清代后妃頭飾的淵源與流變

由於清代皇家的銳意經營，使清代宮廷文化藝術達到中國歷史發展上的一個高峰期。本論文的目的在透過對宮廷后妃頭飾的整理與分析，探討工藝的源流、發展與工藝製作，發掘其背後的社會思維與文化意涵，藉以呈現清代宮廷文化的特色。后妃頭飾是宮廷生活中的一小部份，也因為它的微小似不足道，反而得以順應時勢發展，更能真實反映皇家內在本質的面貌與轉變。清代，作為一個由東北人口相對少數的半游牧民族，入主中原──一個以農業為主的漢族社會；同時統治蒙古、西藏與新疆──一個多民族、宗教與文化並存的廣大區域；十九世紀又面對西方文化的強力衝擊，這些豐富多元的力量相互交織，在后妃頭飾的發展上留下深刻的痕跡。承接清代皇家主要遺物的兩大博物館，台北的國立故宮博物院與北京的紫禁城故宮博物院，典藏宮廷后妃相關的冠帽、簪飾，這些實物的一部份保留了宮廷時代的黃籤記錄，是無可取代的一手史料，一方面因為其與實物直接連結，再現清代人對各項物質名詞的用語，有助於我們對文獻的理解，另一方面記錄上的時間資訊，提供對實物風格分期的重要參考，更甚者，透過與清代內務府檔案的比對，可掌握物件背後隱藏的歷史人物與事件，重新審視歷史的另一個面相。本論文分為三大部份，第一部份以清代后妃特有冠帽的形制為中心，探討滿族傳統冠帽的樣式及其來源，第二部份以后妃日常髮式為主，分析鈿子和二把頭的演變以及簪飾風格流變的脈絡，第三部份以工藝製作為中心，針對倍受清代皇家重視的珍珠，檢視其在簪飾中扮演角色的變化；並經由造辦處的外僱工匠與買辦，闡釋宮廷內外工藝技術的互動。經由以上考察，歸納出三點結論，第一清代頭飾中滿族傳統的形成，實際上有可能追溯到金代女真時期與宋、遼的濡染，並吸收元代以來蒙古族的習俗，也就是說滿族文化的內涵與轉化，不宜單純以「漢化」如此簡化的概念來理解。第二，帝王或掌權者對簪飾風格的發展雖然具有主導性的力量，在個人喜好的主導下，引進新題材與新材質；而使用者后妃，雖然沒有物品的產權卻擁有選擇權，經由簪飾的組合變化，以決定其自我曼妙的面貌。第三，宮廷內外的互動一直存在，十八世紀當皇權高漲時，宮廷的品味與嚴謹的技術要求，影響民間的工藝水平；十九世紀以後，民間工匠廣泛吸收外來的審美觀與作法，以活潑的創意表達傳統題材，回過頭來因應宮廷的需求，豐富頭飾的變化。透過清代后妃頭飾的發展與變化，再一次證實歷史的高峰來自對不同文化的尊重與無分別的態度，在理性的消化與吸收之後，才能綻放出美麗的花朵，文化本體的包容力與吸收力正決定了藝術文化所能成就的高度。

關鍵字

清代服飾；宮廷；滿族；鈿子；兩把頭；簪

並列摘要

After organizing the actual surviving hairpins and accessories of court ladies from the Qing dynasty along with their accompanying yellow label records, this study analyzes and presents their stylistic development over time. The “hairpins and accessories” here refers to the headdress ornament and hairpin used to tie the hair into the banner style. The headdress and banner hairstyle was a common way for Qing Manchu ladies to tie their hair in life. The hairpins and accessories that accompanied this hairstyle not only changed over time, their methods of combination were also different. The emperors and those in power were the driving force behind their stylistic development, but external conditions of craftsmanship and technique as well as the materials used likewise were elements that played a role in the changes seen in such accessories. As for imperial ladies, they may not have had the authority to have these hairpins and accessories produced, but they had the power to choose from among them. All of these variables helped to yield the graceful image of Qing court ladies. Close observation of developments in hairpins and accessories allows us to understand how the Manchu retained their customs and a deeper understanding of related gender issues. The stylistic development of Qing court hairpin accessories can be divided into three stages. During the first period, encompassing the four reigns of the Kangxi, Yongzheng, Qianlong, and Jiaqing emperors (from 1662 to 1820), the technique used was mostly gold filigree accompanied by either kingfisher feathers or inlaid semi-precious gems, the number of headdress ornaments being greater in number. The hair tied up into two wings lying on the head also involved the use of smaller hairpins. With the appreciation of emperors, new decorative subjects and materials were introduced. During the second stage, covering the Daoguang, Xianfeng, and Tongzhi reigns (from 1821 to 1874), the art of hairpins and accessories featured mostly kingfisher feathers accompanied by gold filigree and semi-precious gems. Kingfisher feathers played an important role in the decoration of headdress ornaments. The banner hair style at this time also became increasingly upright and wider, resulting in the necessity to make hairpins larger as well or to be accompanied by an ornamental curette hairpin and hairpick. With middle and higher class imperial ladies being able to manage their hairpin accessories and other possessions, they perhaps had the chance to actively select what they wanted. In the third period, encompassing the Guangxu and Xuantong reigns (from 1875 to 1911), headdresses became taller and for banner hair styles there appeared hair racks with large wings. Hairpins and accessories on the one hand continued to be large but there also appeared those mainly made of pearls, jadeite, and semi-precious gems; with greater attention to liveliness and realism, they have a greater degree of three-dimensionality. The Empress Dowager Cixi, who had political control in this period, may have played a role in the new stylistic development of hairpins and accessories at this time.