民国丝绸旗袍纹样装饰艺术探微

丝绸旗袍作为民国女装的典型,巧妙地衬托出女性优雅的身型,释放着女性魅惑的神情,其纹样装饰兼收并蓄,较之清代旗袍变化显著。文章针对民国丝绸旗袍,从发展动因、造型特征、色彩特征、装饰内涵等方面对纹样装饰进行探究,客观反映民国染织艺术水平。研究表明:伴随款式的不断改良和丝绸面料的激增,以及科技、文化、教育等社会背景的助推,民国丝绸旗袍纹样在造型上吸收西方光影表现技法,较清代更加立体,且“花小叶大”形式更为突出;配色上由崇尚纯色对比转向清丽雅淡,且大量应用复色;装饰内涵上淡化等级象征,体现出以人为本的设计目的,以及中西交融的文化含义。

Research on decorative art of silk cheongsam pattern in the Republic of China

Silk cheongsam,as a typical dress of women in the Republic of China,skillfully sets off the elegant figure of women and releases the charm of women.Its pattern decoration is inclusive,which is more remarkable than that of the Qing dynasty cheongsam.For the silk cheongsam of the Republic of China,this paper explores the pattern decoration from the aspects of development motivation,shape characteristics,color characteristics and decorative connotation,and objectively reflects the dyeing and weaving level of the Republic of China.The research shows that with the continuous improvement of the style and the sharp increase of silk fabrics,as well as the promotion of social background such as science,technology,culture and education,the pattern of silk cheongsam in the Republic of China absorbed the expression skills of western light and shadow in its shape,which is more three-dimensional than that in the Qing dynasty,and the form of"small flowers and large leaves"is more prominent.The color matching changed from pure color contrast to elegant light colors,and broken colors are applied in quantity.The decorative connotation weakens hierarchical symbols and reflects the people-oriented design purpose,as well as the cultural implications of the integration of Chinese culture and the western culture.