xizhi scarf”from ancient paintings.Combing the characteristics of headwear styles in the Ming Dynasty,it became a“real physical object”worn by scholars.Eventually,it returned to portraits of scholars and was passed down through the ages.The popularity of the“Xizhi scarf”reflected the pursuit of the idea of“reverence for the past while embracing innovation”among scholars in the late Ming Dynasty,as well as their admiration for cultural icons such as Wang Xizhi and other saints and sages throughout history.This cultural tendency gradually penetrated into the aesthetics of headwear creation at that time,thereby giving birth to many novel headwear styles.This phenomenon not only embodies scholars’respect for and yearning toward“cultural icons”,but also reflects their individuality and contemporary spirit displayed in the process of innovatively interpreting and applying traditional culture.