Qiao Chunyang: The Loss And Protection Of National Costume Culture (1)

Zhang Xingjiao, who was over five years old, was

Miao people in Jianhe county began to learn embroidery from their mother at the age of 13, but now their two daughters are unwilling to learn this technology with her.

What worries Zhang Xingjiao is not only that there are fewer and fewer folk things, but also thousands of years of handicraft handed down.

Zhang Xingjiao said that when he was young, he was short of material and had to wear a new dress to do it himself. Now it is too convenient to buy a new dress, and how to make clothes with his own spinning and weaving? "These crafts only come to our generation," Zhang Xingjiao said pessimistic.

Not only the number of people wearing ethnic costumes is decreasing, but the traditional production technology of ethnic costumes is also gradually losing.

Wang Zhifen, a native of Honghe Hani and Yi Autonomous Prefecture and Yunnan University's Anthropology Museum of Wu Ma Yao, said: "the young people in my hometown can no longer do the traditional clothes of the Yi nationality. When my clothes were still very small, my mother made them by hand, and now this exquisite technique has been lost."

Wu Dingxia, a student in Qiandongnan from South-Central University For Nationalities, said that Dong nationality clothing worn in school was not Dong.

It is a misconception that people have thought that all silver packets are made of Dong clothes.

In some villages, young people do not wear their own costumes. They are all dressed in fashion. They simply can not distinguish their families from clothing.

However, in recent years, the young people of these ethnic villages have dressed up in national costumes, just like Wu Dingxia's "neither fish nor fowl". They are dressed in national costumes and are dressed in Chinese clothes.

There are many people who share the same view of national dress and Zhang Xingjiao, Wang Zhifen and Wu Dingxia.

Now in China, everyone's clothing is westernized.

Not only do ethnic minorities give up their national make-up, but Han people do not wear their national costume Hanfu.

Why will the national costume decline?

First of all, with the development of economy, all kinds of clothes have entered into the national settlement area. The rich styles have brought a certain impact on traditional national costumes.

Secondly, compared with recreational sportswear, the wearing of national costumes is more complicated, with a sense of bondage, and is not easy to clean and inconvenient to work.

Thirdly, the production of national costume is long and the cost is relatively high.

The traditional costumes of Miao and Dong people are mostly hand-made, making a suit less than a month and more than half a year, while the cost ranges from one thousand to three thousand yuan.

National costume as

The symbol of culture is the epitome of "visualization" of national culture. It bears the cultural connotations of national survival and development history, religious beliefs, customs, lifestyles, aesthetic tastes and values.

The protection and inheritance of this cultural heritage with great national cultural characteristics and academic research value is of great significance for maintaining the diversity of human culture.

So how do national costumes get good inheritance, protection and use?

Dr Georg Fef of Berlin college thinks that once the traditional costume has left its native soil or improved, it will lose its original flavor.

He advocated the original ecological protection of ethnic costumes and let them return to their homeland completely instead of being exhibited or modernized by the fashion industry.

Li Hong, a museum of Chinese women and children, said: to inherit the unique clothing culture of all ethnic groups, especially the technology of clothing that is on the verge of losing, it is not only to make it a complete "specimen" or "living fossil", but also to allow it to be creatively pformed.

Through fashion activation, we can not only get rid of the embarrassed situation of being rescued, but also make it an important carrier to carry forward traditional Chinese culture.

Pan Shouyong, deputy director of the Institute of anthropology, Minzu University of China, said: "the gradual disappearance of traditional costumes in the course of history is an objective natural law. There is no need to be too pessimistic.

On the one hand, we should restore the scene of ethnic costumes by establishing a Fashion Museum and so on. At the same time, we must find appropriate ways of inheritance so that these centuries old cultures will revive in modern society.

Yang Jianhong, deputy director of the Qiandongnan National Museum Research Center, also believes that the inheritance and protection of the national costume need to be complementing each other through two ways: one is static protection, that is, the museum collection, retaining the original original costume for people to enjoy.

In 2003, the Ministry of culture and the Ministry of Finance officially launched the "Chinese folk culture protection project".

Since then, the state has implemented the intangible cultural heritage protection project.

The dress culture of Guangxi minority costumes and Zhuang brocade has been included in the list of national intangible cultural heritage protection. This has played a positive role in the protection and development of national costume culture resources.

In Yunnan, some ethnic costumes, clothing production and related enterprises have been listed as the key supporting objects of the state and the province. They have gradually established a garment enterprise network integrating production, processing, production and sales, laying the foundation for the development of national clothing and apparel industry.

In Qiandongnan, Guizhou, the state government actively organized cultural workers to go deep into the grass-roots level, explore the ethnic cultural resources in the Miao and Dong villages, conscientiously do a good job in the investigation, collation and declaration of intangible cultural heritage, make full use of festivals to set up colorful national culture, develop tourism through ethnic cultures, and enhance the cultural consciousness of the minority people.

This is a vigorous inheritance and protection of national culture, not only thunder but also rain.

This is a reconstruction of national culture. In Kaili, Liping and other cities representing modern culture, they can see Miao and Dong national elements.

Qiandongnan Prefecture of Guizhou released and implemented the local standards of Miao silver embroidery, namely, "geographical indication products Qiandongnan Miao silver ornaments", "geographical indication products Qiandongnan Miao Embroidery".

The standards stipulate the terms and definitions of Miao silver ornaments and embroidery, the protection scope of geographical indications, the classification of products, the naming principles, the production requirements, the quality requirements, the testing methods, the inspection rules and the requirements for marking, packaging, pportation and storage.

At the same time, the Miao nationality silver ornaments won 11 kinds of traditional intangible cultural heritage protection technology as the traditional Miao nationality's traditional crafts. In addition, Miao embroidery was divided into 16 categories, including 2 kinds of traditional embroidery crafts and modern embroidery crafts.

In addition, the government also encourages artists to learn skills and improve production efficiency by developing folk silver embroidery and making artists.

The government attaches great importance to the participation of folk people. Does it mean that the inheritance of Qiandongnan's ethnic costumes has entered a zeal era?

We can not deny that one phenomenon is that the frequency and number of ethnic minorities wearing ethnic costumes are decreasing.

The lack of mass foundation and the inheritance and protection of national costumes still have a long way to go.