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衣裳與風教──晚明的服飾風尚與「服妖」議論（Costumes and Customs: The Vogue and Opinion on Luxury Clothes of Ordinary People in Late Ming China）
衣裳與風教──晚明的服飾風尚與「服妖」議論（Costumes and Customs: The Vogue and Opinion on Luxury Clothes of Ordinary People in Late Ming China）
Li-yueh Lin1999
明太祖取蒙元而有天下，開國之初，即下令禁止胡服胡帽，詔復衣冠如唐制，並頒定官民服飾樣式。綜觀明初服飾制度的精神，不僅繼承歷代「明尊卑、知貴賤」的禮制傳統，以達到服飾區辨身分等級的目的，且有利用服飾改制宣示「復漢官之威儀」，加強漢族文化認同的作用。正德、嘉靖以後，明代社會奢風日熾，服飾僭禮違制的現象日趨普遍。官民服飾競尚華侈，去樸從豔、慕奇好異，蔚為晚明風尚，婦女服飾的僭侈多變尤甚。士庶男女之講究服飾裝扮，更從標榜身分、炫耀財富的「僭禮越分」行為，逐漸演成不斷追求「時興新樣」的服飾文化，顯現迥異於明代前期的消費心態，而知識階層感時憂道的「服妖說」亦相應而起。本文歸納晚明士人各類「服妖說」的意涵，或為批評僭禮逾制、奢侈靡費，或為指斥變亂男女、異服招禍，除了少數士人能洞悉服飾流行與市場供需密切相關的經濟層面外，大部分承襲兩漢以來陰陽災異、天人感應的思想與論述方式，對晚明日益講究的服飾文化，自然缺乏針對物質與藝術層面抒發的時代意見，雖然同時代庶民大眾在服飾上的追新慕異適成對比，但其中蘊含的崇禮思想與教化意識卻頗具深意。
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Hong Kong: Hong Kong Maritime Museum
(Major contributor of 65 entries and co-edited with) Libby Lai-Pik Chan, Nina Lai-Na Wan. The Dragon and the Eagle: American Traders in China, A Century of Trade from 1784 to 1900 花旗飄洋——1784至1900年遠航來華的美國商人, 2 vols. (Catalogue Entries and Essays, 860 pages)2018 •
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2013 •
How did people in the Han (漢) Dynasty project their attachment to and imagination of hometown? What does this “hometown”refer to? These are the two questions which this thesis wants to ask. This thesis especially emphasizes the political context which personal feelings depend on and tries to explore how people in the Han Dynasty removed themselves from the indulgence and restraint of homesickness. How did an individual still keep different ways of emotional expression while sharing the same homesick atmosphere? The exhibition of these differences is called agency in this thesis. Chapter One explores how Liu Bang(劉邦) and Xiang Yu(項羽) felt homesick and their different relations and reactions to“hometown” according to the examples of choosing capital cities. What is involved includes not only emotional aspects but political calculations and rational reasoning. The two’s every decision was to seek for a balance between attachment with hometown and political calculations. In addition, th...
2016 •
Of regular script calligraphy styles from the Tang Dynasty, the style of Yan Zhen-qing (709-785) became one of the most highly regarded styles by later scholars. For centuries, " Yan style " was seen as a climax of Tang Dynasty regular script, and his work has had a wide and profound effect on Chinese calligraphy ever since. However, Tang Dynasty calligraphy critics did not place much value on Yan style, and they did not think of Yan Zhen-qing as a great calligrapher. This phenomenon is difficult to understand. The main aim of this paper is to further investigate the above-mentioned observation of Yan's lack of popularity in the Tang dynasty. The conclusions are as follows: 1. There are only ten extant genuine works of Yan Zhen-qing's regular script calligraphy, including Wang-lin Mu Zhi "Wang Lin's Epitaph", Duo-bao-ta Bei "Prabhutaratna Pagoda Stele",Yan Qin-li Bei " Stele for Yan Qin-li" and others. All other works are either co...
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