巧手修復(fù)，梅里云裳重現(xiàn)芳華

俞吉吉

絲絲入筘，經(jīng)緯交織，梅影現(xiàn)兮;銀針飛走，彩線納繡，云裳飄兮。

500年前的明代服飾，出土?xí)r已殘破不堪，如今，經(jīng)過(guò)中韓兩國(guó)文物工作者的巧手修復(fù)，它們得到復(fù)原，重新煥發(fā)了光彩。

“梅里云裳：中韓合作嘉興王店出土明代服飾修復(fù)與復(fù)原展”亮相中國(guó)絲綢博物館紡織品文物修復(fù)展示館，一段長(zhǎng)達(dá)數(shù)年的中韓合作修復(fù)和復(fù)原明代服飾的故事浮出水面。同期開(kāi)展的，還有時(shí)裝館內(nèi)的“一衣帶水：韓國(guó)傳統(tǒng)服飾與織物展”。

春日的西子湖畔，中韓兩國(guó)的傳統(tǒng)服飾故事，在這里述說(shuō)著一衣帶水的濃濃情誼。

13年前，嘉興古鎮(zhèn)現(xiàn)明代望族墓

明代的對(duì)襟上衣、大袖衫、紗裙、綢褲……綾羅綢緞在這里是褪色的歲月，也有了現(xiàn)代的靚麗闡釋?！懊防镌粕眩褐许n合作嘉興王店出土明代服飾修復(fù)與復(fù)原展”展出了中韓合作修復(fù)的以李湘之妾徐氏墓（M4）出土服飾為主的明代女式服飾，還有多件服裝的復(fù)原件及制作工藝。

李湘是何人？故事還要從13年前一處意外發(fā)現(xiàn)的明代古墓說(shuō)起。

“蠶絲之廣，不下吳興”。王店，舊稱梅里，為明代興起的絲綢業(yè)專業(yè)市鎮(zhèn)，至明代中葉，此地“鎮(zhèn)民之居，夾河成聚，為里者三”，成為嘉興四大鎮(zhèn)之一。2006年11月，浙江省嘉興市王店鎮(zhèn)在平整該鎮(zhèn)南部一處叫李家墳的土墩時(shí)發(fā)現(xiàn)了一處古墓，經(jīng)發(fā)掘清理，確認(rèn)墓主人為明代中后期文林郎李湘及妻妾四人的合葬墓，墓中還出土了大量包括絲綢服飾在內(nèi)的紡織品文物。

李湘一族，屬梅溪李氏，在明清兩代是當(dāng)?shù)氐耐?。李湘的祖上自元朝末年從江蘇江陰遷至梅里（王店鎮(zhèn)）一帶。李湘生于明成化二十三年（1487年），字本澄，號(hào)東泉。李湘一生未建功名，也未做官，但其子李芳、其孫李衷宏（又名李原中）均中進(jìn)士。李湘死后“賴子芳貴”，被追封為文林郎。文林郎為正七品，是古代有官名而無(wú)職事的官稱。徐氏為李湘之妾，徐氏墓中未發(fā)現(xiàn)墓志銘，其棺蓋墨書(shū)“明故庶母徐孺人靈樞”。

該批絲綢服飾出土后，中國(guó)絲綢博物館承擔(dān)了應(yīng)急保護(hù)及修復(fù)工作。據(jù)策展人王淑娟介紹，當(dāng)時(shí)墓葬共發(fā)掘出四具棺材，從南至北依次編號(hào)為M1至M4，分別是李湘的側(cè)室陳氏、李湘本人、李湘之妻和李湘?zhèn)仁倚焓系哪乖?。前三具的出土文物留在了嘉興博物館，李湘之妾徐氏墓（M4）出土的服飾，來(lái)到杭州，由中國(guó)絲綢博物館與韓國(guó)傳統(tǒng)文化大學(xué)合作修復(fù)。修復(fù)的同時(shí)，中韓雙方又各自復(fù)原制作了一件徐氏的袍服。此外，北京服裝學(xué)院與中國(guó)絲綢博物館還對(duì)墓中出土的幾件袍服做了形制上的復(fù)原，再現(xiàn)了這些服飾當(dāng)年亮麗的樣子。

近期，這個(gè)中韓兩方為期數(shù)年的“嘉興王店出土明代服飾修復(fù)與復(fù)原”合作項(xiàng)目終于完成。中國(guó)絲綢博物館特別在紡織品文物修復(fù)展示館舉辦了“梅里云裳：中韓合作嘉興王店出土明代服飾修復(fù)與復(fù)原展”介紹這一成果。

華服背后，是中韓聯(lián)手的用心修復(fù)

“M4出土的服飾殘缺較甚，每件文物均呈支離破碎狀，所幸殘片的牢度較好，我們這次采用了針線縫合的物理方法進(jìn)行修復(fù)?！蓖跏缇暾驹谡箯d中說(shuō)道，她的眼前是一件復(fù)原后的獬[xiè]豸[zhì]繡補(bǔ)云鶴團(tuán)壽紋綢大袖衫，大紅的底色，正中的補(bǔ)子上金邊圈起一朵朵祥云，還有一只張大口的神獸獬豸，栩栩如生，再看一側(cè)的織金雙鶴胸背曲水地團(tuán)鳳紋綢大袖衫復(fù)原件，一樣的大紅底色，相對(duì)而視的仙鶴在云間飛翔，吸引了不少參觀者駐足觀賞。

眾人不知的是，為了重現(xiàn)這兩件明代華服，中國(guó)絲綢博物館和來(lái)自韓國(guó)傳統(tǒng)文化大學(xué)的師生們花費(fèi)了6年之久。

2012年5月，韓國(guó)傳統(tǒng)文化大學(xué)和中國(guó)絲綢博物館共同簽署了合作備忘錄。隨后，雙方開(kāi)展“嘉興王店出土明代絲綢服飾”的研究、保護(hù)和復(fù)制項(xiàng)目。2014年，雙方完成了修復(fù)工作，2018年，復(fù)原件制作完成。在此期間，雙方多次互派人員開(kāi)展訪問(wèn)和交流。

在紡織品文物修復(fù)展示館舉辦的服飾修復(fù)展已不在少數(shù)，在王淑娟看來(lái)，這場(chǎng)展覽更接地氣，更貼近觀眾?！罢故玖诵迯?fù)還原的全過(guò)程，同時(shí)展覽通過(guò)模特陳列的方式，讓觀眾可以直觀地一睹明代古人著裝的風(fēng)采。古人是如何穿這些寬大的古裝的？相比于以往的學(xué)術(shù)文字，更受觀眾歡迎?！彼f(shuō)。

如何復(fù)原？首先要修復(fù)。支離破碎的殘片修復(fù)成衣并非易事。所幸各殘片的牢度相對(duì)尚好，因此，這批出土服飾采用了針線縫合的物理方法予以修復(fù)，具體說(shuō)來(lái)，就是選用與文物相近的織物作為背襯，襯于破損服飾殘片之下，使用相應(yīng)針?lè)▽⑽奈锱c背襯織物縫合加固。但因各件服飾缺失較多，所以在修復(fù)前需先對(duì)其形制進(jìn)行研究，確定后方按形制實(shí)施修復(fù)加固。

在長(zhǎng)達(dá)2年的修復(fù)過(guò)程中，王淑娟表示，清洗出土服飾和殘片平整等環(huán)節(jié)并不容易，她說(shuō)，明代服飾在江浙一帶出土較多，因?yàn)榻阋粠夂蜉^為潮濕，深埋地下長(zhǎng)期泡水的服飾就會(huì)出現(xiàn)皺縮、變形，同時(shí)，經(jīng)過(guò)數(shù)百年后服飾也比較脆弱，增加了清洗難度，文物不可能用熨斗燙，如何整平呢？“用磁塊壓平?！彼f(shuō)。

相比于修復(fù)，復(fù)原的難度系數(shù)更大，前后花了6年時(shí)間。由北京服裝學(xué)院復(fù)原的獬豸繡補(bǔ)云鶴團(tuán)壽紋綢大袖衫和韓國(guó)傳統(tǒng)文化大學(xué)復(fù)原的織金雙鶴胸背曲水地團(tuán)鳳紋綢大袖衫均從面料復(fù)原開(kāi)始，到補(bǔ)子（系補(bǔ)綴于品官補(bǔ)服前胸后背之上的一塊織物，為明清官服飾制度的一個(gè)重要特征）織繡工藝、服裝的裁剪及縫制工藝，較為全面地再現(xiàn)了織造、刺繡及服裝的制作過(guò)程。

殘缺的部分如何補(bǔ)上？需要從現(xiàn)存的部分尋找蛛絲馬跡，比如線頭、折痕等。由于時(shí)間久遠(yuǎn)，出土服飾的顏色已經(jīng)褪去，它們?cè)瓉?lái)的色彩是怎樣的呢？這就需要從現(xiàn)存的同時(shí)期的傳世文物中去推斷。好在還有傳世的明代服飾，王淑娟說(shuō)，兩件大紅底子復(fù)原服飾的顏色就是從山東曲阜孔府的傳世明代服飾中推斷得到。

如果說(shuō)修復(fù)是使紡織品文物的壽命能夠盡可能地延長(zhǎng)，那么，復(fù)原則是使古代服飾的制作工藝能夠被認(rèn)知，從而得以傳承和發(fā)揚(yáng)。

一衣帶水，中韓傳統(tǒng)服飾一脈相承

“像王店出土的松竹梅雙色緞巾，有著非常精致的松竹梅暗花，從這些出土的絲綢就能看出明代王店這一帶絲綢業(yè)的繁榮。”王淑娟表示，此外，出土服飾中出現(xiàn)較多的四季花卉紋、蜂蝶紋、菱格螭紋等都是明代的流行紋樣。同時(shí)，她表示，現(xiàn)在不少流行漢服的原型就是明代服飾。明代服飾也影響了同時(shí)期的韓國(guó)傳統(tǒng)服飾，“在形制上，同時(shí)期的韓國(guó)傳統(tǒng)服飾在明代服飾的基礎(chǔ)上進(jìn)行了改良，像女士的裙裝，腰際線上提了不少，但是在不少男士服裝上，圖案和紋樣在兩國(guó)都是相同或相近的?！彼f(shuō)。

中韓兩國(guó)相距甚近，曾幾何時(shí)，中國(guó)明朝和韓國(guó)朝鮮王朝之間的文化交流是如此密切，衣冠服飾是如此相似。同期亮相時(shí)裝館的“一衣帶水：韓國(guó)傳統(tǒng)服飾與織物展”，就很好地再現(xiàn)了兩國(guó)一衣帶水的歷史淵源和深厚情誼。

展覽展出韓國(guó)傳統(tǒng)文化大學(xué)纖維專業(yè)師生通過(guò)考證復(fù)制的14到20世紀(jì)韓國(guó)服裝和紡織品115件，其中“傳統(tǒng)服飾”版塊展示了韓國(guó)傳統(tǒng)服飾50余套/件，分王室服飾、禮服、男裝、女裝、童服、巾帽、鞋靴七個(gè)系列;“傳統(tǒng)織物”版塊展示了應(yīng)用韓國(guó)國(guó)家級(jí)紡織非物質(zhì)文化技藝制作的“春布”、展現(xiàn)近期研究復(fù)原的已失傳的織金、羅、紋緞、紋綾等復(fù)原織物及介紹現(xiàn)代機(jī)器織造生產(chǎn)的各類韓國(guó)服裝面料。

據(jù)悉，這些韓國(guó)傳統(tǒng)服飾及紡織品，如此集中地在中國(guó)的博物館內(nèi)展出，在國(guó)內(nèi)還是首次。展覽試圖通過(guò)展示多姿多彩的傳統(tǒng)韓國(guó)服飾、紡織品以及在服飾制作過(guò)程中所運(yùn)用的織造和印染手工技藝，以此為契機(jī)增進(jìn)中國(guó)觀眾對(duì)韓國(guó)傳統(tǒng)服飾文化的了解，為中韓兩國(guó)對(duì)織染非物質(zhì)文化遺產(chǎn)傳承、復(fù)原和活用的溝通交流提供有益機(jī)會(huì)。本次展覽將持續(xù)至6月9日。

“中韓兩國(guó)傳統(tǒng)服飾有許多相通之處，在服飾修復(fù)和復(fù)原領(lǐng)域，雙方的文物科技合作前景廣闊。此次舉辦兩大展覽也是對(duì)我們合作和交流的一次回顧和檢閱?！敝袊?guó)絲綢博物館館長(zhǎng)趙豐表示。

（本文圖片攝影：魏志陽(yáng)）

Ming Dynasty Fashion Restored by Textile Conservators

By Yu Jiji

The matchless craftsmanship and joint efforts of Chinese and Korean antiquarians have restored the gloss and glory of womens silk fashion of a family living in the Ming Dynasty of China. At the Textile Relic Restoration Exhibition Center of the China National Silk Museum in Hangzhou， the hard work and superb skills of the restoration and replication experts of the two countries are displayed in a themed exhibition held together with a side event dedicated to traditional Korean clothing and fabrics.

Most of the exhibits are selected from the archaeological findings from the tomb of the Xu-surnamed concubine of Li Xiang， a man from an influential clan living in present-day Wangdian Town in Jiaxing， Zhejiang Province. The clan moved from Jiangyin in Jiangsu Province to present-day Jiaxing in the later years of the Yuan Dynasty （1279-1368）. Born in 1487， Li Xiang had three wives and lived an affluent life. The family nurtured two “Jinshi” （a successful candidate in the highest imperial exanimations）.

In November 2006， archaeologists unearthed a tomb together with a large number of textile articles underneath a mound in a place called Lijiafen （literally the Li family cemetery） in the southern outskirts of the town. From the exhibits that include Ming-style jackets with buttons down the front， wide-sleeve garments， gauzy skirts， and silk pants， one can see the lavish lifestyle in the most glorious years of the illustrious Lis family.

According to Wang Shujuan， the curator of the Hangzhou exhibition， a total of four coffins emerged from the excavation， with the findings from the tomb of one of Lis concubines shipped to Hangzhou， where textile conservators of the China National Silk Museum and the Korean National University of Cultural Heritage of South Korea started a restoration project in partnership.

The restoration of two of the unearthed silk pieces took six years to complete. The result is two immaculate pieces elaborately adorned with embroidered patterns. Visitors find it hard to imagine how the dust-laden silk fragments from about 500 years ago could be put together again. Behind the virtuosity is a wide range of preservation techniques and expertise for all types of media and material.

“Considering the original state of the objects unearthed from the No. M4 tomb， the conservators worked out a plan based on physical treatments. Basically it was needlework. Luckily， the bitty fragments had a level of firmness that made repair and restoration technically possible. The restoration project also spawned a series of cultural exchange activities，” Wang Shujuan shares， adding that the exhibition in Hangzhou has its unique features， compared with other textile restoration projects hosted by the museum. During the restoration project， Chinese and ROK experts visited each other several times. In 2014， the restoration of the two originals was finished. In 2018， the replicas with new fabrics， new colors， and new patterns， were produced.

“The exhibition is designed in a way that allows visitors to see the entire process of restoration work. The use of life-models wearing the replicas， instead of text introduction， is also an innovative touch that allows the visitor to see real-life fashion of the privileged class of late Ming times of China，” comments the curator.

Textiles are among the most fragile artifacts， as they are susceptible to damage from atmospheric pollutants， moisture， biological organisms， and environmental changes and care varies with size， shape， material， and condition issues， all of which a textile conservator must be well versed. The “physical method” mentioned by Wang is to use similar fabrics as back lining. Using special needlework， the fabric is stitched into the fragment by following the details of the restored image of the original garment. The two years intensive work started from rinsing， cleansing， and smoothing by using of magnetic tools. The first stage of repair work was no easy task， due to the high air humidity in Zhejiang and Jiangsu provinces， where a large number of Ming-style clothing articles have been found.

However， stitching the original fabrics together into complete cloths was nothing if compared with the difficulty level of making new replicas on the basis of restored clothes. The former took about two years whereas the latter six. A lot more was involved. For example， it took a lot of work to figure out the original color of the fabric. Even the smallest details， such as thread residues， are crucial for the conservators to work out substitutes perfectly matching the missing parts. When the experts were clueless about the details of the original pieces， they turned to related archaeological findings for reference and inspiration. Fortunately， they were able to make decisions after look at some Ming fashions.

The side exhibition that displays the evolution of the clothing styles as well as weaving technology and dyeing craftsmanship of South Korea from the 14th century to the 20th century is the first one of its kind ever staged in a Chinese museum.

The exhibition closes on June 9， 2019.