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《簪花仕女圖》仕女服飾復(fù)原研究

2022-05-25 17:14劉凱旋李曉寧朱春
絲綢 2022年5期

劉凱旋 李曉寧 朱春

摘要: 《簪花仕女圖》是周昉繪制的仕女畫(huà),對(duì)研究唐代服飾有重要的參考價(jià)值。然而,目前學(xué)者們對(duì)《簪花仕女圖》的研究集中在服飾文化、歷史學(xué)、服裝美學(xué)等角度。本文從服裝工程的角度,對(duì)仕女服飾的款式、尺寸、結(jié)構(gòu)等進(jìn)行研究。基于虛擬試衣技術(shù),對(duì)仕女的服飾進(jìn)行2D結(jié)構(gòu)復(fù)原和3D建模,探索一種中國(guó)古服飾復(fù)原與展示新手法。研究表明:《簪花仕女圖》具有寫(xiě)實(shí)性,畫(huà)中的服飾具有可信度;利用虛擬試衣技術(shù)將唐朝服飾數(shù)字化,建立虛擬模特、進(jìn)行樣板繪制、虛擬縫合、虛擬展示,對(duì)唐朝服飾的傳承和保護(hù)具有重要意義;通過(guò)比例分析來(lái)探索服飾尺寸關(guān)系是可行的,為其他圖像服飾的研究提供了理論基礎(chǔ)和實(shí)驗(yàn)方法。

關(guān)鍵詞: 簪花仕女圖;唐朝服飾;虛擬試衣;大袖衫;服飾復(fù)原

中圖分類號(hào): TS941.26文獻(xiàn)標(biāo)志碼: A文章編號(hào): 10017003(2022)05005909

引用頁(yè)碼: 051109DOI: 10.3969/j.issn.1001-7003.2022.05.009

唐朝是中國(guó)歷史上空前繁榮的盛世,經(jīng)濟(jì)繁榮昌盛,文化開(kāi)放包容。該時(shí)期的服裝雍容華貴,豐富多彩,具有獨(dú)特的魅力。但是目前出土的唐朝服裝實(shí)物數(shù)量有限。已出土的壁畫(huà)、卷軸畫(huà)、文獻(xiàn)資料是研究服飾的重要依據(jù)[1-2]。《簪花仕女圖》為唐代仕女畫(huà)傳世孤本,圖像描繪了五位貴族婦女和一位侍女游園賞花的生活景象,對(duì)研究唐代生活狀態(tài)和服飾文化具有參考價(jià)值。仕女圖中的服飾造型雍容華貴、色彩鮮艷、紋樣考究、頭飾妝容精致[3]。圖中貴族女子服飾及配飾,如石榴裙、罩衫、披帛、拂子、團(tuán)扇等著裝打扮充分體現(xiàn)了唐代服飾文化的豐富多彩[4-5]。目前大多數(shù)學(xué)者主要是從服飾文化、社會(huì)文化、服裝美學(xué)、歷史學(xué)等視角對(duì)《簪花仕女圖》進(jìn)行探討,并沒(méi)有從服裝工程角度對(duì)仕女服裝的結(jié)構(gòu)等進(jìn)行研究。

虛擬仿真技術(shù)的發(fā)展為古代服飾的數(shù)字化復(fù)原與展示提供了可能性。在此背景下,將文化保護(hù)、文化傳承與數(shù)字化、信息化結(jié)合是必然的趨勢(shì)。服飾數(shù)字化復(fù)原研究的基礎(chǔ)是如何快速構(gòu)建三維模型。虛擬試衣技術(shù)為古代服飾的保護(hù)和傳承提供了技術(shù)支持[6-7],三維虛擬試衣技術(shù)可以將二維板片虛擬縫合為三維服裝[8]。目前該技術(shù)逐步趨于成熟,服裝設(shè)計(jì)人員可以通過(guò)多視角或者動(dòng)態(tài)展示的方式觀察試穿結(jié)果,檢驗(yàn)樣板是否合適,從而減少制作樣衣的次數(shù),實(shí)現(xiàn)減少服裝研發(fā)時(shí)間和研發(fā)成本的目的。服裝三維試衣技術(shù)被廣泛應(yīng)用于古代服飾復(fù)原[9-11]、服裝虛擬仿真[12]、交互設(shè)計(jì)[13-15]、紙樣開(kāi)發(fā)[16-17]等領(lǐng)域。

《簪花仕女圖》是研究唐代服飾的傳世之寶。筆者從服裝工程的角度研究畫(huà)作中的服飾的結(jié)構(gòu)、尺寸、紋樣等。在此基礎(chǔ)上,利用虛擬仿真技術(shù),數(shù)字化復(fù)原服飾,從而實(shí)現(xiàn)了古代服飾的三維展示,對(duì)古代服飾的傳承和發(fā)揚(yáng)起到了積極作用。

1復(fù)原對(duì)象的寫(xiě)實(shí)性

首先對(duì)復(fù)原對(duì)象的寫(xiě)實(shí)性進(jìn)行分析。本次研究的技術(shù)路線如圖1所示。

郭若虛在《圖畫(huà)見(jiàn)聞志》中記載:“唐周昉,善屬文,窮丹青之妙……(畫(huà)章明寺壁)落土之際,都人士庶觀者以萬(wàn)數(shù)。其間鑒別之士,有稱其善者,或指其瑕者,昉隨日改定。月余是非語(yǔ)絕,無(wú)不嘆其神妙。”又有記載:“郭汾陽(yáng)婿趙縱侍郎,嘗令韓干寫(xiě)真,眾稱其善。后復(fù)請(qǐng)昉寫(xiě)之,二者皆有能名?!闭f(shuō)明周昉作畫(huà)時(shí)不僅能虛心接受意見(jiàn),而且非常寫(xiě)實(shí)?!秷D繪寶鑒》上評(píng)周昉:“善畫(huà)貴游人物,作仕女多為濃麗豐肥之態(tài)。又善寫(xiě)真,兼移其神氣?!闭f(shuō)明周昉的素材來(lái)源于生活,不是憑空想象的。

筆者將《簪花仕女圖》中的仕女從左到右依次標(biāo)為A、B、C、D、E,測(cè)量仕女的頭全高和身高,用身高除以頭全高得到仕女的頭身比,分別為7.00、6.81、7.17、6.73、6.61。雖然仕女們的高度在畫(huà)中并不相同,但頭身比都在6.50~7.50,符合亞洲地區(qū)女性身材特點(diǎn)。從空間布局來(lái)看,仕女D、C、A、E、B由近及遠(yuǎn),除了左數(shù)第四位侍女(這是由于尊卑關(guān)系,侍女比仕女人物畫(huà)的?。?,其他仕女均符合近小遠(yuǎn)大的透視關(guān)系,這些都證實(shí)了《簪花侍女圖》的寫(xiě)實(shí)性。

2服裝款式及尺寸結(jié)構(gòu)分析

2.1圖像比例分析方法

服飾復(fù)原作為研究服裝史的一種方法,一直受到學(xué)者們的關(guān)注。洪文進(jìn)等[18]參照傳統(tǒng)對(duì)襟衫實(shí)物對(duì)其進(jìn)行虛擬仿真復(fù)原,但是對(duì)于圖像服飾復(fù)原,沒(méi)有實(shí)物直接測(cè)量獲得尺寸信息,且三維服裝攜帶的信息量大于二維圖像。為了解決這個(gè)問(wèn)題,學(xué)者們[19-20]對(duì)圖像進(jìn)行測(cè)量來(lái)得到服裝尺寸與身體尺寸之間的比例關(guān)系,或服裝尺寸與人物關(guān)鍵部位的關(guān)系,再參考其他文獻(xiàn)資料和出土實(shí)物,對(duì)二維圖像的尺寸進(jìn)行分析。本次研究采用圖像比例分析的方法對(duì)服裝尺寸進(jìn)行分析。

2.2人體尺寸

有學(xué)者研究發(fā)現(xiàn),鄭州地區(qū)唐朝時(shí)期女性的平均身高為158.39 cm[21],接近現(xiàn)代女性中間體身高160 cm。從周昉的作品中可以看出,盛唐及中晚唐時(shí)期女性體態(tài)豐滿。本次研究模特身高為160 cm,為了表現(xiàn)出身材的豐滿,人體維度方向上的關(guān)鍵數(shù)據(jù)適當(dāng)增大,胸圍定為88 cm,腰圍定為70 cm,臀圍定為92 cm。

2.3訶子和下裙

因?yàn)槭伺藙?shì)及角度問(wèn)題,單獨(dú)研究一位仕女獲得相關(guān)服裝的信息非常有限,而五位仕女穿著款式基本相同的服裝,所以通過(guò)比照五位仕女的服裝對(duì)左數(shù)第三位仕女C的服裝全貌進(jìn)行推測(cè)還原。從仕女圖中可以看出,仕女們肩部沒(méi)有肩帶,胸部豐滿,上衣與下裙處有明顯的分界線,推斷其上身穿著訶子。訶子是中國(guó)古代女性內(nèi)衣之一,始于唐代,形制類似現(xiàn)代的抹胸,沒(méi)有肩帶,一般只有前片,沒(méi)有后片[22]。對(duì)仕女B和仕女D的訶子的長(zhǎng)度進(jìn)行測(cè)量,得到訶子與身高的平均比例為1︰10.29,計(jì)算得到訶子的寬為15.5 cm。而訶子的長(zhǎng)度完全包裹胸部,胸圍為88 cm,取訶子的長(zhǎng)度為55 cm。

唐朝裙裝的裁片為直角梯形,一般采用直角邊順次接斜邊的拼接方式,然后再對(duì)下擺進(jìn)行修剪至順滑。以表1[23-24]中新疆出土的七件唐代女裙實(shí)物數(shù)據(jù)作為參考,裁片為上小下大的直角梯形,數(shù)量在6~22幅,裙長(zhǎng)在90~140 cm,腰圍在66~114 cm,腰圍小的只能繞腰一圈,腰圍大的可以繞腰一圈多,甚至兩圈。

仕女圖中仕女所穿下裙寬大,裙長(zhǎng)拖地,形似鐘形。自盛唐以來(lái),追求寬肥的風(fēng)氣愈演愈烈。仕女所穿裙裝的腰線高于正常腰線,視覺(jué)上拉長(zhǎng)了人體下半身的長(zhǎng)度,表現(xiàn)出仕女婀娜多姿的風(fēng)貌。對(duì)仕女B和仕女D的裙的長(zhǎng)度進(jìn)行測(cè)量,得到下裙與身高的比例為1︰1.46,計(jì)算得到下裙的長(zhǎng)度為110 cm。參考表1中的實(shí)物數(shù)據(jù),裙長(zhǎng)110 cm符合實(shí)際。觀察仕女A和仕女D的下裙紋樣偏大且完整,推測(cè)裙子裁片偏大。單從仕女圖中看不出裙子腰圍大小,且看不出裙子繞腰圈數(shù)。但裙子下擺寬大,裁片也偏大,結(jié)構(gòu)特點(diǎn)偏向出土女裙淺棕地團(tuán)窠印花絹裙和絳色印花紗裙,這兩條裙子腰圍特征都可繞腰一圈多,這也滿足人物活動(dòng)時(shí)遮擋身體的需要,故筆者進(jìn)行復(fù)原實(shí)驗(yàn)時(shí)腰圍數(shù)據(jù)也符合繞腰一圈多的特點(diǎn)。本次研究采用8個(gè)裁片,每個(gè)裁片為直角梯形,上底寬15 cm,下底寬35 cm,采取直角邊順次拼接斜邊的縫合方式。下裙結(jié)構(gòu)示意如圖2所示。

2.4大袖衫

五位仕女均著對(duì)襟直領(lǐng)大袖衫,面料輕透,袖口寬大,肌膚與內(nèi)層裙子若隱若現(xiàn)。大袖衫起源于唐朝,流行于宋朝,后復(fù)興于明朝[25]。觀察仕女D大袖衫的兩側(cè)有開(kāi)衩[26],唐朝沒(méi)有出土的大袖衫,但參考明朝寧?kù)o王夫人墓出土的素緞大衫和南京高淳花山墓出土的芙蓉牡丹紋大袖衫,如圖3和圖4[27]所示,兩側(cè)開(kāi)衩都接近腋下,推測(cè)唐朝大袖衫兩側(cè)有開(kāi)衩?!短拼鸁胧⒐夥鸩⑽逍菆D》中也出現(xiàn)有大袖衫的穿著搭配,如圖5所示。素緞大衫前衣長(zhǎng)123 cm,后衣長(zhǎng)145 cm,寧?kù)o王夫人身高大約160 cm,穿著時(shí)大衫前下擺垂至膝蓋,后擺略微拖地[27]。從《簪花仕女圖》中穿著效果看,大袖衫前后衣片的長(zhǎng)度無(wú)明顯差異,下擺及小腿處,衣身的整體為直筒型,袖子寬松及地,袖口止于手腕處。參考素緞大衫,復(fù)原對(duì)象大袖衫的衣長(zhǎng)應(yīng)處于123~145 cm。

對(duì)復(fù)原對(duì)象大袖衫的領(lǐng)緣、衣長(zhǎng)、袖口進(jìn)行測(cè)量,得到衣長(zhǎng)與身高的比例1︰1.24,袖口與身高的比例1︰1.41,領(lǐng)緣與袖口的比例1︰14,計(jì)算得到衣長(zhǎng)129 cm,袖口113 cm,領(lǐng)緣寬8 cm,袖子長(zhǎng)度為肩寬加上臂長(zhǎng)90 cm。下擺寬松呈H形,取四分之一胸圍量35 cm,四分之一下擺40 cm。袖子寬松肥大,腋下向肩線取值38 cm,袖子接縫處長(zhǎng)度取為100 cm。

陳靜潔等[28]研究發(fā)現(xiàn),中華傳統(tǒng)服裝為平面直線裁剪,“十字形、整一性、平面化”的結(jié)構(gòu)面貌在中國(guó)幾千年的歷史中始終沒(méi)有變化。大袖衫的結(jié)構(gòu)也不例外,為傳統(tǒng)的十字形平面結(jié)構(gòu),以通袖長(zhǎng)為水平方向,前后中心線為豎直方向。唐代一尺為29~31.8 cm[29]。大袖衫左右衣身各占大概一幅半面料,結(jié)構(gòu)示意如圖6所示。

2.5披帛

披帛,又稱“帔帛”,是唐朝流行的一種服飾。它的披掛方式有十幾種,如圖7所示。圖7中,仕女的披掛方式為披于肩背之上,環(huán)繞至手臂上,兩端自然垂下。

復(fù)原對(duì)象的披帛左邊下垂至袖口中部,右邊下垂至小腿部位,披帛的長(zhǎng)度根據(jù)實(shí)際穿著效果來(lái)進(jìn)行實(shí)時(shí)調(diào)整。對(duì)披帛最寬處的長(zhǎng)度進(jìn)行測(cè)量,和領(lǐng)緣的寬度進(jìn)行對(duì)比,比例為1︰1.7,計(jì)算得到披帛的寬度為14 cm。仕女服裝復(fù)原數(shù)據(jù)如表2所示。

3復(fù)原服裝模型的構(gòu)建

傳統(tǒng)的服飾復(fù)原過(guò)程從面料選取、樣板復(fù)原、樣衣制作等每一步都需要反復(fù)試驗(yàn)、糾錯(cuò),往往需要耗費(fèi)大量的時(shí)間和精力。而虛擬試衣技術(shù)能夠幫助設(shè)計(jì)師快速地實(shí)現(xiàn)服裝設(shè)計(jì),比較方便快捷、易操作,模擬效果比較逼真。本次研究運(yùn)用CLO3D虛擬試衣軟件逐層建模來(lái)復(fù)原服飾,簡(jiǎn)化復(fù)原過(guò)程、縮短復(fù)原時(shí)間,達(dá)到視覺(jué)效果上最大還原服飾的目的。由前文可知復(fù)原對(duì)象內(nèi)層穿著訶子,下身搭配紅裙,外層依次穿戴大袖衫和披帛,復(fù)原時(shí)需要對(duì)復(fù)原對(duì)象進(jìn)行逐層建模。

3.1逐層建模

虛擬試穿的基本流程為:1) 建立虛擬模特。依照前文人體尺寸數(shù)據(jù)分析,將虛擬模特的身高設(shè)定為160 cm,胸圍定為88 cm,腰圍定為70 cm,臀圍定為92 cm。2) 安排服裝樣板。將服裝的板片依次安排在虛擬模特的相應(yīng)位置,板片應(yīng)盡量靠近虛擬模特但是不能接觸到虛擬模特。3) 虛擬縫合。依據(jù)服裝結(jié)構(gòu),對(duì)板片進(jìn)行添加縫紉線操作。4) 虛擬試穿。進(jìn)行模擬時(shí),靈活運(yùn)用抓手工具對(duì)服裝的形態(tài)進(jìn)行調(diào)整。5) 設(shè)置面料、紋理、顏色等。選擇服裝樣板,設(shè)置面料種類等物理屬性,使三維服裝與真實(shí)服裝更為相似。

復(fù)原對(duì)象的服裝分三層進(jìn)行虛擬試穿,第一層訶子和下裙,第二層大袖衫,最后一層披帛。當(dāng)訶子和下裙建模完成后,為方便第二層大袖衫的建模,將下裙進(jìn)行冷凍暫時(shí)不參與模擬。將大袖衫的板片分兩次進(jìn)行模擬,第一次先對(duì)大袖衫的主體部分進(jìn)行模擬,設(shè)置大袖衫樣板層數(shù)為1,即為外層。模擬完成后,將層數(shù)改為0,下一步對(duì)領(lǐng)緣的樣板安排并進(jìn)行硬化操作、模擬。調(diào)整好第一層和第二層大袖衫后,將它們冷凍起來(lái)保持形態(tài),最后對(duì)第三層進(jìn)行建模。

因?yàn)榕拇┲绞教厥?,使用安排點(diǎn)和手動(dòng)安排板片兩種方法均不適合。筆者使用下列步驟對(duì)板片進(jìn)行安排:首先拖動(dòng)板片到虛擬模特的背部,后在披帛上畫(huà)兩條內(nèi)部線,利用折疊安排工具對(duì)兩條內(nèi)部線進(jìn)行折疊,使板片折疊到合適位置,再進(jìn)行模擬,模擬結(jié)束后,披帛兩端自然垂在胳膊兩側(cè)。最后刪除兩條內(nèi)部線,然后對(duì)比仕女圖中披帛的長(zhǎng)度,將復(fù)原對(duì)象的披帛調(diào)整至合適的長(zhǎng)度。

3.2紋樣及面料

唐朝婦女喜愛(ài)袒露之風(fēng),所穿服裝面料均為絲織品。當(dāng)時(shí)唐朝生產(chǎn)絲織品種類繁多,有紗、羅、綾、緞、錦、絹、繡、絨等。綾羅質(zhì)地輕薄透明,正如大袖衫的面料。錦緞厚重,仕女下裙所用面料即為錦緞。唐朝制作披帛的面料主要有絹、紗和錦。絹是一種平紋織物,質(zhì)地輕薄,本身沒(méi)有花紋,靠印染來(lái)裝飾;紗是一種表面布滿紗眼的絲織物;錦是一種多彩絲織物。觀察仕女圖中披帛有一定的質(zhì)量,不透光,圖案精美,推斷披帛所用面料可能為錦。訶子有遮羞保暖、束胸挺拔的功能。北宋劉斧《青瑣高議》有記載“貴妃慮帝見(jiàn)胸乳痕,乃以金為訶子遮之”,這里的“金”指的是面料織錦繡。因?yàn)檐浖袥](méi)有這些面料種類,所以本次復(fù)原所設(shè)置的面料種類均為絲織品。圖8為復(fù)原對(duì)象的三維建模流程。

至商周時(shí)期開(kāi)始,服飾色彩有了體現(xiàn)穿著者等級(jí)地位的作用,而服飾色彩受宗教信仰、政治制度、時(shí)代潮流等的影響[30]。唐朝崇尚佛教,女性服飾偏愛(ài)黃色、紅色、金色、紫色等佛教雕像常用的色彩。仕女圖中訶子及長(zhǎng)裙的顏色為紅色,下裙即為唐朝流行的石榴裙,“少婦石榴裙,新妝白玉面”“紅粉青蛾映楚云,桃花馬上石榴裙”都是《全唐詩(shī)》中描寫(xiě)是石榴裙的句子。披帛為紫色,大袖衫為橙黃色,配色整體風(fēng)格鮮艷華麗。

復(fù)原對(duì)象的大袖衫面料輕薄透明,有四個(gè)小菱形拼在一起的幾何紋樣。對(duì)紋樣進(jìn)行測(cè)量,得到紋樣的長(zhǎng)度和領(lǐng)緣比例1︰2.5,紋樣的寬度和長(zhǎng)度比例1︰2,計(jì)算得紋樣的長(zhǎng)度為3.6 cm,寬度為1.8 cm。披帛的紋樣為植物紋樣。至隋唐開(kāi)始,紋樣由以動(dòng)物紋樣為主轉(zhuǎn)為以植物紋樣為主,風(fēng)格轉(zhuǎn)為寫(xiě)實(shí)風(fēng)。

從仕女圖中可以看出,大袖衫的紋樣均勻連續(xù)的分布于面料上,而披帛的紋樣分布不均勻、不連續(xù)。依據(jù)面料紋樣的分布特點(diǎn),利用虛擬仿真技術(shù)添加紋樣時(shí),需要選擇恰當(dāng)?shù)姆椒?。添加大袖衫紋樣時(shí)使用添加紋理工具,添加披帛紋樣時(shí)使用貼圖工具。復(fù)原對(duì)象的三維建模流程如圖8所示,其余仕女(A、B、D、E)的數(shù)字化復(fù)原如圖9所示。

4結(jié)論

本文從服裝工程的角度對(duì)《簪花仕女圖》中仕女服裝的搭配、款式、面料、紋樣、結(jié)構(gòu)等進(jìn)行研究,并基于虛擬試衣技術(shù),對(duì)仕女的服飾進(jìn)行2D結(jié)構(gòu)復(fù)原和3D仿真復(fù)原實(shí)驗(yàn),得到以下結(jié)論。

1) 結(jié)合文獻(xiàn)資料、出土實(shí)物、圖像壁畫(huà)等,分析得到仕女圖中仕女所穿服飾共三層,內(nèi)層為訶子和下裙,第二層為大袖衫,外層為披帛。

2) 證實(shí)了簪花仕女圖的寫(xiě)實(shí)性,對(duì)仕女圖中服飾比例進(jìn)行分析,得到相關(guān)尺寸數(shù)據(jù)。

3) 運(yùn)用虛擬試衣技術(shù)對(duì)服裝逐層進(jìn)行三維建模復(fù)原,形成了數(shù)字化資源,對(duì)唐朝服裝的保護(hù)和傳承具有一定意義。

4) 本次復(fù)原流程與方法為其他圖像服飾的研究提供了一定參考價(jià)值。

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Study on the restoration of ladies’ costumes in Beauties Wearing Flowers

LIU Kaixuan LI Xiaoning ZHU Chun(1.Apparel & Art Design College, Xi’an Polytechnic University, Xi’an 710048, China;

2.College of Fashion and Design, Donghua University, Shanghai 200051, China)

Abstract: The Tang Dynasty is a prosperous era in Chinese history when the economy was thriving and the culture was open and inclusive. The clothing of this period is elegant, colorful and has unique charm. However, there are no iconic Tang Dynasty clothes unearthed at present. The unearthed murals, scroll paintings and documents are an important basis for the study of clothing. Beauties Wearing Flowers is noblewomen painting drawn by Zhou Fang. It depicts the life scene of five noble women and a maid visiting the garden to enjoy flowers, which has reference value for the study of the living state and clothing culture of the Tang Dynasty. However, at present, scholars’ research on Beauties Wearing Flowers focuses on the fields of clothing culture, history, clothing aesthetics and so on.

As a method of studying the history of costume, costume restoration has been concerned by scholars. From the perspective of garment engineering, the style, size and structure of ladies’ clothing are studied in this paper. Based on the virtual fitting technology, 2D structure restoration and 3D modeling of ladies’ costumes are carried out. A new method of restoration and display of Chinese ancient costumes is explored. Firstly, based on the literature and proportion analysis, the realism of the restored object is confirmed. There are two difficulties in image restoration. First, there is no physical object to measure directly to obtain dimensional information. Second, three-dimensional clothing carries more information than two-dimensional images. In order to solve these problems, the authors measure the image to obtain the proportional relationship between clothing size and body size so as to speculate and analyze clothing size. Then the two-dimensional patterns of restored costumes are drawn by referring to unearthed costumes and relevant literature. In the traditional clothing restoration process, each step from fabric selection, pattern restoration to sample clothing production needs repeated tests and error correction, which often takes a lot of time and energy. The virtual fitting technology can help designers quickly realize clothing design, which is quite convenient, fast, and easy to operate. Besides, the simulation effect is realistic. In this study, virtual fitting technology is used to restore clothing by modeling layer by layer, simplify the restoration process, shorten the restoration time, and achieve the purpose of restoring clothing to the greatest extent in visual effect. During restoration, the inner layer and outer layer clothing of the restored object need to be modeled layer by layer. The modeling follows the steps of constructing virtual model, pattern drawing and virtual stitching, and finally the restoration and display of clothing are completed.

The research shows that Beauties Wearing Flowers is realistic and the costumes in the painting have credibility. It is feasible to explore the size relationship of clothing through proportion analysis, which provides a theoretical basis and experimental method for the research of other image clothing. The virtual fitting technology is used to restore the three-dimensional modeling of clothing layer by layer, forming digital resources, which is of certain significance to the protection and inheritance of clothing in the Tang Dynasty.

Virtual fitting and other information technology have been relatively mature and began to be gradually applied in the field of ancient clothing. 3D restoration clothing can display the style, color and other information of clothing in an all-round way. This provides a basis for the establishment of the clothing museum and a channel for the public to feel the charm of clothing at a close distance. There is no doubt that this will promote the inheritance and development of clothing culture.

Key words: Beauties Wearing Flowers; costumes in the Tang Dynasty; virtual fitting; large-sleeved shirts; apparel restoration