60年代 - 星点落英·六十年代台湾雪纺提花银线郁金香暗纹古董旗袍 | 1960s - Stardust Petals: A 1960s Taiwanese Vintage Cheongsam with Chiffon Jacquard, Silver-Thread Tulip Motif

分享一件上世纪六十年代雪纺提花郁金香暗纹台湾产古董旗袍。

此件旗袍以轻纱为底，紫白相间的郁金香暗纹遍布全身，间杂银线提花，如星点落英。领缘、袖口以深紫滚边，曲线如月。台湾制工艺承袭苏绣之精，暗纹布局暗合“疏可走马，密不透风”之章法，实为六十年代旗袍工艺之绝唱。

《说文》云“郁，芳草也”，而此件以西洋郁金香为纹，实为文化交融之见证。六十年代台湾旗袍纹样，既存“四季花”之传统，又纳西洋花卉之形，此谓“以洋为用，以中为体”。郁金香暗纹以渐变紫呈现，从浅到深茄紫，如《楚辞》“华采衣兮若英”，花瓣层叠处以银线提花，恍若“星点落英”，与背景浅灰交织，暗合《林泉高致》“远观之取其势，近视之取其质”之理。

雪纺（Chiffon）自民国初年传入中国，六十年代始用于旗袍，其轻盈透光之质，恰合“轻罗小扇白兰花”之境。滚边工艺尤精，深紫丝线与主体暗纹形成“主次相衬”之韵，如《考工记》“杂五色，东方谓之青，南方谓之赤，西方谓之白，北方谓之黑，天谓之玄，地谓之黄”，六色相和，尽显古雅。

🌷 Petals of Time: A 1960s Taiwanese Vintage Cheongsam with Chiffon Jacquard and Hidden Tulip Motifs

This robe originated in Taiwan during the 1960s. It uses sheer silk (qīng shā) as its base, with purple and white intertwined tulip patterns covering the entire body, interspersed with silver thread jacquard that resembles scattered starlight. The collar and cuffs are trimmed with deep purple piping, outlining curves like the moon.

The Taiwanese craftsmanship inherits the finesse of Suzhou embroidery, and the arrangement of the hidden patterns subtly adheres to the compositional principles of "sparse enough for a horse to run through, dense enough to block a needle" (shū kě zǒu mǎ, mì bù tòu fēng), making it a climax of cheongsam craftsmanship of the 1960s.

The Shuowen Jiezi states, "Yù (郁) means fragrant grass," yet this piece features the Western tulip motif, a testament to cultural fusion. The patterns on 1960s Taiwanese cheongsams retained the traditional "Four Seasons Flower" motifs while also incorporating Western floral forms, adhering to the principle of "Western function for Chinese essence" (yǐ yáng wéi yòng, yǐ zhōng wéi tǐ). The hidden tulip pattern is rendered in graduated purples, transitioning from light to deep eggplant purple, much like the phrase in the Songs of Chu: "The radiant garments are like flowers" (huá cǎi yī xī ruò yīng). Where the petals layer, silver thread jacquard is used, shimmering like "scattered petals of starlight" (xīng diǎn luò yīng), interwoven with the pale grey background. This aligns with the principle in Lofty Message of Forests and Streams (Lín Quán Gāo Zhì): "Viewed from afar, one grasps the momentum; viewed up close, one grasps the quality."

Chiffon (xuě făng) was introduced to China in the early Republican era, but began to be used for cheongsams in the 1960s. Its light, translucent quality perfectly captures the essence of "light gauze fan with white magnolia flowers" (qīng luó xiǎo shàn bái lán huā). The piping craftsmanship is particularly exquisite: the deep purple silk thread creates a rhythm of "primary and secondary contrast" with the main pattern, echoing the Kao Gong Ji (Record of Trades) principle: "Mixing the five colors—East is called green, South is called red, West is called white, North is called black, Heaven is called deep blue, Earth is called yellow"—the harmonious blend of colors reveals ancient elegance.

This cheongsam is more than just a garment; it is a mirror of 1960s Taiwanese social culture. It has Oriental aesthetics as its structure, Western motifs as its decoration, and exquisite craftsmanship as its soul, truly making it a "living artifact." Its rarity lies not only in the difficulty of its craftsmanship but also in the history of cultural fusion it embodies. As Mr. Shen Congwen once said: "The change in clothing reflects the change in the era." Looking at this robe today, it is as if one travels through time, seeing the moonlight of the 1960s spilling onto the chiffon, like scattered starlight, never to fade.

此件旗袍，不仅是衣饰，更是六十年代台湾社会文化之镜像：它以东方美学为骨，西洋纹样为饰，工艺精湛为魂，实为“活的文物”。其稀缺性，不仅在于工艺之难，更在于其承载的文化交融之历史，诚如沈从文先生言：“衣饰之变，时代之变也。”今观此袍，恍若穿越时空，见那六十年代的月光，洒在雪纺之上，如星点落英，永不凋零。