| Abstract (Chinese): |
目前学界对汉代帧的讨论多倚重传世文献, 尚未全面整合出土实物。文章利用多重证据法的方法, 综合运用两汉壁画、俑像及简牍等出土材料展开分析。研究认为, 西汉的帧最初是卑贱者的首服, 没有固定形制, 后逐渐尊贵化、制度化, 至东汉定型为文职"介帧"与武职"平上帧"。西汉时期的帧色呈现多元化的面貌, 经过与职官制度及阴阳五行思想交融, 东汉时期形成了文职黑帧、武职赤帧的色彩制度。两汉帧的象征意义经由董仲舒、王莽及东汉谶纬道教的层层建构, 从日常"小物"逐步升华为政治德运符号与宗教圣物, 并最终在宋代道教中固化为"绛衣赤帧"的神仙标识。The headgear known as ze() underwent marked changes in form, color regulation, and symbolic meaning during the Han Dynasty. These changes are crucial for understanding the relationship between dress institutions. social hierarchy, and intellectual and cultural life in Han society. However, existing scholarship relies on transmitted texts and seldom systematically incorporates excavated evidence, making it difficult to trace clear developmental trajectory for ze. This study integrated excavated materials, including tomb murals, ceramic figurines, and bamboo and wooden manuscripts, with transmitted texts, and it developed an analytical framework that brings material remains, written sources, images, and ideas into dialogue. It examined the formation and evolution of ze styles, the development of ze color regulation, and the process by which the ze acquired symbolic meaning. The study yielded three conclusions. First, in the early Western Han Dynasty, ze was simple in form and was worn by people of lower status. During the reign of Emperor Yuan, ze gained prestige. In the late Western Han and under the Xin regime of Wang Mang, a roof-like upper section known as wu(屋) appeared, which standardized ze as a fully head-covering form. By the Eastern Han Dynasty, civil officials wore Jie ze (介帧), whose wu was tall and square and was paired with the Jinxian crown(进贤冠),whereas military officials wore Pingshang ze(平上顿) or, later, Pingjin ze (平巾帳), both characterized by a flatter top and worn with military headgear. Second, Western Han ze came in a wide range of colors, such as black, red, yellow, and green, while the Eastern Han developed a more formal scheme in which civil officials wore black ze and military officials wore red ze. In ritual, the colors prescribed for officiants reflected cosmological ideas about yin and yang and the five elements. Rites described as "assisting yang," for instance, specified red ze to restrain excessive yin, and the rites of welcoming qi at the Five Suburban Altars required ze colors to match the directional color system (east, blue green; south, red; center. yellow; west, white; north, black). Third, ze accrued symbolic meanings through a layered process. In the Western Han Dynasty, it was treated as a small item of everyday attire. Dong Zhongshu's theory of the "Three Unifications" first connected ze colors with cycles of dynastic virtue, giving them abstract political significance. Wang Mang then tied the yellow ze to the earth virtue claimed by his new regime to strengthen its legitimacy. In the Eastern Han Dynasty, the Daoist scripture Taiping Jing (Scripture of the Great Peace) portrayed the supreme deities of the Five Virtues as figures wearing crowns and ze, thereby lending ze a sacred character. This religious symbolism endured and ultimately crystallized in Song Dynasty Daoism as the identifying marker of immortals described as wearing "crimson robes and red ze." Overall, this study traced how ze evolved from a modest and practical accessory into an item governed by formal regulations and, ultimately, into a sacred emblem. This transformation was closely tied to the expansion of the Han bureaucratic order, the consolidation of state ritual, and the cosmological ideas current at the time. The study's main. contribution lies in its systematic integration of excavated evidence with transmitted texts, which clarify key stages in the standardization of ze forms and color rules and unpacked the complex ideas that inform these developments. Future research may examine regional differences in the use of ze and assess its impact on later regulations of crowns and official dress. [ABSTRACT FROM AUTHOR] |