中国古代服装

The ancient costume of china

1. Han Served

Han Served, that is, the traditional costume of the Han nationality, formally known as the Chinese dressed, also known as the ancient Chinese equipment, and services to China an d Chinese dressed, and so on. Han served in the origin of Chinese civilization Yan Huan g beginning of the era, in the shape of the Spring and Autumn, an official of the Han na tionality in the Han Dynasty was formed there in the name of serving the Han. Since the n, the historical evolution of all ages, but never changed its basic characteristics. Han serv ed on the whole service can be divided into the Han Zhou, Wei and Jin Han clothing, S ui, Tang and Han clothing, Han Song served four stages of development, Zhou style digni fied simplicity, elegant chic style of the Wei, Jin, Sui and Tang dynasties luxery style, So ng and Ming Dynasties Han served as the master of the times, simple, elegant, Wah Kwa i, crisp style and other co-exist, letting a hundred flowers bloom, the formation of the Ha n Weiweidaguan service system. Manqingruguan, Han served in the government of the Qi ng Dynasty, "Thinning easy to serve" the national policy of oppression under the prohibiti on of human being. Since then, representatives of the orthodox Chinese culture, Chinese d ressed - Chinese clothes, disappeared from the land of China.

The main features of Chinese clothing is to pay the right collar overlapping part of C hinese gown, the band deducted hidden, Kuanpao big sleeves, no buttons, and use string b inding, giving the impression of free and easy flowing, the characteristics of these obvious ly are different from those of other ethnic costumes. Han and dressed in uniforms or dres s suits are divided, strict standard dress for formal occasions, wear costumes; general dress ed in uniforms or remove large sleeves for the common people daily. Dressed to (Chinese service), courtesy (Han-li) for the characterization of China, was dressed as the neighbori ng country, Liyizhibang.

Han is a service campaign aimed at revitalization of the traditional costumes of the Han nationality for the media to lead people to strengthen the traditional culture of the concer ns and thinking, the Chinese recovered the lost plot by the Chinese service-oriented materi -al and spiritual civilization, and ultimately to the traditional Chinese culture The transfor mation of modern social and cultural renaissance movement.

"China has a service called Chapter of the United States and China, that great ritual of summer", and dressed Chinese (Chinese services) is not in the form of the ceremony, bu t the nation's history and heritage, the roots of the nation, the Chinese service of the Unit

-ed States to be more ceremonial Relying on the large. The British ceremony has been re spected, young and old, orderly and strict interpretation of the norms of Chinese society i-deals, and the solemn, pure and simple Zhou's better to play the ceremony content.

Han served a broad scope of the ceremony, the rite of passage in the form of point to the connotation of Chinese civilization, it is serving the Han and Hui, the unity ceremony. Talking about the traditional culture renaissance, almost everyone was well supported howe ver, said Han rehabilitation services, they are still divergent views. Why renaissance? In th is regard, although a lot of water, love the Chinese people have a lot of clothes, but a re al understanding of the people there are not many. If you do not mind, I slowly Congtou shuiqi from talking about more than 3000 years ago.

First of all, we have to understand the meaning of "Chinese."

We all know that they are Chinese people, the result of a wanderer overseas also referred to as "overseas Chinese." However, what is "Chinese"?

See the phrase "Zuo Zhuan" - "China has great manners, so that summer; have served ch apter of the United States and that of China."

"Huaxia" What do HO solution, of course, the other point of view. However, in the heart s of the Chinese nation and the people of the world's largest ceremonial kimono chapter of the United States and inseparable from, but it is beyond doubt. Can be seen dressed c ostumes and etiquette systems, ideology and culture, traditional Chinese culture is an integ ral important part. Chinese ancient culture, colorful costumes, and the nation is closely rel ated to property. China has also been known since ancient times as "dressed on the count ry", "Liyizhibang."

"Book of Changes. Copulative": "Yellow Emperor Yao and Shun down clothes and rule th e world, using come from to build the course of events." In other words, as early as the era of the Yellow Emperor, ancient Chinese costumes have been on quite a scale. Costum es and shapes the course of events generated from Heaven and Earth, the significance is even more unusual.

In the Zhou Dynasty, although in the modern sense before the formation of the Han natio nality, but the Chinese civilization has green and luxuriant.

With a civilization, it is necessary to determine the identity of a series of landmark things Canopy system is one of the service.

We have long focused on an issue in fashion, so can be called "dressed on the" why. W eeks of the service system is deeply affected by the rules of the three thousand years late r the idea of wearing apparel, clothing regardless of how the post from the ever-changing,

the key elements are always maintained. That is: get the right to pay overlapping part of Chinese gown, without deduction knot Ying, Yi bao big sleeves.

2. Tang suit

Picture in the Center: half-sleeve gauze shirt, a fashion outfit only seen during the Tang Dynasty. It was originally designed for banquets and later used as daily wear. This style was much favored by members of the royal family and distinguished gentlewomen.

Picture on the Left: long-sleeve gauze robe, a dressy outfit for every day. The hairdo was a unique Tang style, hair piled high, decorated with large flowers and flowery hairpins. An ornament dangled from the hands. Thin eyebrows and heavy rouge were in fashion. A sleeveless top was worn over a long-sleeve gauze robe that closed in front, and also a l ong skirt, tied up with a large ornamental chord, silk ribbons and high heels. The long-sle eve gauze robe was a typical outdoor outfit in the Tang Dynasty and was very fashionabl e among feudal gentlewomen.

Picture on the Right: Tang Dynasty era banquet dress. The look was completed with a tig ht undergarment, a gauze shawl, and a chest-to-toe A-line skirt tied with soft chords. An upswept hairdo, crowned with a chignon and adorned with flower hairpins completed the l ook (sometimes worn as a daily outdoor outfit).

on the Left: long-sleeve gauze robe, a dressy outfit for every day. The hairdo was a uniq ue Tang style, hair piled high, decorated with large flowers and flowery hairpins. An orna ment dangled from the hands. Thin eyebrows and heavy rouge were in fashion. A sleevel ess top was worn over a long-sleeve gauze robe that closed in front, and also a long skir t, tied up with a large ornamental chord, silk ribbons and high heels. The long-sleeve gau ze robe was a typical outdoor outfit in the Tang Dynasty and was very fashionable amon g feudal gentlewomen.

Picture in the Center: half-sleeve gauze shirt, a fashion outfit only seen during the Tan g Dynasty. It was originally designed for banquets and later used as daily wear. This styl e was much favored by members of the royal family and distinguished gentlewomen.

Seeing these dresses might give people the idea that people back then had a very liber al view of fashion, because the costumes revealed a bit of skin. People’s behaviors in a s ociety are actually governed by their morals. Throughout Chinese history, different expecta tions in behavior towards men and women were the norm. Conventions for men and wom en varied. Men worked outdoors while [most] women worked indoors. Since women durin g the Tang Dynasty era would normally work on domestic administration at home, they w ould have traveled in closed-windowed carriages and sat apart from the men, in separate r ooms for home banquets and other gatherings, it would not be improper for women to sh ow a little skin.

We can imagine that well-off Tang Dynasty women must have looked very beautiful i n these dresses. Their lives, compared to those of today’s women, weren’t as mechanical, tense and full of pressure. Perhaps some women are concerned that women confined to an indoor life might be subject to mistreatment from men. In reality, women being mistreate d has nothing to do with the social structure of the society. As widsdom people said, “It’s not that women are being mistreated by men; rather, men are also mistreating men, wo men are also mistreating women, and men are also mistreating women; it’s just that men’s mistreatment of women is more noticeable. Actually, there are also women who have po wer and mistreat men. This is caused by the moral degeneration of the entire society.”

The unified and prosperous China was established in the Tang Dynasty (618-907). In China's history, the Tang Dynasty was a period when the polity and economy were highly developed and the culture and art were thriving.

Women's dress and personal adornments of the Tang Dynasty were outstanding in China's history. The clothing materials were exquisite, the structure was natural, graceful and elegant, and adornments were splendid. Though the forms of garments were still the continuation of the Han Dynasty (206BC-220AD) and the Sui Dynasty (581-618), they were influenced by cultures and arts of the Western Regions. Especially, the national power of the High Tang was strong. The trades and cultural exchanges with Korea, Vietnam, Japan, Persia and other countries gradually became frequent, and they mutually dispatched emissaries and accepted students of other countries. In this way, a special open and romantic style of dress and personal adornments was formed.

Because of communication with the Western Regions, the influence of dressing culture of other minorities on the Tang court also reflected the change of thoughts and concepts. Chinese women were seriously restricted by the old Confucian or feudal ethical code all through the ages. The social status of ancient women was very low: they often served as Jileren (music performer), Guanji (official performer), Gongji (palace performer) and Jiaji (family performer), and were regarded as the playthings and goods that can be sold and bought by rich people. Some females had rebel spirit in the Tang Dynasty, so they climbed or jumped over the walls and went to the nature to view the beautiful scenes and/or go sightseeing in the spring by riding horses with men. Just as recorded by many historical materials, some girls therefore dressed as boys in order to go out.

It was a fashion for women to wear Hufu (garments of the Tartars or those who lived in the Western Regions). After the High Tang, the influences of Hufu were gradually weakened and women's garments became broad and loose day by day. As to ordinary women's garments, the width of sleeve was always more than 1.3 meters.

After the reign of Tang Emperor Gaozong, purple was used as the garment color for officials above the third grade; light red for officials above the fifth grade; dark green for officials above the sixth grade; light green for officials above the seventh grade; dark cyan for officials above the eighth grade; light cyan for officials above the ninth grade; and yellow for ordinary people and those who did not live in the palace.

The garments in the Tang Dynasty also greatly affected the garments of neighboring countries. For instance, Japanese kimono adopted the elites of the dresses of the Tang Dynasty in terms of colors, and the Hanbok (traditional Korean clothing) also adopted the advantages of the dresses of the Tang Dynasty. The dresses of the Tang Dynasty were mainly made of silk, so dresses were famous for softness and lightness. The dresses of the Tang Dynasty boldly adopted the features of foreign garments in terms of forms and adornments; i.e. they mainly referred to the garments of other countries (such as the Central-Asia countries, India, Iran, Persia, northern countries and the Western Regions) and used them to improve the habilatory culture of the Tang Dynasty.

3. Chipau

Chipau stems from a kind of long robe worn by both men and women of the north minority nationalities in China. To keep warm, the collar of the costume was made high and tight-fitting. Chipau has incorporated this feature, not just for preventing coldness but for beauty.

The collar of chipau generally takes the shape of a semicircle, its right and left sides being symmetrical, flattering the soft and slender neck of a woman. Also, against the woman's lips and chin, it brings out her sex appeal.

The front of chipau is rather ordinary, loose and tight. To be more exact, its bust girth is appropriate. The design of the front of chipau is simple and flowing without any decoration. To display the protruding breast of a woman, the designers make the waist girth appear as thin as possible to represent the high breast indirectly; by means of the flat back of chipau they highlight the wavy shape of the breast.

Chipaus may have a variety of sleeves. Consider chipau without sleeves first. Quite contrary to the traditional chipau with a protrusive front and tiny waist, sleeveless, chipau exposes a woman's slender arms, making her feel comfortably cool, on the other hand, showing the ingenuity of the designer. For example, there are long-length sleeves, elbow-length sleeves, cornet sleeves, double sleeves, etc.

The cuffs of chipau are so varied that they are too numerous to mention one by one. The cuffs set off women's hands and wrists, to reveal the delicacy of their hand and their feminine beauty expressive of rich sentiment.

Chipau generally has two big openings at either side of the hem for convenient movement and display of the slender legs of women. Unlike a short-length skirt, the openings of chipau expose a woman's legs indistinctly when she walks. Chipau can express the elegance of a woman's legs vividly and involve the most complicated and active aesthetic imagination.

中国古代服饰

一、汉服

汉服，即汉民族传统服饰,，正式名称为华夏衣冠，古又称汉装、华服、汉衣冠等。汉服起源于华夏文明肇始的炎黄时代,定型于春秋战国,汉民族在汉朝正式形成后遂有汉服之名。此后,历朝历代均有沿革,但其基本特点从未改变。汉服大体上可分为周汉汉服、魏晋南北朝汉服、隋唐汉服、宋明汉服四个发展阶段,周汉风格古朴凝重,魏晋风格潇洒飘逸,隋唐风格雍容华贵, 宋明两朝为汉服的集大成时代, 古朴、典雅、华贵、明快等多种风格并存，百花齐放，形成了蔚为大观的汉服体系。满清入关后，汉服在满清政府“削发易服”的民族压迫政策下被人为禁止。此后，代表中国文化的正统华夏衣冠——汉服，从中华大地基本消失。

汉服的主要特点是交领右衽、隐扣束带、宽袍大袖，不用扣子，而用绳带系结，给人洒脱飘逸的印象，这些特点都明显有别于其他民族的服饰。汉服有礼服和常服之分，礼服制式严谨，为正式场合穿的服饰；常服一般去掉大袖，适合百姓日常起居。以衣冠（汉服）、礼仪（汉礼）为表征的中国，被邻国评为衣冠之国、礼仪之邦。

汉服运动是旨在以复兴汉民族传统服饰为媒介，引导人们增强对传统文化的关注和思考，寻回失落的华夏情节，由物质的汉服导向精神的文明，并最终实现传统中华文化向现代转型的社会文化复兴运动。

“中国有服章之美谓之华，有礼仪之大谓之夏”，与华夏衣冠（汉服）相应的礼不是形式，而是民族历史之积淀，民族之根脉，汉服之美更须礼仪之大的依托。礼的卑己尊人、长幼有序、严密规范诠释着华夏社会的理想，而庄重、纯正、质朴的周礼更充分的发挥了礼的内涵。汉服属广义的礼的范畴，通过礼仪的形式，指向华夏文明的内涵，因此汉服是礼与仁的统一。

说到传统文化复兴，几乎所有的人都踊跃支持，然而说到汉服复兴，却总是众说纷纭。为什么要复兴？关于这一点，虽然口水很多，爱汉服的人也很多，可是真正了解的人却并不多。你如果不介意，我就慢慢从头说起，从三千多年前说起。

首先，我们要弄明白什么是“华夏”。

我们都知道自己是华夏儿女，海外游子也因之称为“海外华人”。然而，什么是“华夏”？

语见《左传》——“中国有礼仪之大，故称夏；有服章之美，谓之华。”

对于“华夏”一词究竟做何解，当然还有其它的观点。然而在世人心中华夏民族与礼仪之大和服章之美密不可分，却是毋庸置疑的。由此可见衣冠服饰和礼仪制度、思想文化一样，是中国传统文化中不可分割的重要一环。中华古老的服饰文化绚丽多彩，与民族属性息息相关。中国也因此自古以来被尊称为“衣冠上国”、“礼仪之邦”。

《易经 . 系辞》云：“黄帝尧舜垂衣裳而天下治，盖取诸乾坤。”也就是说，早在黄帝时代，古老华夏的服饰就已经相当有规模了。而且服饰形制取诸乾坤天地，意义就更不寻常。

到了周代，尽管现代意义上的汉族还没形成，但华夏文明已经郁郁葱葱。

一个文明有了认同感就要确定出一系列标志性的东西，冠服制度就是其一。

我们很早就在服饰上重点作文章了，所以才能叫“衣冠上国”嘛。周时的服制规矩深深影响了后来三千多年的服装理念，从此后无论服装如何千变万化，关键的要素始终都保持不变。那就是：交领右衽、无扣结缨、褒衣大袖。

二、唐服：

一、披纱大袖明衣制：属于常服盛装。其头梳唐代特有发型“高墙”簪大花，饰花钗、步摇，蛾眉盛妆，身穿敞领对襟，大袖明衣，下穿长裙，佩大绶，束软带，结小结，足著高履。在唐代此服饰是作为外服，在贵族仕女中风行一时。

二、唐仕女半袖衫制：是唐代特有的一种流行服饰，初作为宴居穿用，后亦当常服穿用，为宫廷嫔妃及名流仕女所好。

三、唐仕女宴居服：上身束抹胸，外披薄纱明衣，下穿长裙，裙腰及胸，上窄下宽，结束软带、小带，属于宴居内装，但头梳高髻又簪花，故此装扮也可作为外装常服之用。

看了这些服饰，有人也许会觉得，看起来那时的服饰也很开放啊！其实，在一个讲求道德的社会里，人的行为相应的也是很规范的，在中国的历史上，一向都讲男女有别，男人有男人的行为准则，女子也有女子的操守，讲男主外女主内，女子一般都是在家中操持家事，出门乘车，即使是家宴聚会也都是男女有别

看了这些服饰，有人也许会觉得，看起来那时的服饰也很开放啊！其实，在一个讲求道德的社会里，人的行为相应的也是很规范的，在中国的历史上，一向都讲男女有别，男人有男人的行为准则，女子也有女子的操守，讲男主外女主内，女子一般都是在家中操持家事，出门乘车，即使是家宴聚会也都是男女分席。这样看来，这些服饰作为家居常服也就没有什么不妥的了。

可以想象，如此装扮的唐代女子其实是很美丽的，她们的生活也不会象现代女子一样机械紧张、充满压力。也许有许多女性担心，在这种男主外女主内的关系中会受气，其实这些担心不是人为的想什么方法能解决的，对于现在人们心中的不安全感，正如哲人的论述：“不是说妇女受男人欺负，而是男人也在欺负男人，女人也在欺负女人，男人也在欺负女人，而男人欺负女人表现出来比较明显。其实也有得势的女人欺负男人。是整个社会道德都败坏下去了造成的。”

唐朝还流行女子穿"胡服"。"胡服"就是西域人的服装。腰带形式也深受胡服影响。在此以前，人们的腰饰是以金银铜铁，这时候流行系"蹀躞带"，带上有金饰，并扣有短而小的小带以作系物之用。这种腰带服用最盛是在唐代，以后延用一直至北宋年代。

盛唐以后，胡服的影响逐渐减弱，女服的样式日趋宽大。到了中晚唐时期，这种特点更加明显，一般妇女服装，袖宽往往四尺以上。中晚唐的贵族礼服，一般多在重要场合穿着，穿着这种礼服，发上还簪有金翠花钿，所以又称"钿钗礼衣"。

唐高宗以后，以紫色为三品官的服色；浅绯色为五品官服色，深绿色为六品官服色，浅绿色为七品官服色，深青色为八品官服色，浅青色为九品官服色，黄色为宫外之人及庶民服色。

唐装还对邻国有很大的影响。比如日本和服从色彩上大大吸取了唐装的精华，朝鲜服也从形式上承继了唐装的长处。唐装襦裙线条柔长，十分优美自如，用料主要是丝织品，因此它的衣物以"软"和"飘柔"著称。唐装本身品类多，善变化，从外形到装饰均大胆吸收外来服饰特点，多以中亚、印度、伊朗、波斯及北方和西域外族服饰为参考，充实唐代服饰文化，使得唐代服饰丰富多采富丽堂皇，风格独特奇异多姿，成为中国历史服饰中的一朵奇葩，世人瞩目。

三、旗袍

旗袍起源于中国古代北方少数民族穿的一种长袍。这种长袍没有明显的男女分别，现在英语中仍把旗袍音译为"长衫"（cheongsam）。为了起到保暖作用，这种服装有一种较高和很紧的衣领。旗袍继承了长袍衣的特征，但这种衣领不仅仅为了御寒，更多的是为了美观。

旗袍的衣领多呈弧形左右对称，夸张地表现女性颈部柔软、纤细的特点。同时与妇女的唇、颚相映成趣，在相互呼应中描绘女性的性感。

旗袍的胸襟很普通，它是松弛而又紧绷的。更确切地说，旗袍的胸襟是恰到好处地笼在女性的胸部。旗袍的胸襟设计是单纯而流畅的杰作，简洁的前胸大襟上全无装饰，一带而过。旗袍在交代妇女隆起的胸部时采用了避实就虚的设计手法，把整个女性身体视为一个联系性很强的整体，通过腰肢纤细的设计而突现胸部的丰腴；通过背的平展而夸前胸的波型。

旗袍的袖型是多种多样的。首先是无袖，与"笼酥胸、罩蜂腰"的旗袍封闭特征相反，无袖旗袍将妇女的"玉臂"，"藕腕"袒露于外，一方面不乏服装的凉爽，另一方面也蕴含了设计者巨大的创想力。还有直袖、半袖、喇叭袖、双层袖等等类型。

旗袍的袖口变化最多，其各类型范例不胜枚举。旗袍的袖口与女性的手部与腕部相连接，旨在渲染女性手的柔软娇嫩与其能够表达丰富感情的阴柔美感。

旗袍多有两个高大的开衩，一来是为了行动方便，另一方面则是为了表现女性修长的双腿。双开衩的旗袍非比短裙，它并不是明晃晃地把女性双腿全部暴露在外，而是在走动中，时隐时现的表现女性的腿部。旗袍对于腿部的表现力是十分丰富的，也是审美想象最复杂，最活跃的部分。

2010级14班罗雪梅