The Development Process Of Aesthetic Change Of Chinese Costume And Costume

< p > > a href= "http://www.91se91.com/news/index_p.asp" > China's < /a > ancient ancestors began to dress their life customs, colors and hobbies, as well as all kinds of cultural mentality and religious concepts, from the beginning of their dress, and then deposited in the dress of everyday life, forming the dual connotations of material culture and spiritual civilization of dress culture, creating a precedent for the dress culture of the Chinese nation.

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< p > dress, as a cultural mindset, runs through all periods of ancient China. From the evolution of dress, we can see the vicissitude of history, the development of economy and the change of Chinese aesthetic consciousness.

Clothing as a cultural carrier, its development and evolution is closely related to the national and historical development, and receives the profound influence of politics, economy, ideology and so on at that time.

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< p > < strong > 1. Chinese ancient people's < /strong > < a href= > http://www.91se91.com/news/index_f.asp > strong > dress aesthetic > /strong > /a > strong > consciousness is deeply influenced by ancient philosophy.

< p > > 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.

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< p > this kind of design concept has been recorded in the earliest works of technology, "Kao Gong Ji", in our country. "Kao Gong Ji" says, "sometimes, there are days when there are Qi in the earth, material in beauty, work in coincidence, and these four things can be good."

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.

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< p > Zhouyi 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.

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< p > nature itself often has the enlightening significance of social morality. There is no gap between man and nature in absolute isolation. The two interact with each other, and man 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 human affairs.

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< p > in the view of ancient Chinese philosophers, 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 embodies the aesthetic harmony and the outward manifestation of natural expression between human beings and objects.

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< p > in the Wei and Jin Dynasties, the bamboos of the Seven Sages of the bamboo grove were unruly and unrestrained. They concentrated on the spirit and left behind the bones. So they often showed no restraint in dress, no matter how they stood, they were very casual.

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The ideology formed on the basis of certain economic value < p > strong > two has a direct impact on the aesthetic ideology of clothing < /strong > /p >

During the spring and Autumn period and the Warring States period, because of the hegemony of the seven heroes, each of them 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, law and other schools. So the ideology of different factions permeated into the aesthetics of dress and aesthetics produced different aesthetic claims. P

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< p > > if the Confucianists advocate "Charter and martial arts" and "etiquette", Mohist advocates "economizes", "food is always full, then seek beauty, clothes will keep warm, then seek beauty, then live Chang An, then seek pleasure", while Han Feizi, while negating God's ghosts and gods, advocates that clothing should advocate nature and oppose modification.

The Wei and Jin Dynasties were the most personalities of the generation with aesthetic consciousness. "The band of praise" was the most popular dress in the Wei, Jin, southern and Northern Dynasties, especially among scholars.

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< p > Wei and Jin Dynasties are the most chaotic times in the history of economy and politics, but in spirit, they are 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.

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"P", the most famous bamboo grove seven sages, advocated 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.

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The clothing of the Tang Dynasty (P) is the release of beauty, the bold pursuit of beauty, the gorgeous and heavy decoration of its costumes, and the opening of women's dresses.

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

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< p > > a href= "http://www.91se91.com/news/index_h.asp" > dress style < /a > 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.

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In the Tang Dynasty, the Tang Dynasty has added new aesthetic factors and colors to the Tang Dynasty. The aesthetic taste of the Tang Dynasty is from the reappearance of the earlier period, the objectivity and the deity shape to the later stage of the subjective, artistic and feminine beauty, which embodies the precipitation of the aesthetic consciousness of the Wei and Jin Dynasties in the dynasties.

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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 old and serious 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." P

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"P >, so that the vigorous and genuine masculinity in aesthetics has to give way to the subtle and hazy shade of Yin." (drawn from the aesthetics of Six Dynasties), the pformation of this aesthetic tendency is inextricably linked to the background of the Tang Dynasty's flourishing economy and the background of the whole nation.

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In the Song Dynasty, the Song Dynasty was influenced by Cheng Zhu's Neo Confucianism, burning gold ornaments and simple clothes to get the beauty of simplicity and elegance. The Ming Dynasty was the most prosperous Dynasty in the history of the development of ancient Chinese clothing, 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.

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< p >, therefore, the Ming Dynasty was popular 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.

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< p > strong > three, "hierarchy" is the symbol of class society, and the influence of ancient costume aesthetic consciousness runs through the ancient society. < /strong > < /p >

< p > clothing is just like a symbol. In ancient society, clothing has strict distinction. Different costumes represent 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.

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< p > "Zhou Li" records: "enjoy the first king is the crown, indicating that the ceremony, the ceremony, the emperor all officials wear 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.

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< p > this "rite" function is also expressed in the color of clothes, such as Confucius once declared that "evil purple takes away Zhu Yi" (the Analects of Confucius Yang goods), because Zhu is the right color and purple is the color of the shade. He wants to set the colors for the upright and the different colors, 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 examples of a certain color which has been attached to a certain dress for a certain position and identity in a certain period.

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

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< p > look at the development of ancient Chinese costumes, we can clearly see the influence of ancient Chinese people's aesthetic consciousness on < a href= "http://www.91se91.com/news/index_f.asp" > dress > /a > during the dynasties. From the earliest functional sham and body, the passage of age and the evolution of history, from the spokesperson of hierarchical system to the symbol of personality later, has gone through a long time, and aesthetic consciousness runs through it. To understand this is 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 Chinese national costume.

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