Miao Ethnic Costume Culture 2

Show you in the magnificent charm of the Lusheng Manchu ensemble.

Spotted, silver rolling, dancing and moving scenes.

Make your vision, hearing, touch, taste feel the Miao nationality clothing culture, make you consciously or unconsciously integrate into the environment of the Miao people's clothing culture, and feel the great difference between it and other dress culture.

If you feel this difference, we will be pleased to hold the first Qiandongnan China Miao and Dong Costume Culture Festival.

In order to make you have a better understanding of the Miao nationality's clothing culture faster and better, this article is specially written.

The clothing culture of Miao nationality is changing along with the development of Miao nationality's history. Understanding the history of Miao's development helps us understand the cultural background of the Miao nationality's dress changes.

The Miao nationality is a nation with a long history. Their ancestors lived in the middle reaches of the Yangtze River in the pre Qin period.

Their history can be traced back to the times of Yao, Shun and Yu.

During the Warring States period, Wu Qi said, "in the past, three Miao's residence, the left Peng Li wave, the right Dongting water, Wenshan in its south, Heng Mountain in its north".

The area of "three seedlings" or "three Miao nations" is in the Jianghan, Jianghuai plain and Jiangxi, Hubei and Hunan areas.

During the spring and Autumn period and the Warring States period, the Miao ancestors lived in Jingchu area called "jingman".

The rise of the "Jingmen" descendants of the "three Miao" descendants became one of the main inhabitants of Chu state after the Shang Dynasty.

During the period from Qin Han to the southern and Northern Dynasties, the Miao ancestors lived in the five streams and the Wuling area. They were called "five streams men", "Wuling men" and "Changsha men".

With the development of social economy and the prosperity of the population, the Miao nationality once again showed its important influence in the southern part of the country, and attracted the attention of the Tang Dynasty, Song Dynasty and later dynasties.

The relationship between the central dynasties and the Miao nationality is also increasing, and the understanding of the Miao nationality has also been enhanced. So Miao has been separated from the "minority" of several ethnic minorities.

The distribution of Miao nationality is shaped in the Han and Tang Dynasties.

The ancient song "mountain and water Wade" circulated in the Miao nationality area of Qiandongnan described the migration of the Miao people in ancient times: "the ancient Miao people lived in the vast water villages, where the ancient Miao people lived at the edge of the water village; the devil came out of the world, and the Miao people could not live in peace. The seedlings of the sufferers should be removed from the water village, and the seedlings of the victims would be moved from the water village."

"The sun and the moon go west, and the mountains and rivers go eastward.

Our ancestors!

Follow the direction of sunset and travel to the West.

They follow the footsteps of the sun. They believe that "the great mountains in the west, the mountains are on the top, the good places are beyond the mountains, and the good life is on the other side of the mountain."

The Hmong ancestors migrated in oppression. They moved to unfamiliar territory with the expectation of new life.

The Miao people went through four large-scale migration from ancient times to modern times, forming the distribution pattern of today's Miao people.

The first time in ancient times, "Shiji five emperors of the discipline" contains: "Chi You did not use the emperor's life in rebellion, so Huang Di was a master of princes and fought with Chi You in the wilderness of Zhuolu."

The three generations of Jing Yao, Shun and Yu continued to "fight", "three seedlings in three dangers", including the Miao people, including the "three seedlings" group was divided and disintegrated.

The second time occurred in the Western Zhou Dynasty to the Warring States period. The Western Zhou Dynasty expanded the force of "jingman" and the influence of Chu forces. Most of the ancestors of the Miao people were forced to leave the Jianghu plain and move into the five streams and the Wuling area.

The ancient song of the Miao nationality "mountain and wade" depicts the large-scale migration in this period.

The third occurred in the Qin, Han, Tang and Song dynasties.

The main stream of Miao people in this period was to move westward and southward from the five streams and the Wuling area.

Westward into most parts of southern Sichuan and Guizhou, some of them moved to Yunnan from South Sichuan and Northwest Guizhou, moved to Xiangxi and Guangxi to the south, and some from northern Guangxi to Qiannan and Qiandongnan.

The fourth large-scale migration took place in the yuan, Ming and Qing Dynasties.

During this period, the Miao people continued to move to Guizhou and Guangxi from the five streams and the Wuling area, and from Yunnan, Guangxi and southern Sichuan to Yunnan through different routes, and gradually moved out of Yunnan and moved to the northern mountainous areas of the southeast peninsula.

These large-scale migrations were mainly caused by the war and the policy of national suppression and the small-scale migration due to natural disasters.

In addition, there are fifth major migrations of the Miao people, that is, the &nbsp70 era of the &nbsp20 century. The Southeast Asian war forced a large number of Hmong refugees to migrate from the southeast Peninsula to overseas, forming the situation in the United States, Germany, France, Canada, Australia and Argentina today.

The great migration of Miao people has evolved over thousands of years, forming a pattern of small settlements in Guizhou, Hunan, Yunnan, Sichuan, Hubei, Qiong and abroad.

The Miao people, who migrated and constantly explored new places, preserved their culture and influenced him.

At the same time, he also absorbed the essence of his nation and formed a splendid culture which is still full of vigor and vitality to the Miao people.

Rich and unique clothing culture is a wonderful flower in the Miao culture garden.

Miao costumes and literature, archaeology, great freehand brushwork

The earliest book to describe the costumes of the Miao people should be "Huainan Zi".

This record describes the customs of the Miao Nationality in the era of "three seedlings".

According to the records of Hou Han Shu Nan Nan Chuan and Sou Shen Ji, during the Qin and Han Dynasties, the Miao ancestors who were known as "Pan hu man" and "Wuling man" were "weaving the wooden skin, dyed with grass and solid, good five colors", and sanction tailed.

The clothes are rotten.

The Sui Shu geography record carries the clothing situation of "after serving the panghu", so the service chapter is mostly plaques.

The story of the old Tang Dynasty Nan man carries the costumes of the women in the five streams of the Tang Dynasty wearing "two pieces of cloth across the border," and the story of the "Nan man" who wore the hundred birds' clothes in Tang Taizong's meeting.

We can still find the evidence of "Guan Shou Yi" and "Bai Yao Yi" in later literature and even today's Miao people's life.

The most popular embroidery techniques used in Mawangdui, Changsha, are embroidered embroidery (or braided embroidery), cloud grass pattern and fuzz brocade and band. We can all find it from the Qiandongnan Miao dress.

Two phase comparison, such as "Zhuxin" in the "letter period rust", and the techniques of lock embroidery in Lei Shan and Taijiang in Qiandongnan now, it is very similar in terms of techniques and patterns, such as the hair brocade and the popular Qiandongnan pepper and cloth belts.

The ancient skirts worn by Miao women in Qiandongnan are of their styles.

And the broken creases were nothing to do with the ladies' skirts of Zhang Xuan in the Tang Dynasty's "out of the chariot map", which shows that the remains of the Miao Dynasty in the Tang Dynasty remain.

Liping's Shang and Jian Henan sentry areas, the Miao men's dress in the Qing Dynasty, the men's clothing in the Yang Wu area of Danzhai, the men's clothing in the high seeking area of the Yangtze River, the ancient costumes in Jianhe, the antique row in Taijiang, and the sacrificial garments in the moon mountain area of the Lei Gong Shan. Their styles, decorative styles and fabric materials are far from the existing costumes and textile technology. They can be said to be the true colors of the Miao people's clothing in the Ming and Qing Dynasties.

Most ethnic minorities do not have their own words, and Miao people are no exception. The history and culture of Miao nationality are expressed by oral literature and picture art of costumes.

Unlike many other ethnic groups, Miao people not only pour historical traditions into oral literature, but also pour them into pictures, mainly in the embroidery patterns of Miao people.

When the Miao nationality old people carry out the historical and cultural education for the Miao teenagers, they often point out the dress patterns.

The Miao people's narrative costumes are not only full of development but also very rich and developed. They can be seen as the historical status of clothing and become the "no word history books" handed down by the Miao people.

They include remembering ancestors' creation patterns, sacrificial designs, and war migration patterns that record the tragic history of their ancestors.

In the Miao costumes of Qiandongnan, the motif patterns such as "butterfly mother", "Ginger", "heaven and earth", "heaven and earth", "the Yellow River", "Yangtze River", "flying horse", "river waves", "Plains", "city" and "Dongting Lake" are all used.

"Butterfly mother" embroidery patterns are mainly on the sleeves and waist of women's clothing.

Legend has it that mother butterfly is changed from maple heart, so mother butterfly lives on the maple tree. This pattern is looked upon by the Miao family as the God, because mother butterfly gave birth to the Miao father's ginger.

In the embroidery of women's clothing, we often see the pattern of "Jiang Jiang's brother and sister grinding to be married", the pattern of the origin of mankind and the design of the ancient mythical "Jiang Yang sun and moon".

From the mother of maple tree, the mother of ginger, the mother of ginger, the ginger to the ginger, the sun and the moon, these myths and colorful costumes are traced back to the social history of the Miao ancestors from matriarchal to paternal.

In the dress pattern of the Miao nationality, the theme patterns of "the Yellow River", "the Yangtze", "the plain", "the city", "the Dongting Lake", "the fine horse flying" are more widely described. They are a historical book about the social history of the Miao people, which vividly depict the life and history of the Miao ancestors, and show the historical facts of how the Miao people had experienced the war, the mountains and the mountains and the mountains and rivers.

These patterns are regarded as a symbol of the Hmong group and are pursued for generations. Not only the living people cherish them, but the people who have died must wear the life clothes with these patterns to be buried.

Only in this way can the soul of the dead return to the ancestral home.

"Flying horse" is a treasure design of Miao costumes and crowns. It is composed of a row of horses and horseback riders across the ribbon of the Hun Shui River (the Yellow River).

These are also known as the "horse riding" pattern.

Looking back at the history of Miao people, this "flying horse" is a witness of the tragic migration of the Miao people.

The remote ancestors of Miao nationality originated and lived in the Central Plains.

They took Chi You as the chieftain, defeated the Emperor Yan, and dominated the Central Plains of the north.

However, in the battle with the Yellow Emperor, Chi You was defeated and killed, and the Miao people had no head. They were forced to migrate to the south of the Yellow River and establish "three seedlings" in Jianghuai area.

The Dongting Lake and Poyang Lake area of the Yangtze Huaihe River area are fertile, and the Miao ancestors live and work here. But the long war has forced the Miao ancestors to move south to Wu Wu Ling Xi area and gradually distribute to Guizhou, Yunnan, Sichuan, Guangxi, Hunan and other places.

In the Han and Tang Dynasties, the basic pattern of today's Miao people lived.

The Miao ancestors once again raised their families to move southward.

In the migration of the ancient songs of Miao nationality, it is recorded that tens of thousands of cavalry and infantry fought with the enemy in the war, and after the defeat, they abandoned the city to move south.

When we arrived at the new place, we rebuilt our home. "We built a city in Lao Li and built a lot of houses in the old building."

Then, the enemy invaded them again, and they fought again. "Tens of thousands of war horses and tens of thousands of fighters were fighting against the enemy."

Defeated, they abandoned the city to move south and rebuild their homes.

In the war that lasted thousands of years, the Miao people were tragically heroic losers. They were driven out of their homes again and again, leaving their homes and wandering around.

This repeated historical tragedy left a deep impression on the Miao people's minds, which made them circulate in the old song and reappear on the costumes.

The Miao nationality has been able to preserve its own national character. It has contributed to the ancient song and the costumes. It emphasized the origin of the common blood relatives of the Miao people, and emphasized their common living space, so that the Miao people who gradually separated from each other during the long migration process bear in mind the common cultural connections, so that they do not forget their ancestral history.

These deep and gloomy costumes have obvious utilitarian purposes at the beginning. They are not only the witness of ancestors' bitter history, but also the signposts of returning to their native lands.

When the harsh reality breaks the hope of returning to the homeland, people regard it as a history and pass it down from generation to generation, and its utilitarian purpose is gradually replaced by ideological significance.

The immortal value of the Miao costumes is to train the Miao people's historical consciousness. They will never forget the ancestral home of their ancestors, and show the memory of their ancestors and the strong homesickness of their roots.

Here, pictorial characters in the boundless history, as the most repetitive experience of the Miao people's survival, are regarded as the solidification and history of our nation and show and inherit, so that the Miao people can have their "the Yellow River", "Yangtze River", "plain", "Dongting Lake", "city pool" and "horse flying across" to form their magnificent and brilliant spiritual return.

For the Miao nationality without words, the costume pattern replaced the writing and played the role of cultural symbols, so that the Miao nationality without words could find their own special words in the cultural history books, so that the costumes were of historical value.

Although no nation has ever been able to express the history of costumes as a history book, like any Miao nationality.

However, as a representation of history, costumes exist in many ethnic groups, and it has become a cultural feature.

Colorful

How many styles of clothing are there?

It has always been a topic of discussion. In the Qing Dynasty, "Bai Miao Tu", Mr. Rui Yifu said in the preface of photocopy "Miao man atlas": "painting eighty-two kinds of people".

In the preface of the book "Chinese Miao Costume" and "Miao Zhuang" album published in Beijing in &nbsp1985, there are about &nbsp130 kinds of clothes of Miao people.

The Guizhou nationality picture album, published in Guizhou province in &nbsp2000, records that there are many &nbsp170 kinds of clothing for Miao people.

The cultural attire of Chinese ethnic costumes says: there are many branches of &nbsp100 in the Miao nationality, and there are many kinds of &nbsp100 costumes.

Despite the fact that people have not been able to find out the types of Miao nationality clothing for many years, but as the hinterland of Qiandongnan, the Miao nationality's costumes are the most colorful, but it is an indisputable fact.

In Mr. Yang Zhengwen's book "Miao people's clothing culture", the Miao women's clothing is divided into &nbsp14 &nbsp77 type. Qiandongnan takes up &nbsp7 &nbsp29 type, accounting for &nbsp50% and &nbsp37.67% respectively, which is much larger than that of Xiangxi, Guangxi, Xiangxi, Baoshan and Yunnan.

Among the &nbsp15 styles currently available in men's clothing, Qiandongnan has &nbsp7 style, which accounts for &nbsp46.67% of the total, which is difficult to match in other regions.

In the book "the ornaments and embroidered articles", there are pictures of &nbsp119, which reflect the &nbsp43 of Miao nationality. Qiandongnan Miao wears ornaments and embroidered embroidery takes up &nbsp35, accounting for &nbsp81.39% of the Miao nationality.

The &nbsp9 shows all the pictures of Dong's ornaments and embroidery, all of which are Dong people in Qiandongnan.

&nbsp2's pictures of leather ornaments and embroidery are all in Qiandongnan.

Qiandongnan ornaments and weaving embroidery have &nbsp46 images in the article, accounting for &nbsp38.66% of all nationalities' accessories and embroidery pictures.

The Miao costumes are not only of a wide variety of styles, but also of different styles.

No matter which ethnic group does not like the Miao nationality to dress pattern as a historical book, deeply expressing the history.

The clothing of the Miao people is clear to the world: we are Miao people. We come from the shore of the Yellow River and the banks of the Yangtze River. We have long migrations and have gone through hardships. We have our own unique culture.

It is in such a state of mind that Miao people pour their efforts to embroider, dye and show their complex, so that there is such an excellent Miao nationality costume art with strong national characteristics.

Qiandongnan is located in the southern mountainous area. The mountainous areas, the traffic is blocked, and the farming culture is self-sufficient. The natural barrier and psychological closure of the mountains greatly affect the communication among the different ethnic groups of the same ethnic group.

Among ethnic groups, ethnic groups, clothing, language difficulties, and the customs are quite different.