{"product_id":"40年代-民国四十年代洋红泼墨牡丹纹古董旗袍-1940s-1940s-carmine-splashed-ink-peony-antique-qipao","title":"40年代 - 民国四十年代洋红泼墨牡丹纹古董旗袍 | 1940s - 1940s Carmine \"Splashed-Ink\" Peony Antique Qipao","description":"\u003cp\u003e\u003cb data-path-to-node=\"3\" data-index-in-node=\"0\"\u003e民国四十年代洋红泼墨牡丹纹古董旗袍\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e此件旗袍为上世纪四十年代上海滩“海派”旗袍之典型形制，\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e较之清末民初的宽博袄裙，已完全演变为凸显女性曲线的“\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e新时代女装”。其剪裁暗合《礼记·深衣》“规矩取象”\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e的制衣理念，却以西式立体剪裁重构——肩线贴合、腰节收束、\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e下摆微扬，将东方婉约与西方人体美学熔铸一炉。\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e旗袍纹样以“泼墨牡丹”为核心意象，其艺术语言可溯至三重传统：\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e- 民俗吉兆：牡丹自唐代《开元天宝遗事》载“长安富贵语，\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e谓牡丹为‘百花王’”，至明清更成“富贵寿考”之象征。\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e此袍以洋红为地，白描牡丹层叠绽放，恰合《酉阳杂俎》“\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e牡丹盖天下无双”的美誉，暗喻 wearer “国色天香”的身份期许。\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- 海派绘画：纹样笔触脱胎于海上画派“虚谷没骨”技法——\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e花瓣以白粉晕染边缘，中心渐透出底色，如《海上墨林》所评“\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e虚谷画花，不施五彩而气韵自生”；叶片则以黑线勾勒，如吴昌硕“\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e重骨轻色”的金石笔意，于红地之上形成“黑白交响”，尽显民国“\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e摩登古典主义”的审美张力。\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- 时代隐喻：四十年代正值民族工业艰难求生，此“泼墨牡丹”\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e摒弃传统刺绣的繁复，转以机器印花呈现“写意”效果，恰如《\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e申报》1943年《国货时装新议》所倡“以机械之工，\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e追文人之韵”，成为特殊时期“实用与审美共生”的时尚宣言。\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e抚过这抹洋红，仿佛听见张爱玲《更衣记》中“把袍子披在身上”\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e的喟叹。它不仅是民国女子“曲线解放”的身体宣言，\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e更是中西文化碰撞的活化石：海派纹样承袭文人画意境，\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e剪裁暗合西方解剖学，面料见证民族工业的挣扎……正如沈从文在《\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e中国古代服饰研究》中所言：“衣服之用，非止蔽体，\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e实乃时代精神的显影。”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e此袍历经八十载沧桑，红仍未褪，恰如那个“乱世中的璀璨年代”，\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e在经纬之间，永远绽放着属于上海的、属于中国的、属于女性的，\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003e永不褪色的风华。\u003c\/span\u003e\u003c\/wbr\u003e\u003c\/wbr\u003e\u003c\/wbr\u003e\u003c\/wbr\u003e\u003c\/wbr\u003e\u003c\/wbr\u003e\u003c\/wbr\u003e\u003c\/wbr\u003e\u003c\/wbr\u003e\u003c\/wbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3 data-path-to-node=\"2\"\u003e1940s Carmine \"Splashed-Ink\" Peony Antique Qipao\u003c\/h3\u003e\n\u003cp data-path-to-node=\"4\"\u003eThis garment is a quintessential specimen of the \u003cb data-path-to-node=\"4\" data-index-in-node=\"49\"\u003e\"Shanghai Style\" (Haipai)\u003c\/b\u003e Qipao from the 1940s. Moving away from the loose-fitting robes of the late Qing and early Republic, it has evolved into a \"New Era feminine attire\" that emphasizes the female silhouette. Its tailoring subtly aligns with the ancient principle of \"following the compass and square\" from the \u003ci data-path-to-node=\"4\" data-index-in-node=\"364\"\u003eBook of Rites\u003c\/i\u003e, yet it is reconstructed with \u003cb data-path-to-node=\"4\" data-index-in-node=\"408\"\u003eWestern three-dimensional cutting\u003c\/b\u003e—fitted shoulders, a cinched waist, and a slightly flared hem—melting Oriental grace and Western anatomical aesthetics into one.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eThe motif centers on the \u003cb data-path-to-node=\"5\" data-index-in-node=\"25\"\u003e\"Splashed-Ink Peony,\"\u003c\/b\u003e an artistic language traceable to a triple tradition:\u003c\/p\u003e\n\u003cul data-path-to-node=\"6\"\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"6,0,0\"\u003e\u003cb data-path-to-node=\"6,0,0\" data-index-in-node=\"0\"\u003eFolklore \u0026amp; Auspicious Omens:\u003c\/b\u003e Since the Tang Dynasty, the peony has been hailed as the \"King of Flowers,\" symbolizing wealth and longevity. Against a \u003cb data-path-to-node=\"6,0,0\" data-index-in-node=\"149\"\u003ecarmine\u003c\/b\u003e base, the white-contoured peonies bloom in layers, echoing the fame of being \"peerless under heaven\" from the \u003ci data-path-to-node=\"6,0,0\" data-index-in-node=\"267\"\u003eYouyang Zazu\u003c\/i\u003e. It serves as a metaphor for the wearer's identity as \"the beauty of the nation.\"\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"6,1,0\"\u003e\u003cb data-path-to-node=\"6,1,0\" data-index-in-node=\"0\"\u003eThe Shanghai School of Painting:\u003c\/b\u003e The brushwork originates from the \u003cb data-path-to-node=\"6,1,0\" data-index-in-node=\"67\"\u003e\"Boneless\" (Mogu)\u003c\/b\u003e technique of the Shanghai School artist \u003cb data-path-to-node=\"6,1,0\" data-index-in-node=\"125\"\u003eXu Gu\u003c\/b\u003e. Petal edges are rendered with white powder gradients, allowing the base color to peek through the center, achieving what the \u003ci data-path-to-node=\"6,1,0\" data-index-in-node=\"257\"\u003eMaritime Forest of Ink\u003c\/i\u003e describes as \"rhythmic vitality without the need for varied colors.\" The leaves are outlined in black, resembling the \"Gold and Stone\" calligraphic strength of \u003cb data-path-to-node=\"6,1,0\" data-index-in-node=\"440\"\u003eWu Changshuo\u003c\/b\u003e, creating a \"Black and White Symphony\" upon the red ground—a testament to the aesthetic tension of \u003cb data-path-to-node=\"6,1,0\" data-index-in-node=\"552\"\u003eModern Classicism\u003c\/b\u003e in the Republican era.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"6,2,0\"\u003e\u003cb data-path-to-node=\"6,2,0\" data-index-in-node=\"0\"\u003eHistorical Metaphor:\u003c\/b\u003e During the 1940s, as national industries struggled for survival, this \"Splashed-Ink Peony\" abandoned complex traditional embroidery in favor of \u003cb data-path-to-node=\"6,2,0\" data-index-in-node=\"165\"\u003emachine printing\u003c\/b\u003e to achieve a \"freehand\" effect. Just as the \u003ci data-path-to-node=\"6,2,0\" data-index-in-node=\"226\"\u003eShen Bao\u003c\/i\u003e advocated in 1943, it sought to \"pursue literati charm through mechanical labor,\" becoming a fashion manifesto of the symbiosis between practicality and aesthetics during a turbulent period.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-path-to-node=\"7\"\u003eBrushing your hand over this carmine red, one can almost hear the sigh from Eileen Chang’s \u003ci data-path-to-node=\"7\" data-index-in-node=\"91\"\u003eChronicle of Changing Clothes\u003c\/i\u003e as she \"drapes the robe over the body.\" It is not only a physical manifesto of the \u003cb data-path-to-node=\"7\" data-index-in-node=\"204\"\u003e\"liberation of curves\"\u003c\/b\u003e for Republican-era women but also a living fossil of East-West cultural collision. The patterns inherit the spirit of literati painting, the tailoring aligns with Western anatomy, and the fabric witnesses the struggle of national industry. As Shen Congwen noted in \u003ci data-path-to-node=\"7\" data-index-in-node=\"492\"\u003eResearch on Ancient Chinese Costumes\u003c\/i\u003e: \"The use of clothing is not merely to cover the body, but to serve as a projection of the spirit of the age.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eHaving endured eighty years of vicissitudes, the red remains unfaded—much like that \"brilliant era amidst chaos.\" Within its warp and weft, it eternally radiates a splendor that belongs to Shanghai, to China, and to women.\u003c\/p\u003e","brand":"深圳溯源","offers":[{"title":"Default Title","offer_id":51979776262436,"sku":null,"price":880.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0835\/1360\/6436\/files\/57f4deaecc399e2596428fbef972795a.jpg?v=1770039356","url":"https:\/\/shenzhensuyuan.com\/en\/products\/40%e5%b9%b4%e4%bb%a3-%e6%b0%91%e5%9b%bd%e5%9b%9b%e5%8d%81%e5%b9%b4%e4%bb%a3%e6%b4%8b%e7%ba%a2%e6%b3%bc%e5%a2%a8%e7%89%a1%e4%b8%b9%e7%ba%b9%e5%8f%a4%e8%91%a3%e6%97%97%e8%a2%8d-1940s-1940s-carmine-splashed-ink-peony-antique-qipao","provider":"Shenzhen Suyuan","version":"1.0","type":"link"}