The spiritual connotation of Hanfu

With the recent popularity of Hanfu Miss, quickly set off a wave of Hanfu mania, its retro clothing is simply a fairy general, first of all, we need to know the full name of the Hanfu is "Han national traditional dress", Hanfu stereotypes in the Zhou Dynasty, inherited in the Qin Dynasty. Hanfu, in China has a long cultural history, is a well-deserved national treasure.

Hanfu is a necessary component of the ceremonial culture inherited from the crown system of the Four Books and Five Classics, based on the Confucian classics of the Classic of Poetry, Shangshu, Zhouli, Rituals, I Ching, Spring and Autumn Annals, the Great Tang's "Rites of Enlightenment," the Twenty-four Histories of Public Opinion and Clothing, and other scriptures, histories, and collections of literature. Hanbok contains considerable cultural connotations, subject to "Confucianism, Taoism, ink, law" and other philosophical ideas, shaping the "Hanbok" of the unity of man and nature, free and unrestrained style. "Hanfu also reflects the wearer's magnanimity, easy-going and accommodating temperament.

The Chinese dress started from "Huangdi hanging clothes and the world rule", and ended in the Qing Dynasty, "shaving hair and changing clothes". Hanbok to "the unity of man and heaven" as the core of culture, Hanbok design concept represents the deeper meaning of Hanbok and the beauty of the external form. The cuffs of Hanbok are wide and loose, which represents the roundness of the heavenly way, the body of Hanbok represents the oriental virtue of fairness and uprightness and tolerance of all things, the upper piece of the clothes is made of four pieces of cloth spliced together, which means that there are four seasons in a year, and the hemline under the deep clothes is made of twelve pieces of cloth***, which should be twelve months in a year, and the Hanbok is designed to perfectly reflect the core concept of the Hanbok from many detailed levels. The design of Hanfu perfectly embodies its core concept of "the unity of man and heaven" at multiple levels of detail.

The beauty of Chinese dress, whether ancient or modern, until now is very beautiful, every time a traditional Chinese festival, there are some places will be many ladies wearing beautiful Chinese dress lanterns to see the beautiful scenery, is very full of ceremonial sense. In front of the Hanfu those seem to be very fashionable clothes unbearable, how can not match the beauty of Hanfu.

Hanbok, not just a piece of clothing, but also has a deep cultural heritage, reflecting the aesthetic implications of its holdings, Hanbok is also an important cultural symbol of our country, the heritage of our country has an important significance. Nowadays, with the rapid development and progress of society, we should continue to inherit the traditional culture, to Hanfu to profound research, showing the bright civilization of China's Great China.

Hanbok conveys the most intuitive feeling to people is the beauty of the form, no one has personally worn Hanbok, it is difficult to appreciate the beauty of Hanbok. Eguanbo belt, wide robe and big sleeves, stationary time, solidified with the majesty and solemnity, walking time, revealing the drift and spontaneity. Literati and writers throughout the ages on the beauty of the chant has been no shortage of work, "silk clothes and its obscurity, carry Benzilizili" is how grand and magnificent beauty, "too true first branch of the plum, under the flower uneven soft dance to the graceful step under the moon, sleeve dance wind light, fluttering like orchids, just like a swimming dragon" and What is the beauty of elegance. The Chu poet Qu Yuan once said: "Yu young good this strange clothes, years both old and not decline." Qu Zi has been known for his purity, his life in the song of vanilla beauty, and he even respected a dress like this, see this dress is also enough to be comparable with the natural vanilla, the beauty of the best color.

Painters are the beauty of the clothes to symbolize the fairy-like extreme, the Six Dynasties period of the painter Cao Zhongda, painted figures to thick fine line, showing clothes folds close to the body, "its body thick stack, and clothes tight", like just out of the water, and thus known as "Cao clothes out of the water! ", the Tang Dynasty painter Wu Daozi characters, big sleeves, smooth lines, elegant, dashing and elegant, is called "Wu belt when the wind". This aesthetic psychology is so solid that after more than three hundred years of hair cut and change clothes, even if the people mistakenly think that the Han people without national costume still have a kind of long wind and sleeves with a graceful elegance of love and reminiscence, in recent years, the prevalence of ancient costume film and television drama, a large part of the reason, it is the people on the aesthetic resurgence of the Han Chinese costume.

The beauty of color decoration is another feature of the beauty of Hanfu. Color decoration is to a large extent a reflection of the inner character and spirit of a nation in the outer shape. Since the formation of the Zhou Dynasty, the color of clothing has strict boundaries and different meanings. Taking Xuan Duan as an example, Shi Xuan Duan was dressed in crimson, the black color of Xuan Duan was red, and the crimson color was yellow and red, which had a kind of deep and serious beauty. Another example is Zhu Zi's deep clothes, which are white with a soap edge, pure and simple, expressing the spirit of the Han family, which is neutral and peaceful. The Book of Rites〃Deep Clothes" has recorded the form and connotation of deep clothes in detail: "The ancient deep clothes, covered with a system to respond to the rules, rectangles, ropes, power, and weights.