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Gewand Und Ritual Die Bekleidung Der Song-Dynastie Im Spiegel Des Sanli Tu

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Gewand Und Ritual Die Bekleidung Der Song-Dynastie Im Spiegel Des Sanli Tu Gewand und Ritual Die Bekleidung der Song-Dynastie im Spiegel des Sanli tu Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät I der Julius-Maximilians-Universität zu Würzburg Vorgelegt von Patricia Christine Frick aus Stuttgart Würzburg 2006 Gewand und Ritual Die Bekleidung der Song-Dynastie im Spiegel des Sanli tu Inhaltsverzeichnis 1 Einführung .................................................................................................................... 7 2 Nie Chongyi und seine Zeit ........................................................................................ 11 2.1 Die Rückbesinnung auf das Altertum ............................................................... 11 2.2 Zur Biographie des Nie Chongyi ...................................................................... 18 3 Das Sanli tu – Werk- und Wirkungsgeschichte ....................................................... 23 3.1 Das Sanli tu und seine Vorläuferwerke ............................................................ 23 3.2 Übersetzung der für das Kleidungswesen einschlägigen Kapitel des Sanli tu .............................................................................................................. 29 3.2.1 Die Ritualgewänder [Sanli tu, j. 1] ............................................................... 29 3.2.2 Die Damengewänder [Sanli tu, j. 2] ............................................................. 48 3.2.3 Die Kopfbedeckungen [Sanli tu, j. 3] ........................................................... 66 3.2.4 Diverse Einträge aus Kapitel 8, ‚Bogen und Pfeile‟ [Sanli tu, j. 8] ............. 89 3.3 Textkritik und Wirkungsgeschichte des Sanli tu .............................................. 93 4 Das Kleidungswesen der Song-Dynastie in den schriftlich tradierten Quellen der Zeit .......................................................................................................... 99 4.1 Zum Quellenmaterial ........................................................................................ 99 4.2 Chronologischer Überblick über die einschlägigen Vorschriften zum Kleidungswesen .............................................................................................. 104 4.2.1 Bestimmungen für die Zeit der Nördlichen Song-Dynastie ....................... 105 4.2.2 Bestimmungen für die Zeit der Südlichen Song-Dynastie ......................... 119 4.3 Zusammenschau schriftlich belegter Gewänder der kaiserlichen Familie und der Oberschicht ........................................................................................ 123 4.3.1 Die Bekleidung der Männer ....................................................................... 123 4.3.2 Die Bekleidung der Frauen......................................................................... 138 4.4 Zusammenfassende Würdigung der schriftlichen Quellenlage ...................... 142 5 Die Bekleidung der Song in der Kunst der Zeit..................................................... 149 5.1 Kaiserliche Porträts ........................................................................................ 150 5.2 Wandmalereien einer Gruppe song-zeitlicher Gräber .................................... 157 6 Archäologische Funde aus der Zeit der Song-Dynastie ........................................ 175 6.1 Die Garderobe des Zhou Yu ........................................................................... 176 6.2 Die Textilien aus dem Grab der Beamtengattin Huang Sheng ....................... 182 6.3 Die textile Ausstattung des Grabes der Dame Zhou ...................................... 188 6.4 Resümee ......................................................................................................... 204 7 Schlussbetrachtung ................................................................................................... 211 8 Glossar ....................................................................................................................... 215 9 Literaturverzeichnis ................................................................................................. 235 9.1 Chinesische Primärquellen ............................................................................. 235 9.2 Chinesischsprachige Sekundärliteratur .......................................................... 239 9.3 Chinesischsprachige Aufsätze ........................................................................ 241 9.4 Sekundärliteratur in westlichen Sprachen ...................................................... 242 9.5 Aufsätze in westlichen Sprachen .................................................................... 245 10 Verzeichnis der Abbildungen .................................................................................. 247 11 English résumé .......................................................................................................... 251 11.1 Nie Chongyi and his time ............................................................................... 253 11.1.1 The return to antiquity ................................................................................ 253 11.1.2 On the life of Nie Chongyi ......................................................................... 257 11.2 The genesis of the Sanli tu and the history of its impact ................................ 260 11.2.1 The Sanli tu and its predecessors ............................................................... 260 11.2.2 Garments and headgear in the Sanli tu – A summarized translation ......... 265 11.2.3 Textual criticism and the history of the impact of the Sanli tu .................. 275 11.3 Conclusion ...................................................................................................... 280 11.4 Glossary .......................................................................................................... 283 1 Einführung 黃帝堯舜垂衣裳而天下治 Huangdi, Yao, Shun chui yishang er tianxia zhi Als Huangdi, Yao und Shun die Gewandungstraditionen [festlegten und] überlieferten, war die Welt geordnet. Dieses Zitat aus dem Yijing 易經 [Buch der Wandlungen]1 verweist auf die hohe Bedeutung einer streng hierarchisch geprägten Ordnung im Kleidungswesen, die sich in ihrer Komplexi- tät durch die gesamte chinesische Geschichte zu ziehen scheint. Ein Muster, ein Paradigma vielleicht, das die Relevanz hierarchischer Strukturen im chinesischen Sozialgefüge betont – Hierarchien, die sich im Übrigen in praktisch allen gesellschaftlichen Bereichen aller Dynas- tien des chinesischen Reiches finden. Bekleidungstraditionen und -vorschriften zitieren dabei stets die gesellschaftliche Ordnung, sind Spiegelbilder von Hierarchien, so wie sie wiederum gesellschaftlichen Rangordnungen einen gleichsam nach außen sichtbaren Stempel aufprägen. Dabei darf nicht außer Acht gelassen werden, dass Bekleidungsvorschriften und -regeln ein komplexes System von der Herstellung der Rohstoffe, über das Spinnen und Weben, die Herstellung und das Färben der Stoffe und Gewebe, das Schneidern und Fertigen der Gewän- der, die Fertigung rangstiftender Accessoires und Dekore bis hin zur Verwaltung der Klei- dung bei Hofe forderten und in Lauf hielten, also auch in die höfische Struktur ganz lebenspraktisch rückwirkten. So finden sich im Zhouli 周禮 [Riten der Zhou], das eine detail- lierte Schilderung des gesamten Staats- und Verwaltungsapparates und des rituellen Lebens der Zhou-Dynastie (1045–221 v. Chr.) entwirft, zahllose Titel und Ämter allein für die Verwalter und Verantwortlichen der verschiedenartigen Gewänder und des Gewandungszube- hörs am zhou-zeitlichen Hofe. Kein ‚divide et impera‟, eher ein ‚kleide Dich und herrsche‟ mag augenfälliges Merkmal der streng hierarchisch geprägten chinesischen Führungselite gewesen sein. Fraglich ist dabei, ob sich die Herrschaftsstrukturen tatsächlich in den gelebten Bekleidungstraditionen spiegelten, so wie es zahlreiche Quellen, insbesondere die einschlägi- gen Klassiker und die relevanten Katalogwerke im chinesischen Schrifttum erscheinen lassen oder ob diese schriftlichen Zeugnisse ein idealisiertes Gefüge transportierten, das für die Herr- schenden Vorbild und Auftrag zugleich war? 1 Siehe Ruan Yuan (hrsg.), Shisanjing zhushu 十三經注疏 [Die Dreizehn Klassiker mit Kommentaren und Subkommentaren]. Nachdruck, Beijing: Zhonghua shuju 1980, 19872, S. 87a. 7 Thema dieser Arbeit kann nur ein kleiner Ausschnitt dieses umfangreichen Komplexes sein, mithin die Gewandung der Song-Dynastie (960–1279) im Spiegel der für ihre Zeit dokumen- tierten rituellen Bekleidungsvorschriften, insbesondere dem von Nie Chongyi verfassten Sanli tu 三禮圖 [Bebilderungen zu den Drei Ritenklassikern] aus den frühen Jahren der Dynastie. Als Ausgangspunkt der Betrachtungen werfen sich dabei folgende Fragestellungen auf: Bis in die jüngste Zeit finden sich in den Abhandlungen zur chinesischen Textil- und Kostümgeschichte Hinweise auf die Relevanz des von Nie Chongyi verfassten Sanli tu für die Gewandungstraditionen der Dynastie. Das Sanli tu wird dabei regelmäßig und weitgehend ungeprüft als eines der maßgeblichen Werke beleuchtet und bewertet, das die Kleidungstraditionen der Song entscheidend beeinflusst haben soll.2 Es ist also zu untersu- chen, ob das Werk diesen Status zu Recht hat und welche Bedeutung dem Sanli tu im Hin- blick auf die Umsetzung der Bekleidungstraditionen der Dynastie tatsächlich zukommt. Des Weiteren bleibt zu fragen, warum ein Gelehrter im 10. Jahrhundert ein Regel- und Katalogwerk verfasst, in dem Ritualgegenstände und Gewänder abgebildet und beschrieben werden, so
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