Interpretation Of Tibetan Costume Art Culture

The Zang or Tibetan people Clothes & Accessories Art, as a part of human costume culture, has the aesthetic functions and characteristics shared with the general costume, vividly reflecting the common aesthetic psychology of the Tibetan people. As a special cultural field, Tibetan clothing also has many attributes and characteristics different from other dress culture. Its diversity and diversity embodies the continuity and continuity of the custom, and adapts to different regions and environments. It embodies the unique artistic spirit of the Tibetan people.

First, inheriting the carrier of folk culture.

People in all regions of the world today, regardless of their civilizations, religious beliefs, natural environment, economic patterns, and ethnicity, have a common spiritual Custom -- to beautify themselves with all possible means of decoration. This concept of beautifying oneself is not only an important part of human's aesthetic activities to the objective world, but also one of the earliest aesthetic consciousness developed in the initial stage of human culture development.

Tibetans living on the Qinghai Tibet Plateau are all ethnic groups who have paid great attention to decoration and beautifying themselves since ancient times. From the stone age, they have already formed the body decoration custom and aesthetic taste. For example, in the Neolithic Age of the Majiagou culture in the Neolithic Age of Gansu and Qinghai, all kinds of painted patterns of human face and human shape on the cultural pottery are considered to represent the custom of human body at that time. Of course, such an ancient tribe, located in the high altitude and cold areas, beautifies its own main decorations and uses more ornaments. The appearance of human ornaments is derived from the manufacture of stone tools, because "if there is no dexterous hand developed in two hundred to three million years of production practice and the eyes of appreciating rhythmic beauty, the appearance of decorations is simply impossible." Therefore, the emergence of the aesthetic consciousness of the Tibetan ancestors originated from the appearance of the body ornaments in the tool making. This decorative art psychology closely related to the unique plateau environment has been developing continuously along with the evolution of plateau culture, and has formed the unique style of the art of plateau national body decoration. It has become an important aspect of Tibetan national aesthetic custom and artistic creation.

Tibetan people located in high altitudes and high altitude areas have paid much attention to decoration and beautifying themselves since ancient times. Since the stone age, the Tibetan ancestors have formed their own decoration Custom -- the custom of human body decoration. Even in the modern Tibetan custom of decoration, we can also find Tibetans' greatest minds and feelings about the decoration of their faces and hands.

The formation of Tibetan custom and aesthetic tradition shows the characteristics of the plateau's geographical environment. People in the vast plateau plateau and severe cold climate, pay special attention to their dress and beautification, they live in the relatively monotonous color of the snow and ice plateau, will inevitably dress up with colorful costumes, rich ornaments to decorate themselves, but also to their environment to add a beautiful scenery, so even the most common shepherd boy also has beautiful ornaments on his body. {page_break}

Two, showing the "logo" of regional culture.

The Tibetan was formed around the year sixth Century, by the Tibet aborigines and the tribes of the Qinghai Tibet Plateau, mainly in Qinghai, Gansu and Xinjiang. The combination and cultural exchange between Qiang and Qing Qiang people and Tibet aborigines are very frequent. Because of the special cultural and geographical location of Tibet plateau, it is surrounded by highly developed Asian civilizations. The eastern part of the Yellow River has a long history of civilization, the Yangtze River, the west is the long history of West Asia Kotani Moomin; northern is a strong central Asian nomadic culture; Southern is rooted in the tropical fertile soil of India civilization. It is because of this geopolitical factor that Tibetans have been nurtured by Chinese culture and have experienced the impact of foreign cultures and created different material cultures. clothing Each aspect has its own advantages and richness. According to statistics, there are more than 200 kinds of Tibetan costume, which are the highest in China's costumes, and their diversity is rare in the world's ethnic costumes.

Tibetan robe is the main pattern of Tibetan clothing. Its structure is fat waist, long sleeves and big buttons. It is characterized by the fur robe, the gown, the robe of the agricultural area, and the clothes worn by the nobility, the officials' gowns and monks in religious festivals. Although the structure of Tibetan gowns is basically the same, they are changing constantly in the way of dress, detail decoration and material. The Tibetan people in different regions have endowed their gowns with unique local characteristics according to their own aesthetic and practical purposes, making the Tibetan gowns distinct.

The Tibetan men's gowns in Gansu are especially large and the women's gowns are somewhat close fitting. Most of the fur robes in winter are made of sheepskin and decorated with a wide leopard skin. Some of them have red, green and black tricolor broadsides on the cuffs and hem, and the necklines are decorated with red or green ribbons. The way of wearing is also unique. When girding the belt, the knot is often tied behind the back, leaving a longer knot, hanging on the buttocks, revealing the right arm in the robe, some of the long sleeves on the right are tied in the belt, and some are naturally hanging down and feet.

The Tibetan costumes in Qinghai are also dominated by right gowns. According to the season, it can be divided into summer clothes and winter clothes. In winter, they wear lamb skins and fur robes and wear gowns in summer. The dress is made of satin vermicelli, decorated with lace and lace on the sides of the robe, while the top dress is decorated with the broadside of the otter skin. Women's robes are mostly red, black and navy blue. cloth Or silks, decorating with animal skins, the width of animal skins and even the significance of family richness.

The grasslands of northern Tibet are very cold and winter is full of wind and snow. The female herdsmen are the flowers of the grasslands. They are dressed in a rough and charming manner, showing the bright colors of life in the boundless Makino. Their Tibetan robes are usually made of light sheepskin, but they are lighter and fit, with skirts and hem edged with black velvet, and then decorated with red, green and blue velvet. The waist is hung with milk hooks, boxes, flicker, knives, and other favorite objects. Their robes are kept longer and even dragged, and the tins of the ornaments are ringing, becoming a cheerful music on the grassland pasture.

In areas where rainfall is abundant, such as industrial cloth and other places, Tibetans create a coat called "ancient show". This kind of clothing is usually made of dill or Leatherwear The utility model is characterized by shoulder width and sleeveless, which is convenient for heat dissipation and convenient for free movement, and is suitable for wood cutting and other labor. Meanwhile, it can prevent light rain. The "Xiu" worn on festivals or ceremonies pays attention to the different sizes of brocade pieces on the neckline, waist and hem, which are very luxurious and beautiful.

Tibetan costumes are the concentrated expression of the Tibetan people's aesthetic ideas. It has many kinds, different shapes, varied styles, and vividly expressed the living habits and aesthetic psychology of Tibetan people everywhere. {page_break}

　 Three. Materialization of aesthetic psychology.

The emergence of mankind's earliest aesthetic consciousness began to germinate in the comparison of natural and human psychological feelings in the process of long tool manufacturing. On this basis, it is possible for human beings to create or feel any so-called "decorative art" with aesthetic significance. The body adornment is the spiritual product that people first broke away from the utility nature in the material production activities of manufacturing tools, and is the symbol of the transformation of material products into spiritual products.

Man is the primate of all things, and clothing is not only the result of human material labor, but also the accumulation of human spiritual activities. Therefore, in the process of creating costumes, human beings integrate their perception and understanding of beauty into clothing, creating the process of clothing, that is, the process of creating beauty, the formation of clothing, that is, the completion of the form of beauty, and the aesthetic taste of human beings, which also accumulate in material clothing. Therefore, clothing is the materialization of human aesthetic psychology. This aesthetic consciousness is restricted by human history, geographical environment and the changes of the times. The accumulation of history has laid a deep mark on the aesthetic psychology of mankind. Tibetans later entered the depressed and hierarchical feudal ethical society, maintaining their original characteristics to varying degrees, retaining more human instinctive romantic habits. Therefore, they prefer to show their health and beauty with their costumes. Their costumes have more personalized characteristics and more fresh vitality.

The aesthetic psychology of clothing is also influenced by the times and is the reflection of the times. "Each situation produces a mental state, and then produces a batch of works of art that are compatible with the mental state". Human self decoration marks the origin of artistic beauty. As the highest form of human aesthetic activity, art is generated in the course of human evolution. Every era has its specific existence in politics, ideology, culture and lifestyle. "Art in every era is closely related to contemporary social thoughts, aesthetic concepts and skills, and the level of science and technology development."

All these have a profound influence on the aesthetic psychology of human clothing. In the period of Tang Tu fan, the soldiers who fought bravely praised the tiger fur robe for their bravery as a tiger, and cowards who fled from fear and fear, and hung a fox tail on their heads to show shame. But in the next generation of Tibetan areas, people especially like fox fur cap, which is full of head and tail, and is a sign of courage and beauty. Therefore, with the passage of time, the aesthetic concept of Tibetan costumes is changing. {page_break}

　 Four, the display of harmonious art.

Dress, as a form of art, embodies the aesthetic rules of dress. The art of human decoration marks the origin of artistic beauty, and human adornment is one of the earliest plastic arts products. The development of body adornment in modeling has made the artistic expression of simulation and symbolization realized and broadened the creativity of the Tibetan people's image thinking. They have reassembled some items with unique shapes according to their own aesthetic consciousness, making them become both changed and unified works of art, directly and vividly manifests the most basic principles of the unity of the plastic arts. At the same time, the primitive ancestors formed the mentality of pursuing perfect form concepts in the process of making and using decorations. People thought that the unity of change is the most perfect form concept, which can reflect their highest technical level and ability.

The beauty of Tibetan costumes is a kind of harmonious beauty, which is reflected in the harmony of the vast geographical environment background and the loose atmosphere of Tibetan robes, as well as the harmony of Tibetan people's extensive and bold personality and romantic and colorful costumes. Especially in festivals or festive occasions, it is also a display of costumes. They like to dance with strings and pot dance, singing and falling, and sleeves flying, showing unique charm. Tibetan costumes always attract the most audiences at the annual Kham Art Festival. The annual Jockey Club is also a grand show of dress show in Sanke grassland, Yushu grassland, the fruit and grassland and Nagqu steppe. It shows their wisdom and pursuit of beauty, especially Tibetan women.

From the point of view of overall beauty, paying attention to the rhyme of clothing, that is, change, rhythm and order, will also give people the visual effect of overall beauty. In general, the sleeves of Tibetan clothes are longer. Besides the cold resistance, they can make long sleeves and broad belts, and dance together. With long sleeves, they can show graceful rhythmic dance. In Tibetan costumes, they often use the same color patterns as the side ornaments of collar, cuffs, flappings and hem, so that they can be used repeatedly to get a rhythm beauty, so that the human body can get a rhythmic beauty in the process of movement.

In short, the aesthetic characteristics of Tibetan costumes, such as fabric, color, style, decoration and other factors, reflect the formal rules of dress art beauty, and create the image of beauty, thus beautifying people and beautifying their lives.

　　 National Costume As a product of the specific social, historical and cultural traditions of the ethnic minorities, they are constantly enriched, constantly changing and developing. As a special cultural field, Tibetan costume culture has many attributes such as nationality and regionally, which are different from other dress culture. Only through cultural communication and recognition can we promote emotional exchanges among different ethnic groups, so as to better save and inherit this excellent cultural heritage and promote the blending of Chinese culture. In the history of the twenty-first Century, in a new cultural atmosphere, Tibetan costumes show their unique innocence and nature, and win the favor of modern civilization and modern artists at a hundredfold. In fact, they have surpassed themselves in silence, and have achieved a leap towards the new cultural atmosphere and aesthetic realm.