On "National Costume"

Any vitality clothing will consciously and unconsciously arouse some emotional resonance in people's minds. Without this resonance, clothing will lose vitality like life, and it is easy to dry and crisp.

So is national costume.

Defining "national costume"

What is "national costume"? The definition of national costume in Baidu encyclopedia is representative of a country's dress, such as Japan's national costume is kimono, Korea's national costume is Korean clothing, etc.

It can be seen that the national costume must have the rhyme of the national culture, which can deduce the national customs and show the charm of the country, as well as the product of the historical heritage of the country.

China has a history of 5000 years, and dress changes with the changes of the dynasty.

Chinese ancestors originally wore aprons made of leaves or animal skins, and in the Shang and Zhou dynasties they were basically the tops of skirts (skirts).

In the spring and Autumn period and the Warring States period, men and women wore "deep clothes" linked to their jackets and clothes.

In the Sui and Tang Dynasties and the two dynasties, clothing became a symbol of the power of rulers, and with the increasing interaction between China and foreign countries, costume style was also affected.

From the Tang Dynasty to the Ming Dynasty, most of the costumes were long sleeves and long sleeves.

From the Xia Shang Zhou period to the late Ming Dynasty, it lasted thousands of years, and it was the vigorous development period of Hanfu.

Hanfu is based on the national culture of Huaxia (Han Dynasty, also called Han nationality). Since the time of Huang Di in the yellow and yellow dynasties, the rule of the whole country has been perfected and popularized in the Han Dynasty.

Hanfu is very popular at present. It appears in some places such as adult ceremony, Xie Shili and other ceremonies.

Professor Wang Shouchang, President of the Chinese Academy of classical learning, said: "throughout the history of the development of ancient Chinese clothing, Chinese ancient clothing has always represented a kind of rank. The emperor and ministers, officials and people, etc. are of different positions, dressing differently, and respectable and respectable."

For example, the gowns of the Qing Dynasty used the slit to distinguish between the noble and the low, the royal clan had four slits, and the officials and scholars opened two slits.

The sleeves of the robe are equipped with arcuate sleeves, which are usually turned up and lowered when they salute, because they resembles the horseshoe, also known as the horseshoe sleeve.

In the middle of the chest and back of the official service, a piece of patch is also stitched up, which is called supplement.

Zi Zi also used the Ming Dynasty bird Wu Cengshou, but the pattern was different from that of the Ming Dynasty, and because the Qing Dynasty's complement was a pair of breasted, the chest piece was divided into two halves.

There is a short coat that is not as long as the waist and sleeves only to cover the elbow. It is called a gown, or a mandarin jacket.

The mandarin jacket is yellow, but not the emperor.

There are also vests. The north is called a vest or vest. It is a sleeveless short coat that can be worn by both men and women.

Men wearing pants and wearing skirts are rare.

Chinese tunic suits, student clothes and so on absorb western style characteristics.

Tang Yijie, founding president of the Chinese Academy of classical learning, said: "no matter whether it is Hanfu or Zhongshan suit, it is a symbol of identity in a sense.

What kind of clothing is respected as "national costume" is built on a certain emotional basis and must be able to carry the weight of history.

"National service" and national belonging

In Korean dramas, you will feel or hear from time to time. We are really a wonderful country.

You can not help but admire the sense of national pride of Koreans. A Korean dress has been shown in a variety of styles, elegant and tasteful.

Korean clothing was primarily influenced by the costume of the Tang Dynasty in China. The development of personality began in the middle of Li's Korean Dynasty. It was the most representative of South Korean color and Korean culture. It was also known as the "wind clothes" in France.

The most praiseworthy is that Korean people have a special liking for Hanfu, which is everywhere in weddings, festivals and lives.

In the eighth Century, the costume of the Tang Dynasty was introduced to Japan, which had a great influence on the kimono of Japan.

The kimono that I wore today was basically stereotyped 600 years ago.

There are many kimono styles, such as marriage, banquet, funeral, ceremony, spring, summer, autumn and winter.

The pattern of kimono is traditional Japanese style. This pattern has a historical origin with the patterns of Tang Dynasty costumes. There are a word "Tang" in the book, which includes "Tang Hua", "Tang Cao" and "Tang brocade". It also illustrates this point.

Le Daiyun, vice president of the Chinese Academy of comparative literature and vice president of the international comparative literature society, said: "to a certain extent, the national costume is not only a display of a country's image, but also a kind of national feelings, a sense of belonging to the history and culture.

In the face of such a complex, how should we choose "national costume"?

There are 56 nationalities in China. Each nation has its own history. What it can not replace by itself is a joke if it simply represents something from one nation to the whole country.

Hanfu is the Han nationality's clothing. Zhongshan has the suspicion of mooring products. How to choose the national costume is not a matter of overnight success for a great country with 5000 years of history. Nor is it a fashion designer's self righteous insight.

Japan has kimono, South Korea has Hanfu, Vietnam has ao dai, India has Sari...

So you have to, if you don't lose face, I will be disappointed.

The fashion designers were thrown in panic, and the people accepted in a flurried way.

This can only cause us not only to run after others, but also to us.

Dignity for "national costume"

To put forward the "state service", we should give the "national costume" to the due height and give dignity to the "national costume".

Our national costume is not what we believe in. The long charm of Chinese history and culture and its influence on the long-term impact of Chinese clothing must be rid of it.

Each paragraph of history always makes Chinese clothes more or less fall on the mountain's heavy water and boundless land.

China's "national costume" can not be represented by any existing form.

We can not take a history out of context, it only makes the national service monotonous.

Deliberate design is the murder of the soul of the state service.

If the development of national costume is at the cost of the withering of its life, then what is the ultimate purpose of launching the national costume?

The helmsman of the northeast tiger costume is also the founder of China's "Chinese clothes". It has been promoting the inheritance and development of Chinese national costume for decades. Zhang Zhifeng thought: "which Dynasty clothes are to be reproduced on the national costume", but to take the breakpoints and chronicles of 5000 years of civilization as a pulse, and then link up the essence of the past dynasties.

At the same time, we gather together the fine workmanship of the global costumes and win the multidimensional civilization of the world's ethnic forests, so as to achieve the fusion of the whole world.

The ancient Chinese clothing technology has reached the peak. The plain yarn of Mawangdui has been excavated.

The plain yarn is very thin, and the material is about 2.6 square meters. It removes the heavy collar, sleeves and the edge of the silk, and its weight is only more than 20 grams. For the time being, the most outstanding technology of brocade in China is also difficult to copy.

Chinese ancient silk was widely regarded as a sacred object in the European Royal Theatre, and the nobility were willing to exchange for a silk robe in the manor.

"Silk", "embroidery", "cloud brocade", "paper cutting", "hand-painted" and "knot rope" are all Chinese art's long history and are on the verge of breaking point.

In the Han Dynasty, Yun Mian was known as "inch Jin Jin inch gold". Its main feature is flower color. From different angles, the color of flowers on embroidery is different.

Its "makeup flower" technology can only be manually woven 5 centimeters per day, so it can not be replaced by machine.

Every warp and weft thread on the brocade carries the brand of Royal weaving.

It is the masterpiece of "God in the brocade".

The long history of Chinese embroidery culture is extensive and profound. It is famous for its unique style, colorful colors, various needles and exquisite embroidery.

Silk, also known as silk, and embroidery, jade carvings and elephant carvings, cloisonne, called China's four major special crafts, and together with cloud brocade, the two great handmade silk fabrics of China, are known as "Suzhou embroidery double wall" because of its exquisite craftwork and embroidery.

In 2008, NE TIGER launched its series of Chinese garments, and its most colorful silk processing part was helped by two masters of the national treasure. One was Wang Jia Liang, who was the fifth generation of the family of the Silk family who made the Dragon Robe for the royal family. The other one was Wang Yuxiang, who was almost lost.

Over the past 4000 years, "silk" has been a leader in the brilliant Chinese civilization.

It uses raw silk as warp thread and colored silk as weft thread, and adopts the skill of "passing through broken weft".

The technology of silk has been very popular in embroidery and brocade crafts, and there is hardly any technology space to surpass. Therefore, since ancient times, there has been a good reputation for "weaving the sage" and "one inch of silk and one inch of gold".

In the two dynasties of the Ming and Qing Dynasties, the silk became a symbol of imperial power, which contained the broad and profound civilization of China's luxury goods, and it was clearly included in the world's list of intangible cultural heritage.

However, this is China's millennial civilization.

The application of paper cutting technology in clothing can be seen as a breakthrough.

From the Han Dynasty to now, there is a long history of paper-cut process, as the embodiment of Chinese philosophy, in the form of performance has a comprehensive, beautification, auspicious features, while folk paper-cut with their own specific language, convey the connotation and essence of traditional culture.

In May 20, 2006, the paper-cut art heritage was approved by the State Council to be included in the first batch of national intangible cultural heritage list.

And the art of making rope is more natural than other Chinese arts.

In history, rope has been used as a symbol of folk prayer, and has become an auspicious ornament handed down from generation to generation.

Our country has always been a multi-ethnic country. The Chinese civilization converged the essence of all ethnic cultures, forming a profound cultural connotation in the process of continuous integration and development.

The gown of the Millennium robes, the elegance of the robes, how to rub into the modern national costume.

The magic of clothing can turn the vast world into the scenery of everyone's mind and become the condensation and symbol of Chinese culture.

This is the style of dress, or dignified, elegant, or witty or charming.

From ancient times to the present, how to deduce that we are descendants of Yan Huang is the vitality of "national costume".