Revealing The Process Of China'S Influence On The Aesthetic Change Of Costumes

From the beginning of the origin of clothing, ancient Chinese ancestors have deposited their life customs, color preferences, cultural mentality and religious beliefs into the clothing of everyday life, forming the dual connotation of material culture and spiritual civilization of clothing culture, creating a precedent for Chinese national costume culture.

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.

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.

This concept of design has been recorded in the first book of Chinese craft book "Kao Gong Ji". "Kao Gong Ji" says, "sometimes the sky is sometimes angry, the material is beautiful, the work is skillful, the four are the same, and then it 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.

The book of changes 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.

Nature itself often has the enlightening significance of social morality. There is often no gap between man and nature. The two influence each other. People 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 personnel.

In 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.

It is also in line with the "natural" way.

In the Wei and Jin Dynasties, the unruly bones of the Seven Sages of the bamboo groves were heavy in spirit and left behind bones. Therefore, they often appeared to be informal in clothing, and no matter how they stood, they were very casual.

Two. Ideology formed on the basis of certain economy directly affects the aesthetic ideology of costumes.

In the spring and Autumn period and the Warring States period, because of the hegemony of the seven heroes, they had 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 and law.

If Confucianism advocates "Charter and civil military" and "covenant with etiquette", Mohist advocates "economizes", "food is always full, then seek beauty, clothes will keep warm, then seek beauty, then live in Chang An, then seek pleasure". Han Feizi, while negating God's ghosts and gods, advocates that clothing should advocate nature and oppose decoration.

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.

Wei and Jin Dynasties were the most chaotic times in the history of economy and politics. But in spirit, they were 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.

The most famous bamboo grove Seven Sages advocated the 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.

The costumes of the Tang Dynasty are the release of beauty, the bold pursuit of beauty, the gorgeous and heavy decoration of their 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.

The style of dress 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.

In Tang Dynasty, new aesthetic factors and colors were added to any dynasty. The aesthetic interest in the Tang Dynasty was reproduced from the earlier stage, objective and heavy to the form of the subjective, rhyme, and feminine beauty.

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 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.

So that the vigorous and genuine masculinity in aesthetics has to give way to the subtle and hazy shade of Yin. "(from the aesthetics of Six Dynasties") this change in aesthetic tendency is closely related to the background of the Tang Dynasty's flourishing economy and the background of the whole nation's singing of the Buddha's law.

During the Song Dynasty, the Song Dynasty was influenced by Cheng Zhu's Neo Confucianism, burning gold ornaments and simple tattoo to get the beauty of simplicity and elegance, while the Ming Dynasty was the most prosperous Dynasty in the history of ancient Chinese costume development, and the dress was gorgeous and unadornment.

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.

Therefore, in the Ming Dynasty, embroidery was auspicious 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.

Three, "hierarchy" is the symbol of the class society, which has always been the influence of the ancient people's aesthetic consciousness.

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.

"Zhou Li" records: "enjoy the first king, then the crown, indicating that the ceremony, the ceremony, the emperor hundred officials are wearing 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.

This "ritual" function is also reflected in the color of clothing, such as Confucius once claimed that "evil purple wins Zhu also" ("Analects of Confucius Yang") because Zhu is the right color and purple is color, he wants to make sure that everyone is honest and color, 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 in a certain period of time, some colors are attached to some kind of dress and have been represented as some examples of their status and status.

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

Throughout China

We can clearly see the influence of ancient Chinese aesthetic consciousness on clothing in different dynasties. From the earliest functional sham, the body, through the passage of time and the evolution of history, from the spokesman of hierarchical system to the symbol of personality later, it has gone through a long time, and aesthetic consciousness runs through it. Understanding this point is also 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.