海上名妓:晚清女性服饰时尚的引领者——以《九尾龟》为考察中心
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摘要
就《九尾龟》小说所集中呈现的妓女服饰形象,探讨晚清妓女尤其是上海开埠后的名妓引领女性生活时尚的沿袭及流变。从19世纪60年代起到20世纪初,上海妓女凭借五方杂居、华洋并处的地域优势,其在公众场合的行为举止、穿衣打扮,乃至室内陈设及用具,都成为关注重点。尽管其中掺杂着道德瑕疵和人们不怀好意的诟病,但不可否认的是,职业妓女特殊的边缘性社会地位相应给予了她们一定的自由度和空间性,甚至不受清代一些服饰禁令的约束;而勾栏生涯的职业要求,也同时促使她们在迎奉男性审美趣味及互相的竞争中使尽浑身解数。妓女形象,尤其是名妓的形象,在传统与现代、东方与西方杂糅的文化境遇和生活场域中扮演着时尚的引领者和风向标,成为上海这座新奇、洋派的"大魔都"无可争议、不容忽视的"新偶像",并成为晚清狭邪小说着力描绘的文学形象之一。
From 1860 s to early twentieth century, courtesans in Shanghai, by the geographical advantage of living in mixture with all kinds of people, either local or foreign, had become the focus in behavior, clothing, indoor furnishings, and utensils, despite the moral flaws and denounce from the people. It is undeniable that the special marginalized social status of the courtesans gave them certain corresponding freedom and space, and was not even bound by some clothing prohibitions of the Qing Dynasty. The professional requirements of courtesans also prompted them to be attractive to meet the men's aesthetic taste. The image of courtesans, especially the famous courtesans, played the leading vanguard and vane of fashion in the circumstances of traditional and modern, Eastern and western mixed cultures, and became the undisputable "new idol" of the magic city of Shanghai and one of the protagonists in courtesan novels of the late Qing Dynasty. This paper, based on the courtesan's clothing in the novel of Nine Tailed Tortoises, tries to discuss the evolution of fashion led by the courtesans in late Qing Dynasty, especially the renowned courtesans after the opening of Shanghai port.
From 1860 s to early twentieth century, courtesans in Shanghai, by the geographical advantage of living in mixture with all kinds of people, either local or foreign, had become the focus in behavior, clothing, indoor furnishings, and utensils, despite the moral flaws and denounce from the people. It is undeniable that the special marginalized social status of the courtesans gave them certain corresponding freedom and space, and was not even bound by some clothing prohibitions of the Qing Dynasty. The professional requirements of courtesans also prompted them to be attractive to meet the men's aesthetic taste. The image of courtesans, especially the famous courtesans, played the leading vanguard and vane of fashion in the circumstances of traditional and modern, Eastern and western mixed cultures, and became the undisputable "new idol" of the magic city of Shanghai and one of the protagonists in courtesan novels of the late Qing Dynasty. This paper, based on the courtesan's clothing in the novel of Nine Tailed Tortoises, tries to discuss the evolution of fashion led by the courtesans in late Qing Dynasty, especially the renowned courtesans after the opening of Shanghai port.
引文
(1)漱六山房:《九尾龟》,上册,百花洲文艺出版社2011年版,第5页。
(2)王德威:《被压抑的现代性》,北京大学出版社2005年版,第133页。
(3)叶凯蒂:《上海爱》,生活·读书·新知三联书店2012年版,第36页。
(4)《世界繁华报》1901年12月26日。
(5)《吴友如画宝》,下册,上海古籍出版社1983年版,第22页。
(6)《欲富国先去奢俗论》,《申报》1891年12月1日。
(7)《吴友如画宝》,下册,第22页。
(8)张敏:《试论晚清上海服饰风尚与社会变迁》,《史林》1999年第1期。
(9)王韬:《瀛壖杂志》,上海古籍出版社1989年版,第10页。
(10)张敏:《试论晚清上海服饰风尚与社会变迁》。
(11)《论近今男女服饰之异》,《指南报》1879年6月17日。
(12)浪游子:《海上烟花琐记》,卷4,第6页。
(13)《中华图书集成》,第3卷,1925年版,第67页。
(14)Wiley James Hundley,A Study of Chinese Prostitution,M.A.: University of Chicago, 1929年,第74页。
(15)半生痴:《海上冶游备览》,卷4,1891年,第6页。
(16)Lemière J. Em.,“The Sing-Song Girl: From a Throne of Glory to a Seat of Ignominy”,China Journal of Science and Arts 1.2(March),1923年,第127页。
(17)卫泳:《悦容编》,载虫天子(张廷华)编:《香艳丛书》,第1集,卷2。
(18)《女扮男装》,《游戏报》1897年9月20日。
(19)艮心绘:《花样一新》,《点石斋画报》寅集,第3册。
(20)徐珂:《清稗类钞》卷12《衣饰类》,中华书局1984年版,第53—54页。
(21)叶凯蒂:《上海爱》,第65页。
(22)《论沪上妇女服饰之奇》,《游戏报》1899年1月1日。
(23)贺萧:《危险的愉悦》,第4页。
(24)贺萧:《危险的愉悦》,第5页。
(25)王德威:《被压抑的现代性》,第124页。
(2)王德威:《被压抑的现代性》,北京大学出版社2005年版,第133页。
(3)叶凯蒂:《上海爱》,生活·读书·新知三联书店2012年版,第36页。
(4)《世界繁华报》1901年12月26日。
(5)《吴友如画宝》,下册,上海古籍出版社1983年版,第22页。
(6)《欲富国先去奢俗论》,《申报》1891年12月1日。
(7)《吴友如画宝》,下册,第22页。
(8)张敏:《试论晚清上海服饰风尚与社会变迁》,《史林》1999年第1期。
(9)王韬:《瀛壖杂志》,上海古籍出版社1989年版,第10页。
(10)张敏:《试论晚清上海服饰风尚与社会变迁》。
(11)《论近今男女服饰之异》,《指南报》1879年6月17日。
(12)浪游子:《海上烟花琐记》,卷4,第6页。
(13)《中华图书集成》,第3卷,1925年版,第67页。
(14)Wiley James Hundley,A Study of Chinese Prostitution,M.A.: University of Chicago, 1929年,第74页。
(15)半生痴:《海上冶游备览》,卷4,1891年,第6页。
(16)Lemière J. Em.,“The Sing-Song Girl: From a Throne of Glory to a Seat of Ignominy”,China Journal of Science and Arts 1.2(March),1923年,第127页。
(17)卫泳:《悦容编》,载虫天子(张廷华)编:《香艳丛书》,第1集,卷2。
(18)《女扮男装》,《游戏报》1897年9月20日。
(19)艮心绘:《花样一新》,《点石斋画报》寅集,第3册。
(20)徐珂:《清稗类钞》卷12《衣饰类》,中华书局1984年版,第53—54页。
(21)叶凯蒂:《上海爱》,第65页。
(22)《论沪上妇女服饰之奇》,《游戏报》1899年1月1日。
(23)贺萧:《危险的愉悦》,第4页。
(24)贺萧:《危险的愉悦》,第5页。
(25)王德威:《被压抑的现代性》,第124页。