本文關(guān)鍵詞：小道可觀—民國(guó)旗袍裁剪法研究　出處：《北京服裝學(xué)院》2017年碩士論文　論文類(lèi)型：學(xué)位論文

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【摘要】：旗袍是上個(gè)世紀(jì)最令人矚目的代表性中國(guó)女裝,既保持了民族性,又符合時(shí)代要求,是基于傳統(tǒng)的創(chuàng)新經(jīng)典。民國(guó)時(shí)期的旗袍經(jīng)歷了三個(gè)階段的發(fā)展變化,其服裝結(jié)構(gòu)由中國(guó)傳統(tǒng)的平面結(jié)構(gòu)逐步演變成為西式立體結(jié)構(gòu)。本文從裁剪法的角度對(duì)這個(gè)演變過(guò)程進(jìn)行分析梳理,闡明這并非是一種技術(shù)的進(jìn)步,而是東西方文化之間的博弈過(guò)程,其中的利弊得失在今天值得我們重新反思。清末的滿漢女裝互相融合,取長(zhǎng)補(bǔ)短,產(chǎn)生了今天我們所說(shuō)的旗袍,它是民國(guó)女性自主的選擇。旗袍在初期延續(xù)了傳統(tǒng)的“T”字形平面結(jié)構(gòu),衣身正中有中縫。民國(guó)中期的改良旗袍是旗袍發(fā)展的高峰,無(wú)論是款式、材質(zhì)、工藝、還是普及程度、國(guó)際影響至今都無(wú)法超越。它在保持平面結(jié)構(gòu)的基礎(chǔ)上取消了大身的中縫,這一關(guān)鍵性的改良是這一時(shí)期旗袍裁剪技術(shù)的核心所在,體現(xiàn)了中國(guó)工匠的智巧,是今天的制衣技術(shù)無(wú)法達(dá)到的。后期的旗袍已經(jīng)脫離了傳統(tǒng),變成了一件保留有部分中式符號(hào)的現(xiàn)代服裝。本文旨在深刻思考旗袍結(jié)構(gòu)背后的文化內(nèi)涵,并以實(shí)物與文獻(xiàn)的對(duì)照研究,著力挖掘旗袍裁剪法的詳細(xì)步驟與操作要領(lǐng),希望為繼承傳統(tǒng)旗袍工藝做一些有意義的事情。
[Abstract]:It is the most remarkable representative of the last century China of women, while maintaining the nationality, and meet the requirements of the times, is the traditional innovation based on the period of the Republic of China. The classic cheongsam has undergone three stages, the clothing structure from the traditional plane structure Chinese gradually evolved into the Western three-dimensional structure. This paper analyzes the on the evolution process from the angle of cutting method, that this is not a technology, but between the East and west culture game process, advantages and disadvantages of which we rethink today. At the end of the Qing Dynasty Manchu women combine with each other, learn from each other, we have said today it is independent of the female cheongsam the cheongsam in the early choice. The continuation of the traditional "T" shaped body has a planar structure, median raphe. In the mid of the cheongsam cheongsam is the peak of development, both styles, The material, technology, or popularity, international influence still can not go beyond. It eliminates the body while maintaining the raphe plane structure, improvement of this key is the core of the cheongsam cutting technology in this period, reflects the China craftsmen ingenuity, is unable to achieve the garment technology today. Later the cheongsam has been out of the traditional, has become a modern garment retains part of Chinese symbols. This paper aims at the deep thinking of Qipao structure behind the cultural connotation, and a comparative study of physical and literature, detailed steps and operating essentials to explore cheongsam cutting method, hope to do some meaningful things to inherit the traditional cheongsam process.

【學(xué)位授予單位】：北京服裝學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：TS941.717.8

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1 劉育紅;小道可觀—民國(guó)旗袍裁剪法研究[D];北京服裝學(xué)院;2017年

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本文編號(hào)：1415959