The wools in the Swedish bocksten costume

Wool fibre measurements defining fleece type are described from the cloth in the Bocksten costume dated about 1350 and kept in the Varbergs Museum, Sweden. Over 80% belonged to hairy types, the remainder coming from the modern true medium or primitive generalised medium types. Three quarters of the wools had natural pigment giving a grey colour.The findings accord with the fleece of the native Swedish Landrace sheep, but fibre diameter measurements were closer to those of the 17th century Wasa textiles, than to fleece measurements of the surviving Goth remnant of the Swedish Landrace.     

Fashioning the Italian nation: Risorgimento and its costumeall'italiana

This article retraces the debate that emerged during the nineteenth century about the need to create a modern Italian fashion that could restrain the popular use of foreign clothing, in particular that imported from France and Austria. While we usually refer to the 1950s when we think of Made-in-Italy fashion, it was during the Risorgimento that a public discussion began to take shape on the possibility of creating a national self, vested in Italy's specific character and history. Made of black velvet and accompanied by a hat with a feather, the nineteenth-century costume all'italiana was supposed to incarnate the essence of the modern Italian, although it never turned into a commercial reality. What it did, however, was successfully to communicate a message of national unity based on the notion of national sacrifice and expressed through a visual image of blackness – a message that resonated widely in Italy's nationalist discourse throughout and beyond the nineteenth century.     

衣及权力:明代中国的礼仪、服装与国家权威

As soon as Zhu Yuanzhang, the founder of the Ming Dynasty, assumed the throne, he and his Confucian assistants imposed a system of clothing regulation on the court and society in order to create a hierarchical power structure. As an important aspect of Chinese civilization, the clothing system functioned to form a social hierarchy, to regulate people’s activities, to harmonize the relations among the people, and finally to make a stable society under the close control of the state. The state control in the Ming remained effective until the reigns of Hongzhi (1488–1506) and Zhengde (1506–1521), when commercialization released people’s consumption desires and economic dynamics and caused deregulation of the Ming clothing system, which eventually undermined the state authority.     

中国国家博物馆藏清代土司官服金属线的分析研究

对一件中国国家博物馆藏清代官服进行针对性的保护修复,以其使用的三种金属线为研究对象,分别采用显微观察、扫描电镜-能谱分析、红外光谱分析等方法进行了分析检测,得到了三种金属线的结构特征、相关几何尺寸、金属箔层合金,以及褙衬中各元素比例等信息。研究结果表明,面料花纬金属线为捻银线,其所用芯线为丝线。补子所用两种粗细不同的金属线均为捻金线,其中粗金属线的芯线为棉线,细金属线的芯线为丝线。三种金属线使用的褙衬材料均为纸张,系由竹纤维和禾草类纤维两种纤维混合打浆后抄造而成。本研究可更加全面深入地了解文物保存现状,为后续的保管、保护修复工作提供参考和依据,也可为清代纺织品的用金技术研究提供一定的科学资料。     

明代郑和的塑像——福建长乐显应宫出土彩塑再探

1992年福建长乐漳港镇仙岐村显应宫出土5组神像。位于前殿右侧神台上的一组彩塑,民间传说名“巡海大臣(神)”。自出土以来,就有这组塑像是郑和一说,但一直没有研究确认,也没有研究者阐述它产生的历史年代和背景。作者从明朝衣冠制度出发,主要依据5种历史文献(图文)记载加以初步考察,认定主塑像就是郑和;同时又从塑像形象入手,进一步全面分析和论证塑像即郑和造像,是迄今为止国内首次发现,也是国内外造像时间最早的郑和塑像。     

On national dress and the problem of authenticity in Ulysses

This article considers James Joyce’s representation of Irish dress, arguing that his ambivalent treatment of it accurately reflects his fractious relationship with the Irish Revival movement. The article begins with a discussion of the metaphor of performance and relates this to issues around “authenticity”. From here, it discusses Douglas Hyde’s thoughts on dress, as presented in “The Necessity for de-Anglicising Ireland”, contextualising these within a brief history of nineteenth and early-twentieth-century Irish dress history, and recognising the important work of women in this. Assessing Joyce’s depictions of Irish dress, especially in “Scylla and Charybdis”, “Cyclops” and “Circe”, this article argues that Joyce sees Irish dress as a contingent and fragile cultural performance.     

从汉墓出土“遣策”看西汉服饰

"遣策"中有关服饰的记录是真实的西汉服饰名称的记录。本文在对汉墓出土"遣策"进行总结分析的基础上,得出了有关西汉服饰的几点认识:西汉较为普遍的服饰称谓主要有"襌衣"、"複衣"、"裳"、"裤"、"襦"、"袭"、"袍"等;西汉服装已经有"楚服"和"汉服"之分;"巾"、"帻"在西汉中晚期即已出现;"袍"的称谓在西汉早期已出现;"襜褕"的称谓在西汉中晚期仍在使用;"遣策"中似乎均缺失关于死者随身所穿的衣物的记录;以死者生前所穿衣物为敛服或随葬的现象普遍。     

Costume,Ceremonial, and the East Asian Order: What the Annamese King Wore When Congratulating the Emperor Qianlong in Jehol in 1790

Emperor Qianlong of the Qing dynasty celebrated his eightieth birthday in 1790, for which Vietnam, Korea, the Ryūkyū Islands, Burma, and Mongolia sent delegates to the imperial summer resort at Chengde 承德 to pay homage. Curiously, the Annamese (or, Vietnamese) king NguyễnQuangBình (阮 光平), who had just defeated the Qing army, offered to appear in Qing costume and kowtow to the Qing emperor. The unusual act pleased Emperor Qianlong and infuriated the Korean delegates. What did costume and ceremonial mean in the context of the East Asian political and cultural order? Why did the British embassy to China led by Lord Macartney three years later cause friction with regards to sartorial and ceremonial manners? This lecture will address these questions.