Chinese National Costume Culture -- The Dress Culture Of Buyi Nationality

A nation

History, in a sense, is a perceptual history of the development of national culture.

Dress is not only the crystallization of material civilization, but also the connotation of spiritual civilization. The living customs, religious ideas, aesthetic tastes and other cultural mindset of different nationalities are accumulated and solidified in their respective costumes in the course of long-term development and change.

Therefore, every nation has its own unique clothing culture. Through the window of this national dress culture, we can live closer to the true world of national culture.

It is in this sense that the meaning and symbolic structure function of the Buyi dress are interpreted in order to deeply understand the deep and broad details of the Buyi culture and to understand the principle that a culture must be based on its nationality.

Once we lose this profound national character, it will not become a national culture, and we will lose a rich and colorful gem of history.

Buyi traditional costumes

Buyi traditional costumes

In the Buyi region, cotton and Lonicera are produced. Buyi women have been good at textile, embroidery and batik since ancient times. Although there are slight differences in the costumes of the Buyi Minority Regions, traditionally, the Buyi people's clothing is basically the same in styles, patterns and patterns.

Buyi men's head wrapped green pads or flower pads, young and middle-aged bags of the palms are playing Xu (local dialect, tassel).

Wearing a breasted jacket is mostly blue and green with two colors.

Trousers are dark blue, dark blue two colors, trouser tubes are wide, waist is blue ribbon or ribbon.

Foot shoes. Jianzha has straw sandals with little red bubbles.

The women's head wrapped green paw has "Niu Jiao Pai", "comb head" and "bamboo shell long hat".

The Baotou pads of young and middle-aged women have woven tricks such as "arch stand" or "Pepper eye".

There are two styles of clothes: one is a collars without collar, and the other is a hundred pears long skirts. The clothes are mostly blue, light blue, sky blue, and the cuffs of underwear are longer and smaller than those of their coats. The cuffs of the coat are large and short, and the skirts and cuffs are embroidered with rails (lace), with varied colors and bright colors.

The waist is a half embroidered waist. It is made of green cloth or silk. It is made of green cloth satin ribbon and embroidered with various designs, with a pair of whiskers and embroidered flowers on the waist.

Most of the trousers are navy blue and dark blue. The trousers are wider and have railing.

A hundred pears and long skirts are made of white cloth with blue and blue flowers.

The shoe is very shallow. It shows the beauty of the feet between the big toe and the index finger, and the flowers on the shoe tips are embroidered.

Old women's clothing is mostly black and blue, with long waist, but not necessarily embroidered, no need to play.

Perspective of primitive images of Buyi Ethnic Costumes

The Buyi Nationality, which originated from Luo Yue branch of the ancient Yue people, is a native aborigine in the north and South Pan River and the Red River Valley. Although the yuan, Ming and Qing have been integrated into some Han people, Buyi's religious, cultural and living customs still maintain their ancient traditions. The costumes culture contains abundant primitive images of the ancient Buyi people, such as bean Gu Heng Yuan, and these are the primitive images of these deposits, which guide the Buyi people's aesthetic consciousness and ideas.

The aesthetic psychological structure of any nation depends on the generation and accumulation of its own history. Such historical factors include geographical environment, mode of production, witchcraft totem, living customs, religious beliefs and so on.

Once the national aesthetic psychology is formed, it has relative stability and becomes the "collective unconscious" of the nation. It constantly integrates all aspects of the generation factors of the forefathers' world history and solidified the aesthetic consciousness in the national costume culture. As the virtuous virtuous said in its "aesthetic psychology of the people", "collective unconscious is a storage place, which stores all the latent images of all primitive images."

The original here refers to the original or original, so the original image involves the initial development of human psychology.

[1] therefore, in order to understand the culture of the Buyi Nationality, we must first understand this "collective unconsciousness" which embodies the national character of the Buyi dress, and analyze the original image of the historical origin of the Buyi people's clothing.

Buyi traditional costumes

First of all, there are many kinds of embroidery patterns, batik patterns and patterns in Buyi people's clothing.

When talking about primitive paintings, Mo Kagan pointed out: "no matter how great the differences between scholars in understanding the ideological content of these portraits, there is one thing that is not controversial.

The image of a beast is the pattern of animal totem. The image of a woman is the embodiment of a mythical figure, while the ornament of a vessel, weapon or hunter's face is a symbol of religious significance.

There are many natural objects or geometric patterns on the clothes of [2] Buyi people. They are the relics of Buyi totem, myth, custom and so on.

The Buyi women in Luoping and southwest Yunnan traditionally have a "horn horn" headwear. The women's heads are wrapped with two sharp angles extending to the left and right sides, shaped like two horns, which is actually a relic of totem worship of the "cattle" of the Buyi people.

The Buyi people worship the dragon totem, which can be seen from many legends and legends about dragons, such as "black dragons and white dragons", "Dragon Wars bronze drums" and so on. As for Luoping, the Buyi people like to hang "dragon treasure" on bronze as decorations and put flowers on them to show their auspiciousness.

As for the pattern of flowers and other animals, it is also very common in Buyi people's clothing. For example, bamboo is one of the totem of Buyi Nationality. Buyi women's bamboo shell long hat is made of fake bamboo shell, with a flower head handkerchief to show its respect for the bamboo, while the flower handkerchiefs also have the pattern of cattle and sheep Ichthyosaurus. Buyi is called "ten thousand private", symbolizing "gold and silver".

The Buyi dress also has some pattern designs. Its archetypal image has weakened the original image characteristics or deformation in the long history, and some have only become some geometric patterns, such as the hundred rice long skirts of the Buyi women in Zhenning, Guizhou. They are made of batik cloth with white blue flowers. The flower shape is composed of a number of glittering "water droplets". They are divided into two rows of elliptical patterns, running around a sun, and the "water droplets" are stars. The patterns imply the myths and totems of the Buyi people's ancestors on the sun, moon and stars.

Another example is the common "shape" of the Buyi dress. This pattern is the deformation and abstraction of the sun image in Tibetan culture. It is a symbol of bright light, and this pattern is also commonly seen in Miao clothing.

The common patterns of corrugation and swirling patterns on the {page_break} Buyi costumes are more abstract and almost geometric. Some scholars think that this is a symbol, symbolizing the north and South Pan River. I think this view is open to question.

I think the ripple pattern may be the deformation of the dragon totem, because the dragon pattern is difficult to draw or embroider, and the Buyi Nationality takes the dragon as the totem, so in the mapping time, it is simple and complex, and the dragon pattern is the symbol of dragon totem.

Dragon pattern decoration is also common in many ethnic costumes. It is abstracted as a simple dragon pattern through the deformation and exaggeration of the dragon shape.

As for the swimming vortex pattern, it is definitely the simplification and distortion of some totem images of Buyi ancestors.

Secondly, the primitive images contained in the dress of Buyi Nationality have typical integration characteristics, which make them possess profound national dominant characteristics.

Buyi traditional costumes

Since the industrial civilization, people's consciousness of separation of subject and object has been strengthened, and the object world has become the external object of human understanding and conquest. Thus, individual self-consciousness and logical analytical thinking have been strengthened correspondingly. The world has been classified by people, and the art of clothing has also faded away from the integrated cultural significance, and it has been displayed in the world's vision by categorizing and individualized faces.

Workers have labor insurance clothing, students have student clothes, staff have work clothes, doctors have white coats, soldiers are divided into sea, land and air different military uniform.

The style of dress is even more varied, dazzling, some of them are wearing plain white skirts, others are wearing scarlet cheongsam, others are wearing jeans, and some have a positive suit.

Modern clothing follows the principle of formal beauty, which can give people a rich sense of visual beauty, but lacks deep humanistic connotations.

The Buyi people's clothing is different from that of Yunnan's many ethnic costumes. The original aesthetic images left behind are similar to those of the original logic of the ancestors of the nation, and the integration of individuals and objects and the individual's ablation of the original logic of the group. As Malinowski said, "on the one hand, art is directly due to the physiological experience of human beings: the product of sound, color and shape, and on the other hand, it has an important integrated function."

The aesthetic motivation will make knowledge unified and integrated at different cultural levels.

The [3] Buyi dress originates from the primitive aesthetic of the original logical thinking of images. It has the function of integration and integration. It integrates the subject, the object, the individual and the group, and integrates witchcraft, totem, religion, living custom, mythology and legends, and regional features into the aesthetic image of the costumes.

It is difficult for us to find out the characteristics of individuation and classification from the Buyi costumes. There are at least sex and age differences. However, it is easy for us to identify the Buyi people immediately from the confused crowd, because the primitive images contained in the costume of the Buyi people have incorporated the primitive memory of the native peoples from utensils to living customs, totem, witchcraft, religion and so on. The original aesthetic images of the Buyi costume integrated by these original memories are never identical to any other ethnic groups.

The Buyi dress carries these original images so far, and has become the dominant national characteristics of their distinctive costumes. There are several main aspects: first, the traditional Buyi dress styles are uniform, and the patterns, patterns and colors of the costumes are uniform; secondly, they remain unchanged for a long time and have relative stability and identity.

From the historical documents, we can see that in the long historical period before modern times, the changes of the dress of the Buyi people are very small. Even if there are changes, they will change gradually without changing the basic characteristics of the national traditional patterns and patterns. For example, the Buyi people in Guizhou, Zhenning, Qiannan, Southwest Guizhou, and Yunnan, Luoping and Shizong are basically the same.

當(dāng)然，近代以來，特別是在當(dāng)代，隨著中國社會(huì)的巨變，現(xiàn)代文明的沖擊，布依族服飾也難免變化加劇，但這不是民族服飾本身的問題，而是當(dāng)代世界所面臨的普遍問題，針對這一問題，我將于后文關(guān)于“民族服飾文化的跨文化傳通”一節(jié)中加以闡述，在此不作贅述;其三是傳統(tǒng)布依服飾實(shí)用性分類、個(gè)性化不突出，而齊一性、民族共性突出;其四是上述三點(diǎn)歸結(jié)起來，布依族服飾與現(xiàn)當(dāng)代社會(huì)中分類明確、個(gè)性化特征明顯的流行服飾有根本的區(qū)別，它在樣式、圖案、色調(diào)上的整齊劃一，且長期穩(wěn)定，充分顯示出它的民族顯性特征，而這種民族性又恰恰是通過其服飾樣式到花紋圖案溶鑄、整合進(jìn)本民族深厚文化的方方面面，形成為服飾藝術(shù)中原始審美意象而顯現(xiàn)出來的。

On the whole, in the Buyi dress, no matter what patterns, patterns or patterns, patterns, patterns, or patterns or patterns that can not be understood or explained are still popular nowadays, we can taste a primitive, simple, crude and mysterious primeval aesthetic image.

It is certain that it contains the original meaning of the ancient Buyi world from utensils to spiritual culture, including mythology, witchcraft, totem, religion and life customs. Therefore, it has the thickness, depth and breadth.

The symbolic meaning of the clothing of the Buyi Nationality

The American structuralist philosopher Hawkes pointed out from the angle of semiotic aesthetics that language, mythology, ritual and art are all symbols used to organize and form human experience. Clothing is the same as language, myth, art, and is also a symbol.

The clothing of every nation is not only a symbol, but also a symbol system of its own. Its generation, accumulation, continuity and pformation are related to the development of various forms of national culture - myth, religion, history, language, art and science.

Therefore, as a symbol system, the costumes of different nationalities have their overall functional structure, and in terms of their meaning, they always have duality: signifier and signified.

{page_break}

The whole functional structure of Buyi dress as symbol system

Bart pointed out that "clothing is a systematized state of rules and symbols. It is a language in a pure state."

[4] that is to say, a person's clothing is a symbol system. As for the dress and adornment of various nationalities, there is always an internal connection between the various parts and elements of clothing, and a complete system with cultural connotations is formed. Only when clothing, clothing, trousers, shoes, hats and decorations are coordinated and combined, can the complete practical and aesthetic value be embodied.

The symbol system of the Buyi people's clothing system has an overall connection. It is a meticulous and elaborate aggregate. Its clothes, skirts, trousers, shoes, Baotou and accessories constitute a unique whole, and its unique overall functional structure shows the unique adaptability and aesthetic value of this dress.

The book "new records of Guizhou's new classics" is a custom record: "Zhong Jia (ancient name of Buyi Nationality) is all living in the house, and is well dressed in Tsing Yi.

Men wear Han hat hat, women wrapped in the green cloth side of the shoulder, fine grain green skirt more than 20, the lower abdomen Department of colorful embroidered embroidered Square, such as slow, still dressed in Tsing Yi.

This description has shown us roughly the overall picture of Buyi's dress, such as the detailed description. The traditional Buyi women's dress is as follows: the head wrapped around the blue, the green cloth, the Baotou decorations have all kinds of pattern designs; the blue and blue round collar, the big short sleeves, the big sleeves, the right side of the collar are embroidered with a two inch wide lace, and the lower part of the coat is embroidered with all kinds of colored rolls.

The cuffs of underwear are longer and smaller than those of their coats. The cuffs of the sleeves are large and short. The cuffs of the underwear are embroidered with exquisite patterns and patterns, and the patterns of the flowers are harmonious and eye-catching.

The waist is embroidered with a half embroidered waist, embroidered with various patterns and tricks.

Lower body or trousers, dark green and blue, wide trousers, rolled with railing (lace), or a hundred pears long skirt, with white and blue batik cloth.

Feet wear green cloth embroidered shoes.

On some occasions, there are many silver bubbles on the head and chest.

We see that from the head of the Baotou cloth, to the inner garment configuration, plus the deployment of trousers or 100 pears, the green, blue and white colors are added together, and the suitable parts are added with batik and embroidered multicolored patterns, which constitute the dress system of the Buyi women's dress. The clothing elements and elements are properly arranged and closely linked to form a perfect overall dress. Its overall symbolic function shows the unique charm of the Buyi women's dress.

First of all, this clothing system is adapted to the life and labor customs brought by the Buyi Nationality, such as mountains and rivers, warm and humid climate, and rich and varied products. At the same time, Yunshan fog water, the magnificent and deep geographical environment and the long cultural life of our nation have also created the life style and aesthetic taste of the Buyi people.

An analysis of the meaning function of the Buyi dress as symbol system

Symbol is an integral part of the world of human meaning. As a two element structure, symbol contains two relations: signifier (express component) and referent (represented component).

The form of signifier in Buyi clothing is very rich, and its connotation is broad and profound. It includes myths, totems, taboos, primitive religions, production and living customs, history and aesthetics.

It is easy to understand the meaning of some dress symbols. For example, the headwear of Buyi women in Zhenning and Luo equal to "Niu Jiao pa", which means the meaning is clear: Baotou parting ornaments resembling ox horns.

Its meaning can also be understood: the symbolic meaning of "Niu Jiao pa" is a metaphor for the totem worship of the Buyi Nationality.

Again, the signified meaning of the BG skirt is the blue white flower worn by the Buyi women and the long skirts of Doug, and its meaning is deep and multilayered, and its patterns show a fresh and elegant aesthetic interest. Its flower shape and color collocation also have symbolic meanings, symbolizing the sun and stars, implying the natural worship of the sun and moon stars of the Buyi people, and may also imply the idea of gods of the Buyi ancestors about the natural phenomena such as the sun, moon and stars.

There are some symbols on Buyi costumes, whose meanings in ancient times are quite clear and understandable. But later, with the grind of time and other reasons, its original symbolic meaning and utilitarian purpose have gradually been talked about and gradually evolved into an abstract form beauty. We can only feel its aesthetic implication today, but we can not understand its deep and thick original connotation.

For example, all kinds of geometric lines, patterns, patterns and silver bubbles on the chest in batik and embroidery of Buyi Nationality's costume are likely to be realistic objects in ancient times. They have clear meaning of primitive religion, totem, myth, and life customs. But now they are evolved into abstract geometric figures or unadorned ornaments, which have turned the original symbolic meaning into a symbol without reference meaning, emphasizing on decoration.

The decorative beauty of form has surpassed the original symbolism.

Buyi dress in cross cultural communication

Cross cultural communication means that people of different cultural backgrounds interact with each other, forming cultural interactions and changing.

How to understand the change of Buyi clothing in cross cultural communication, especially in the contemporary world, where cross-cultural communication intensifies, how to recognize changes and maintain the national character of Buyi costumes deserves our attention.

First of all, of course we should see that the costumes of different nationalities have always been in intercultural communication since ancient times. In the past, Zhao Wuling's "Hu Fu riding and shooting", the large number of Eastern clothing in Western Han Dynasty and the Han Dynasty clothing in Qing Dynasty were all easy to be fully dressed.

Buyi dress is no exception. Some scholars believe that the women of Buyi Nationality may be influenced by the Han nationality in the Central Plains. It is said that the earliest design of Indus in skirts is the emperor of Han Dynasty. Later it spread to folk fashion and gradually spread to the southwest minority areas.

Again, the "lost" pattern of Buyi costumes is likely to be learned from Tibetan costumes during the period of spit and good.

Batik and embroidery are popular among Miao, Shui, Buyi and other ethnic groups. There must be batik dyeing and embroidery from technology to pattern and pattern.

Secondly, throughout the history of ancient costumes, there are interchanging and evolving situations. However, the intercultural communication between these dress cultures is always maintained under the premise of maintaining the national characteristics of the nation. It does not touch the gradual change of the basic symbolic structure of the national costume.

Therefore, although the traditional Buyi dress has been changing and absorbing the elements of foreign clothing culture in a long history, it should be rejoiced that the costumes, colors, patterns and patterns of the national race are basically preserved.

But in modern society, with the rapid development of human science and technology, the human society has been developing rapidly.

There are also amazing changes in society and culture. It can be said that all kinds of ethnic cultures are in unprecedented collision, integration and development. This is bound to be reflected in national costumes, and may even lead to the mutation and disappearance of certain ethnic costumes.

Nowadays, quite a few ethnic minority members close to the city or modern life in Yunnan have gradually taken off their national costumes and put on Chinese tunic suits, modern suits or modern clothes.

In the Qing Dynasty and the Republic of China, the Buyi men in Luoping had been wearing gowns and gowns, and now they wore many Chinese tunic suits or Western-style clothes. Women are now wearing modern women's clothing, and the headwear is basically replaced with towel handkerchiefs, instead of wrapping the head handkerchiefs.

In the face of this phenomenon, we should attach great importance to it. The traditional costume culture of Buyi Nationality is a gem left behind by the ancestors of the Buyi Nationality for centuries. It contains rich and profound national cultural connotations. It can not be lost in our era. We should realize that cultural, artistic and aesthetic things have real national vitality before they have real vitality.

Mr. Lu Xun said: "where there is local color, it is easy to become the world."

[5], this is the truth. We can say with certainty: "if culture and art have a national character, it will have a cosmopolitan and vitality, and the more national dress is, the more international and vitality it will be."

Peking Opera has been widely praised in modern western countries. Cheongsam is very popular in modern cities. "Tang costume" is selling well in China today. Ethnic costumes have become a good thing favored by Western tourists. There is only one reason: nationality. In view of this, we should shout loudly: the Buyi people cherish your culture and cherish the art of dress that is full of cultural connotations.