Professor Wanghert School of Art, China School of Art, Ph.D., Master of MBA, Economic and Trade University, Wei Li Li

Cheongsam clothing culture has passed vicissitudes, from appearing, prosperous to the micro, and then to modern improvement cheongsam, after a hundred years, never intermittent. However, in a wide variety of literatures, they have never seen the “cheongsam”. So, for “cheongsam”, from when, where, naming, it has been a mystery in history.

The folk generally believes that “cheongsam” is named by “imitation people”. In fact, the costumes of Manchu and Han women have shown ablation in the late Qing Dynasty, and the Han women are also common things, not only related to the trend of upward, but also pursue with the Qing Dynasty rulers. The ruling policy of Chinese cultural fusion. During this period, the “flag service” of the two mainstream ethics was named “cheongsam”, and it is very much to “also full”. In fact, no matter which kind of name, it is reflected in a cultural assignment for women’s clothes in the Qing Dynasty, and is also a cultural symbol with a symbolic meaning of the times. In 1943, Zhang Baoli wrote in the “New Oriental Magazine”: “Robe is originally a full-length clothing of Manchu women, in order to commemorate the eight flag soldiers, it is called ‘cheongsam'”.

From the 1920s, there was a word “cheongsam” in the 1920s. For example, “The Liberation Pictorial” has published a caricature called “The origin of cheongsam and fashion”. In 1924, “The 25th Anniversary of the First Company” also mentioned: “Ten years of spring (1921) … The female circle cheongsam is popular in South.” In 1931, “Exquisite” Painted News published “scarf and long Cheongsam “One article, which published a” cheongsam “woman photo. In 1940, “The Melody” of “The Melody” of the cheongsam is also described in detail in detail the change in the cheongsam style during 1925 to 1939. From the post-journal time, the term “cheongsam” has been in China since the 1920s, and the words “cheongsam” have been directly used in many literary works, such as Babi. Cheongsam “Poetry; Biyao Work” Short Cheongsam “; Zhu Xixtail” Cheongsam · Send half “, etc.

At the end of the root, the “cheongsam” was specifically referred to as the main form of robes in the Qing Dynasty, and gradually formed, in the 1920s. One of the names of civil conventions during the late Qing Dynasty, when people talk about women’s dress or women’s clothing, they will naturally think about cheongsam.

In the 1930s and forty years, wearing a fashion woman in “traction of the roof cheongsam”, the cheongsam wearing the woman in the figure is cross-cutting structure, no chest, length, length and foot, and replaced by stockings Pants.

旗袍审美意蕴刍议

The aesthetic fusion of the apparel has a cultural accumulation of the nation. As a product of the Republic of China, the product not only integrates the three-dimensional aesthetic taste of the West, but also actively presents the ingredients of the Chinese nation, the aesthetic thoughts, from it to the space, beauty, The beauty and details of the beauty can be seen in this aesthetic meaning.

Cheongsam’s “space beauty”

The space consciousness of the Chinese is full of poetic “缥缈” “虚静”. The performance of the people who are “close to the meat, no more and more and more and more and more and more and more and more and more.” The Republic of China “).

The reason why cheongssenies show this vibrant, and there is a direct relationship with the principle of civic space and it follows the principle of ancient cross-faced garment. Trimming Structure on cheongsam retains the principle of traditional costume cross-faced fabric: the original sleeves; the front is hidden; standing or unmistred; using traditional “return” and “pull”, pursue the curve. The so-called “return” is partially returned by the iron, “Pull” is to use the iron to bend the dress, with the part of the human body, such as the chest and buttocks. The expression of the human body curve is achieved with ironing technology, and there is no “province”. “Province” is a flat fabric package, the excess amount of the human body, the traditional method uses the technology of “spreading” to handle the human body, the Western way is to stitch the excess amount to achieve bonded Effect. Despite the length of the cheongsam experienced the early (20th centuries), it is the change of the cheongsam in the 20th and 40ths, and the pants will be changed by the stockings, but it retains the sense of “no legacy” The cross-plane tailoring structure has never changed.

Cheongsam “qi Yunmei”

Ban Gu said in “Baihu Tong · Clothes”: “The clothes are also hidden, the people are also observed, this is the original concept of Chinese costume aesthetics. China’s costumes are not to focus on the human curve, the so-called “shaped” shameless thoughts “, the aesthetic characteristics of Chinese traditional costumes are to express the gentle, improving temperament and charm of the Oriental women in the limited clothing space. As the product of the early 20th century, the cheongsam is perfectly expressing the cultivation of Independent women in the Republic of China and the aesthetic temperament that is compliant with the times. Although this temperament has the idea of ​​”Western Wind East”, it has never been derived from the “temperament” continued for thousands of traditional costumes for thousands of years.

“Scarf and Long Cheongsam”, “Linglong” 1931, the first volume No. 35.

Nanqi Painter Sheiki especially emphasized the aesthetic proposition of “Qi Yun Vivid” in its “Painting Six Law”. “Qi Yun” has become a natural and vivid art work, and can fully show the aesthetic realm of their vitality and appeal. As a costume art, the performance of its “qi vivid” beauty is that it is full of rhythm of the line flow, which has brought a hidden music. The thread and rhythm image express the cheongsam in this kind of material form, the character of the people in the form of material, and the spiritual connotation of the spiritual connotation is aesthetic, and the color is not a color.

Cheongsam’s “Detail”

旗袍审美意蕴刍议

New cultural movements in the 1920s, the popularity of cheongsam should have a positive leading role. However, as the tradition is the same, the cheongsam has always maintained the confidence in the aesthetic charm, but reflects the details of the cheongsam.

Cheongsam retains this traditional costume element, but the design of the shelter reflects the critical spirit of old-fashioned clothing, and the traditional clothing conservative ideas are liberated on the opening of the cheongsam on both sides of the cheongsam. On the two sides of the cheongsam, the skin reserved the space of the show, but this bare degree is excellent, according to the height of the person, proper adjustment, neither high nor low, walking the road to calf skin Now, it is virtuality. Especially when a small summer wind blows the beauty of the light shirt, it will not let the wearer will be embarrassed, and Warabyce will have “non-division”. This skin’s time-off period reflects that Chinese women’s oriental aesthetic cognition and presentation of human body beauty is not lost to traditional.

There is also another detail of the two sides of the cheongsam. The lace in Italy and other European countries is a family decoration, but the women who are loved in the country are applied to clothing during the Republic of China. In 1930, a “Women’s Journal” issued “Women’s Journal”, “a woman’s clothing candidate”, the article pointed out: “As for the rolling edge of clothes, not only rolls it, but the lace is used, it is put on the chest, rolling the other departments. Then, it can be broken, and therefore it breaks … “The most cost of design is to be inlaid on both sides of the cheongsam, and the libu and the face are not sutured together, and it is open. Traditional clothes are mostly two layers, billy cloth and facials, and Libu usually uses the plain-wear fabric, and the bribe fabric is high-grade, mostly silk satin. The use of lace not only adds a bit of softness to the Republic of China, but also improved the aesthetic taste of the Republic of China, reaching the realm of people and materials. The cheongsam is the meaning of “Miyamikawa and the words”, and the detail of the cheongsam mapped the women’s pursuit of beauty, eager to release the aesthetic idea of ​​the body to express independence.

Cheongsam condenses multiple aesthetic integrity, the treasure of cultural culture in my country. In the long river of the development of the costume history, it becomes the most costumes that can show oriental women. It can also be said that it is the most embarrassment of Chinese women, the most costumes of Chinese women.

“Guangming Daily” (16 November 26, 2021)

Source: Guangming.com – “Guangming Daily”