The Influence Of Chinese Costume On Western Dress Culture

If Western dress culture deliberately pursues human beauty and ignores dress ethics completely, then Chinese dress culture is affected.

However, despite Chinese traditional costumes

(the ancient poem is for Jiao Zhongqing's wife); "the weather is new in March 3rd, the waterside beauty in Changan."

The state is thick and sweet, and the texture is exquisite.

Embroidered robes enjoy the late spring, the Golden Peacock silver unicorn.

What is there on the head?

What do you see behind you?

Some people will take the cheongsam in modern women's clothing as an example to prove that Chinese women's clothing also focuses on the natural beauty of the human body. In fact, this cheongsam was the result of the Western costume aesthetic taste in the first half of this century. Until the Guangxu years, cheongsam was not the current style.

The traditional cheongsam is completely different from Western women's clothing in the shoulders, chest, waist, arms and buttocks.

Different from Western costume art, Chinese costume art is not to highlight the beauty of human body, but to fully mobilize artistic modeling and other means to pursue a decorative beauty, that is, a spiritual space beyond form.

Judging from the style of clothing before Qing Dynasty, it is the mainstream of Chinese traditional costume to hide the body's wide embrace of big oil.

Even though some people are very beautiful, this garment does not show this beautiful shape.

Zi Zhi Tong Jian quoted Xiao He as saying: "the son of heaven is everywhere in the sea, not strong but not beautiful." from this perspective, we can see why Chinese ancient emperors' tuxedo with wide sleeves and big sleeves should understand why they do not express the beauty of the emperor's body. Instead, they focus on expressing their spirit and highlighting their dignified and dignified spiritual strength.

Qu Yuan said in the "river crossing": "Yu is so good that this year is both old and unfailing, with the long and thin land, and the crown of Cui Wei."

He shows his cynicism and his attitude and feelings without dressing up with his own clothes.

The difference between the visual beauty of Western clothing and the beauty of human body decoration reflects the difference of the value orientations of the two cultures.

Lin Yutang once pointed out: "the difference between Chinese and Western clothing philosophy is that the suit is intended to represent the human body, while the Chinese dress is intended to cover it."

("art of life") Lessing said, "I admit that clothes also have a beauty, but what is the beauty of clothing compared to the beauty of human body?" (from Western aesthetically speaking beauty and aesthetic feeling), while Lin Yutang holds the opposite view: "only in a society without aesthetic feeling can we live in a suit.

The style of the suit is so that pedestrians on the street will know that your waist is thirty-two inches or thirty-eight inches...

The forty year old woman, who is usually fat enough to wear the evening dress of her father's chest and her back dress, went to the public performance at the opening night of the opera. This is also one of the dazzling things of Western invention.

(Art of life)

However, due to the lack of religious beliefs in Chinese dress culture, it is difficult to resist the erosion of Western costumes and aesthetic values that highlight the beauty of human body.

Modern cheongsam and modern urban women twist the four body clothing to prove this.

There is a Chinese saying: "wear clothes and wear caps."

This shows that Chinese clothing culture lacks ethical constraints to a certain extent.

Of course, Western clothing also absorbs some characteristics of Chinese traditional dress. For example, when Chinese modern clothing adopts the western style women's shoulders, the western style adopts the vertical collar of Chinese cheongsam, but the Western absorption and reference of Chinese traditional dress features are very few after all.

The aesthetic values of Chinese traditional dress can not be changed or replaced by the aesthetic stereotype of Westerners, and Western costume culture has formed a strong shock wave on Chinese traditional dress culture. Chinese people seem to be unconsciously facing the alienation of clothing.

Another aspect that is different from Islamic dress culture is that the most striking feature of Chinese and western contemporary and modern costumes is that fashion styles are constantly renovating, pursuing brands and eliminating them at high speed, thus bringing huge waste to economic resources.

This contrasts sharply with the anti lavish Islamic dress ethics.

Looking through the fashion magazines of Western and Chinese countries in the past twenty years, it is easy to find that the average life expectancy of many clothing styles is only three to six months, or even shorter.

Take the style of skirt as an example, in 1970s, there were "mean skirts", "dense skirts", "tight folding skirts", "open skirts", "stacked skirts" and "classical skirts".

Many fashion designers launch many new styles of clothing every year. They constantly stimulate people's other desires while constantly stimulating clothing styles and high consumption.

According to foreign information, Diana, Princess of England, was ashamed and embarrassed to learn that she was listed as the top ten worst dressed women in 1983. Even many of the British people also prayed for her.

This case is very ironic.

It shows that clothing has already surpassed the ordinary people. It is very clear that clothing is not only practical and decorative, but more importantly, it has the function and significance of reflecting the lofty spiritual realm of human belief.

While Chinese and Western clothing culture regards dress art as the first principle of dress design, the former emphasizes decorative art, while the latter emphasizes human art.

The moderating effect of ethics on costume design and production has been weakened or abandoned in varying degrees.

Even the consumption and aesthetic standards of the British members.

This situation, as Joe wieno pondno once pointed out, "we see the costume changing like this every day. The clothes that we thought satisfied four months ago are out of date today and rejected.

This unruly way can only be condemned and can not be banned. "

(monarchy) although the extravagance and novelty effect of clothing has never been dominant in traditional Chinese dress culture, many people of insight have a warning to this. For example, Mo-tse once said, "for clothing, winter is enough for light and warmth."

Therefore, saints are clothes, body and skin.

The Lord of today is clothes.

Cast gold is a hook, bead jade think, female worker's composition, male work engraved, think of body clothing.

This is not a warm feeling of clouds, but also a labour of money.

In view of this, clothes are not good for the body but good for the body.

It is difficult to cure people because of their secluded nature, but their monarch is extravagant and difficult to admonish.

(Mo-tse's resignation) Mo-tse's words are so pertinent and brilliant, but they are still being criticized.

In addition, some fashion designers today purport to pursue some fantastic and fantastic visual effects.

For example, "beggars" once popular in western countries and Japan, people deliberately break their clothes, drag them all over the East, hang them in the west, and even make them look like clothes.

Or use old dirty cloth to make.

As for Islamic dress ethics firmly opposed to men's disguise, women disguised as men's clothing, is more common in modern Chinese and Western costumes.

In the street, we often see the so-called "fake boy" dressed in men's clothing and the glamorous man who wears a gold ring around his head.

Some clothing seems to have been influenced by the Western Feminist Trend of thought. It intends to eliminate the differences between the sexes and advocate the so-called "neutral dress" or "dress neutralization".

First, Islamic dress culture is based on the most fundamental and reasonable values of Islam as the highest guiding ideology of culture, history, times, psychology and aesthetics.

Islamic costume art needs no ethical intervention at all, because art itself is enough to edify people's noble sentiment.

Two, Islamic clothing culture emphasizes clothing must cover up shy body.

Although the human body, as Allah's creations, is all called bodybuilding, there are men and women in the body.

It is easy to expose the shy body to arouse the instinctive desire, thereby corrupting the morals and reducing people to animals.

Western clothing culture intends to highlight the human body.

When viewing the human body as a beauty, it ignores the beauty of human body and the particularity of human body's aesthetic experience, and confuses the difference between the beauty of human body and other forms of beauty.

It is the foundation of western dress culture to display and highlight the aesthetic standards of the human body.

To a certain extent, it is the historical precipitation of ancient Rome culture.

Although the traditional Chinese clothing culture is bound by the traditional ethical values to some extent, it is not the intuitive expression of the human body, but the freehand decoration and expressive spirit. However, this traditional ethical value lacks the general support of Islamic ethics. It is difficult to dispose of the erosion of the Immoralization Tendency of western aesthetic values in costume design and production, and eventually alienate itself.