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題名 《水滸傳》之服飾研究
Dress Research of "The Water Margin"作者 陳怡君
Chen, I Chun貢獻者 高桂惠
Kao, Kuei Hui
陳怡君
Chen, I Chun關鍵詞 水滸傳
一百零八好漢
服飾
人物形象
The Water Margin
the 108 outlaws
dress
characters日期 2015 摘要 《水滸傳》的創作從南宋初年至明代中葉，這四百多年來流傳的水滸故事，經過說書人的講演鋪陳、文人的潤飾增色，逐漸成熟完整，匯聚成一部精彩絕倫的通俗小說。小說設計了一百零八位英雄，這些好漢被賦予了不同出身、獨特相貌，以及各式穿著，繪製出一幅多彩多姿的水滸圖卷。《水滸傳》在人物登場時，往往以一套贊賦介紹人物從頭到腳的衣著，為讀者在腦海中畫出一個具體而鮮明的形象。由於「服飾」是一個人的「社會肌膚」，透過「服飾」我們可得知其身分地位、審美觀念、性格投射與所處的社會風尚，甚至能反映群體文化。《水滸傳》服飾琳瑯滿目，筆者透過文本的分析，將一百零八好漢的衣著，分為首服、上衣、下裳與足服、腰佩四類，逐一考掘形制內容、演化，宋、元、明三代服制與人物的穿用取向。其次探討服飾的質料與顏色，將質料分為棉麻、絲織、毛皮、金屬四類，研究服飾表現的物質文化；服色則採紅、青、白、黑、黃五色分述，闡發《水滸傳》服飾的穿搭美學。把人物服飾對應《水滸傳》的創作背景，瞭解小說反映出來宋、元、明三代紡織工藝的發達，帶動商品經濟活絡，形成豐富多樣的衣飾時尚以及崇奢僭禮的風氣。最後將服飾與人物形象結合探討，論述小說如何運用服飾勾勒《水滸傳》臉譜，研究服飾對人物外在的身分界定，與文本內在的書寫意涵。本論文從服飾的角度審視《水滸傳》，從中歸納出服飾是人物刻劃的途徑，是小說渲染情節的方法，也是社會風俗的具體反映，更是梁山好漢犯禁思想的表現，總結出《水滸傳》是通俗小說服飾書寫的轉型階段。
The creation of The Water Margin went through a roughly 400-year span, starting from the beginning of Southern Song to the mid-Ming Dynasty. Stories of The Water Margin, performed, polished, refined and compiled by storytellers and poets, were made into one epic popular fiction, within which 108 outlaws, endowed with distinct backgrounds, appearances, and dress, made an animated landscape of Water Margin. The Water Margin introduces most of its characters’ complete outfits through a set of words of praise on their debuts, thereby portraying solid, bright images in its readers’ mind. Dress are socialized skin from which we tell one’s social status, aesthetics, projected nature, contemporary trends, and even collective culture from those of others’. The Water Margin presents 108 outlaws in a wide array of clothing which, in my textual analyses, was categorized into caps, garments, skirts and footwear, and waist ornaments. I explore the contents of their designs and transformations over time, and how people in Song, Yuan and Ming Dynasties designed and decided their dress in terms of wearing and functioning. Next, I’d discuss the textile—categorized into cotton and gunny, silk, hide and leather, and metal, in order to study the material culture embedded in dress—along with colors—red, cyan, white, black, and yellow included, so as to elaborate on the aesthetics of dressing. Comparing dress with the social context of The Water Margin’s creation gives insight to the highly-developed textile crafting in Song, Yuan, and Ming Dynasty, a crafting which promoted a booming commodity economy and thereby formed a miscellaneous dressing fashion and a luxury-worshiping, etiquette-violating atmosphere. Combining dress with the characters, I reason how each figure was shaped with what he or she wore, and study how one’s dressing defined his/her extrinsic identity and the textual implications inherited in the fiction. This thesis aims at scrutinizing The Water Margin through dress, concluding that dressing is a path to characters’ depictions, a manner with which the plot was embellished, a concrete reflection on social customs, as well as a representation of the 108 outlaws’ thinking of breaking prohibitions. The Water Margin, therefore, was at the stage of dressing depiction’s transformation in popular fictions.描述 碩士
國立政治大學
國文教學碩士在職專班
100912001
103資料來源 http://thesis.lib.nccu.edu.tw/record/#G0100912001 資料類型 thesis dc.contributor.advisor 高桂惠 zh_TW dc.contributor.advisor Kao, Kuei Hui en_US dc.contributor.author (Authors) 陳怡君 zh_TW dc.contributor.author (Authors) Chen, I Chun en_US dc.creator (作者) 陳怡君 zh_TW dc.creator (作者) Chen, I Chun en_US dc.date (日期) 2015 en_US dc.identifier (Other Identifiers) G0100912001 en_US dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 國文教學碩士在職專班 zh_TW dc.description (描述) 100912001 zh_TW dc.description (描述) 103 zh_TW dc.description.abstract (摘要) 《水滸傳》的創作從南宋初年至明代中葉，這四百多年來流傳的水滸故事，經過說書人的講演鋪陳、文人的潤飾增色，逐漸成熟完整，匯聚成一部精彩絕倫的通俗小說。小說設計了一百零八位英雄，這些好漢被賦予了不同出身、獨特相貌，以及各式穿著，繪製出一幅多彩多姿的水滸圖卷。《水滸傳》在人物登場時，往往以一套贊賦介紹人物從頭到腳的衣著，為讀者在腦海中畫出一個具體而鮮明的形象。由於「服飾」是一個人的「社會肌膚」，透過「服飾」我們可得知其身分地位、審美觀念、性格投射與所處的社會風尚，甚至能反映群體文化。《水滸傳》服飾琳瑯滿目，筆者透過文本的分析，將一百零八好漢的衣著，分為首服、上衣、下裳與足服、腰佩四類，逐一考掘形制內容、演化，宋、元、明三代服制與人物的穿用取向。其次探討服飾的質料與顏色，將質料分為棉麻、絲織、毛皮、金屬四類，研究服飾表現的物質文化；服色則採紅、青、白、黑、黃五色分述，闡發《水滸傳》服飾的穿搭美學。把人物服飾對應《水滸傳》的創作背景，瞭解小說反映出來宋、元、明三代紡織工藝的發達，帶動商品經濟活絡，形成豐富多樣的衣飾時尚以及崇奢僭禮的風氣。最後將服飾與人物形象結合探討，論述小說如何運用服飾勾勒《水滸傳》臉譜，研究服飾對人物外在的身分界定，與文本內在的書寫意涵。本論文從服飾的角度審視《水滸傳》，從中歸納出服飾是人物刻劃的途徑，是小說渲染情節的方法，也是社會風俗的具體反映，更是梁山好漢犯禁思想的表現，總結出《水滸傳》是通俗小說服飾書寫的轉型階段。 zh_TW dc.description.abstract (摘要) The creation of The Water Margin went through a roughly 400-year span, starting from the beginning of Southern Song to the mid-Ming Dynasty. Stories of The Water Margin, performed, polished, refined and compiled by storytellers and poets, were made into one epic popular fiction, within which 108 outlaws, endowed with distinct backgrounds, appearances, and dress, made an animated landscape of Water Margin. The Water Margin introduces most of its characters’ complete outfits through a set of words of praise on their debuts, thereby portraying solid, bright images in its readers’ mind. Dress are socialized skin from which we tell one’s social status, aesthetics, projected nature, contemporary trends, and even collective culture from those of others’. The Water Margin presents 108 outlaws in a wide array of clothing which, in my textual analyses, was categorized into caps, garments, skirts and footwear, and waist ornaments. I explore the contents of their designs and transformations over time, and how people in Song, Yuan and Ming Dynasties designed and decided their dress in terms of wearing and functioning. Next, I’d discuss the textile—categorized into cotton and gunny, silk, hide and leather, and metal, in order to study the material culture embedded in dress—along with colors—red, cyan, white, black, and yellow included, so as to elaborate on the aesthetics of dressing. Comparing dress with the social context of The Water Margin’s creation gives insight to the highly-developed textile crafting in Song, Yuan, and Ming Dynasty, a crafting which promoted a booming commodity economy and thereby formed a miscellaneous dressing fashion and a luxury-worshiping, etiquette-violating atmosphere. Combining dress with the characters, I reason how each figure was shaped with what he or she wore, and study how one’s dressing defined his/her extrinsic identity and the textual implications inherited in the fiction. This thesis aims at scrutinizing The Water Margin through dress, concluding that dressing is a path to characters’ depictions, a manner with which the plot was embellished, a concrete reflection on social customs, as well as a representation of the 108 outlaws’ thinking of breaking prohibitions. The Water Margin, therefore, was at the stage of dressing depiction’s transformation in popular fictions. en_US dc.description.tableofcontents 第一章 緒論 第一節 研究動機與目的……………………………………………………………1 第二節 文獻檢討與述評 一、《水滸傳》之人物形象研究…………………………………………………6 二、《水滸傳》之社會文化研究…………………………………………………8 三、《水滸傳》之服飾書寫研究………………………………………………11 第三節 研究範圍與研究方法 一、研究範圍……………………………………………………………………19 二、研究方法……………………………………………………………………20 第二章 宋元明的服飾文化探析 第一節 宋元明紡織工藝的發展……………………………………………………25 第二節 宋元明的衣飾風尚…………………………………………………………34 第三章 《水滸傳》服飾類型分析 第一節 首服類 一、髮式…………………………………………………………………………47 (一)丫髻…………………………………………………………………48 (二)鵝梨角兒……………………………………………………………49 (三)兒…………………………………………………………………50 二、冠服…………………………………………………………………………50 (一)冠：平天冠、三叉冠、星冠如意冠鐵冠……………………………50 (二)巾：一字巾、墊角巾、抓角兒頭巾、万字巾、綸巾、包巾………56 (三)幞頭…………………………………………………………………63 (四)抹額…………………………………………………………………65 (五)帽：烏帽、磕腦………………………………………………………67 (六)笠：箬笠、毡笠………………………………………………………69 (七)盔……………………………………………………………………72 (八)首飾：巾環、簪釵釧鐲、戴花………………………………………73 第二節 上衣類 一、袍……………………………………………………………………………81 (一)龍袍…………………………………………………………………82 (二)官袍…………………………………………………………………83 (三)道服(袍)、直裰……………………………………………………84 (四)戰袍(征袍)…………………………………………………………86 二、襖……………………………………………………………………………91 (一)衲襖…………………………………………………………………91 (二)戰襖…………………………………………………………………92 (三)繡襖…………………………………………………………………94 三、衫：布衫、紗衫、羅衫、綢衫、緞衫………………………………95 四、甲……………………………………………………………………………97 (一)鎖子甲(連環甲)……………………………………………………98 (二)獸面吞頭……………………………………………………………99 (三)柳葉甲、魚鱗甲……………………………………………………100 (四)掩心甲(護心鏡)……………………………………………………101 (五)烏油甲………………………………………………………………102 五、其他：主腰、背心………………………………………………………103 第三節 下裳與足服類 一、裙…………………………………………………………………………107 二、褲(褌)……………………………………………………………………108 三、腿綳（絣）………………………………………………………………109 四、鞋…………………………………………………………………………110 (一)履……………………………………………………………………110 (二)麻鞋…………………………………………………………………113 (三)靴：抹綠靴、朝靴、牛皮靴、油膀靴、其他……………………114 五、襪(袜)……………………………………………………………………117 第四節 腰佩類 一、腰帶………………………………………………………………………120 (一)笏頭帶………………………………………………………………120 (二)鸞帶、手巾…………………………………………………………125 二、縧…………………………………………………………………………126 三、膊………………………………………………………………………128 四、裹肚………………………………………………………………………129 第四章 《水滸傳》服飾質料與顏色分析 第一節 《水滸》服飾質料考察 一、棉麻類……………………………………………………………………133 二、絲織類……………………………………………………………………136 (一)絹……………………………………………………………………136 (二)紗……………………………………………………………………138 (三)羅……………………………………………………………………139 (四)緞(紵絲)……………………………………………………………142 (五)錦……………………………………………………………………144 三、毛皮類……………………………………………………………………146 四、金屬類……………………………………………………………………148 第二節 《水滸》服飾顏色考察 一、紅色系……………………………………………………………………153 二、青色系……………………………………………………………………158 三、白色系……………………………………………………………………162 四、黑色系……………………………………………………………………165 五、黃色系……………………………………………………………………169 第五章 《水滸傳》服飾與人物形象塑造 第一節 官吏類 一、軍官將領…………………………………………………………………179 (一)林冲…………………………………………………………………180 (二)楊志…………………………………………………………………181 二、胥吏獄卒…………………………………………………………………184 (一)宋江…………………………………………………………………185 (二)戴宗…………………………………………………………………187 第二節 庶民類 一、莊園地主…………………………………………………………………190 (一)史進…………………………………………………………………190 (二)柴進…………………………………………………………………191 二、書生秀才：吳用…………………………………………………………193 三、僧侶道士………………………………………………………………195 (一)魯智深………………………………………………………………195 (二)武松…………………………………………………………………198 (三)公孫勝………………………………………………………………201 四、家丁扈從…………………………………………………………………203 (一)李逵…………………………………………………………………204 (二)燕青…………………………………………………………………206 五、漁民獵戶…………………………………………………………………209 (一)阮氏兄弟……………………………………………………………209 (二)解家兄弟……………………………………………………………211 六、酒肆店主…………………………………………………………………212 (一)孫二娘………………………………………………………………212 (二)顧大嫂………………………………………………………………212 七、山賊草寇：清風山三雄、對影山雙雄、芒踼山三雄…………………213 第三節 《水滸》服飾書寫綜論 一、《水滸》服飾刻劃人物的形象……………………………………………215 二、《水滸》服飾隨著人物遭際而轉變………………………………………217 三、《水滸》服飾有渲染畫面、鋪墊情節的作用……………………………217 四、《水滸》服飾隱含了象徵意義……………………………………………218 第六章 結論 一、《水滸》服飾是人物刻劃的途徑…………………………………………219 二、《水滸》以服飾書寫展演陣容，觸發想像力……………………………220 三、《水滸》服飾是文化風俗的具體反映……………………………………221 四、《水滸》服飾是犯禁思想的表現………………………………………223 五、《水滸》服飾書寫作為小說發展的另一標誌……………………………223 附錄：《水滸》一百單八將服飾書寫整理…………………………………228 參考書目…………………………………………………………………………258 zh_TW dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0100912001 en_US dc.subject (關鍵詞) 水滸傳 zh_TW dc.subject (關鍵詞) 一百零八好漢 zh_TW dc.subject (關鍵詞) 服飾 zh_TW dc.subject (關鍵詞) 人物形象 zh_TW dc.subject (關鍵詞) The Water Margin en_US dc.subject (關鍵詞) the 108 outlaws en_US dc.subject (關鍵詞) dress en_US dc.subject (關鍵詞) characters en_US dc.title (題名) 《水滸傳》之服飾研究 zh_TW dc.title (題名) Dress Research of "The Water Margin" en_US dc.type (資料類型) thesis en
