The Influence Of Ancient Chinese Costume Aesthetic Thoughts (2)

"Hierarchy" is the symbol of the class society, and it affects the ancient people's aesthetic consciousness throughout the ancient society.

In ancient China, the hierarchy was strict, and influenced by the "rite" of this rank system, the externalization of the ancient dress culture as a social material and spirit was an important part of the "rite". To consolidate its position, the ruling class elevated the costume's function to a prominent position. Besides being able to dress, the costume was also regarded as a tool of distinction and distinction, and an image spokesman of the class society.

Clothing is just like a sign. There are strict differences between Chinese ancient costumes and different costumes. It represents a person belonging to different social strata. This is the expression of "rite".

In the book of rites, the level of dress is expressly stated: "the dragon of heaven, the dragon, the priest, the priest, the scholar's clothes, the crown of the emperor, Zhu Lvzao, ten, two, nine, seven, five, three.

"Zhou Li" records: "enjoy the first king, then the crown, indicating that the ceremony, the ceremony, the emperor hundred officials are wearing formal dress."

During the spring and Autumn period and the Warring States period, the hundred schools of thought also had a brilliant view of the "ritual" function of clothing.

For example, Confucius advocated "charter culture and martial arts" as etiquette, which is closely related to the image of the defender of the feudal hierarchy.

This "ritual" function is also reflected in the color of clothing, such as Confucius once claimed that "evil purple wins Zhu also" ("Analects of Confucius Yang") because Zhu is the right color and purple is color, he wants to make sure that everyone is honest and color, so as to consolidate the hierarchy. In history, "Bai Yi", "Bu tou", "Zai Li", "Fei Zi", "Huang Pao", "Wulu hat" and "red top son" and so on are all in a certain period of time, some colors are attached to some kind of dress and have been represented as some examples of their status and status.

Almost every dynasty had relevant regulations on the color of clothing.

For example, "the clothing of Chinese Dynasties" records: the color of the Qin Han towel is "black for the common people, red for the driver, white for mourning, yellow for the sedan chair, green for the kitchen, green for the official, and green for the farmer."

Tang looked at the official rank in official costume.

"The thorns of the seeds are called the tribute of the countryside."

In the four years of the Tang Dynasty and the first year of the Shang Dynasty, Tang Zhenguan issued two imperial decree rules and regulations.

In the Qing Dynasty, the official costume was divided into Python numbers to distinguish official positions.

If the crown prince uses the apricot yellow, the prince uses the golden yellow, and the subordinate officials and other officials can not be yellow without reward.

Taking a look at the development of ancient Chinese costumes, we can clearly see the influence of ancient Chinese aesthetic consciousness on clothing in various dynasties. From the earliest functional shabby, the body, passing through the passage of time and the evolution of history, from the spokesman of hierarchical system to the symbol of personality later, it has gone through a long time, and aesthetic consciousness runs through it. Understanding this point is also beneficial to our modern fashion design. Only by grasping the pulse of fashion, absorbing the essence of traditional culture and understanding the aesthetic complex of modern people can we design the fashion quality of Chinese national costume.