聚焦明清时期直领披风（文献中通称“披风”）的形制复原问题,以安徽博物院藏《明代无款道志昂容像堂幅》《明代佚名妇人像》及故宫博物院藏《李流芳像》《倚塌观鹊》《持表对菊》5幅画作为复原蓝本,结合出土服饰实物与文献记载,通过纹样摹绘、工艺还原及染色实验,系统复原明代男子直领披风、明代女子直领披风及清代女子直领披风三类典型服饰。研究重点包括通过图像分析与实物比对,厘清明清两代直领披风的形制演变;基于纹样考据与工艺实践,还原不同时期服饰的装饰特征;结合场景和全套配伍复原,验证复原成果的历史合理性。结果表明,明清披风在保持“直领对襟”核心形制的同时,袖型、装饰工艺及纹样主题随时代变迁呈现显著差异,反映了服饰文化在政权更迭中的传承与调适,为传统服饰复原方法论提供了新思路。

Focusing on the restoration of the shape of the straight-collared cloak (commonly known as the "cloak" in the literature) in the Ming and Qing Dynasties, taking five paintings as restoration references, including the Anonymous Portrait of Dao Zhiang in the Ming Dynasty and Anonymous Portrait of a Noble Woman in the Ming Dynasty from the Anhui Museum, as well as Portrait of Li Liufang, Watching Magpies While Reclining, and Admiring Chrysanthemums with a Watch in Hand from the Palace Museum, and combing with unearthed clothing artifacts and documentary records, the work aims to systematically restore three typical costumes of the men's straight-collared cloaks in the Ming Dynasty, women's straight-collared cloaks in the Ming Dynasty, and women's straight-collared cloaks in the Qing Dynasty through pattern copying, process restoration and dyeing experiments. The research focuses include clarifying the shape evolution of the straight-collar cloak in the Qing and Qing Dynasties through image analysis and comparison with the actual object, restoring the decorative characteristics of clothing in different periods based on pattern research and process practice, verifying the historical rationality of the restoration results combined with the scene and a full set of compatibility restoration. The results show that while maintaining the core shape of "straight collar and placket", the sleeve shape, decoration technology and pattern theme of the Ming and Qing Dynasties show significant differences with the times, reflecting the inheritance and adaptation of clothing culture in the change of regime. This study provides a new idea for the methodology of traditional costume restoration.