60年代 - 台湾制双圆襟嵌丝硬花扣佩斯利纹古董旗袍 | 1960s - A Vintage Taiwanese Cheongsam with Double-Round Placket, Wire-Inlaid Hard Buttons, and Paisley Motif

分享一件上世纪六十年代台湾制双圆襟嵌丝硬花扣佩斯利纹古董旗袍。

此件藏品乃旗袍形制中罕见的双圆襟结构，腰身收束如新月，侧开衩隐于佩斯利纹间，尽显民国衣制遗风与战后改良美学。其面料以米灰为底，满布青碧色佩斯利纹（Paisley），纹样辗转千年，其形如火焰、如菩提叶、如生命之树，暗合东方哲学中“生生不息”之旨。

《说文》云：“佩斯利者，波斯谓之‘巴旦姆’，印度谓之‘菩提纹’，传入中土则与云气纹、忍冬纹相融。”此袍之纹样，青碧色佩斯利纹如云气翻涌，边缘勾勒黑线，似金石篆刻之刀法，又若宋代缂丝“描金银”工艺的遗韵。每枚纹样皆作S形扭曲，首尾相接，循环往复，正如《周易》所言“反复其道，七日来复”，暗藏宇宙运行之律动。其间点缀如菩提叶的尖状纹，取佛经“一花一世界”之禅意，与台湾战后佛教文化兴盛之风相契。

双圆襟之形制，乃民国三十年代上海裁缝南迁后所创，以两道弧形镶边替代传统直线襟，工艺繁复倍之。此袍襟缘嵌青碧色丝线，与纹样主色呼应，经纬细如发丝，光泽若月华流转。更难得者，胸前缀四枚硬花扣，以铜丝为骨，外裹丝线，扣结挺立如碑碣，非经年手艺不能为。

《礼记·玉藻》曰：“衣正色，裳间色”，此袍以青碧为间色，米灰为正色，调和阴阳。佩斯利纹之青碧，取自波斯青金石之色，经台湾染坊“草木染”工艺，以蓼蓝叶发酵成靛，反复浸染七次，方得此深邃如潭水之色。

💧 The Eternal Cycle: A Vintage 1960s Taiwanese Cheongsam with Double-Round Placket, Wire-Inlaid Hard Buttons, and Paisley Motif

This collection piece features the rare double-round placket (双圆襟) structure in cheongsam design. The waist is cinched like a new moon, and the side slit is subtly hidden within the Paisley pattern, fully exhibiting the remaining grace of Republican-era tailoring combined with post-war modified aesthetics. The fabric has an off-white/pale grey base (米灰), completely covered with cerulean blue/jade green Paisley motifs (青碧色佩斯利纹). The pattern has journeyed for millennia, its shape resembling a flame, a Bodhi leaf, or the Tree of Life, aligning with the Oriental philosophical concept of "perpetual vitality" (生生不息).

The Shuo Wen Jie Zi (Dictionary) states: "Paisley, called 'Badam' in Persian and 'Bodhi Pattern' in Indian, merged with cloud patterns and honeysuckle motifs upon reaching China." The pattern on this robe sees the cerulean Paisley motifs surge like clouds, their edges outlined in black thread. This resembles the chiseled lines of stone and bronze inscriptions and carries the lingering grace of the "gilded thread" technique used in Song Dynasty kesi (tapestry weaving). Each motif twists into an S-shape, connecting end to end in perpetual motion, echoing the rhythm of cosmic operation mentioned in the I Ching (Book of Changes): "The way repeats itself; the return is in seven days." Interspersed pointed patterns, resembling Bodhi leaves, borrow the Zen meaning of "one flower, one world" from Buddhist scripture, aligning with the flourishing of Buddhist culture in post-war Taiwan.

The double-round placket structure was an innovation created by Shanghai tailors who migrated south in the 1930s, replacing the traditional straight closure with two complex, curved bands, which redoubled the complexity of the craft. The piping along the placket is inlaid with cerulean silk thread (嵌丝), harmonizing with the main color of the pattern. The threads of the warp and weft are as fine as hair, their luster like the flowing light of the moon. Even rarer are the four hard flower buttons (硬花扣) on the chest, constructed with copper wire as the core and wrapped in silk thread. The buttons stand firm like steles (碑碣), a feat achievable only by seasoned craftsmanship.

The Classic of Rites: Yu Zao states: "The upper garment takes the correct color, the skirt takes the mixed color" (衣正色，裳间色), and this robe harmonizes Yin and Yang by using cerulean as the accent color and pale grey as the primary color. The cerulean of the Paisley motif is derived from the color of Persian lapis lazuli. Through the Taiwanese dye house's "botanical dyeing" (草木染) process, the dye—fermented from indigo leaves—was applied in seven repeated immersions to achieve this deep, pool-like color.