王梦梦

摘 要：中国的服饰文化源远流长，素有“衣冠之国”的美称。明清之际，中国的服饰文化观渐趋成熟，思想家的视角并非像先秦时期以治国平天下，而是对百姓的日常生活充满兴趣，注重个体的着装发展，李渔便是其中代表性的理论家之一。本文以李渔的著作《闲情偶寄· 声容部》中的服饰为分析对象，探讨李渔以生活艺术的角度对服饰色彩新颖的见解。李渔的服饰色彩美学以人为主，兼具实用性与审美性，不仅在当时别有新时代的意味，对现代的服装设计也具有借鉴意义。

关键词：李渔；闲情偶寄；服饰；色彩美学

Abstract： China's clothing culture has a long history and is known as the "country of clothes". During the Ming andQing dynasties， China's concept of clothing culture gradually matured， and the perspective of thinkers was not likethe pre-Qin period to govern the country and the world， but was full of interest in the daily life of the people， payingattention to the development of individual dress， Li Yu is one of the representative theorists. This paper takes thecostumes in Li Yu's book "Xian Qing Ou Ji， Voice and Face Department" as the analysis object， and discusses Li Yu'snovel insights on the color of clothing from the perspective of art of living. Li Yu's aesthetic thinking of clothing ismainly human， both practical and aesthetic， which not only has the meaning of a new era at that time， but also hasreference significance for modern clothing design.

Keywords： Li Yu;Xian Qing Ou Ji;clothing;color aesthetics

1 《閑情偶寄》中服饰审美与时代背景的联系

中国古代服饰无论纹样、款式、颜色、质料等方面都有严格的等级制度，至明代后期，由于商品经济的发展和社会结构发生变化，市民阶层逐渐形成，与之相适应的“世俗化”服饰审美文化趣尚广泛流行。人们享受的欲望影响到生活方式由俭入奢，对于服饰穿着的款式、面料、工艺等方面要求逐渐提高，民间服饰的款式愈加丰富多彩，变换周期也随之缩短，官民之间的服饰差异也日趋模糊。《万历新修余姚县志》记述浙江绍兴府平民的衣饰，已是“趋奇炫诡”，甚至“饰以王服”[1]。

《闲情偶寄》成书于康熙年间，作者李渔，字笠鸿，又字谪凡，浙江兰溪下李人。李渔在身份上有些特殊，文化层面属于士大夫精英阶层，经济层面属于市民阶层。他所处的明末清初之时，阶级矛盾和民族矛盾十分尖锐，也是充满变革与产生新思想的时代。……