| 摘要: | 婚禮是常人的人生中最重要的通過儀式之一。在攝影發明後，隨著技術進展與價格降低，為這個儀式留下視覺紀錄成為一個越來越普遍的習慣，以至於婚紗照成為今天的婚禮一個不可或缺的元素。
除了保護身體與遮蔽裸體，服裝是建構身分認同的重要工具。如果裸露的身體代表的是自我，服裝則是身體延伸到社會與文化情境中的記號。服裝所承載的社會與文化訊息包括年齡、職業、地域、社會地位、宗教與政治的意識形態立場、性別、族群與國族認同等。作為一種高度性別化的服裝，婚禮服裝更極大化了日常生活中服裝的性別化與兩性之間的權力關係。
百餘年來中國婚禮服裝的演進大致可以「西化」形容之，但是這個西化過程在兩性身上並非均質的發展，反映出來的除了中國社會中的性別角色的演變，以及社會分派給兩性面對西方文化時各自扮演的角色。1910年代前後出現的「文明結婚」，其特殊現象是男性婚禮服裝的全面西化。1935年由國民政府推動的「集團結婚」不僅將原本個人與家族性質的婚禮推到更廣的國家層次，在婚禮服裝方面更是直接回到傳統的長袍馬褂與旗袍。本文主要透過1910-1940年間的婚禮照片，以及大眾媒體上關於服裝與性別角色的論述，探討二十世紀初中國的性別與國族認同在婚禮服裝上的再現。
;Marriage is one of the most important rites of passage. With the invention of photography, it is more and more common to have a visual record for this ceremony, especially when the progress of technology is coupled with decreasing price, so that wedding photos became an indispensable element in today′s weddings.
In addition to protection from the elements, clothing is also an important tool for constructing identity. If the naked body means physicality of the self, clothing is a sign which extends into social and cultural spheres. The social and cultural information carried by clothing covers age, gender, profession, social status, religion and political ideology, ethnic and national identity, etc... Highly gendered, wedding costumes have maximized the gendered clothing in daily life and the power relationship between the sexes.
Over the past century, the evolution of Chinese wedding costumes can be approximately described as a process of “Westernization”. But this process is far from homogeneous in both sexes. It reflects the evolution of gender roles in Chinese society, particularly the roles assigned to both sexes in the face of Western culture. The phenomenon of “civilized marriage” appeared in the 1910s. It is worth noting that during this time, the westernization of wedding costumes affected only men. The “collective wedding” promoted by the National Government in 1935 not only pushed the previously personal and familial nature of wedding ceremony to a national level, but also directly returned to the traditional gowns and cheongsam in terms of wedding clothing. This thesis investigates mainly wedding photos published between 1910 and 1940, as well as discourses on costumes and gender roles in the mass media, to discuss the representation of Chinese gender and national identity in wedding costumes in the early twentieth century. |
