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lyr2012

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中西服饰文化对比总结 通过做这次作业,我对中西方服饰文化有了一些更深入的了解与感悟。用一句话来总结就是时代在发展、社会在进步、中西服饰在融合。越来越国际化。下面我就来总结一下中西方各自服饰文化的特点以及进行一下差异对比。 中国服饰的特点: ①式样,女子穿上衣下裳式样的较多,男子多穿上下连属的袍衫。 ②外形,外形强调纵向感觉,使着装人体显得修长,特别是使四肢有拔长感。 ③结构特征,外形强调纵向感觉,使着装人体显得修长,特别是使四肢有拔长感。 ④图案,喜好运用图案表示吉祥的祝愿。 西方服饰的特点: ①古波斯服饰,披挂、直筒紧身式 ②古希腊服饰,优美、典雅 ③古罗马服饰,豪华富丽、庄严 ④拜占庭服饰,造型呆板、僵硬 ⑤哥特式服饰,新奇、怪诞和大胆 ⑥文艺复兴时期服饰,人体曲线成为了服装的审美关键 ⑦巴洛克服饰,男装最艳丽最疯狂的时期 ⑧洛可可服饰,将女人推到繁华至极的盛装 中西服饰文化的共同点: ①社会功能,中国人很早就以服装来“辨等威、显贵贱”,用森严的服饰制度来规范各色人等的社会行为和权限。西方人也同样重视这种社会功能,进入封建社会后,虽然西方的封建官员还没有中国历代那样完整的章服制度和区分级别的“制服”,但王宫贵族的穿戴与一般平民是有鲜明区别的。 ②装饰审美功能,服装的装饰审美功能已经越来越受到人们的重视,已成为推动服装改进创新的一大源动力。 ③形态构成,从造型理念和造型意识上看,都是平面的。从裁制方式上看,都是直线裁剪的。 对于中西服饰的发展与交,流相信在将来会有更大的进步空间 。作为人类文化的组成部分,两种服饰文化之间也有许多相似甚至相同的地方,这是两者之间相互融合,共存、共荣的基础。未来中西双方的服饰文化会有质的飞越。

中西服装文化差异论文摘要

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losteyes

Abstract: Dress culture is a cultural phenomenon unique to human As it has different aesthetic ideas, different dressing concepts and different dress etiquette in China and west, it forms Chinese and western dress culture of the different connotation and This thesis is divided into four major The first part describes the different features of Chinese and western dress and why people wear The second part describes cultural differences between Chinese and western The third part gives an analysis of Chinese and western dress The last part describes Chinese and western dress aesthetic culture and dress Based on the analysis, the thesis finally draws a Chinese and western dress culture each has rich connotation and distinct characteristics, which are precious cultural legacy which is left by human ancestors and are the world culture At the same time, we treasure our own civilization of five thousand years instead of belittling It is significant to promote and develop our unique costume We are confident and make contributions to realizing the rejuvenation of our Chinese nation and enriching the clothing culture of the whole Key words: Chinese and western clothing; culture;differences;aesthetic culture and clothing concepts 摘要摘要摘要摘要::::服饰文化是人类特有的文化现象。由于中西方各民族的审美观念、着装理念和服饰礼仪的不同,从而形成了不同内涵、不同特色的中西方服饰文化。本文共分为四部分。第一部分主要介绍了中西服饰的不同特征以及为什么人要穿衣服,第二部分写中西方服饰的差异,第三部分写导致中西方服饰文化差异的原因,第四部分则写中西方服饰审美文化和着装理念。通过以上简单的论述,最后得出结论,中西方服饰文化各具有丰富的内涵和鲜明的特色,她们都是人类祖先留下来的宝贵文化遗产 ,是世界文化的瑰宝。与此同时,我们应该珍惜自己五千年的文明而不是贬低自己的文明。促进和发展我们独特的民族服饰文化具有重要的意义。为了实现我们中华民族的文化复兴和丰富整个世界的文化,让我们自信起来吧! 关键词关键词关键词关键词::::中西服饰;文化;差异性;审美文化与着装理念Introduction Costume culture, carried by costume, is a respect of our physical and spiritual life and a mixture of our psychological activities like consciousness, emotion, idea and The rapid development of advanced technology makes multiculturalism stand out and also makes conflicts between China and the West In that case, it becomes more and more important to recognize the similarities and differences of costume culture between China and the W Nowadays, the whole world is, to some extent, dominated by the western costume culture, which has wound its way into the daily life of the whole world, together with technology, life style and values from the W Quite popular in China, it’s nominally called “internationalization” or “globalization” In recent years, the costume industry of China has developed The “international” costume, featured by the western costume culture, has become a pretty important part of our daily However, as our economy takes off, international status rises and living standard improves, a wave of national costume culture resurgence is Moreover, people from the West pay more and more attention to the giant dragon in the East——C Western costume designers constantly introduce Chinese costume cultural elements to their latest Those phenomena arouse a series of thoughts: what distinguishes Chinese costume culture from the western one? Are there any similarities between them? What kind of costume culture will we Chinese hold as the mainstream in the future, the so-called “international” western one, the Chinese one or the fusion of the two? To obtain the answers to these questions, we are supposed to study and contrast carefully the characteristics and developing processes of them, and then draw some To contrast the costume culture between China and the West, it is necessary for us to master a good knowledge of the Chinese and western costume cultural Chapter 1 Chinese and western dress 1 The different features of Chinese and western dress China is known as “Xia” as it’s a land of propriety, and it’s also known as “Hua” with the beauty of its (①《左传》p83) Our national costume is H It originated in the Yanhuang era, formed in the Spring and Autumn Period and officially took form in Han D That’s the reason why it’s called “Hanfu” Since then, in spite of historical evolutions of all ages, their basic characteristics have never Hanfu, on the whole, can be divided into four developing stages: Zhou Han Hanfu, Wei Jin Hanfu, Sui Tang Hanfu and Song Ming H Zhou Han Hanfu was featured by dignity and simplicity, while Wei Jin Hanfu by chic and elegance, Sui Tang Hanfu by dignified, graceful, elegant and poised Hanfu in Song and Ming Dynasties epitomizes the characteristics of the past-simple, dignified, elegant, In Qing Dynasty, Hanfu was forbidden by the government and disappeared from the land of C The main features of Chinese clothing are focusing on the right collar’s overlap, the band deducted hidden, big sleeves, no buttons and using string binding, giving the impression of free and easy These characteristics are obviously different from those of other ethnic Hanfu is divided into uniform and common With strict standards, uniform is dressed on formal occasions while the common clothing, without long sleeves, is very convenient to people’s daily However, the western clothing is different form the Chinese The West belongs to Marine civilization, it emphasizes the subjective and objective separation and that we should rationally treat clothing, advocate releasing personality, stress dress effect and be good at showing beautiful the posture of the Besides, we use various clipping, color collocation means to perfect bodily curve and give a person with visual comfort in the A suit, also known as a business suit, comprises a collection of matching clothing consisting of: a coat﹙commonly known as a jacket﹚,a waistcoat﹙optional﹚﹙USA vest﹚for men, a pair of trousers﹙USA pants﹚, or for women, a shirt or A suit is generally accompanied by torment, a shirt and tie or for women, a 2 Why people wear clothingChinese people are concerned more about its social function of helping to rule a country well than that of keeping warm or It has a lot to do with ruling a country to regulate the dressing way of the common Nevertheless, the westerners pay more attention to its wealth value and Therefore, people put on clothing for functional and social 1 The functional reason The first use of clothing is to resist the cold and cover the Functions of clothing include providing the human body protection against extremes of climate (extreme heat, icy winters, and drenching storms) and protection against insects, noxious, chemicals, and contact with abrasive In sum, clothing protects human beings against anything that might injure the naked, unprotected human 2 The social reason Clothing also delivers social messages to other Social messages sent by clothing, accessories, and decorations can involve social status, occupation, ethnic and religious belief, marital status, cultural degree and sexual availability, For example, only Roman citizens can wear “Toga” in Rome while dragon robe can only be dressed by the emperor in C
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chuanxiaole

如果说西方服饰文化刻意追求表现人体美,而完全忽视了服饰伦理,那么,中国服饰文化由于受到传统的伦理价值观念的影响还或多或少地保留着一些道德上的体统。譬如《礼记·王制》说:“作淫声异服。奇球奇器以疑众,杀!”(易·系辞》认为:‘始容诲淫”。《左传》称“贪色为淫”。《系辞》是秦、汗间的儒生所作,其后,赵飞燕、梁冀及其妻子等在服饰上的追求奇异和生活的淫乱,更说明了“冶容诲淫”。然而,尽管中国传统服饰文化没有或者很少突出对人体美的直接赞赏,但在一些古典文学作品里不乏对人体美的描写。从《诗经》,骚赋到明清的小说和传奇,其中都有这类描写,譬如“肌如白雪,腰如束素”。“肤如凝脂”、“虎背熊腰”,而且更多的是人与服饰共同构成的美的形象;“著我绣荚裙,事事四五通,足上蹑丝履,头上玳瑁光,腰若流纨素,耳著明月铛,指如削葱根,口如含珠丹,纤纤作细步,精妙世无双。”(《古诗为焦仲卿妻作》);“三月三日天气新,长安水边多丽人。态浓意远淑且真,肌理细腻骨肉匀。绣罗衣赏照暮春,蹙金孔雀银麒麟。头上何所有?翠微訇叶垂鬓唇。背后何所见?珠压腰 稳称身。”(《丽人行》)或许有人会以现代女性服装中的旗袍为例,来证明中国女装也着重表现人体的自然美,其实,这种旗袍是在本世纪上半叶受西方服饰审美趣味影响的结果,直至光绪年间,旗袍还不是现在的式样。传统旗袍在肩、胸、腰、臂、臀等部位的表现与突出人体美的西方女性服装完全不一样。和西方服饰艺术不同的是:中国服饰艺术不是突出人体美,而是充分调动艺术造型等手段追求一种装饰美,即一种超越形体的精神空间。从中国清朝以前的服装款式来看,遮蔽人体的宽抱大油是中国传统服饰的主流。既使某些人的形体很美,这种服装也不去展现这个美的形体。《资治通鉴》引萧何的话说:“天子以四海为家,不壮不丽无以重威,”从这层意义上去看宽抱大袖的中国古代皇帝礼服,我们应会明白它们为什么不去表现皇帝的形体美,而是着重写意传神,突出他们端庄威严的精神力量。屈原在《涉江》中言:“余幼好此奇服兮,年既老而不衰,带长铗之陆离兮,冠切云之崔嵬。”他以穿戴富有自己个性的服饰来表现自己愤世嫉俗,不趋炎附势的气度和情怀。西方服饰人体直观美和中国服饰人体装饰美的区别反映了两种文化形态价值取向的不同。林语堂就曾经指出:“大约中西服装哲学上不同之点,在于西装意在表现人身形体,而中装意在遮盖它。”(《生活的艺术》)莱辛说:“我承认衣服也有一种美,但是比起人体美来,衣服美算得上什么呢?”(转引自《西方美学家论美和美感》)而林语堂则持相反观点:“只有在没有美感的社会,才可以容得住西装……西装的式样是这样的,使街上的行人都会知道你的腰身是三十二寸或三十八寸……一般痴肥的四十岁妇女,穿起祖胸露背的晚服来赴歌剧的初夜公演,这也是西洋发明的刺目事物之一。(《生活的艺术》) 然而,由于中国服饰文化缺乏象伊斯兰一样的宗教观念的制约,所以很难抵卸西方突出人体美的服饰审美价值观的侵蚀。近代的旗袍和现代都市女性的各种扭四人体的服装便证明了这一点。中国有句俗语:“穿衣戴帽各随所好”。这说明中国服饰文化在一定程度上缺少伦理的约束。 当然西方服饰也吸收中国传统服饰的某些特点,譬如,当中国现代服装采用西方女装那种坦肩露背的领式时,西方则采用中国旗袍的立式领,但西方对中国传统服饰特点的吸收和借鉴毕竟是微乎甚微的。中国传统服饰的审美价值观不可能从整体上去改变或者去替代西方人的审美定势,而西方服饰文化则已形成对中国传统服饰文化的强大冲击波,中国人似乎不知不觉地在面临着服饰上的异化。 和伊斯兰服饰文化不同的另一个方面是:中西当代和现代服饰最引人注目的一个特点是:服饰款式不断翻新,追求品牌,高速淘汰,从而给经济资源带来巨大的浪费。这同反对奢靡浪费的伊斯兰服饰伦理学形成了鲜明的对比。翻阅近二十年来中西各国时装杂志,我们很容易发现,许多服装款式的平均寿命只有三至六个月,甚至更短。仅以裙子的款式为例,在二十世纪七十年代就有“中庸裙”、“密实裙”、“密摺把裙装”、“开裙”、“层叠裙装”、古典式裙装”相继问世。许多服装设计师每年都要推出许多新的服装款式,在不断地人为地刺激服装款式高消费的同时也不断地刺激人们的其他欲望。据国外有关资料报道,当英国王妃戴安娜得知自己被列为一九八三年‘十大衣着最差女性”榜首时,感到十分羞傀和难堪,连英国的许多平民百姓也为她祈祷。这一事例极具有讽刺意义。它表明:服饰早已超越了普通人,甚认为,服饰不仅具有实用和装饰的功效,而且更重要的是,它有体现人类在信仰上的崇高精神境界的作用和意义。而中西服饰文化则将服饰艺术视为服装设计的首要原则,前者重装饰艺术;后者重人体艺术。伦理观念对服装设计与制作的调节作用受到不同程度的弱化或摈弃。甚至是英国成员的消费标准和审美标准。这种情形正如乔维诺庞达诺曾指出的:“我们每天都看到服装是这样变更花样,四个月前还认为满意的服装,今天就已经过时而遭到摈弃。这种放荡不羁,只能受到谴责而无法加以禁止。”(《君主论》)虽然服装上的铺张浪费和追求新奇效应在中国传统服饰文化中从未占据主导地位,但不少有识之士对此却有警世之言在先,譬如,墨子就曾讲过:“为衣服之法,冬则练帛之中,足以为轻且暖;夏则缔络之中,足以为轻且清,谨此则止。故圣人之为衣服,适身体和肌肤而足矣,非荣耳而观愚民也……当今之主,其为衣服……铸金色为钩,珠玉以为佩,女工作文采,男工作刻接,以为身服。此非云益暖之情也,单财劳力,毕归之于无用也。以此观之,其为衣服,非为身体,皆为现好。是以其民淫僻而难治,其君奢侈而难谏也。”(《墨子·辞过》)墨子的话语是多么的中肯和精辟,但至今仍遭非议。 此外,当今的有些时装设计师还有意追求某种荒诞离奇的视觉效应。譬如在西方和日本等国曾一度流行过的“乞丐装”,人们故意把衣服弄破,东拖一片,西挂一片,甚至弄成衣不蔽体的样子。或者用陈旧肮脏的布来制作。 至于伊斯兰服饰伦理学坚决反对的男扮女装,女扮男装,在中西现代服饰中更是司空见惯,屡见不鲜。我们在街上常常可以看到身着男式服饰的所谓“假小子”和头扎辫子,耳戴金环的妖艳男子。还有些服装似乎是受了西方女权主义思潮的影响,有意在消除两性之间的特征差别,提倡所谓:中性服饰”或者“服饰中性化”。 一、伊斯兰服饰文化是以伊斯兰教义这一最根本的、最合理的价值观作为统摄服饰的文化、历史、时代、心理、审美等诸要素的最高主导思想。伊斯兰服饰艺术根本无需伦理学的干预,因为艺术本身就足以陶冶人们的高尚情操。 二、伊斯兰服饰文化强调服装必须遮盖羞体。因为虽然人体作为安拉的创造物是均称健美的,但人体是有男女之别的。暴露羞体很容易激起本能的情欲,从而败坏道德,使人降格为同动物一般。而西方服饰文化则有意突出人体。在将人体作为一种美来观赏时,忽略了人体美的特殊性及人体审美经验的特殊性,混淆了人体美与其他美的形态之间的差异。这种展现和突出人体的审美观是西方服饰文化的基础。它在某种程度上是古罗马文化的历史沉淀。而中国传统服饰文化虽然在一定程度上受到传统伦理价值观的约束,不是重人体的直观表现,而是重装饰的写意和传神,但这种传统伦理价值观缺少象伊斯兰伦理学一般的坚固支撑——认主独一的正信和后世归宿的最终关怀,因此,很难抵卸西方审美价值观在服饰设计与制作上的非道德化倾向的侵蚀,使自身最终发生异化
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