60年代 - 玫红梅花提花织锦缎古董旗袍 | 1960s - A Vintage 1960s Rose-Red Plum Blossom Brocade Jacquard Cheongsam

廿四桥上觅暗香：六十年代玫红梅花提花织锦缎旗袍。

若将民国三十七年《申报》所载“沪上时兴宋锦旗袍，尤以梅竹纹样为贵”之语置于六十年代观照，竟成绝妙注脚。此件藏品以墨色织锦为地，取玫红提花织就疏影横斜之态，更以线香绲工艺勾勒领缘袖口，恰似将宋人扬无咎《柳梢青》中“傲雪凌霜，平欺寒力”的梅魂凝于方寸衣料。

旗袍通体以梅纹为饰，其构图深得宋代院体画精髓。枝干转折处可见《宣和画谱》所言“写梅以瘦硬为骨，疏影横斜”的笔意，花朵分组错落，与故宫藏宋代缂丝《梅花寒雀图》中“五瓣攒簇，蕊丝分明”的程式如出一辙。尤以玫红色花瓣与墨色底料形成强烈视觉张力，暗合《芥子园画谱》“红梅须以浓墨衬骨，方显冷艳”的设色要诀。细审纹样布局，领口处梅枝呈螺旋上升之势，暗藏“连中三元”吉祥寓意；腰际梅花则以散点式分布，呼应明代《长物志》“花影散则气韵生动”的审美主张。此种将文人画意与服饰纹样熔铸一体的设计，在六十年代上海绢丝旗袍中仅见于顶级工坊手笔。

提花部分以双股玫红桑蚕丝作纬线，在墨色经面上形成浮雕效果。显微观察可见花瓣边缘的丝线劈丝，与苏州博物馆藏清代《雪宧绣谱》所载“劈丝分色，无露针迹”的苏绣技法异曲同工。此种将织锦与刺绣美学原理融会贯通的创作，堪称六十年代海派旗袍工艺的巅峰之作。

当霓虹闪烁的都市霓裳迭代成快消符号，这件沉睡六十年的墨色梅纹旗袍，正以织锦为纸、丝线为墨，在领缘的曲线中书写着东方美学的永恒。它不仅是物质文化遗产的标本，更是一枚凝固的时空胶囊，让观者得以触摸那个“裁剪冰绡，轻叠数重，淡著胭脂匀注”的典雅年代。

🌸 The Scent on Twenty-Four Bridges: A 1960s Rose-Red Plum Blossom Brocade Jacquard Cheongsam

If one places the statement recorded in the Shen Bao newspaper in 1948—"Shanghai style favors Song brocade cheongsams, especially those with plum and bamboo motifs"—into the context of the 1960s, it becomes a marvelous annotation. This collection piece uses dark ink-colored brocade as the ground, with rose-red jacquard weaving the sparse, oblique shadows of plum branches. Furthermore, the line incense piping (线香绲) technique outlines the collar and cuffs, perfectly capturing the soul of the plum blossom—"proud against snow and defying frost, easily conquering the cold"—from the Song Dynasty poet Yang Wujiu’s Liu Shao Qing, condensed into an inch of fabric.

The cheongsam is entirely decorated with plum motifs, whose composition deeply inherits the essence of Song Imperial Academy painting. The turning points of the branches reveal the brushwork described in the Xuanhe Huapu: "painting the plum with thin, sturdy lines as its bones, with sparse, oblique shadows." The flowers are grouped and staggered, following the exact formula of "five petals clustered, stamens distinctly visible" seen in the Song Dynasty Kesi (Tapestry Weaving) Plum Blossoms and Cold Sparrows preserved in the Palace Museum. Notably, the rose-red petals create a strong visual tension against the dark ink ground, aligning with the coloring secret from the Mustard Seed Garden Manual of Painting: "Red plum must be set off by thick dark ink for its cold beauty to be fully realized." Upon close examination, the plum branches at the collar show a spiral ascending momentum, subtly implying the auspicious meaning of "success in three examinations" (连中三元); the plum blossoms at the waist are distributed in a scattered pattern, echoing the aesthetic proposition of the Ming Dynasty Records of Superfluous Things that "a scattering of flower shadows engenders a lively spirit." This design, which fuses the intent of literati painting with garment patterns, was only produced by the top workshops making silk gauze cheongsams in 1960s Shanghai.

The jacquard weaving utilizes double-strand rose-red mulberry silk as the weft, creating a relief effect on the dark ink warp surface. Microscopic observation reveals the splitting of the silk thread at the edge of the petals, which is remarkably similar to the Su Embroidery technique of "splitting the silk threads and dividing the colors, leaving no trace of the needle" recorded in the Qing Dynasty Xuehuan Xiupu preserved in the Suzhou Museum. This creation, which integrates the aesthetic principles of brocade weaving and embroidery, represents the pinnacle of the Shanghai-style cheongsam craftsmanship of the 1960s.

While the metropolitan "rainbow robes" (霓裳) are quickly replaced by fast-fashion symbols, this ink-colored plum motif cheongsam, dormant for sixty years, uses brocade as paper and silk thread as ink to write the permanence of Oriental aesthetics in the curve of the collar. It is not only a specimen of material cultural heritage but also a solidified time capsule, allowing the observer to touch that elegant era where one "cut ice-white silk, gently folded several layers, and lightly applied a rouge-like wash."