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    Tom walked into a shop. It had a sign outside: “Second-hand (旧的)clothes bought and sold.” He was carrying an old pair of trousers and asked the owner of the shop, “How much will you give me for these?” The man looked at them and then said,“Two dollars. ”

  “What?!” said Tom. “I thought they were worth at least five dollars.”

  “No,” said the man “They aren't worth a cent more than two dollars.”

  “Well,” said Toni, taking two dollars out of his pocket. “Here's your money. These trousers were hanging outside your shop. The list price (标价)of them was six dollars and a half. But I thought that was too much money, so I wanted to find out how much they were really worth.”

    Then he walked out of the shop with the pair of trousers and disappeared before the shop owner could think of anything to say.

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不拘一格的宋代便服

王志艳

    ①与礼服相对而言,便服是帝王百姓及士庶百姓平常所穿的衣服。宋代主张衣着要简洁朴素,不提倡花丽奢侈,服装日趋世俗化。

    ②现藏故宫博物院的北宋名画《清明上河图》,是极其生动的北宋民俗写照,从画面上可以看到北宋都城汴梁城中的各色人物服饰。总体来讲,男子的衣着依然不外乎“长袍帮”与“短衫帮”两大类。官吏、商贾、文人和富庶的市民都穿交领长袍或圆领衫,头戴巾子下身穿长裤,足登靴、履。遗憾的是,由于色彩和花纹无法表示出来,这些衣衫显得式样变化不大。

    ③但从宋代的纺织技术上看,当时的丝绸色彩和纹样是十分丰富的。宋代世俗社会中仍不乏追逐华丽衣衫的人。《水浒全传》中描写柴进的衣着时,说他“身穿一领紫绣团胸花袍,足穿一双金线抹绿皂朝靴”。可见当时人们虽然趋向简朴,但对服饰的质料、颜色、纹饰还是很注重的。《清明上河图》中众多人物的服装,该也是五颜六色,缤纷竞呈的了。

    ④相比之下,穿着短衫的各种劳动者就随便的多。这里有农民、船家、商贩、挑夫等,大多是上身穿一件短短的襦衫。下身穿裤子,头戴巾子,赤脚着草鞋。上衣长短不一,长的可及膝下,短的仅到后腰。这些短衣的衣袖以及短腿都比较细窄,便于劳作。很多劳动者,挽起袖子,有的人上身只穿一件对襟半臂。更有趣的是一些挑夫身穿有前后两个衣片连成的两当式布背心,这种背心直至今日还可以在北方的农村中见到。这些劳动者的装束在当时颇具代表性。

    ⑤宋代是封建士大夫文化最发达的时期。形成了一个较大的具有高度文化素养的封建文人阶层。在他们中普遍存在这返璞归真、崇尚自然的哲学思想。从北宋开始盛行的山水,花卉画中,显示出一种散淡清雅、和平闲逸的艺术气氛,充分体现出这种思想指导下的审美情趣。于这种情趣相协调,宋代文人喜欢穿宽松朴素的便装。朱熹给自己设计过一套家常衣服:上衣是直领对襟的传统短襦,下摆至膝;下身为黄色的裙裳,腰间竖一条原上黑边的白绢;足登方履。这是便服更多的保存了古代汉族衣裳的特点,简单典雅,很适合士大夫们既好古又追求闲逸的心理。

    ⑥当时士大夫阶层还爱穿宽大的长袍。它也叫道跑,或者直裰、直缝,这是由于它的背面分为左右两个一片,中间一道直线缝合。直裰多用素纱、素绢、麻布及棉布等衣料制作,颜色以黑、白为主。这是宋代官方规定百姓平民可以使用的服色。除去市民文人之外,僧侣也经常穿直裰。所以后来黑色的直裰变成了僧袍,和尚们日常穿用。

(选自《中国服饰:异彩纷呈的华夏衣冠》,有改动)