The Meaning Of National Costume Culture

National costume is one of the necessities of life for the people, and also a nation.

Most of the clothes of any nation can be divided into two categories or even more.

From this we can see that the difference of clothing reflects different taboos, reverence and historical culture, ancestral culture, ghosts and gods culture and moral culture. According to the comparative analysis of the costumes of many nationalities, we interpret the cultural meanings covered by them.

I. the ancestral hero culture

　　祖先英雄文化是每個民族都有的共性主題.任何民族都將本民族遠古重要發展階段先人們的功績疊加到某位祖先身上，塑造出一位無與倫比、神人共體的祖先英雄，成為全體族眾的崇奉對象.如西南少數民族苗、侗、彝、瑤等共同尊祟盤古，回族穆罕默德，藏族格薩爾，蒙古族江格爾等等.這些英雄祖先的人格魅力，衍化為民族自立自強的梢神力量和民族道德倫理的最高境界;而英雄們的言行與衣著服飾，無疑也自覺成為規范和制約族眾言行的尺度與標準;成為民族族眾仿效、敬仰、懷念英雄祖先的象征，成為族眾團結奮斗的最具感召力的抽象語言.在眾多民族史詩中，英雄祖先的身世、形貌、衣飾、品德、言行、意志與杰出功績，是史詩描繪的主要內容，而這些內容的任何一個方面都賦予了后世人們道德精神上的感召力量，為人們所景仰并仿效，即使經過千百年的流

And never fade.

However, the records of words and deeds are often outdone by the way of inheritance and carrier, as well as the war and natural disasters. The memory of clothing inheritance is more authentic and pure. This makes the costumes bear the historical responsibility of remembering the heroic spirit of the ancestors, describing the grand historical scene and carrying forward the national spirit, so that the costumes contain magnificent and colorful cultural connotations.

For example, the "straw" dress worn by the family of the Xiang family in West Hunan is a faithful record of the dress worn by the ancient heroine, "Mei", who was honored by the Tujia nationality to bravely sacrifice for the protection of the nation.

Two, religious taboo culture

Religious taboos are one of the basic rules for minority nationalities to maintain and develop their national personality. Although some homologous or neighboring ethnic groups believe in the same religion, their beliefs have different styles because of their different styles, so that religion forms a variety of religious forms on the basis of inheriting the basic doctrines.

Religious taboo culture embodies an unparalleled force on the constraints of ethnic groups. For example, in Tibet and Inner Mongolia, because of its belief in Buddhism, although its animal husbandry still occupies an important position in the national economy, it is forbidden to eat chicken, fish, rabbits, donkeys and other animals, except for cattle or sheep and other godsend or divine food. Some of them are regarded as the incarnation of gods and some are regarded as unclean animals.

However, pigs and dogs are forbidden animals to be abused and eaten in the Uyghur and Hui areas.

In terms of clothing and clothing, the culture of religious taboo has also been clearly marked.

Hui and Uygur people like to wear small caps, and Lin has their faith and faith in Islam.

As the direct successor of Islam, the little cap of the Hui nationality is pure white. It is not only reflected in the circle of the Church of Islam, but also because of the color of white.

Islam emphasizes the cultivation and purity of human beings, and regards white as noble. Wearing a small white cap is a sign to Hu Da (heaven). It shows that his mind, words and deeds do not bear oracles, and is pure and immaculate. At the same time, he wears a small white cap and puts himself on the mark of self-discipline and self-restraint. He always commandments that he must not be banned, and become a noble man who is pure, elegant and clean. He has become a model of faithfully carrying out Islamic ethics.

Many times I believed in other religions before, and in the birthplace of the mosque, every round of the top of the mosque has its own unique style, and its brick shuttle pattern is clear, so its small cap is all used with a pale Floral Fabric, which is different from the Hui's white round cap style. Its symbolic significance is obvious. Tibetans began to believe in Buddhism since the Tang Dynasty. For thousands of years, other religions have never set foot in this pure land of Buddhism. The Uygur people are in Islam for their historical reasons.

Therefore, for thousands of years, the national costume of Tibet has always followed this dressing habit. No matter men and women, they must wear a long hand sleeve around their waist and some even bare their arms in the Tibetan robe, though they are not covered by the 39 cold weather.

This is because the Buddha's own masochistic image, which bears the fruit of his arm, has deeply moved and inspired them to control their desires and cherish all sentient beings.

At the same time, they also created their desire to worship the Buddha and follow the Buddha's law. If they disobey the Buddha, they will be hurt by the devil instead of being protected by the Buddha. This idea and behavior, after years of follow up, will become a habitual custom which is inherited from generation to generation and will eventually become a model of national personality.

The clothing of the Miao people in Southwest China is closely related to religious taboo culture, because the Hmong people believe that the blue and blue can set disaster and avoid disaster, while red and white are easy to provoke ghosts and gods, and bring disaster.

The expression of religious taboo culture on clothing reflects a common phenomenon of all nations in respect of heaven and earth, fear of ghosts and gods, worship totem, and has positive significance in national development and maintaining its own unique personality.

Three, life custom culture

Clothing reflects the life and custom culture, and is closely related to the geographical location and local climate characteristics of the nationality. However, the manifestation of its national culture is very important. In the vast northwest of China, because of the dry and cold weather, the nomadic way of life determines that the local minority costumes are mainly made of fur.

However, there are exceptions. Hui people living in the northwest alpine region do not wear gowns as their main costumes, but they are often separated from their trousers.

即便是同著長袍大褂的藏、蒙、維等民族，服飾從原料到格式也各不相同.藏袍以寬懷大袖、不加邊飾為主要特征，穿著時必定脫出一袖或纏腰或懸垂，大襟抄腰而在腰際捆扎腰帶;帽子多以皮毛為質，帽沿外翻:藏靴有皮質與毛質之分，皮質以黑革為主，底亦為皮(現多為膠底或牛筋底)，毛質則以毛紡織料為面料，著五彩(多數為紅色雜以綠黃黑)，底厚逾寸，以毛織品(或間以雜皮邊料)用細毛繩密扎而成;藏族婦女都系一個用羊毛織成的五彩條圍裙，用以兜物、擦手、抹碗之用;無論男女藏族同胞都佩藏刀與皮囊，用以生吃牛羊肉與揉糟耙之需。

This set of costumes reflects the national style of the Tibetan people in a broad, bold, bold, open and bold manner, reflecting the spirit and courage of their struggle against the harsh living environment.

In contrast, the Mongolian robes are relatively fit and edged in the neckline, the lower pendulum, and the cuffs, showing the sweeping ambition of riding on the vast expanse of prairie.

The Uygur robes are not hidden or robed, and the waist is not girdle, showing the open, warm, natural and free charm of the Uygur people.

In the northeast, where the same cold weather is, the Manchu, Daur and Korean ethnic groups also wear robes. They are not only different from the Tibetan, Mongolian, and Uygur nationalities in the northwest, but also use cotton, linen and silk fabrics (Daur part is made of skins), and the gowns of the same place are very different, especially the cheongsam of the Manchu and the skirt of the Korean nationality.

This shows that in addition to the difference between regional production and climate, the expression power of national life and custom culture in clothing can not be ignored.

The Manchu's rigorous and rigorous style and cheongsam style are very clear, while the dresses and gowns of the Korean ethnic group are characterized by their enthusiasm and enthusiasm, singing and dancing.

The same is true of all ethnic groups in the southwest.

Although the southwest is a mixed place of many nationalities, the ethnic groups who live in the same place have their own unique characteristics of national life, customs and culture, in addition to their common adaptability to the regional environment.

Therefore, whether it is Miao, Dong, Yi, Yao, Tujia and other ethnic common settlements, or sanni, Bai, Shui, a low ethnic common settlements, ethnic costumes are also great similarities and differences, and some differences are more obvious.

For example, Dong and Miao women wear similar clothes and jewellery, but the details are different. Especially for trousers, Miao women tend to wear wide skirt skirts, while Dong women wear tight trousers and bandages.

These differences reflect the differences between the two cultures of different nationalities.

In short, the national cultural implication of ethnic costumes is far from these points, especially those relatively remote and backward ethnic groups. They also contain many cultural information, such as national organizational structure, social structure, ethnic relations and social status within the nation, but these three aspects of cultural implication are of universal significance.

Of course, we interpret the cultural connotation of national costume, do not want to blindly explain the differences between different nationalities, but to pursue the profound meaning represented by this cultural symbol, so that every member of the Chinese nation can understand and respect the history of their own nation and his nation in the digestion of the history of national unity and integration, and bridge the national chasm left over by history.