How does fine art carry human culture in terms of women's clothing?

Culture has diversity, which comes from different cultural traditions and is the driving force of human development. Without cultural dissemination, human beings could not have the civilization progress today. It should be said that cultural dissemination and intermingling provide the impetus for the birth of new cultures, and new cultures will bring about changes in lifestyles.

In the background of leisure culture sweeping the world and becoming the mainstream lifestyle, the casual wear imported from the West has flourished in the Chinese market in the past 20 years, casting its own splendor. Here, we can find a typical case of cultural exchange between the East and the West and the evolution of local clothing culture.

Cultural communication drives clothing innovation

In the era of globalization, with the deepening of international exchanges, people are increasingly discussing cross-cultural contacts. The integration of the global economy, localization and diversification of cultures have become the *** knowledge for the sustainable development of mankind.

Eastern and Western cultural exchanges have never stopped since ancient times, and they are still assimilating and alienating. As the cultural scholar Wang Jiannan said: "Culture has no walls, culture has no borders, it is the *** same wealth created by mankind. The development of mankind today, the understanding of nature and society is getting deeper and deeper, and the important reason for this is the cultural exchanges between the various ethnic groups."

And as culture changes, "in the process of adapting to a new culture, people's behavior changes. For example: in Japan, after the Meiji Restoration, the introduction of Western culture led to a change in clothing from the kimono to Western clothes. Another example: after the National Revolution in China, the change in the style of Chinese clothing, from the waistcoat to western clothing, is also a symbol of cultural change." Another scholar, Ye Licheng, summed it up this way: the introduction of casual wear from the United States and Europe to China in the late 1980s was a clothing phenomenon worth studying - the spread of culture and lifestyle prompted the birth of new clothing categories.

Casual clothing embodies a humanistic concern and remembrance. Today, the rapid development of science and technology and the economy has also made people a bit overwhelmed by the hectic pace of life. At the same time, those in a single era of wealth creation has been ignored in the spirit and beliefs of people's attention again, people began to sit down to look at their own hearts, reflecting on their own too materialistic and reminiscent of the good old days of mankind's emotions and the spirit of nature. As a result, a variety of attitudes towards life coexist and intertwine the main theme of the new era of life, not only can wear dazzling colorful, but also focus on the inner happiness of the feelings of the casual clothing culture came into being.

As far as lifestyle is concerned, Yuan Yue, a famous market research expert, said that lifestyle shapes our style and style when we play a social role, and also forms our taste and level. Our learning, consumption, investment and career are the places where our lifestyle is expressed, and they also influence the evolution of our lifestyle in a subtle way. Lifestyle also determines how we consume.

Really, with the development of the world economy and the improvement of people's standard of living, from Europe and the United States and other developed countries, the first rise of the leisure lifestyle determines the inevitable change of consumption, clothing must be revolutionized. Casual clothing consumption boom, it is because of this cultural foundation. For China, the introduction of casual wear has influenced the lives of most Chinese people, and through the drive of the industry and the construction of the brand, it has gradually developed a cultural character belonging to the Chinese casual wear itself.

Cultural fusion influences the flow of fashion for thousands of years

China has created a unique culture in the world, and until the Han Dynasty, only China could produce silk. Before Zhang Qian's passage to the West, silk had already been transported in large quantities to the Western world via the Silk Road. As early as 2000 years ago, the Roman Empire had favored silk clothing from China, more expensive than gold, which greatly stimulated the development of the Silk Road. Gold from Europe also flowed into China via the Silk Road, making the Han Dynasty an important period of development in Chinese history. The Tang Dynasty's bright culture also left a deep impression on the world, so far, Europe, America, the Chinese living in the area is called "Chinatown" (China Town); Tang Dynasty crafts popular curly grass entwined with flowers, by the world of arts and crafts known as "Tang grass pattern "

And the Tang Dynasty crafts were popular in the Tang Dynasty.

And cultural exchange is often a two-way street. At one time, "hu clothing" promoted the progress of Chinese clothing, "hu bed" changed the Chinese custom of sitting on the ground, "hu music" enriched the cultural life of the Chinese people. History has proved that every import of foreign culture has brought new ideas and new connotations to the traditional national culture, and new contents and new leaps to the national costume culture.

The East-West cultural exchanges at the beginning of the 20th century also led to a major change in national costumes, the first time in the history of China's clothing to realize the "foreign for Chinese", the concept of national dress has changed radically, and from now on the national costume into the internationalization of the era of free change. Such as the composition of the cheongsam marks the penetration of Western culture into women's clothing, but it ultimately did not lose the softness of the Eastern style, but became a typical representative of Chinese women's clothing. This product of the fusion of Chinese and Western cultures is translated as "CHINA DRESS", which is enough to prove the international recognition of the cheongsam. Zhongshan suit is also a product of the fusion of Chinese and foreign cultures, transformation and innovation, and has become the male clothing of Chinese style.

With the deepening of cultural exchanges, people's attire will gradually change, the process of human beings' bold pursuit and acceptance of new culture is the process of the gradual evolution of the old attire concept. The more the content of the new culture is accepted, the more obvious the evolution of the old dress. When cultural dissemination and borrowing reaches a certain level, there will be a change in people's dress - a new leap in dress.

Modern casual wear is driven by the influence of the global casual culture, which has come to the life of the Chinese people. Nowadays, Chinese people are pursuing fashion and enjoying leisure.

In the era of interest as an idol, the outpouring of foreign ideas, the reduction of the diversity of cultural ecological zones, as well as the questioning of the local culture of the people of China, forgetfulness, national psychological inferiority and self-inflicted injuries and even the complete loss of the national spirit are accelerating the stripping of the kernel of China's national culture, full of individuality of the Chinese culture is experiencing a double loss of the material and the spirit, I'm afraid that only the last remaining square text, our culture is not even the last barrier, but the most important thing is that our culture has been destroyed. The first thing I'd like to say is that I'm not sure if I'm going to be able to do this, but I'm sure I'm going to be able to do it.

Whether it is the declaration and protection of intangible cultural heritage or the rescue of folk art, it is ultimately a matter of defending the roots of Chinese culture. However, the most fundamental rescue is the cultural lineage from generation to generation, the problem of inheritance should not be just a few people shouting and the public's empty blindness, as one of the popularization of education in China's children's art business can share the worries of cultural inheritance? Can children's art share the worries of cultural inheritance as one of the popularized education? Can children's art engrave culture in the mind while shaping part of the childhood experience? The experimental exploration of this may become one of the major contributions that the art and education sectors can make to Chinese culture today.

Our Culture, Our Roots

The extinction of a nation is first and foremost the extinction of its culture. The international competition in the new century has risen from economy to culture, because the victory of culture brings national glory and the power to overcome everything. When a nation loses its culture, it loses its spirit and soul.

Cultural ethnicity - the basic traits and identity of the nation - is the lifeline that sustains the existence of the nation, conveying the unique cultural style and temperament of the nation while accomplishing the diversity and dissimilarity of human cultures. As a real spiritual bearer of human cultural achievements, ethnicity can be born with modernity and internationality***, but always fight against assimilation.

Concern for ethnicity is actually a deep understanding of artistic homogeneity rather than singularity.

"Art has been a part of our lives from the beginning, and all peoples, wherever they may be, have had a constant need to seek meaning - to bridge time and space, experience and event, body and spirit, reason and emotion, and people have created art to link them together. express what cannot be expressed apart from this." (1) The essential unity of art is not to be confused with its singularity, and art is also the most profound expression of the national character of a culture, revealing "the tensions and frictions, the antagonisms and conflicts that exist between different forces. They tend in different directions and follow different principles." ② This diversity and dissimilarity does not imply inconsistency or disharmony.

However, culture cannot maintain its current state through physical inertia, "it often suffers from material and spiritual change and decay, and even if its physical existence continues, it is under the constant threat of losing its meaning" ③. In the context of globalization and the strategic offensive of Western society and culture, the ecological dilemma of Chinese cultural ethnicity and the crisis of its dissolution have been revealed in various forms of artistic expression, including fine arts. For example, folk art is in a state of near extinction.

Folk art is the mother culture of China, the popular culture, with originality and extensiveness. As the most traditional and pure carrier of Chinese cultural ethnicity, it is no longer a mere art form, but a meaningful symbol - condensing historical memories, simple national beliefs and emotions, and sharing the same roots with the bloodline of Chinese culture. It is no longer a mere art form, but a meaningful symbol that condenses historical memories, simple national beliefs and emotions, and shares the same roots with Chinese culture. This symbol gives us a deep understanding of our own culture, the lives of the Chinese people, and art. However, the urbanization of China's countryside, which lacks characteristics, has led to the serious destruction of the natural ecology and living space of folk art, and the demise of many folk art patterns with the end of the life of the old artists. Even though the material expressions belonging to the fine arts still exist, the part belonging to the culture lacks the original ecological flavor and the magical and spiritual nature and vitality.

The protection of cultural nationalities and materialized achievements can be carried out in many ways, such as through textual records in museums and the rescue of the original forms of folk art patterns, but the inheritance of Chinese national culture is the most fundamental way to save it, or the inheritance itself is the salvation. Inheritance is related to the survival of Chinese culture, and it is also related to whether the future Chinese art and its makers can still hold their own cultural individuality and form an essential influence on the diversity of human culture, just as Chinese paintings have once reached the realm.

The concern for the heritage of Chinese culture is an inevitable reflection of our cultural initiative and autonomy after introspection, as well as our essential concern for the essence of art and the cultural ecology on which it is nourished, and our deep concern for the great dilemmas and challenges facing our local culture.

Inheritance is not mere copying and cultivation of imitators of traditional culture, but continuous renewal and reconstruction in line with the essence of cultural innovation - through new rational syntheses and complex reconstruction activities to keep Chinese culture and art alive for a long time without losing the driving force that produces and promotes it. --The inner spirit and temperament of the Chinese nation.

Children's Art and Cultural Inheritance

The nature of culture and its relationship with the inheritors clearly show us that children are the core of cultural inheritance.

From childhood onwards, culture is born with people*** and is y rooted. As the soil and climate are to the plants, everything in the children's environment, such as architecture, music, rituals, aesthetic orientation, lifestyle, etc., as a cultural element, influences them all the time and forms concepts, attitudes, and consciousness, which are internalized as a part of their lives and become unforgettable childhood experiences. The process of forming character and ontological habits is also the process of dissolving culture and genes into life.

If inheritance begins in childhood, and future citizens begin to recognize and identify with their own mother culture in childhood, it is not only in line with the natural shaping of the child's body and mind, which has an early advantage, but is also more in line with the educational concepts of progressive societies: the more developed a society becomes, the more emphasis is placed on the preservation of the cultural identity of the nation. Japan, Western Europe and other countries attach great importance to the children and young people in the local culture education, to cultivate the national sentiment and cultural identification ability, through education to cultivate a generation of cultural inheritors.

Children's art is the free expression of childhood experience, the inevitable product of interaction between children's nature and the cultural environment, and is completely rooted in a specific cultural environment. In response to this important characteristic of children's art, educators have great possibilities and freedom to inject important elements of Chinese national culture into it, such as ink painting and folk art, so that children's art can mold children's hearts and minds, and at the same time engrave culture into their personalities.

However, the mutation of the cultural soil and the long-term shortage of ethnic culture and art in education have led to the quiet evaporation and dilution of the vital connotations of Chinese culture in the cognition of the younger generation, and what the people who are the inheritors of it feel in childhood is a serious rustiness and segregation of the local culture and the ethnic art forms, which is replaced by the westernization of the children's aesthetic interests and even food tastes. To a certain extent, they only have the physical characteristics of the race, customary temperament, but do not have the deep feelings of the Chinese nation and culture of the genetic temperament, coupled with the current adult value orientation of the utilitarianism of the negative impact on the children's education, all of which has caused the inheritance of the extremely serious practical difficulties.

Nevertheless, the pioneers' exploration of the inheritance path did not stop, but rather accelerated, especially the excellent children's art educators. Respecting the laws of children's physical and mental development and the natural state of children's art in its simplicity and honesty as a prerequisite, the experimental exploration of cultural and ethnic inheritance from children's art and education as an entry point may become one of the major contributions to the inheritance and sustained development of Chinese culture made by the art and education communities*** together.