本文選題：唐代 + 女性��； 參考：《重慶師范大學(xué)》2009年碩士論文

【摘要】： 大唐盛世氣象萬千。其包容并蓄的宏偉氣度,幾乎涵蓋了社會生活的方方面面,連女性妝飾文化也不例外。對唐代女性的研究,從內(nèi)在到外表均屢見于專著和論文,其中對女性服飾文化的討論也屢見不鮮,且不乏見地。但略感遺憾的是,學(xué)界對盛唐女性妝飾的研究,主要停留在服飾上,而對其諸如內(nèi)涵復(fù)雜的面部化妝和發(fā)式的梳理、發(fā)飾的佩戴等缺乏較為深入的揭示和討論。而事實(shí)上,盛唐時(shí)代女性的妝飾無論從內(nèi)容、手法還是用料等方面,均在繼承前代成果的同時(shí)有了重大的發(fā)展,并形成了其獨(dú)具特色的、得以在千年妝飾史上獨(dú)領(lǐng)風(fēng)騷的格調(diào)。而討論唐代女性妝飾的價(jià)值,則不僅僅是還原唐代婦女多彩生活的本來面貌,從非物質(zhì)文化遺產(chǎn)研究的角度去找回一種人類妝飾的技藝,更重要的是,通過討論我們還可以探究當(dāng)時(shí)的男權(quán)社會及女性本身的價(jià)值取向和審美觀,從而使我們得以更為全面地了解當(dāng)時(shí)的社會文化。 本文的討論主要從五個(gè)方面進(jìn)行,它們分別是“唐代女性面部妝飾之重心”、“唐代女性面部妝飾之基礎(chǔ)”、“唐代女性妝飾中的發(fā)與飾”、“唐代女性妝飾的文化內(nèi)涵”、“唐代女性妝飾文化的影響”。這五方面內(nèi)容,既互相關(guān)聯(lián)、又層層遞進(jìn),最終形成整體認(rèn)識。第一章,主要著眼于對女性面部妝飾之重心眉與唇的著妝介紹,指出它們?yōu)楹纬蔀榕援媻y的中心,并通過文獻(xiàn)記載與繪畫、實(shí)物等材料討論其方式方法、用料和效果。第二章,介紹女性面部妝飾之其它方面,主要包括:面脂、額黃、花鈿、妝靨、斜紅等內(nèi)容,它們中有的是面部妝飾的基礎(chǔ),必不可少;有的則是面部妝飾的細(xì)節(jié),起增色溢美的作用,文中對這些裝飾效果、手法及所用材料均作了較詳細(xì)的討論。第三章,分別介紹了女性妝飾中的發(fā)與飾,包含“發(fā)式”與“發(fā)飾”兩大部分,其中就發(fā)飾而言又涵蓋了:簪、釵、梳、簪花、假髻等內(nèi)容,文中除了討論頭發(fā)的梳理、飾物的插戴外,更以當(dāng)時(shí)文人、畫家的眼光展示了它們的美貌,并揭示了欣賞者的審美心態(tài)。第四章,重在分析女性妝飾的文化內(nèi)涵,討論當(dāng)時(shí)社會男權(quán)審美視角對女性妝飾的影響和女性自身心理因素在妝飾上的反映;同時(shí)指出少數(shù)民族審美意識及妝飾手段對大唐盛世女性妝飾的影響。第五章,主要探討唐代女性妝飾文化在當(dāng)時(shí)乃至對后世產(chǎn)生的影響,一是它對當(dāng)時(shí)少數(shù)民族及周邊地區(qū)的影響,二是它對后世女性妝飾文化發(fā)展的影響,通過對該方面的討論,揭示盛唐文化對當(dāng)時(shí)及后世的價(jià)值,進(jìn)而凸顯其傳承、保護(hù)和借鑒的重要意義。 總之,本文不僅僅對唐代女性妝飾文化現(xiàn)象進(jìn)行了闡述,還以此為基礎(chǔ)對該文化的內(nèi)涵及外延作了有一定深度的剖析。在內(nèi),作者指出了時(shí)代背景、男性的審美觀對它的重大影響,揭示了當(dāng)時(shí)女性妝飾的心理因素及其自身審美情趣:在外,作者則分析了中國女性妝飾史上,唐代女性所呈現(xiàn)出來的特異性,指出該特異性的出現(xiàn)與大唐兼收并蓄的開放胸襟,與周邊少數(shù)民族特色文化的存在及影響緊密相關(guān)。
[Abstract]:The Tang Dynasty was rich and magnificent. Its tolerance and grandiose grandeur almost covered all aspects of social life, and even female adornment culture was no exception. The study of the women in the Tang Dynasty was often seen in monographs and papers from inner to appearance, among which the discussion of women's clothing culture was often seen, but a little regrettable. The research on the adornment of the women in the Tang Dynasty mainly lies in the dress, and the lack of a more thorough revelation and discussion about the combing of the complicated facial makeup and hairstyle, and the wearing of hair ornaments. In fact, the adornments of women in the age of the Tang Dynasty have inherited the achievements of the previous generation in terms of content, techniques and materials. The great development, and its unique features, is able to lead the style in the history of the Millennium adornment. And the discussion of the value of the women's adornment in the Tang Dynasty is not only to restore the original appearance of the colorful life of the women in the Tang Dynasty, and to retrieve a kind of human adornment from the angle of the study of the intangible cultural heritage, and more importantly, through discussion. We can also explore the male dominated society and the value orientation and aesthetics of women at that time, so that we can have a better understanding of the social culture at that time.
The discussion of this article is mainly from five aspects. They are "the center of the face adornment of women in the Tang Dynasty", "the foundation of the face adornment of the women in the Tang Dynasty", "the hair and decoration in the women's adornment in the Tang Dynasty", "the cultural connotation of the female adornment in the Tang Dynasty" and the "influence of the Tang Dynasty female adornment culture". The first chapter, in Chapter 1, mainly focuses on the introduction of the makeup of the center eyebrow and lip of women's facial makeup, points out why they become the center of women's make-up, and discusses the methods, materials and effects through documents and paintings, objects and other materials. The second chapter introduces the other aspects of women's facial makeup. To include: face fat, forehead yellow, flower of pearl, make-up dimple, slant red and so on. Some of them are the basis of face adornment. Some are the details of face adornment, play the role of increasing color and beauty. In this article, these decorative effects, techniques and materials used are discussed in more detail. The third chapter introduces the hair and ornaments in the female adornment and the package, respectively. There are two parts of "hairdo" and "hair ornament", including hairpin, hairpin, hairpin, hairpin, bun and so on. In addition to discussing hair combing and decorating, the article shows their beauty with the eyes of the literati and painters, and reveals the aesthetic mentality of the appreciates. The fourth chapter emphasizes the analysis of female adornment. Cultural connotation, the influence of the aesthetic visual angle of the social men's power on women adornment and the reflection of women's own psychological factors on the ornament, and the influence of the aesthetic consciousness and ornaments of the minority nationalities on the adornment of the women of the Tang Dynasty. The fifth chapter mainly discusses the influence of the culture of the female makeup in the Tang Dynasty at that time even to the later generations. It is its influence on the ethnic minorities and the surrounding areas at that time. Two is its influence on the cultural development of later women adornment. Through the discussion of this aspect, it reveals the value of the culture of the Tang Dynasty to the time and later generations, and then highlights the significance of its inheritance, protection and reference.
In a word, this article not only expounds the cultural phenomenon of the adornment of the women in the Tang Dynasty, but also analyses the connotation and extension of the culture on the basis of it. The author points out the background of the times, the great influence of the male aesthetic view on it, and reveals the psychological factors of the female adornment and its own aesthetic taste at that time. The author analyses the specificity of the women in the Tang Dynasty in the history of Chinese women's adornment, and points out that the appearance of the special appearance and the open mind of the Tang Dynasty are closely related to the existence and influence of the culture of the surrounding minority nationalities.

【學(xué)位授予單位】：重慶師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：G122;K242

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 楊微;女性服飾妝容與唐代審美趣味研究[D];西北大學(xué);2011年

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本文編號：1873648