皇權的建構與再現：明朝皇帝衣冠形制研究

歷史上的中國，經常自詡為「衣冠上國，禮儀之邦」，指的就是服飾制度較周邊少數民族齊備，而服飾同時也是禮的再現。皇帝的袞冕服飾有十二章紋，演變到後來，十二章紋成為權力的代名詞。另外，中國的服飾無論在材質、顏色或圖紋方面，經常會呈現等級序列降冪排列，這樣的排列恰好對應權力的排列，因此服裝就成為權力的再現。明代是最後一個漢人王朝，明代的歷代皇帝對服飾有不同程度地更定，在進行服飾更定的過程中，經常伴隨著政治鬥爭，最終爭取的是政治方面的權力，而服飾呈現等級序列的樣貌，再現了權力的等級。例如根據十二章紋或團窠龍紋等圖紋的數量可以確認其可能身分。另外，英宗以後，十二章紋被使用到圓領服上，使圓領服的地位明顯提升。神宗藉由穿著鎧甲謁陵，獲取實質的政治權力。光宗在位期間過短，其畫像中所著的圓領服很可能僅是皇太子等級，反映了他長期受到神宗冷遇的史實。上述種種都是明代皇帝服飾與權力關係的脈絡。綜觀整個明代這些皇帝等級的衣冠有眾多款式，不同款式的服飾，其源流與演變各不相同，爬梳這些服飾的發展脈絡，或可一窺明代皇權是如何建構與再現的。

關鍵字

明代皇帝衣冠；皇權；十二章紋；等級制度

並列摘要

Historically, China referred to itself as a "country of clothes, a country of ritual" which means that the clothing system is more complete than that of the surrounding ethnic minorities, and clothing is also a representation of ritual. The emperor's Gunmian（袞冕） have the twelve symbols of sovereignty. Later, the the twelve symbols of sovereignty became synonymous with power. In addition, in terms of material, color or pattern, Chinese clothing presents a descending order of ranks. Such an arrangement corresponds to the arrangement of power. Therefore, clothing becomes a representation of power. The Ming Dynasty was the last Han dynasty. The emperors of the Ming Dynasty changed their costumes to varying degrees. In the process of changing their costumes, they were often accompanied by political struggles, ultimately fighting for political power, and the costumes presented a hierarchical sequence. The appearance reproduces the level of power. For example, the possible identity can be confirmed based on the number of patterns such as the twelve symbols of sovereignty or the dragon medallions. In addition, after Yingzong（英宗）, the twelve symbols of sovereignty was used on round-neck attire, which significantly improved the status of round-neck attire. Shenzong（神宗） gains substantial political power by wearing armor to worship in the mausoleum. The period of Guangzong's（光宗） reign was too short, and the round-neck attire in his portrait was probably only a crown prince, reflecting the historical fact that he was worse treated by Shenzong for a long time. All of the above are the context of the relationship between the emperor's clothing and power in the Ming Dynasty. There are many styles of clothing of these emperors in the Ming Dynasty. Different styles of clothing have different origins and evolutions. The development context of these clothing can be traced, or we can get a glimpse of how the emperorship of the Ming Dynasty was constructed and represented.