The Influence Of Ancient Chinese Costume Aesthetic Thoughts (1)

Dress, as a cultural form, runs through the history of ancient China.

From the evolution of clothing, we can see the vicissitude of history, the development of economy and the change of Chinese aesthetic consciousness.

First, the aesthetic consciousness of ancient Chinese clothing was deeply influenced by ancient philosophy.

The idea of "harmony between man and nature" is the quintessence of ancient Chinese culture. It is a philosophical view accepted by Confucianism and Taoist two. It is the most profound source of Chinese traditional culture. This concept has produced a unique design concept, that is, all kinds of works of art are regarded as products of the whole nature, and the design of handicrafts is viewed from a comprehensive and holistic viewpoint, and clothing is no exception.

This concept of design has been recorded in the first book of Chinese craft book "Kao Gong Ji". "Kao Gong Ji" says, "sometimes the sky is sometimes angry, the material is beautiful, the work is skillful, the four are the same, and then it can be good."

As early as two thousand years ago, Chinese craftsmen realized that the production of any process design was not the result of isolated human behavior, but the result of the combined effects of various conditions in the large system of nature.

Weather is seasonal climate conditions, geo gas refers to geographical conditions, material and beauty are the performance conditions of technological materials, while skilled labor means technological conditions.

For clothing, it refers to the season of clothing, the environment of dressing, and the texture and tailoring of clothing materials. Only when these four are harmoniously unified, can they have exquisite designs.

The book of changes affirmed the unity of man and nature, and affirmed the mingling between man and nature, that is, man is not only a natural product, but all human activities, from moral cultivation to utilitarian practice, must follow the natural enlightenment, and be restricted by natural laws, and the natural factors are also permeate human factors.

Nature itself often has the enlightening significance of social morality. There is often no gap between man and nature. The two influence each other. People and nature follow the law of unity. Naturally, heaven and earth also possess human social attributes, and at the same time contain ethics related to personnel.

In ancient Chinese philosophers' view, man is the unity of form and spirit, that is, the unity of body and spirit. This is an indivisible whole. Therefore, neither Tao nor Confucianism advocates the merger of spirit and body, the combination of beauty and goodness, and clothing is the embodiment of aesthetic harmony and the outward manifestation of natural expression between human beings and objects.

(body language), in the Wei and Jin Dynasties, the seven bodies of the Seven Sages of the bamboo grove were unruly and heavy, and they were heavy in spirit and left behind bones. Therefore, they often showed no restraint in dress, no matter how they stood, and they were always very casual.

"The new words of the world say": "Liu Ling took a ride in a deer car and indulge in wine and debauchery".

Two. Ideology formed on the basis of certain economy directly affects the aesthetic ideology of costumes.

In the spring and Autumn period and the Warring States period, because of the hegemony of the seven heroes, they had led to a hundred schools of thought contending, resulting in Confucianism, represented by Confucius and Mencius, Taoists represented by Lao Zi and Zhuang Zi, as well as schools of ink and law.

If Confucianism advocates "Charter and civil military" and "covenant with etiquette", Mohist advocates "economizes", "food is always full, then seek beauty, clothes will keep warm, then seek beauty, then live in Chang An, then seek pleasure". Han Feizi, while negating God's ghosts and gods, advocates that clothing should advocate nature and oppose decoration.

"The Huainan sub - view and training" contains "the late days, the seven nationalities, the princes system, and the customs."

Records of the various controversies at that time and the true situation of the special period of autonomy of various countries were recorded.

The Wei and Jin Dynasties were the most costumes of ancient Chinese costumes with the most aesthetic sense of individuality.

Wei and Jin Dynasties were the most chaotic times in the history of economy and politics. But in spirit, they were extremely free and most enthusiastic.

The literati wanted Jinxian to be afraid of the ups and downs of the official seas, and had to be detached from themselves. Besides indulging in wine and music, they sought for catharsis on clothing, proud of the pride of the world, so they had big sleeves and big arms, and during the Wei and Jin Dynasties, they advocated the metaphysics.

The most famous bamboo grove Seven Sages advocated the Taoist's "naturalistic thought, attacking the hypocritical Confucianism, but also disparaging the imperial court and being unofficial."

In the costumes, they display their bare arms and their feet to show their manners.

"Wei Jin Ji" contains: "Xie Kun and Wang Chengzhi's disciples of bamboo people, scattered head hair, naked in the sky, called the octopus."

Search for the body wrote: Shinmoto Yasunaka, you travel children, and to distribute the naked drink.

The naturalistic and individualism of this personality is free from the ritual constraint of Confucianism in the Han Dynasty. People appreciate the beauty of their personality and respect their personal values.

In the new words of Shi Shuo, the records of "Fei Ling Jung Jung Yi", "take off the crown, make a rough head, are all good, and the time people think they are human" reflect vividly the aesthetic consciousness at that time.

If we say that "Wei Bo" is a kind of inner spirit release, it is a kind of personality standard. It is disgusted with Chinese clothing and emphasizes the nature. The dress of Tang Dynasty is the release of beauty, the bold pursuit of beauty, the gorgeous and heavy decoration of its costumes, and the opening of women's clothing.

Zhou Shi: it is like the most bold appearance of ancient Chinese costumes, which shows the degree of openness of Tang people's thinking.

The fashion trend of the Tang Dynasty followed the longest fashion. It is obvious that in the May song of Yanjing, "pomegranate flowers are burning, and the branches are bent."

The hundred birds skirt of the princess of peace is a masterpiece in the history of Chinese weaving embroidery, which is copied by the officials and women, resulting in the destruction of the mountain forest and strange birds, and the search for hills and valleys.

The style of dress is inseparable from reality. The Tang Dynasty prospered economically, developed handicrafts and made frequent exchanges with the outside world. It was widely known as "Paris" in ancient China.

In Tang Dynasty, new aesthetic factors and colors were added to any dynasty. The aesthetic interest in the Tang Dynasty was reproduced from the earlier stage, objective and heavy to the form of the subjective, rhyme, and feminine beauty.

In the historical process of the late turn of the Tang Dynasty, people's social consciousness and mental state also underwent profound changes. "The original passion for upward and upward enthusiasm has gradually been replaced by worries and worries. The earlier exploration and feeling of the active external world gradually changed into a passive feeling and experience of the inner spiritual world.

So that the vigorous and genuine masculinity in aesthetics has to give way to the subtle and hazy shade of Yin. "(from the aesthetics of Six Dynasties") this change in aesthetic tendency is closely related to the background of the Tang Dynasty's flourishing economy and the background of the whole nation's singing of the Buddha's law.

During the Song Dynasty, the Song Dynasty was influenced by Cheng Zhu's Neo Confucianism, burning gold ornaments and simple tattoo to get the beauty of simplicity and elegance. The Ming Dynasty was the most prosperous Dynasty in the history of ancient Chinese dress development, and the dress was gorgeous and unusual, and heavy decoration.

This is because the Ming Dynasty has entered the late feudal society, feudal consciousness tends to autocracy, tends to advocate gorgeous and beautiful, tends to pursue the peace and auspicious blessing.

Therefore, in the Ming Dynasty, embroidery was auspicious in fashion.

In addition, the emergence of capitalism in the middle of the Ming Dynasty, the flourishing handicraft industry and frequent external exchanges made the costumes colorful and colorful, and formed a luxurious atmosphere. At the end of the feudal society, western culture gradually spread to the East, and foreign students wore long gowns and Mandarin vests.