What are the dress cultures in China

An important feature of human beings as intelligent beings is their never-ending aggressiveness, delighting the world with the material and spiritual civilizations they have created, promoting the full and free development of each individual, and advancing the progress of the whole society. ......

Human beings as intelligent beings are characterized by their never-ending aggressiveness, delighting the world with the material and spiritual civilizations they have created, promoting the full and free development of each individual, and advancing the progress of the whole society, which is an inheritance of life. One of the important characteristics of human beings as intelligent beings is their never-ending aggressiveness, which is a life interpretation process of inheritance and continuity to delight the life of human beings with the material civilization and spiritual civilization created by themselves, to promote the full and free development of each individual, and to push forward the progress of the whole society. As an important part of human civilization, contemporary dress culture should follow this humanistic spirit. The cultural significance of dress lies in adapting to the natural environment to meet the needs of survival, facilitating daily life to facilitate physical activities, beautifying the body posture to entertain physical and mental health, and displaying social identity to characterize social roles, etc. As an extension of the human body, dress can also be used as an extension of the human body to promote the progress of the whole society. As an extension of the human body, clothing can also show the strengths and characteristics of the wearer, charmingly expressing personality, desires and psychological characteristics. For this reason, dress design should not only be in line with the current trend of beauty and elegance, make it full of outstanding personality expression, recognize the psychological characteristics of the wearer and the convergence of the viewer's mentality, but also incorporate the traditional dress culture into it, highlight its life connotation and aesthetic connotation, and organically integrate the tradition with the fashion. Only in this way can we really create a fashionable clothing culture with heritage.

One, the cultural connotation of traditional Chinese clothing

Clothing is an important part of human life elements and human civilization, which meets the needs of people's material life and represents the culture of a certain period of time. The style design, choice of fabrics and color combinations of costumes record the productivity level and social conditions of a particular period, reflecting people's ideology and culture, religious beliefs and aesthetic concepts.

Traditional Chinese dress culture is not an isolated cultural phenomenon, it is the unity of material and spirit, and it is also the physical form of the subject's beauty attached to the material carrier, which not only advocates the symbolic representation but also advocates the aesthetic pleasure, and not only pays attention to the creation of formal beauty but also advocates the expression of emotional ideas, so as to make the connotation of the meaning and the manifestation of perfect unity, and to show the life and artistic taste of national aesthetics by the beauty of scenario blending and unity of imagery. Take the color in Chinese traditional dress culture as an example, its cultural connotation also evolves with the development of society and the change of time, and presents distinctive aesthetic characteristics of stage, nationality and era. Chinese traditional dress culture is rich in life color, which is mainly characterized by hierarchical marking and given specific ethical significance. For example, in the Shang Dynasty, the five colors of blue, red, yellow, white and black taken from nature were regarded as honored colors, and it was stipulated that only the dress of slave owners and the aristocrats could be used in these colors, and that "the green and the red are called Wen, the red and the white are called Zhang, and the white and the black are called Marrow. Black and green are called dedication, and the five colors are called embroidery. In addition, the combination of the five colors and the cognitive approach of traditional Chinese culture, corresponding to the five elements, constituting the so-called "five square colors" of the schema, and according to the principle of the five elements and the derivation of the "five virtues of the end and the beginning of the said", will be associated with the morality of life, such as the Shang to gold virtue king, Shang and black is called the medulla. For example, the Shang Dynasty had the King of Gold Virtue and the White Color, the Zhou Dynasty had the King of Fire Virtue and the Red Color, and the Qin Dynasty had the King of Water Virtue and the Black Color. After the pre-Qin Dynasty, in the feudal society with strict hierarchy, the color of clothing as the external form of political ethics was directly used to "distinguish between the upper and lower levels, and make clear the nobility and inferiority", which became the iconic symbol of the hierarchical difference of the ruling class, and the yellow color and the dragon pattern became the exclusive color of the emperor and the symbol of the king's power. Under the dual role of the high pressure of the feudal hierarchy and the Confucian ideology of propriety, the application of color has been detached from the natural material properties and its original meaning and has been endowed with strong political and ethical colors. It can be seen that the cultural connotation of traditional Chinese dress is extremely rich, it is out of the stem of the infinite worship of nature and life and the deliberate expression of hierarchical symbols and presents a bright color style and the psychological pursuit of harmony and unity, the overall effect is both pleasing to the eye and simple and generous, forming its own unique five-color system and style expression, which has become the keynote of the traditional Chinese dress culture.

The world created by human beings is a kingdom of culture, which develops along with the process of human life and plays a great role in the progress of society. Dress culture is the unity of human material civilization and spiritual civilization. On the one hand, dress is an important constituent of culture, and the development of culture stimulates people's demand for dress; on the other hand, people's demand for dress enriches the connotation of culture, linking the transformation of nature by culture with the cultivation of human beings and the aesthetics of life, and ultimately promoting the development of society. The famous anthropologist Franz Boas pointed out in Primitive Art: "The pursuit of artistic expression and elegant appearance is the *** nature of human beings. It can be said that in ancient societies, many people already felt the need to beautify their lives, and their awareness was much sharper and stronger than that of their civilized descendants. In the evolution of human history, clothing for human beings has not only limited to cover the body to keep out the cold, but also to meet the psychological needs of people in other aspects and the body of life, such as the ancient Chinese nomadic hunters in the north of the hunt with prey teeth, hooves and claws, feathers or tails decorated in their own clothing to show their bravery or high status. With the development of economy and society, people's clothing material, color, style and accessory decorations more and more with the whole social mentality and personality psychology corresponds to the dress itself as a kind of information symbols, can convey the times fashion, cultural characteristics and personal culture and upbringing, knowledge level, demeanor and social role of the information. Clothes are regarded as the "second skin" of a person, which can reflect the personality and psychological state of a person, especially a woman. American clothing scientist Blanche Penny wrote in (World Clothing History): "The first girl who put a kind of flower on her head or dyed her lips red with sour plum juice must have her own aesthetic point of view. ...... The texture, color, sewing of women's clothing and accessories that match with clothing can strengthen women's own identity and the role of a particular woman. can strengthen women's own identity and in a particular occasion of self-confidence, poise, competitive power.

The aesthetic connotation of traditional Chinese dress

1. The moderate and harmonious "beauty of reason"

The subtlety of traditional Chinese dress is consistent with the Chinese people's orientation of peace, contentment, and mediocrity. Confucianism's "mediocrity" of "middle" and Chinese "China's" "middle" emphasize that "Not excessive but harmonious", which is clearly reflected in the traditional Chinese dress culture. Traditional Chinese national costume is not like the western clothes that can be accurately outline the human body, but also different from ancient Greece, ancient Rome, as with a piece of cloth casually draped or wrapped around the body, but to take the "semi-fit" style, that is, to advocate a kind of hidden and not limited to the human body, if that is, if not the beauty of the subtle. The reason for this, "peace and disposition" since ancient times as a virtue for the forefathers of the Chinese nation, the so-called "life but must be fruitful ear, in addition to all the extravagance", the pursuit of happiness is the true meaning of the "spirit of happiness and leisure, than the material progress". The true meaning of the pursuit of happiness is "spiritual happiness and leisure, which is better than material progress". This is reflected in the dress culture is to pay attention to casual, leisure, harmony, without excessive prominence, exaggeration and intentional modeling, in the calm in the people a kind of subtle, calm and mysterious beauty. The makers of traditional Chinese clothing (tailors) rely on intuition and experience in the process of designing and making clothing, presenting a kind of implicit "emotional and rational beauty" in the "fit", rather than the Western kind of mathematical and scientific based on the exact size of the "rational beauty", which is not the same as the "rational beauty". The "rational beauty" is not the Western mathematical-based precision to the size of the "rational beauty".

2. Pursuing the "implicit beauty" of context

"Implication" belongs to the category of beauty in traditional Chinese literature and art, and this technique usually puts the author's emotional expression in the image and context of the work to achieve the artistic effect of inspiring associations and memorizing. This technique usually puts the author's emotional expression in the image and context of the work to achieve inspiring associations and memorable artistic effects, highlighting the artistic realm of "scenery in the mood, scenery outside the mood". It is similar to the pictorial approach in Chinese painting, that is, it does not focus on the objective reproduction of things, but emphasizes the appreciation of a certain kind of hazy implicit beauty, and focuses on the relationship between reality and emptiness to the "virtual" flaunting. Introduced into the artistic creation of clothing culture, is that the designers pay special attention to the "no signs, super easy and dynamic" beauty, do not deliberately pursue numerical precision or pure form of objective beauty, but advocate the use of infinite imagery beauty implicit expression of emotions. For example, the use of broad robes, the style of the middle rule or a combination of realistic and variant animals, geometric patterns, flowers and plants

branches, vines and other abstract and allegorical clothing patterns to convey a political or ethical associations with the intention.

At the beginning of the Han Dynasty, "robes" were used as dresses, generally with large sleeves, the cuffs of which were tightened and narrowed, and the narrow part of the sleeves was "祛" while the wide part of the sleeves was "袂", which was called "张袂成荫". The so-called "open sleeves into a shade" is a visualization of the description; and the Wei and Jin Dynasties "Seven Sages of the Bamboo Grove", their portraits of characters are wearing spacious clothing, shirt collar open, bare chest, or bare feet, or distributed, unrestrained debauchery, flaunted the advocate of nothingness, contempt for the rites and laws of the life of character The cheongsam is an aesthetic style that gives the world an aesthetic mood of spontaneity and naturalness like high mountains and flowing water. The traditional Chinese women's dress cheongsam is a model of perfect combination of traditional dress culture and modern fashion design, which has perfect modeling, appropriate structure, internal and external harmony, and is the standard dress of modern Chinese women with both Chinese and Western dress characteristics, and it is the representative of Chinese dress culture, which has an irreplaceable and important position on the stage of women's clothing. The design of cheongsam is not warm on the surface, but rich in connotation and far-reaching in meaning, achieving the perfect integration of form and content. The smooth texture and simple modeling show the smooth and bright lines and the harmony and unity of the charm, showing the gentle and elegant beauty of oriental women. This charm is not only displayed on the outside, but also sinks into the heart. Wearing the cheongsam, not only can set off the Oriental woman's beautiful body, but also can show its elegant state of mind and leisurely pace of life, fully demonstrating the subtle beauty of traditional Chinese dress, presenting a kind of natural rhythm of life in a hazy good state.

Three, the inheritance and expansion of Chinese dress culture

1. Inheritance: the foundation of expanding traditional dress culture

China has been known as the "Kingdom of Clothes". Throughout the history of the development of Chinese dress civilization, it can be seen that "harmony" and "unity" are the true meaning of traditional Chinese dress culture. Since the birth of Chinese dress culture, it has followed the production principles of combining warmth and aesthetic expression, marking display and symbolic expression, outstanding personality and joyfulness and auspiciousness, in order to maximize the harmony and unity of dress and nature, dress and society, dress and people, and the blending of scenarios and the unity of imagery are the most precious aesthetic qualities of Chinese traditional dress culture. For example, as a basic element of Chinese traditional dress culture, "marking highlights culture" is mainly applied to the marking and expression of people's ideas of rank, profession, age and gender in production and life, from the marking of the dresses of primitive tribal chieftains and hunter-meritorious ministers to the marking of the official dresses of feudal emperors, and from the marking of the dresses of civil and military officials to the marking of the dresses of modern military uniforms, professional dresses, evening dresses, and the marking of the dresses of military and civil officials. Modern military uniforms, professional uniforms, evening dresses, etc., all of them show the aesthetic connotation of "marking and highlighting culture". Of course, traditional Chinese dress culture carries the traditional Confucian concept of mediocrity, and is y influenced by political factors; while the "green" clothing covered the whole country in the mid-20th century, the "military uniform" and its gray tone also made Chinese clothing present a simple and uniform dilemma. However, the mainstream of traditional Chinese dress culture that has been developed for thousands of years is the "harmony" and "unity" dress culture, which should be carried forward, such as the atmospheric and bold color culture that is mainly based on the expression of primary colors, in order to pursue the perfect unity of meaning and expression and to maximize the unity and unity between the dress and the expression. The modern Chinese dress culture should be inherited and expanded, such as the color culture based on primary colors, the perfect principle of pursuing the unity of meaning and expression, and maximizing the coherence between the dress and nature, society, and the people, and the manifestation of folklore and auspicious imagery.

2. Innovation: the perfect integration of tradition and fashion

In contemporary China, the aesthetic integration of traditional clothing and fashion design is of special significance in improving the cultural added value of clothing, meeting the demands of fashion consumption, creating national brands, and exploring domestic and foreign markets. In the era of globalization, the competition in the clothing industry is becoming increasingly fierce, and clothing designers from various countries pay much attention to the borrowing of traditional cultural elements from their own countries in order to promote their own clothing culture and national characteristics. At present, China's modern clothing design as a whole still exists in the design concept backward, not creative enough, failed to integrate the essence of traditional clothing culture into modern clothing design and other issues; coupled with the influx of foreign brands, and the lack of domestic brands to compete with, so that China's apparel design in the domestic and international competition is in an unfavorable position, seriously affecting the further development of China's apparel industry. Therefore, the most urgent task is to draw on the basis of traditional cultural symbols, to integrate tradition and fashion organically, to elevate it from the simple borrowing of surface symbols to the connotation of the dress culture of aesthetic perception and characterization of yin, to create their own clothing brands, and to develop the traditional elements of Chinese fashion design and modern fashion harmoniously integrated with Chinese characteristics of the dress culture.

To realize the perfect integration of traditional dress culture and modern fashion design is essentially a kind of innovation based on the inheritance of traditional dress culture. This kind of innovation must first understand the traditional culture, otherwise the innovation is the wood of no origin, the water of no source, that is to say, designers should grasp the spiritual concept of Chinese traditional clothing culture on the spiritual culture level, integrate the traditional cultural elements with various fashion concepts and theoretical resources, creatively incorporate the practical value, cultural value and aesthetic value of the traditional clothing culture into the modern clothing design, enrich its cultural implication, enhance the cultural added value of the product, and prevent it from becoming the most popular fashion design in China. Enhance the cultural value-added of the products, and prevent the simple combination of symbolization and superficiality of traditional elements or illustrative and hunted sample exhibition. Good clothing design creativity is the designer in the grasp of the traditional clothing culture concept, combined with fashion concepts and design principles, the traditional culture of accumulation, digestion and perception of a natural emotional expression, rather than buying and selling, drawing a tiger according to the cat. The costumes displayed in the activity of "Huangdi Hometown Ancestor Worship Ceremony in the year of Cixu" in Henan Province are of great cultural value. Ancestor worship clothing series is mostly used in neutral pop color series, the color is very different, the fabric is simple and crude, with a golden ribbon edging; button design is the use of plate buckle style, its metal material and clothing fabrics and clothing texture of the gold edge to form a delicate contrast; cuffs turn over the edge of the use of satin weave pattern, both simple and ancient characteristics of the modern form of craftsmanship. The whole design will be a perfect combination of traditional elements and fashion design, coupled with the special significance of the Ancestor Ceremony itself, it can be said that the form and content are completely integrated together, and achieved excellent artistic results. Therefore, contemporary Chinese fashion clothing design should analyze and study the color scheme and production rules of traditional clothing, understand and feel the profoundness, vastness and gravity of traditional clothing culture, and skillfully apply it to modern clothing design, plus modern crafts such as picking, embroidery, batik, tie-dyeing, hand-painting, weaving, weaving, and drawing, etc., as well as combining with the fashion trends and characteristics of the times, and organically combining the inheritance of traditions with the exploration of innovations. Combine the inheritance of tradition with exploration and innovation, so as to create both a sense of the times and national charm of the clothing.

Fourth, conclusion

Traditional Chinese culture is all-encompassing, far-reaching and meaningful, which is the spiritual source of contemporary Chinese clothing design. Only by y interpreting traditional clothing culture and appreciating its aesthetic meaning can designers convey deep cultural meaning in fashion design and develop innovation on the basis of inheriting tradition. The right way to inherit traditional dress culture is to enrich it, develop it and transcend it, instead of locking the eyes only on the form of traditional Chinese cultural elements, the perfect blend of form and connotation is the vitality of the spirit of traditional Chinese dress culture. Therefore, designers should grasp the cultural information conveyed by traditional elements, uphold the spiritual core hidden behind the form, and skillfully apply it to the design concept of fashionable clothing, leaving behind the traditional cultural form of constraints, so as to construct a nationally recognized modern clothing system rich in national characteristics. In addition, if Chinese dress culture is to highlight its advantages and characteristics in the international competition, it must be based on Chinese traditional culture, learn from foreign advanced technology, combine the traditional elements, grasp the fashion elements, the pulse of the times and the needs of the public, break through the shallow application of Chinese dress culture, use the international common design language for fashion design, and incorporate the elements of Chinese dress culture, so as to make the traditional dress culture and fashion clothing design perfectly integrated, and make the traditional dress culture and fashion clothing design perfectly integrated, so as to make the national identity of modern clothing system. The perfect fusion of traditional clothing culture and fashionable clothing design will make the clothing culture with Chinese characteristics evolve to a deeper level, so as to improve its aesthetic sense, adaptive thinking and development strategy, and expand the development space of Chinese clothing culture.

China is a multi-ethnic country, people's pursuit of dress culture is also multi-faceted, multi-faceted, multi-level, a hundred flowers blossom, a hundred schools of thought, free competition, free development, the collection of a hundred strengths, and the promotion of a thousand excellence, in order to adapt to the development of Chinese dress culture of the journey of life.