Traditional Clothing and Traditional Culture

Traditional Clothing and Traditional Culture

Traditional dress and traditional culture, China's traditional dress and traditional culture are the inheritance of the Chinese nation. In addition, some innovations in China's traditional costumes also represent the continuous innovation of our nation. The following is the sharing of traditional costumes and traditional culture.

Traditional Costume and Traditional Culture 1 Viewing China's Traditional Culture from the Evolution of Han Costume

Mr. Guo Moruo said: "Clothes are the symbol of culture, and clothes are the image of thought." From this we can see the relationship between clothing and human beings and society. Clothing can not only reflect a person's cultural accomplishment and aesthetic taste, but also reflect a nation's social culture. Han culture is extensive and profound. After a long period of evolution, the traditional costumes of the Han nationality have become a collection of a series of costumes with unique styles.

During the Spring and Autumn Period and the Warring States Period, feudalism replaced slavery. At the same time, a hundred schools of thought contended at that time, forming a situation of "a hundred schools of thought contending". In the "a hundred schools of thought contend", there is also a discussion on the clothing system. For example, Confucianism advocates "charter civil and military", maintains the hierarchical system of the Western Zhou society, and advocates that all costumes must be "about courtesy".

Mohist advocates "frugality" and thinks that clothes and costumes are only "useful", so it is not necessary to stick to the complicated hierarchy. In the Han dynasty, clothing paid more attention to grades. However, as a traditional costume of the Han nationality, the characteristics of the Han nationality are more and more distinct. Compared with other national costumes, the biggest feature of Han costumes is wide sleeves. Taking off the coat and the fat sleeves not only looks elegant, but also is very practical. Another notable feature of Hanfu is that it has no buttons, but uses a wide belt to tie clothes.

At that time, a person's social status can be directly seen from the clothes he wears. Ordinary people who are directly engaged in manual labor wear short shirts, which are called "clothes" above and "dresses" below. Those who have money and status, or who are not directly engaged in manual labor, wear robes. This is a robe with upper and lower body clothes connected together.

From the Han Dynasty to the later Tang, Song, Ming and other dynasties, the official uniforms of court officials all adopted this typical undressed fat sleeve and a typical buttonless Hanfu style. Although there are more complicated differences in the details of clothing due to the different ranks of officials, the general development direction is this kind of clothing system with sleeves and deep clothes. At this point, there was no fundamental change from the Western Zhou Dynasty to the Ming Dynasty.

The generous costumes of the Han people actually reflect the outlook on life and values of the Han people-pursuing a leisurely and quiet life. This kind of clothes is not suitable for horse riding, hunting and other strenuous sports, but it is very suitable for the comfortable life of ancient literati in playing chess, enjoying flowers, reciting poems and painting.

As a contrast, we can look at the traditional costumes of ethnic minorities. Ethnic minorities around the Central Plains often wear tight-fitting clothes with narrow sleeves, because these ethnic minorities like riding and shooting and other activities with big movements.

By the Qing Dynasty, great changes had taken place in the costumes of the Han nationality. This is not due to the sudden change of aesthetic concept of Han people, but to the change of social culture and background. After the Qing soldiers entered the customs, Manchu entered the Central Plains, and the rulers began to enforce the movement of shaving and changing clothes, forcing Manchu people to wear tight robes and jackets, and prohibiting Han men from wearing traditional loose clothes.

Since then, the traditional robe that lasted for more than two thousand years has completely disappeared. Nowadays, the well-known cheongsam and mandarin jacket evolved from Manchu costumes, but the traditional national costumes of Han nationality are rare. This kind of forced clothing transformation by rulers from a political perspective is very rare in history.

After the Revolution of 1911, the Han people paid more attention to their national costumes. People need different costumes with national characteristics to show the new social scene. Manchu robes and jackets are no longer suitable, but it is somewhat nondescript for the whole people to wear suits. But before the Qing Dynasty, no one knew the costumes of the Han nationality, and there was no way to restore the previous costume style.

Thus, by the end of the Qing Dynasty and the beginning of the Republic of China, the costumes of the Han nationality were varied. In the reform, the reformists also regarded changing clothes as an important part of learning western civilization and implementing the New Deal. Although the political demands are different, the revolutionaries and reformers have the same understanding of the disadvantages of traditional costumes. Sun Yat-sen once put forward four principles of clothing making, and designed the Chinese tunic suit based on the principle of "health, mobility, economy and beauty".

In fact, at that time, the traditional Hanfu faced a very rare opportunity to revive. After that, under the impact of complex social and historical changes and modern western culture, it is impossible to re-implement the traditional Hanfu.

It should be emphasized that the revival of Hanfu does not necessarily require everyone to wear clothes with wide robes and big sleeves, but to retain a form of clothing to symbolize the unique clothing characteristics of a nation. It's like when people mention Manchu, they will think of Manchu women's cheongsam and combed flag heads. Hanfu is a unique symbol of the Han nationality, showing different cultural colors from other nationalities. National identity is also an important part of traditional culture.

We can see that the evolution of Han costumes not only directly reflects the political changes, economic development and customs changes of China society, but also reflects the traditional culture of the Chinese nation, which plays a very important role in the cultural history of China. Studying the relationship between the changes of Han costumes and China traditional culture will also help us to better understand the excellent cultural traditions of the Chinese nation and inherit its elegance.

Traditional Costume and Traditional Culture 2 China Traditional Culture-China Traditional Costume

clothing categories

Han men's wear

Among the crown costumes in China, the crown is the most gorgeous. The pre-Qin system was divided into two levels. How black the clothes are (mysterious clothes) look like the sky; The clothes are yellow (Huang Shang) like the ground. There are also light crimson ones. Xuanyi's wide sleeves are painted (embroidered or woven) with colored silk of scarlet, white, cyan, yellow and black to represent the sun, moon, stars, mountains, dragons and flowers. Clothing paintings are also embroidered with Zong Yi (ritual vessels), seaweed (aquatic plants), fire and other patterns in colored silk.

These pictures and patterns are collectively called 12 heraldry. There is a leather cup in front of the dress, which is scarlet. There are three chapters of dragon, fire and mountain painted on it, which are tied on the waist belt and covered in front of the petticoat knees, and jade is worn next to the petticoat. The petticoat is tied with a ribbon at the back (a pattern pendant made of wide ribbon) and a large belt at the waist.

Hair tied to the top of the head, wearing a crown (hat). Buttons are rolled on the crown, and jade buttons are worn on the buttons to fasten the crown hair. Crown coronation (a flat plate with a width of 0.8 feet and a length of 65,438+0.6, behind the front ring, also called crown extension, made of wood and covered with black cloth and ochre cloth). Before and after the crown extension, there were 65,438+02 scorpions hanging evenly (using colored silk as a rope and crossing colorful jade beads, called scorpions). There is a jade hanging beside the crown, which is called "Ear".

Full of red stripes (platform shoes, the sole is made of wood, with stripes on the front, wide and high enough to provoke the front fringe of the long skirt to move forward).

A man's head is a crown. The shape of the crown includes high crown, bow, beam crown, cage crown, small crown, hoe, bow, hat and so on. Its exquisite names of various crowns and hats, such as health hat, hat, hat, sage hat, big hat, round hat, goose hat, Tang towel and mat hat, can reach dozens. Others wear all kinds of headscarves, such as square headscarves, swastikas, cloud towels, soft towels, wide towels, kudzu towels, huayang towels and so on. And there are local farmers' hats.

Han women's dress

Women's clothes, queens' and ladies' clothes are mostly dark clothes. For example, in the Book of Rites, the clothes in the pre-Qin period, such as Cuodi, Quezhai, Juyi, Zhanyi and plain yarn, were all dark. Cuodi and Quezhai are ceremonial costumes with five-color village (golden pheasant) pictures (embroidered or woven) painted on them. The bow dress is yellow, which is a suit for mulberry (pray for the smooth ceremony of mulberry picking and sericulture of the former king); The exhibition is white, not a guest outfit; Plain yarn is an inner lining suit worn inside.

Among the silk paintings unearthed in Mawangdui, Changsha, ladies' clothes belong to deep clothes, and women of Chu figurines unearthed in Yangtianhu Chu Tomb in Changsha also wear deep clothes.

After the Han Dynasty, the costumes of queens and ladies inherited the system of the pre-Qin period. However, half arm (half sleeve gown), silk (long painted silk draped between shoulders), Xia Zi (two wide silk birds embroidered and colored draped over shoulders, about 3 inches wide, hanging in front of 3 feet, a jade falling at the lower ends of left and right joints, hanging in the back 2 feet, with the end inserted into the bag) and Qizi (quarto).

Generally, women usually wear skirts with separate tops and skirts, and some wear tops and trousers without skirts. These clothes are all traditional clothes of the Han nationality.

Ancient women's hair was tied into a bun, which was divided into double bun, vertical bun, partial bun, flat bun, spiral bun, high bun and flying bun. There are dozens of specific names, such as comb venetian steamed buns, double-ring Wang Xian steamed buns, Chaotian steamed buns, Zhuanlian steamed buns, Bao steamed buns and Hua steamed buns. The ornaments on the bun include combs, grates, hair clips, walking waves, Cui Qiao, Zhu Cui, gold and silver jewelry, heads, bead hoops, bead crowns, rockhoppers, and bead cards refined from couples, Yao Zhai, beads and gold, silver and jade.

The sideburns are decorated on both sides of the hair, and some wear curtains and hijabs.

Minguo clothing

In the early years of the Republic of China, influenced by the Qing Dynasty and western culture, there was a clothing reform centered on abolishing traditional clothing. Men's wear has gradually changed from robes and mandarin jackets to tunics and suits, while women's wear has become increasingly colorful, showing a trend of popularization of cheongsam.

After a hundred years of evolution, with the change of people's lifestyle and aesthetic taste, cheongsam has developed colorful styles, which makes people dizzying. In the golden age of cheongsam development in 1930s and 1940s, the styles changed greatly and were very rich. There are different styles of lapels, collars, sleeves, skirts and other parts of cheongsam: lapels include round lapels, square lapels, long lapels and so on; Shanghai collar, Yuanbao collar, low collar, etc.

Sleeves have long sleeves, short sleeves, big sleeves, flower sleeves and flared sleeves, and the cuffs are inlaid, embroidered and rolled with various patterns, which is very unique; In addition to the change in length, the skirt has also added fishtail and wavy skirt styles.

Zhongshan suit is advocated by Sun Yat-sen, and it is also simple and practical. Suits have been popular since the Revolution of 1911. 19 12, the government of the Republic of China made the tunic suit into a dress, modified the shape of the tunic suit and gave it a new meaning.

Upright lapels (originally upright lapels), double lapels, five buttons on the front, four patch pocket and three buttons on the cuffs. The backboard is not broken. These forms are actually exquisite and meaningful according to the etiquette of the Zhou Dynasty in the Book of Changes. First, the four pockets on the front of the clothes represent the legislative, judicial, administrative and examination rights, and the inner pocket of the clothes represents the impeachment right (procuratorial power), which is the killer weapon for the people to check and balance the concentration of power.

This is the separation of five powers. Secondly, the five buttons on the front represent the harmony of Han, Manchu, Mongolian, Hui and Tibetan. Third, the three buttons on the left and right cuffs represent the Three People's Principles (nationality, civil rights and people's livelihood) and the concept of harmony (equality, freedom and fraternity). Fourth, the unbreakable back symbolizes the great righteousness of peaceful reunification of the country.

Fifth, the collar is defined as lapel closure, which shows the concept of strict governance. The Zhongshan suit was named after Dr. Sun Yat-sen who took the lead in putting it on. When the Kuomintang Constitution was formulated in the Republic of China 18, it was stipulated that all civil servants at a certain level should wear Chinese tunic suits when they were sworn in, to show their obedience to Mr. Wang's law. Shape: vertical lapel, double lapel, five buttons on the front, four patch pocket, and three buttons on the cuff. The backboard is not broken.

Although cheongsam and tunic suit are the products of the combination of Chinese and western cultures, their rich traditional culture and the inclusive quality of the Chinese nation make them particularly popular in modern times. As time goes on, they also become a tradition. The introduction of cheongsam and Chinese tunic suit has added new content to China's traditional costumes.

The change of clothing in each era represents the progress of the times, and we should continue to inherit and carry forward the traditional clothing culture in China.

Traditional dress and traditional culture 3. Inheritance and innovation of traditional dress in China.

Spring Festival has always been the most important traditional festival in China. As long as I can remember, besides my birthday, looking forward to the "New Year" is the most important thing in my life. Looking back on every "New Year" in my memory, I can't help feeling the changes of the Spring Festival every year. Looking back carefully, I feel like a lifetime ago. In the past, when the Spring Festival approached, we had to buy new year's goods, clean the room, get a haircut and buy new clothes ... Now, the economy has developed, the market is prosperous and the materials are sufficient. Fashion design institute.

The "Hong Kong Fashion Festival Fall/Winter 2005 Series" and "Hong Kong International Fashion Series 2005" sponsored by the Hong Kong Trade Development Council ended at the Hong Kong Convention and Exhibition Center on June 65438+1October 18-2 1. As the best platform for Hong Kong industry to promote new products, they effectively promote the exchange of market information among peers.

In terms of parts and details, the change in the use of lining will make unlined jackets with piping treatment more popular. The exquisite bag design inside will become one of the key points for men to pay attention to and decide on consumption. Shoulder pads began to become smaller and thinner, becoming more natural. Structurally, the cutting line of the cutting piece moves forward or backward, and the saved angle change is also the embodiment of the design in detail.

Generally speaking, men's wear will be more functional, practical and subdivided in spring and summer of 2005. Quality shows individuality, individuality determines value, and value is embodied in quality, which is a new standard for fashion men to choose clothes.

The runway in London is beating the fashionable melody with beating notes, which has opened the curtain of another spring and summer. Colorful brand releases followed, shocking people. After Milan and Paris Fashion Week, London's style is more conceptual and diversified.

Clothing aesthetics is a very complicated spiritual phenomenon, and there is no unified standard and model for the beauty contained in clothing. Time and place, values, etc. Will become the basis of people's aesthetic changes. However, it is mainly some "behind-the-scenes heroes"-fashion designers who guide the change of clothing aesthetic concept.

Recently, Lancome Color Fashion Creative Competition was held in China for the first time. The event was first held in Britain on 200 1. It is jointly organized by Lancome and the famous St. Martin Central College of Art and Design in London. It has become a prestigious international fashion event. In view of the rapid development of Asian fashion field and the emergence of outstanding fashion designers, the contest was held in Asia for the first time in 2005. China, Japan and South Korea will be the first Asian countries to host this competition.