炫耀与消费:中国明代女性头饰

IF 0.7 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
Donglei Li, Hui’e Liang, A. Zhang
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引用次数: 1

摘要

摘要中国明朝是1368年至1644年的统治王朝。佩戴发饰作为一种时尚宣言一直是中国服装史上一个重要而持久的传统。本文分析了明代社会阶层妇女头饰的政治文化内涵。在那些繁荣的文化和经济时代,贵族和平民都使用头饰来追求习俗潮流,并展示他们消费物质财富的能力。时尚是区分社会阶层的一种手段——贵族可以通过购买精致昂贵的发饰来炫耀自己的声望,而平民则打算通过模仿精英风格来打破阶级壁垒。整个历史上时尚的演变反映了当时的社会和审美规则。随着社会和文化规范的转变,这些头饰的独特轮廓、材料选择和设计特征呈现出不同的形式。明代的女性头饰是隐喻,象征着整个社会阶梯上时尚和消费的有力表达,这仍然是一种在当今社会中持续存在的有影响力的文化现象。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Flaunting and Consumption: Women’s Headdress in the Ming Dynasty of China
Abstract The Ming Dynasty of China was the ruling dynasty from 1368 to 1644. Wearing hair ornaments as a fashion statement has been an important lasting tradition in Chinese costume history. This article analyzes the political and cultural connotations of women’s headdress throughout the social hierarchy of the Ming Dynasty. During those flourishing cultural and economic times, both the aristocracy and commoners used headdresses to pursue custom trends and to display their ability to consume material wealth. Fashion was a means of distinguishing social classes from one another–the aristocracy could flaunt their prestige by acquiring elaborate and costly hair ornaments, while the commoners intended to break class barriers by emulating the elite styles. The evolution of fashion throughout history reflects the social and esthetic rules of the time. The unique silhouettes, choices of materials, and design features of these headdresses took on different forms as social and cultural norms shifted. Women’s headdress from the Ming Dynasty were metaphors that signified impactful expressions of fashion and consumption throughout social ladders, which is still an influential cultural phenomenon that persists in today’s society.
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来源期刊
CiteScore
2.10
自引率
10.00%
发文量
41
期刊介绍: The importance of studying the body as a site for the deployment of discourses is well-established in a number of disciplines. By contrast, the study of fashion has, until recently, suffered from a lack of critical analysis. Increasingly, however, scholars have recognized the cultural significance of self-fashioning, including not only clothing but also such body alterations as tattooing and piercing. Fashion Theory takes as its starting point a definition of “fashion” as the cultural construction of the embodied identity. It provides an interdisciplinary forum for the rigorous analysis of cultural phenomena ranging from footbinding to fashion advertising.
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