What Are The Design Languages In The Traditional Costume Culture Of Dans

From the perspective of art anthropology, fashion design language includes not only the shape, color, pattern, plate making, structure, materials, technology and other material forms directly related to clothing, but also music, dance, architecture, sculpture, literary works, fairy tales, oral literature and so on, It also includes the "people" wrapped in clothes, people's economic status, social status, professional characteristics, living environment, religious beliefs, interests and hobbies, ideological motivation, behavior and so on. From the perspective of art anthropology, costume pays more attention to the relationship between people and clothes, their living environment and living conditions. From the perspective of art anthropology, "fashion design language" can be regarded as "the sum of all materials related to people and clothes in a specific time and space, and can be used in fashion design and creation". It has the characteristics of diversification, complexity, symbolization, interaction and integration.

I. classification of dress language: "overt" and "recessive"

Fashion design language is a kind of symbol, which can be divided into explicit and recessive. Explicit symbol is visible, intuitive and visual elements, such as shape, color, pattern, technology, material, etc; Hidden cultural symbols are "invisible", which are abstract and implicit, including inspiration in creative design, ideas of clothing brands, values and spiritual realm (Liu Chong, 2016); The decorative language of clothing has the characteristics of symbolic function, symbolism, identification and style transmission. Its spiritual connotation, concept and other information can well express the brand's personality, logo and style characteristics (Ding Ying, 2004); The inner language of clothing contains emotions, thoughts, values and spiritual realm, which constitutes the personality, style, culture and vitality of clothing (Zhou Fuying, Zhang Guanyu, 2013); As a typical cultural symbol, pattern has the functions of marking, narration, decoration, evolution and reconstruction, and can be transformed into cultural and emotional symbols (Huang Cui, Zhou Liying, 2009); Fabric texture brings more aesthetic feeling (Xin Xiaoyu, Zhang Yu, 2009).

Second, the design language of Sha Tin Dan people's clothing

Material form language refers to all kinds of entity forms created by people in the process of social and historical practice. Intangible language refers to various spiritual cultures created by people in the process of social and historical practice. According to the existing state of fashion design language, it can be divided into "material form language" and "non-material form language".

The material form language of dans' clothing includes clothing, boats, Internet, academic (literary) works, historical sites, etc. In the process of development, Shatian DanJia clothing inherits the characteristics of southern Guangdong ethnic minorities. It is light, short and practical. It also absorbs the advantages of Guangfu clothing, Hakka and Han clothing. It mostly adopts cross plane cutting, showing the characteristics of diversification and hybridity. Men of Shatin dans wear cardigans, camisoles, jeans, trousers, etc., while women wear cardigans, tail shirts, bosom lapels, jeans, trousers, etc., and women only wear skirts in marriage and important occasions. The clothing color is mainly black and blue. Both men and women love gold, silver and jade ornaments, and a silver waist chain is tied around the waist all the year round. Women like to wear silver bracelets, jade bracelets and pearl pendants. The tubular bamboo hat has been used up to now. The boat is the "house" for the dans to live in and a tool to make a living. Fishing nets are ubiquitous in the lives of the people living in Shatin. Dans can catch or breed fish, shrimp and crabs through fishing nets. Liu Xun's Ling Biao Lu Yi in Tang Dynasty, Zhou qufei's Ling Wai Dai DA in Song Dynasty, Kuang Lu's chiya in Ming Dynasty, Lingnan zalun written by Wu Zhenfang in Qing Dynasty, research on Danmin by Chen Xujing, ancient history of Lingnan by Hu Shouwei, ethnic research of Guangdong Province by Zhong dufo, Shanhaijing and SouShen Ji provide rich materials for artistic creation. There are cultural relics such as shellfish food, pottery, stone tools and so on [7]. The archaeologists infer that the ancestors of the dans in Lingnan can be traced back to the Beiqiu people in the Neolithic age. These relics make people have historical nostalgia for Lingnan culture and Danmin culture.

Figure 1: fishermen cast nets for fishing (provided by Shatian water culture center)

Figure 2: DanJia clothing on fashion T-stage (designed by Guo Xiaoxiao)

The intangible language in the traditional costume culture of the dans includes salt water songs, customs, handicrafts, myths and legends, oral literature, etc. "Saltwater song" is also known as dange, saltwater sigh, fish song in vernacular, houchuange and so on. In 2007, Shatin saltwater song was listed as "intangible cultural heritage" in Guangdong Province. Salt water songs are rich in content, including love, marriage, festivals, etc., with strong rhythm, easy to understand, long tone, and far-reaching influence in the local. Shatin dans also continued their skills of weaving, making dragon boats, making zongzi and picking flower fish. On the fifth day of May every year, Sha Tin Town holds Dragon Boat activities. Dragon boat rowing, lion dance, salt water song performance and eating "Dragon Boat meal" are the important contents of the festival. There are many myths and legends in the book of mountains and seas, such as "Lingyu", "Chiyu", "Jingwei reclamation" and "Dayu flood control".

It can be said that the marine characteristics of dans' clothing culture are closely related to the unique geographical location, cultural features and ethnic customs in Lingnan area. The rich design language of Danmin's clothing culture provides us with a wide range of subjects and vision for art creation.

Note: the content of this paper is reprinted in "the use of fashion design language from the perspective of artistic anthropology from the creation of ink and wash Danyun", fashion designer, No. 9, 2020, pp. 122-128, author: Guo Xiaoxiao.