中西服饰文化差异论文3000字怎么写的
中西服饰文化差异论文3000字怎么写的
一、式样中国传统服装的主体形式是前开型的大襟和对襟式样。前开衣最早起源于中国,形成于黄帝时代。中国服装有两种基本形制,即上衣下裳制和衣裳连属制,两种形制在中国几千年的历史中交叉使用,相容并蓄。女子穿上衣下裳式样的较多,男子多穿上下连属的袍衫。西洋服装在样式上有一个演变过程,古希腊的服装是披裹式,古罗马到中世纪,服装的式样以披裹式的非成型类衣和前开式的半成型类衣为主。公元四世纪,日尔曼民族南下,日尔曼民族的四肢分离的体形型服装逐渐渗入到欧洲服装的基本样式中,从13世纪开始至今,体形型服装逐渐占据了主体地位,其基本形制是男子上衣下裤,女子为上下连属的裙装。二、外形特征中国传统服装的外形强调纵向感觉,自衣领部位开始自然下垂,不夸张肩部,常用下垂的线条、过手的长袖、筒形的袍裙、纵向的装饰等手法,使着装人体显得修长,特别是使四肢有拔长感。亚洲许多国家的服装都有类似特点。清代服装相对来说是比较肥大的,袖口、下摆都有向外扩张之势。然而,清代妇女那高高的旗髻和几寸高的花盆底鞋,加上垂至脚面的旗袍,使旗人比历代妇女都显得修长。服装外形的修长感是对东方人较为矮小的身材之弥补,在感官上产生视错觉,在比例上达到完美、和谐。自然修长的服式使男性显得清秀,使女性显得窈窕。同时,平顺的服装外形与中国人脸部较柔和的轮廓线条相称。西洋古典服装的外形强调横向感觉,常采用横向扩张的肩部轮廓、各种硬领、轮状领、膨胀的袖型、庞大的裙撑、重叠的花边和花朵以及浆过的纱料和各部位的衬垫,使服装线条产生夸张和向外放射的效果。西洋服装的外形特点与西方人热情奔放的气质、起伏明显的脸部轮廓以及比东方人高大挺拔的体型相适应。三、结构特征从结构特征看,中式服装采用中国传统的平面直线裁剪方法,无论袍、衫、襦、褂,通常只有袖底缝和侧摆相连的一条结构线,无起肩和袖窿部分,整件衣服可以平铺于地,结构简单舒展。西方服装采用立体裁剪方法,立体裁剪方法视人体为多面体至少是四面体,细心对待人体从上到下、从前到后各个方面的凸凹起伏关系,利用打褶和省道处理等服装工艺手段,最终取得与三维人体相吻合的具有立体效果的服装。有人说中式服装像平面的绘画,西洋服装像立体的雕塑,这种感觉大体是对的。中式服装表现两维效果,忽视侧面结构设计。西式服装强调三维效果,适合人体结构特点并适应人体运动规律,既合体又实用,因此,受到世界各国人们的普遍青睐。四、局部结构特点从服装的局部特点看,中式服装的斜交领、对开V领、直立领、衣服下摆两侧开衩、清代箭袍式的前后左右开四衩,以及衣服的对襟、大襟、一字襟、琵琶襟等,都是有东方特色的局部细节,常被设计师用作表现中国服装趣味的处理手法,其中中式立领和衣服下摆两侧开衩更为典型。西洋服装的袒领和轮状褶领(像扇面一样环绕脖颈)运用较为广泛,轮状褶领连续的褶裥是用布料上浆后熨烫成形,有时需用细金属丝做支撑。服装造型喜用填充物衬垫或支撑,如垫肩、垫胸、垫袖、垫臀、裙撑等。由于西式服装不是连袖而是装袖,所以肩饰造型多样。袖子款式变化很多,如半腿袖、主教袖等。五、装饰从装饰特点看,由于中式服装是平面直线裁剪,表现二维效果,所以装饰也以二维效果为主,强调平面装饰。装饰手段是中国传统的镶、嵌、滚、盘、绣几大工艺。这些工艺的巧妙运用,使中式服装虽造型简练,但纹样色彩斑斓,美不胜收。刺绣用于服装历史久远,发展到后来,甚至"衣必锦绣"。运用平面刺绣方法装饰服装表面空间,是中式服装设计的惯用手法,沿用至今。尤其是精妙绝伦的刺绣工艺与丝绸面料配合,使服装充满东方风韵,令人赞叹不已。除刺绣外,镶、滚工艺在中式服装上运用也很多。例如清末,市井流行在衣缘处镶、滚装饰,女子衣缘越来越阔,从三镶三滚,五镶五滚,发展到"十八镶滚"。西洋服装是立体构成设计,表现三维效果,所以装饰与整体结构造型相对应,强调立体感和空间感,装饰手段是借助各种立体物如穗饰花结、荷叶边、金银丝带、褶裥、切口等点缀服装表面。最初,花朵、花边等只是少量装饰服装表面,丰富表面效果。到了罗可可时期,某些礼服竟是用立体花堆砌而成。西洋服装采用立体装饰有其精采之处:一是立体装饰与立体结构造型相呼应,天然谐调;二是装饰效果符合审美心理,因为凡是平铺直叙、一览无余的表面,容易引起人的单调感觉,而层次丰富、虚实搭配、重叠穿插的表面空间有耐人寻味的效果,易于激起观赏美感。六、面料、色彩和图案从服装面料看,中国最早使用的纺织品是葛布、苎麻布和大麻布。葛布是葛藤的茎皮纤维加工制成的。苎麻是我国特有的植物,欧洲人称之为"中国草",大麻被称之为"汉麻"。中国享誉世界的服装面料是丝绸。养蚕、缫丝、织绸是我国先民对世界纺织服装发展作出的杰出贡献。中国人穿棉布较晚,棉花是从印度引进的,到元明之时,棉布才成为人们普遍穿着的衣料。从服装色彩看,在上古时代,黑色被中国的先人认为是支配万物的天帝色彩,夏、商、周时天子的冕服为黑色。后来,随着封建集权专制的发展,人们把对天神(黑色)的崇拜转向对大地(黄色)的崇拜,所以形成了"黄为贵"的传统观念。黄色成为帝王的专用色,隐喻着统治者至高无上的地位。传统服装色彩受阴阳五行影响,有青、红、黑、白、黄五色之说。青、红、黑、白、黄色被视为正色,其余颜色则为间色,正色在大多数朝代为上等社会专用,表示高贵。在民间,正色是人们衣着配色所喜爱和追求的颜色。从配色方法看,高艳度、强对比是中国传统的配色方法。强烈的对比色在金、银、黑、白等中性色的缓冲配合下,使服装洋溢着富丽堂皇、浑朴大方的气氛。中国民间对蓝色有传统喜爱,如蓝印花布、靛蓝蜡染布等。蓝色与黄种人的肤色相配,容易谐调,可产生柔和的色对比效果。中式服装的图案纹样丰富多采,有飞禽走兽、四季花卉、山峦亭阁、几何纹样等,抽象、具象、夸张、写实等风格俱全,图案纹样不仅精美,而且具有丰富的内涵。中式服装喜好运用图案表示吉祥的祝愿。从古至今,从高贵的绸缎到民间的印花布,吉祥纹样运用极为广泛。如龙凤呈祥、龙飞凤舞、九龙戏珠、蜥龙闹灵芝等纹图,不仅隐喻着图腾崇拜,而且抒发着"龙的传人"的情感。像鹤鹿同春、喜鹊登梅、凤穿牡丹、团鹤仙寿、福禄寿喜、连年有余、吉祥八宝等图案,反映了人民对美满生活的希望。另外,官服的图案重视标识作用,明清文官为飞禽图案,武官为走兽图案。皇帝的龙袍象征真龙天子,龙袍上的十二章纹图案各有寓意:"日、月、星"取其照临;"山"取其稳重;"华虫"取其文丽;"火"取其光明;"藻"取其洁净;"粉米"取其滋养;"宗彝"取其忠孝;"黼"取其决断;"黻"取其明辨。西洋服装的面料、色彩、图案的运用同东方传统存在差距。西欧服装上的图案随着历史的变迁而不断变化。古代多流行花草纹样,意大利文艺复兴时期流行华丽的花卉图案,法国路易十五时期,受罗可可装饰风格的影响,流行表现S形或涡旋形的藤草和轻淡柔和的庭园花草纹样。近代,有影响的流行图案花样有野兽派的杜飞花样,以星系、宇宙为主题的迪斯科花样,利用几何错视原理设计的欧普图案,用计算机设计的电子图案等。七、审美文化东西方服装审美文化存在很多不同点。西方文化起源于海洋文明,文化本能比较开放,易于融合外域服装文化。中国文化起源于大陆文明,文化本能比较封闭,在服装上具有固执的"原体"意识,传统服装形制几千年来地位稳定,吸收异域服装相对困难。西方文化善于表现矛盾、冲突,在服装构成上强调刺激、极端的形式,以突出个性为荣。中国文化是和谐文化,强调均衡、对称、统一的服装造型方法,以规矩、平稳为最美。西方文化是一种明喻文化,重视造型、线条、图案、色彩本身的客观化美感,以视觉舒适为第一。中国文化是一种隐喻文化,艺术偏重抒情性,追求服装构成要素的精神寓意和文化品位。西方文化崇尚人体美,重视展示人体的性差异,不忌讳表现性感。古典模式是表现女性的第二性征,如露颈、露肩、露背、半胸,以紧缩腰围和垫臀来表现女性胴体曲线。现代模式是以简约的形式表现人体的自然身形,以短露和紧身为现代时髦。中国文化漠视"性"的存在,服装不表现人体曲线,不具备感官刺激要素,宽衣博带,遮掩人体,表现的是一种庄重、含蓄之美。中式服装的美学特点,反映了中华民族的审美心态和文化征貌。中国人受儒道互补的美学思想影响,重视情理结合,以理节情,追求闲适、平淡、中庸,追求超出形体的精神意蕴。中式女装严密包裹人体,使人难窥其详,增加了神秘感。中式男装严整修长,洋溢着中和之美。皇帝的礼服,宽博繁复,辉煌壮观。皇帝的礼服不仅是权力的象征,也是中国人审美观的表现。中国和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,是世界文化宝库的瑰宝,我们应进行积极研究,在明辨的基础上继承发扬。
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
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。
自己不研究就想交功课?想跟社会上那些拿着文聘找不到工作的人一样后果吗?现在的企业招工说是要什么什么专科生,实际上是不看文聘的,而是找个专业人士问你一些比较有深度的问题。看你熟知的程度和理解的深度。所以那些有文聘没文化的人是找不到工作的。
中西服饰文化差异论文3000字体怎么写
Western novels in comparison First, Western novels in the history of the development of Western novels are based on myths and legends of its In ancient times, science developed, out of fear of nature, the working people out of the imagination is the key to many of the world "God", describing the personification of God is a myth; who will describe the deified, that is China opened the world's Pan story, the story of San Juan Five Emperors, the West Greek mythology, Roman mythology, Norse mythology, and so on are all typical East and West, the original novel, is closely linked with the history, as historical records complement the China Pre-Qin prose in the fable, the Han dynasty in the history books, biographies, the Wei and Jin Zhi, Zhi-person novel; the West of ancient Babylon, "the United States and Ji Jia disabilities epic", in ancient Greece, "Homer's epic," "Aesop's Fables "And so on, fall into this category, fiction, novels such novels have been about the characteristics of fiction, it is still not the literary creation, directly from the private collection record, so this type of fiction plot is relatively simple, writing rough Ban Gu said, "On the Street Lane words, hearsay are made of" is a novel kind of accurate assessment of the China's Tang Dynasty, the novel is only from history and literature become a Tang Dynasty culture has developed, the author's ideas are more open, the legend came into being at this time, Li Zhaowei "Liu Yi Chuan", Po Chu's "Everlasting Regret," Wolf's "Everlasting Regret Chuan" And so on, are made in accordance with the creation of the For the fictional story of the Tang Dynasty more emphasis on imagination and literary talent, not just the history of the nature of things, but as the history of Zhi Zhi who is also the novel did not The Legend of the Song Dynasty to the novel on a gradual decline, which followed the rise of this so that after processing will become a scholar so many novel and Romance novels such as "Romance of the Three Kingdoms", "Outlaws of the Marsh", "Journey to the W" The author of such novels is the use of private creative and re-created to describe the circumstances of the touching scenes of brilliant and vivid active in shaping the character known, there are obvious story-telling style of Here by the redevelopment, it will become an independent literary creation rather than things to come together with the civil process, the representative of this type is the "Golden Lotus", it was an open and ordinary life on the road, the reality is that literature has come a long way The development of the latter's "A Dream of Red Mansions" in ancient China Geng Shiba realism to the novels of the "54" after the novelist began to learn from China's western fiction writing practices, and gradually out a new Western novels, is the "Renaissance" after the rapid development of The development of the Middle Ages novel near-stagnation in the West, 14, the end of the century "Renaissance" to overthrow the literature of the Church of control, 15, appeared in the western end of the century to promote freedom of thought and the liberation of personality in order to describe the reality of life and portray characters from all walks of life for the content of the Humanist novels, is to tie in with this type of novel anti-feudal Europe at the time of arising at the same time it also set the novel in the West to human describing the tone of the main Jiaqiu Italy's "Decameron", Spain's Cervantes "Don Quixote" is the kind of representative works of The resulting novel is a classical, elegant favor of its national language to standardize the writing of this novel in 17th century France's most well- As a note on behalf of Corneille's "Cid" neoclassical story of the rise of Western novels have been a language substantially The beginning of the 18th century to promote popular science knowledge, enlightenment of the public consciousness for the purpose of the Enlightenment novels, of which there are relatively well-known German Goethe's "Faust", the United Kingdom Defoe's "Robinson Crusoe" and the Swift "Gulliver's Travels" and so on, this type of novel to the emergence of the bourgeois revolution at the time to mold public In the 19th century, romantic fiction, realistic novels and critical realism novel turn to occupy the leading position in the field of Romantic novels, such as France Victor Hugo's "Notre Dame de Paris", Goethe's "juvenile Witt of trouble" and so on, imaginative, unusual ideas, language and imaginative, strong Efforts to reflect the reality of the novel is the essence of life, and depict typical life of a typical phenomenon in the United Kingdom Dickens, France and Germany are of such novels as a representative of the Critical realism novels exposed the efforts of the decadent feudal system and capitalist society, the dark, in-depth criticism of the reality of evil, France Balzac and Maupassant, the United Kingdom of Charlotte, Bronte, Russia's Tolstoy, Dostoevsky, the United States of a large number of writers such as Mark Twain's works belong to this Value today, the three novels in the West is still the most important of the three types of literary East-West novel on the history of the development of more or less the Second, the characteristics of the novel in the West In addition to the basic characteristics of the novel, the story of the West also have their own characteristics are as follows: 1, the traditional Chinese novel attention to the characters, language and the details of the description, in contradiction to the conflict to display the images, but the character of a single, small changes in the absence of the main Western novels are more people pay attention to the psychological description, stressed that mining figure in the subconscious mind, good at writing full, the changes in the strong sense of the main Again, "coach Lin Feng Snow Mountain Temple" in the figure is only through dialogue and action leads to contradictions and conflicts, but Anna Karenina Wogui before a series of conflicts only with his description of the psychological will be able to express their clear; for poetry in Lin In the performance of her literary talent, and Paul with his inner monologue of the ideal; Zhang Zhong-Yong has only the character, but Jane Eyre's character is the brave, strong, warm, kind-hearted, and so many of the character and rubbing and Cheng' In short, people in the area described in the West has its own unique 2, China compared with Western fiction novel plot twists and turns more and more complete Plot twists and turns, the story is complete fiction China's unique traditional The Wei and Jin Zhi Zhi people on the novel twists and turns with vivid Tang legend in the layout of many of the famous, magnificent anomaly, rigorous and clever, dramatic plot The contents of the Ming and Qing Dynasties novels scattered irregular, undulating waves, Cuoluoyouzhi, careful structure, an integral "A Dream of Red Mansions", everywhere She Fu, Hui turning point, the story of Jia's best Western plot in respect of the outstanding works, although there are many, but it can not be compared with the Chinese 3, concise and lively Chinese language novel, rich in content and rich Western Chinese folk artists absorbed the novel language, at the same time inherited the fine traditions of ancient prose, often a few words will be able to outline the incident or the Western novels in the author includes a broad range of knowledge, involve the community in many ways, so rich in content and rich people can gain knowledge in many Engels said he was in Balzac's novel about 19th century France's domestic situation than he received any reports are Western novels have different characteristics, and also in the West different aesthetic concepts to a certain extent 4, Western novels have been the rule of the feudal culture of oppression Chinese feudal culture makes the development of the novel is extremely difficult, Ming and Qing Dynasties more people to write stories for shame, so many great writers living, creating the conditions are not covered, many of the great works of authors who do not Western novels in the feudal culture makes almost the whole of the Middle Ages in the development of extremely slow, and many talented writers were forced to church services, wrote some of the religious nature of the article dry Third, Western novels in the future prospects for the development of End of the Qing Dynasty, China and the West have begun to understand the other side of the system, the advantages of the novel in the West have been constantly learn from each Of course, due to historical reasons, the Chinese side of the draw a little To this day, the novelist in the West efforts are still two researchers in the novel's artistic charm, although the different languages of each other's appreciation of the arts to a certain extent, but the United States are We have every reason to believe that in the near future, the novel art in the West will ultimately learn from each other and integrate, develop and reach new artistic References: "Foreign Literature" Shanghai Translation Publishing House Zhou Xu Liang "Contemporary Literature election," Zhang Zhong, such as Beijing University Publishing House "Chinese literature history of the development of" Shanghai Ancient Books Publishing House Liu Jie "Literary History of Europe" People's Literature Publishing House Yangzhou Han Wu Da-yuan Zhao Rui radish "Three high school language textbook used by the five dates of the" People's Education Press仅供参考,请自借鉴。希望对您有帮助。
例如:朱门酒肉臭,路有冻死骨。一人得道,鸡犬升天。衙门八字开,有理无钱莫进来。只许州官放火,不许百姓点灯。四、 风俗习惯不同的民族形成了各自独特的风俗习惯:正如英语中一句谚语所说的:“So many countries, so many ”在对狗的态度上,中国人脑海中狗如同鸡、鸭、猪一样是一种地位十分卑微的动物。常常把狗与“下贱”、“低微”、“无赖”等贬义词联系在一起,如“狼心狗肺”、“狗腿子”、“猪狗不如”、“狐朋狗党”等,[5](P83)虽然狗也用作看家护院、狩猎、牧羊。狗还常被宰杀烹调,这在西方人看来是非常不能接受的。中国人对狗的态度在谚语中可以体现出来,如:狗眼看人低。 好狗不挡道。 狗嘴里吐不出象牙。 狗改不了吃屎。 痛打落水狗。而狗在西方人眼中不仅是狩猎、看门、工作的得力可靠的好帮手,更是生活中重要的伴侣和朋友,是抚慰人们寂寞空虚生活不可缺少的一部分,甚至将其视为家中的成员,与狗有着深厚的感情。在西方还有发生狗死后,为其安葬立碑的事。因此,狗的形象在英语谚语中是褒义的,人们对狗是怜爱、赞赏的。英语谚语之中,常常以狗的形象来比喻人的行为。如:You are a lucky 你是一个幸运儿。 Every dog has its 各人皆有出头之日。 Old dog will not learn new 老人学不了新东西。 Love me, love my 爱屋及乌。而英语中兔子常代表胆怯,但汉语中与“胆怯”相联系的动物形象则是老鼠。因此有谚语“气壮如牛,胆小如鼠”;英语民族常用狮子比喻力量、雄威,所以有谚语:March comes in like a lion and goes out like a 三月来如猛狮;去如羔羊。Every dog is a lion at 狗是百步王,只在门前狠。A lion may be beholden to a 老鼠也能帮狮子;弱者也能帮强者。这里因为狮子多产于非洲、印度等地,而英国历史上与这些地区或国家有着很深的关系。而我国不产狮子,无论南方北方都产老虎。[6](P73)从前,老虎数量繁多,常出没山林,侵扰人民,甚至危害人命。人们认为虎为百兽之王,对虎十分敬畏,有“养虎为患”、“伴君如伴虎”的说法,把虎看作力量、威武、雄壮的象征,因此产生了许多关于与老虎有关的谚语。例如:山中无老虎,猴子称大王。 不入虎穴,焉得虎子。 虎毒不食子 初生牛犊不怕虎。五、 民族性格中西方由于各自生存环境的差异,以及人们对自身环境的不同应战,发展出各自不同的社会文明,从而产生了不同的文化取向、价值观念、性格特征。在古希腊,由于土地的贫瘠,海上通道的开辟,再加上频繁的战争和几次大规模的民族迁徙,使得他们很早就发展起商业经济,创造了人类最古老的商业文明。西方成了典型的商业社会,人们从事着频繁的商业活动,正所谓“The English are a nation of shop-”(英国全民皆商,外表富强)。经商的成效不在天地鬼神而在自己,在于自己的才干。[7](P22-23)商场中的竞争激烈、优胜劣汰、你失我得,这形成了西方人个人意识较强、重视个人作用、个人独立自主、个人利益的个人主义思想。Self comes 自我利益是第一位的。Everyman for himself and God for us 个人为自己,上帝为大家。Near is my shirt, but nearer is my 自己的利益最切身。Self-preservation is the first law of 保存自己是自然界的第一法则。He who depends on another dines ill and sups 指望别人,难有好吃喝。而经商见效快、获利多、风险大,也养成了西方人急功近利、富于进取、敢于冒险的流动性格。If at first you don’t succeed, try, try, try Forbidden fruit is Catch as catch Discontent is the first step in Life is a battle from cradle to 人生是一场从摇篮到坟墓的战斗。Life, to be worthy of a rational being, must be always in 人生必须永远前进,才不愧为有理智的人。Fortune favors the 勇者天佑。个人主义思想使西方人重视突出个人,喜欢表现自己的个性,乐于标新立异,爱出风头,尊重个性、自我,并鼓励个性发展,对别人因个性表现出的任何形态都能够理解接受,这可以在谚语中体现出来。It’s squeaky wheel that gets the 吱吱叫的轮子先上油。Tastes 个人品位不同。Every man after his 个人追求个人的风格。 If you’ve got it, flaunt 这句谚语来源于一部The producer的美国电影。意思是如果你有钱、本事、美貌或性感,就应该让人瞧瞧。[8](P334)而以农业为根本的中国人则截然不同,农业的收获往往不在耕种者,而是老天。人的意志如何强大也阻止不了干旱、洪水、风暴等天灾的来临。[7](P23)另外农业见效慢,而一年一度的丰收来自于长期的扎扎实实、坚持不懈的努力劳动,这形成了中国人思想意识中安定保守、善于坚持忍耐、缺乏冒险、知足的性格的特质。[5](P23)
%D6%D0%CE%F7&btn=+%CB%D1%CB%F7+ 1、 (英语系毕业论文)中西戏剧发展快慢对比及其原因 摘 要 中西戏剧都有悠久的历史,无论是西方戏剧还是中国戏剧,都起源于民间,并与原始人祭祀神灵,欢庆节日的仪式密切联系在一起的。回顾希腊戏剧产生形成的历史,它发展快,成就高,在世界上的影响很 类别:毕业论文 大小:95 KB 日期:2007-07-14 2、 (英语系毕业论文)从中美管理方式的不同透析中西方文化差异与整合 摘 要随着全球化的来临,中国与外界的交流越来越频繁,特别是在商界。本论文主要探讨中美在管理上的交流。如今的商界,如同一个大家庭,参与者遍布世界各地。正是由于这个原因,各国的管理模式也趋于一体化。但是 类别:毕业论文 大小:85 KB 日期:2007-06-26 3、 (英语系毕业论文)在经济全球化下中西方文化差异与跨文化管理 摘 要伴随着世界经济的快速增长,跨国公司的飞速发展, 全球商业活动的猛烈激增,同时伴随着在文化多样化环境下的相关管理问题的出现,跨国公司的人员必须与来自不同文化背景的人打交道,这种文化差异时而会造成 类别:毕业论文 大小:96 KB 日期:2007-06-26 4、 (英语系毕业论文)中西服饰文化差异对语言的影响 摘 要中西服饰受其各自不同哲学和文化的影响体现出不同的特征:儒家思想和大陆文明使中国服饰呈现出繁冗,宽博的特征。它不注重外表的装饰,以宽松的衣服遮掩身体的曲线,在思想上追求人格的完美,以“谦谦君 类别:毕业论文 大小:90 KB 日期:2007-06-25 5、 (英语系毕业论文)快餐食品对中西方传统饮食文化的影响力 摘 要自古以来,中国就是一个以礼待人的礼仪之邦。而在不同的国家、不同的地区,礼仪的形式也有所不同。本文主要从礼仪的角度谈论了礼仪与中西方文化之间的联系及相互影响,目的是为了消除不同国家之间的不同 类别:毕业论文 大小:88 KB 日期:2007-06-25 6、 (英语系毕业论文)从礼仪角度谈中西文化的差异性 摘 要自古以来,中国就是一个以礼待人的礼仪之邦。而在不同的国家、不同的地区,礼仪的形式也有所不同。本文主要从礼仪的角度谈论了礼仪与中西方文化之间的联系及相互影响,目的是为了消除不同国家之间的不同 类别:毕业论文 大小:85 KB 日期:2007-06-23 7、 (英语系毕业论文)中西饮食文化及其差异 摘 要中国悠久历史5000年,西方世界五六百年的社会历程。中国有灿烂丰富、博大精深的饮食文化;西方国家则有精巧专维、自成体系的饮食文明。民以食为天,中国有自己独特丰富的饮食文化底蕴。然而今天除了中国 类别:毕业论文 大小:100 KB 日期:2007-06-21 8、 (英语系毕业论文)中西酒店文化比较及探讨 摘 要在经济蓬勃发展的今天,旅游业风风火火地发展起来了,作为与旅游业相配套的酒店业也相应的完善起来,且更加趋于国际化。中国已经入世,这更给中国的酒店业带来一个新的发展契机,但世界上酒店发展规模空前,
中西服饰文化差异论文3000字体怎么写的
Western novels in comparison First, Western novels in the history of the development of Western novels are based on myths and legends of its In ancient times, science developed, out of fear of nature, the working people out of the imagination is the key to many of the world "God", describing the personification of God is a myth; who will describe the deified, that is China opened the world's Pan story, the story of San Juan Five Emperors, the West Greek mythology, Roman mythology, Norse mythology, and so on are all typical East and West, the original novel, is closely linked with the history, as historical records complement the China Pre-Qin prose in the fable, the Han dynasty in the history books, biographies, the Wei and Jin Zhi, Zhi-person novel; the West of ancient Babylon, "the United States and Ji Jia disabilities epic", in ancient Greece, "Homer's epic," "Aesop's Fables "And so on, fall into this category, fiction, novels such novels have been about the characteristics of fiction, it is still not the literary creation, directly from the private collection record, so this type of fiction plot is relatively simple, writing rough Ban Gu said, "On the Street Lane words, hearsay are made of" is a novel kind of accurate assessment of the China's Tang Dynasty, the novel is only from history and literature become a Tang Dynasty culture has developed, the author's ideas are more open, the legend came into being at this time, Li Zhaowei "Liu Yi Chuan", Po Chu's "Everlasting Regret," Wolf's "Everlasting Regret Chuan" And so on, are made in accordance with the creation of the For the fictional story of the Tang Dynasty more emphasis on imagination and literary talent, not just the history of the nature of things, but as the history of Zhi Zhi who is also the novel did not The Legend of the Song Dynasty to the novel on a gradual decline, which followed the rise of this so that after processing will become a scholar so many novel and Romance novels such as "Romance of the Three Kingdoms", "Outlaws of the Marsh", "Journey to the W" The author of such novels is the use of private creative and re-created to describe the circumstances of the touching scenes of brilliant and vivid active in shaping the character known, there are obvious story-telling style of Here by the redevelopment, it will become an independent literary creation rather than things to come together with the civil process, the representative of this type is the "Golden Lotus", it was an open and ordinary life on the road, the reality is that literature has come a long way The development of the latter's "A Dream of Red Mansions" in ancient China Geng Shiba realism to the novels of the "54" after the novelist began to learn from China's western fiction writing practices, and gradually out a new Western novels, is the "Renaissance" after the rapid development of The development of the Middle Ages novel near-stagnation in the West, 14, the end of the century "Renaissance" to overthrow the literature of the Church of control, 15, appeared in the western end of the century to promote freedom of thought and the liberation of personality in order to describe the reality of life and portray characters from all walks of life for the content of the Humanist novels, is to tie in with this type of novel anti-feudal Europe at the time of arising at the same time it also set the novel in the West to human describing the tone of the main Jiaqiu Italy's "Decameron", Spain's Cervantes "Don Quixote" is the kind of representative works of The resulting novel is a classical, elegant favor of its national language to standardize the writing of this novel in 17th century France's most well- As a note on behalf of Corneille's "Cid" neoclassical story of the rise of Western novels have been a language substantially The beginning of the 18th century to promote popular science knowledge, enlightenment of the public consciousness for the purpose of the Enlightenment novels, of which there are relatively well-known German Goethe's "Faust", the United Kingdom Defoe's "Robinson Crusoe" and the Swift "Gulliver's Travels" and so on, this type of novel to the emergence of the bourgeois revolution at the time to mold public In the 19th century, romantic fiction, realistic novels and critical realism novel turn to occupy the leading position in the field of Romantic novels, such as France Victor Hugo's "Notre Dame de Paris", Goethe's "juvenile Witt of trouble" and so on, imaginative, unusual ideas, language and imaginative, strong Efforts to reflect the reality of the novel is the essence of life, and depict typical life of a typical phenomenon in the United Kingdom Dickens, France and Germany are of such novels as a representative of the Critical realism novels exposed the efforts of the decadent feudal system and capitalist society, the dark, in-depth criticism of the reality of evil, France Balzac and Maupassant, the United Kingdom of Charlotte, Bronte, Russia's Tolstoy, Dostoevsky, the United States of a large number of writers such as Mark Twain's works belong to this Value today, the three novels in the West is still the most important of the three types of literary East-West novel on the history of the development of more or less the Second, the characteristics of the novel in the West In addition to the basic characteristics of the novel, the story of the West also have their own characteristics are as follows: 1, the traditional Chinese novel attention to the characters, language and the details of the description, in contradiction to the conflict to display the images, but the character of a single, small changes in the absence of the main Western novels are more people pay attention to the psychological description, stressed that mining figure in the subconscious mind, good at writing full, the changes in the strong sense of the main Again, "coach Lin Feng Snow Mountain Temple" in the figure is only through dialogue and action leads to contradictions and conflicts, but Anna Karenina Wogui before a series of conflicts only with his description of the psychological will be able to express their clear; for poetry in Lin In the performance of her literary talent, and Paul with his inner monologue of the ideal; Zhang Zhong-Yong has only the character, but Jane Eyre's character is the brave, strong, warm, kind-hearted, and so many of the character and rubbing and Cheng' In short, people in the area described in the West has its own unique 2, China compared with Western fiction novel plot twists and turns more and more complete Plot twists and turns, the story is complete fiction China's unique traditional The Wei and Jin Zhi Zhi people on the novel twists and turns with vivid Tang legend in the layout of many of the famous, magnificent anomaly, rigorous and clever, dramatic plot The contents of the Ming and Qing Dynasties novels scattered irregular, undulating waves, Cuoluoyouzhi, careful structure, an integral "A Dream of Red Mansions", everywhere She Fu, Hui turning point, the story of Jia's best Western plot in respect of the outstanding works, although there are many, but it can not be compared with the Chinese 3, concise and lively Chinese language novel, rich in content and rich Western Chinese folk artists absorbed the novel language, at the same time inherited the fine traditions of ancient prose, often a few words will be able to outline the incident or the Western novels in the author includes a broad range of knowledge, involve the community in many ways, so rich in content and rich people can gain knowledge in many Engels said he was in Balzac's novel about 19th century France's domestic situation than he received any reports are Western novels have different characteristics, and also in the West different aesthetic concepts to a certain extent 4, Western novels have been the rule of the feudal culture of oppression Chinese feudal culture makes the development of the novel is extremely difficult, Ming and Qing Dynasties more people to write stories for shame, so many great writers living, creating the conditions are not covered, many of the great works of authors who do not Western novels in the feudal culture makes almost the whole of the Middle Ages in the development of extremely slow, and many talented writers were forced to church services, wrote some of the religious nature of the article dry Third, Western novels in the future prospects for the development of End of the Qing Dynasty, China and the West have begun to understand the other side of the system, the advantages of the novel in the West have been constantly learn from each Of course, due to historical reasons, the Chinese side of the draw a little To this day, the novelist in the West efforts are still two researchers in the novel's artistic charm, although the different languages of each other's appreciation of the arts to a certain extent, but the United States are We have every reason to believe that in the near future, the novel art in the West will ultimately learn from each other and integrate, develop and reach new artistic References: "Foreign Literature" Shanghai Translation Publishing House Zhou Xu Liang "Contemporary Literature election," Zhang Zhong, such as Beijing University Publishing House "Chinese literature history of the development of" Shanghai Ancient Books Publishing House Liu Jie "Literary History of Europe" People's Literature Publishing House Yangzhou Han Wu Da-yuan Zhao Rui radish "Three high school language textbook used by the five dates of the" People's Education Press仅供参考,请自借鉴。希望对您有帮助。
例如:朱门酒肉臭,路有冻死骨。一人得道,鸡犬升天。衙门八字开,有理无钱莫进来。只许州官放火,不许百姓点灯。四、 风俗习惯不同的民族形成了各自独特的风俗习惯:正如英语中一句谚语所说的:“So many countries, so many ”在对狗的态度上,中国人脑海中狗如同鸡、鸭、猪一样是一种地位十分卑微的动物。常常把狗与“下贱”、“低微”、“无赖”等贬义词联系在一起,如“狼心狗肺”、“狗腿子”、“猪狗不如”、“狐朋狗党”等,[5](P83)虽然狗也用作看家护院、狩猎、牧羊。狗还常被宰杀烹调,这在西方人看来是非常不能接受的。中国人对狗的态度在谚语中可以体现出来,如:狗眼看人低。 好狗不挡道。 狗嘴里吐不出象牙。 狗改不了吃屎。 痛打落水狗。而狗在西方人眼中不仅是狩猎、看门、工作的得力可靠的好帮手,更是生活中重要的伴侣和朋友,是抚慰人们寂寞空虚生活不可缺少的一部分,甚至将其视为家中的成员,与狗有着深厚的感情。在西方还有发生狗死后,为其安葬立碑的事。因此,狗的形象在英语谚语中是褒义的,人们对狗是怜爱、赞赏的。英语谚语之中,常常以狗的形象来比喻人的行为。如:You are a lucky 你是一个幸运儿。 Every dog has its 各人皆有出头之日。 Old dog will not learn new 老人学不了新东西。 Love me, love my 爱屋及乌。而英语中兔子常代表胆怯,但汉语中与“胆怯”相联系的动物形象则是老鼠。因此有谚语“气壮如牛,胆小如鼠”;英语民族常用狮子比喻力量、雄威,所以有谚语:March comes in like a lion and goes out like a 三月来如猛狮;去如羔羊。Every dog is a lion at 狗是百步王,只在门前狠。A lion may be beholden to a 老鼠也能帮狮子;弱者也能帮强者。这里因为狮子多产于非洲、印度等地,而英国历史上与这些地区或国家有着很深的关系。而我国不产狮子,无论南方北方都产老虎。[6](P73)从前,老虎数量繁多,常出没山林,侵扰人民,甚至危害人命。人们认为虎为百兽之王,对虎十分敬畏,有“养虎为患”、“伴君如伴虎”的说法,把虎看作力量、威武、雄壮的象征,因此产生了许多关于与老虎有关的谚语。例如:山中无老虎,猴子称大王。 不入虎穴,焉得虎子。 虎毒不食子 初生牛犊不怕虎。五、 民族性格中西方由于各自生存环境的差异,以及人们对自身环境的不同应战,发展出各自不同的社会文明,从而产生了不同的文化取向、价值观念、性格特征。在古希腊,由于土地的贫瘠,海上通道的开辟,再加上频繁的战争和几次大规模的民族迁徙,使得他们很早就发展起商业经济,创造了人类最古老的商业文明。西方成了典型的商业社会,人们从事着频繁的商业活动,正所谓“The English are a nation of shop-”(英国全民皆商,外表富强)。经商的成效不在天地鬼神而在自己,在于自己的才干。[7](P22-23)商场中的竞争激烈、优胜劣汰、你失我得,这形成了西方人个人意识较强、重视个人作用、个人独立自主、个人利益的个人主义思想。Self comes 自我利益是第一位的。Everyman for himself and God for us 个人为自己,上帝为大家。Near is my shirt, but nearer is my 自己的利益最切身。Self-preservation is the first law of 保存自己是自然界的第一法则。He who depends on another dines ill and sups 指望别人,难有好吃喝。而经商见效快、获利多、风险大,也养成了西方人急功近利、富于进取、敢于冒险的流动性格。If at first you don’t succeed, try, try, try Forbidden fruit is Catch as catch Discontent is the first step in Life is a battle from cradle to 人生是一场从摇篮到坟墓的战斗。Life, to be worthy of a rational being, must be always in 人生必须永远前进,才不愧为有理智的人。Fortune favors the 勇者天佑。个人主义思想使西方人重视突出个人,喜欢表现自己的个性,乐于标新立异,爱出风头,尊重个性、自我,并鼓励个性发展,对别人因个性表现出的任何形态都能够理解接受,这可以在谚语中体现出来。It’s squeaky wheel that gets the 吱吱叫的轮子先上油。Tastes 个人品位不同。Every man after his 个人追求个人的风格。 If you’ve got it, flaunt 这句谚语来源于一部The producer的美国电影。意思是如果你有钱、本事、美貌或性感,就应该让人瞧瞧。[8](P334)而以农业为根本的中国人则截然不同,农业的收获往往不在耕种者,而是老天。人的意志如何强大也阻止不了干旱、洪水、风暴等天灾的来临。[7](P23)另外农业见效慢,而一年一度的丰收来自于长期的扎扎实实、坚持不懈的努力劳动,这形成了中国人思想意识中安定保守、善于坚持忍耐、缺乏冒险、知足的性格的特质。[5](P23)
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Chinese and Western cultural differences in the performance of every aspect of daily life from the greeting 、 term diet and cultural differences in the way of thinking in the abstract, such as differences everywhere, from the West focus on the following colors to express the difference between Chinese and Western cultural differences in areas such as a wedding First, in the West to express the color difference Different colors in different languages is not expressed in the same The representative of China in a sense, the West has a meaning that even the "color" to understand the meaning of the (A) red (red) Whether in China or in the English-speaking countries, often in red and festive celebrations or day- Calendar, red font used these days, therefore, red letter day: refers to the "Day" or "happy " It also refers to the red "liabilities" or "loss" because people are always negative in red to So there are these phrases: red figure deficit in the red loss In common with the Chinese "red" words, translated into English, may not necessarily use the "red" for example: brown sugar brown sugar red wine red wine (B) yellow Yellow in English and Chinese in the extended meaning of the differences are In English, yellow can be said that the "timid, cowardly, despicable," meaning, for example: a yellow dog despicable, cowardly people a yellow livered coward Chinese yellow symbol of the term is sometimes vulgar, vulgar and obscene, indecent indecency means, such as yellow film, erotica, yellow CD, and so These in the name of "yellow" in English and "yellow" has nothing to However, in another English word blue is the color used to indicate the kind of meaning in Chinese, such as the blue jokes (dirty joke), blue films (yellow film) Second, the cultural differences in Western wedding First of all, in Western wedding culture and the first in the West in thinking about the differences: the Chinese people more conservative, like excitement, more old-fashioned thinking, so in the history of China for thousands of years the entire wedding customs did not change The thinking in the West is more open to the requirements of the wedding will be lower, they will be the climax of the wedding in the church: the sacred as the "wedding march" into the red carpet, Jiao Mei's father, the bride linked hands Rose walked slowly to the groom, the bride's father, daughter to the groom's hand on hand, her daughter's life will be entrusted to the groom, all eyes followed the couple, filled with well-being in their Second, the result of cultural differences wedding in the West because the West in a different China is mainly Buddhist, but the West is mainly C Therefore, the Western wedding is to be held in the church and the priest is Zhuhun R China's traditional customs of the most important part of the Bai Tiandi is, the worship heaven and earth even after the ceremony has 中西方文化差异表现在方方面面,从日常生活的打招呼用语、饮食文化等差异到思维方式等抽象方面的差异无所不在,下面着重从中西方颜色表达的差异,中西方婚礼文化差异等方面阐述。 一、中西方颜色表达的差异 不同颜色在不同语言中表达的方式并不一样。在中国代表一种意义,在西方又表示一种涵义,甚至对“颜色”的涵义理解恰恰相反。(一)red(红色)无论是在英语国家还是在中国,红色往往与庆祝活动或喜庆日子有关。日历中,这些日子常用红色字体,因此,red letter day:指的是“纪念日”或“喜庆的日子”。红色还指“负债”或“亏损”,因为人们总是用红笔登记负数。于是就有了这些词组:red figure赤字 in the red亏损汉语中常用的带“红”字的词语,翻译成英语,可不一定用“red”例如: 红糖brown sugar 红酒red wine (二) yellow黄色在英语和汉语中的引申含义差别比较大。英语中,yellow可以表示“胆小、卑怯、卑鄙”的意思,例如:a yellow dog 可鄙的人,卑鄙的人a yellow livered 胆小鬼汉语中黄色一词有时象征低级趣味、色情庸俗、下流猥亵的意思,如黄色电影、黄色书刊、黄色光碟等等。这些名称中的“黄”与英语中的“yellow”无关。然而,英语中另一个颜色词blue却常用来表示汉语中这类意思,如blue jokes(下流的玩笑), blue films(黄色电影)等。 二、中西方婚礼文化差异 首先,中西方婚礼文化差异首先和中西方人在思维方面的差异有关:中国人比较保守,喜欢热闹,思维较古板,所以在中国历史几千年的时间里整个婚礼的习俗并没有多大的变化。而西方人的思想则比较开放,对于婚礼的要求也比较低,他们婚礼的高潮则是在教堂中:随着神圣的《婚礼进行曲》步入鲜红的地毯,娇美的新娘挽着父亲手捧玫瑰慢慢向新郎走去,新娘的父亲将女儿的手放在新郎的手上,将女儿的一生托付给新郎,所有人的目光注视着这对新人,幸福洋溢在他们的脸上。其次,造成中西方婚礼文化差异的原因是中西方不同的宗教。中国是以佛教为主,而西方则是基督教为主的。所以西方的婚礼是在教堂中举行而主婚人则是神甫。中方的传统婚俗中的最重要环节就是拜天地,拜了天地以后就算是礼成了。
中西服饰文化差异论文3000字素材怎么写
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
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。
中西服饰文化差异论文3000字素材怎么写的
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。
衣食住行,是老祖宗们最为重视的问题。其中“衣”更是人类与禽兽区别、防寒御害的重要工具,不过随着文明的发展,它的美化功能被大大地强调起来,时至今日,一件做工精巧的旗袍,一套新发布的法国女装,无不被人做为艺术品看待。然而,若论当今世界最精致的民族服装,则非和服莫属。从神治时代起,日本的服装文化始终带着鲜明的“外来”印记。这一点不仅体现在服装的形式,还体现在衣料的织造技术上。从应神天皇的时代起,日本与韩国、中国交往密切,为文化的传输带来有利条件。推古天皇甚至模仿隋的服装,制定了冠服和朝服。到了奈良时代,模仿唐朝的服装和穿戴方式成为时尚,然而,物极必反,随着时间推移,更具个性和魅力的服装时代来临了。这就是平安时代。 平安时代也是日本的“国风时代”,她是在全盘消化唐的文化后,以大学毕业生之姿堂堂登上了历史舞台。此时的服装也渐渐摆脱外来的影响,发展出独有的奢美与精致的特色。举个例子,熟悉日本史的人一定听过“唐衣”和“十二单”。唐衣是盛装(礼服)的一种,以紫、绯为贵,金碧辉煌,美丽异常。十二单实际是一种穿着方式,她并不是十二层单衣,而是在单衣上叠十二层被称为圭的服装,圭轻薄透明,多层圭叠起时仍然能隐约看见单衣或表着的颜色,倍添朦胧恍惚的美感。从这里也可略窥日本人的审美观,既喜欢抽象化的美,又喜欢真实细致地反映自然世界的美感。 男子着圆领大袖长袍,女子着十二单。现代的和服合传统意义上的和服并不相同。“和服”这一词出现于明治维新之后。是一种袍制服装(上下衣相联)。而十二单则更多的保留了日本奈良时代和平安时代的风格。区别于和服的是,十二单衣下身是裙子。顾名思义,就是衣服要穿十二层。十二单非常厚重,价格昂贵,穿着也比一般和服复杂。但是其颜色搭配将和服讲究,特别是颜色的过渡。十二单源于中国周朝的“五重衣”,另据记载和考古发掘,汉朝妇女则喜欢穿三层以上的衣服。而十二单的原样就是唐朝时期皇族女性的小礼服----炜衣。其实唐朝女性并不像我们想象中的穿着那么开放,也很厚重。 由于过度腐化,穷奢极欲,公卿统治终于衰退。镰仓和室町幕府时期,相对精干、简易的武家文化出现,这一时代特征也反映在服装上。直垂和侍乌帽子是时髦的男装,普及很广。女装变的简单。织田信长的安土、桃山时期,女子流行穿着小袖,虽然美丽,但比起唐衣之类,还是简陋。这一时期,带有鲜明民间性的“能乐”逐渐成型,绮丽豪华的“能”装束出现。此时,公卿的服装没有大的改变,基本是平安时代宫廷服装的延续,而公卿与武家的最终融合是在明治时期 江户幕府时期,男装、女装虽有变化,比如女装的小袖形状变得接近现代,而男装流行羽织(以黑五纹为正装,茶、黄次之),带结开始流行。但是,基本格局已定,到了明治时代,现在意义上的和服就定型了,此后一直没有太大变化。 日本婚服以纯白色为基本色调。白色是纯洁无暇的处女象征,因此,古来称新娘和式嫁衣为“白无垢”;三天后的阳式仪式,则改换花枝招展的艳装。为此,时至今日,出席婚礼的女性,也忌着纯白色的和服或裙装,以便突出嫁娘的风采。 嫁娘装衣的讲究,身着裙装婚纱时,一般佩上一见从娘家带来的饰物,如发卡等,流传年代愈久愈显珍贵,作为吉祥的象征。着传统和服时,婚礼场合,忌着羽织(外套),这是因为羽织是男性和式礼服的代名词,江户时代禁止女性着羽织,此后只允许深川地区的女艺人着用,因此,与新婚喜庆气氛是很难般配的。 古代日本皇族和贵族的丧服亦有规定,也称丧服为凶服。天皇及其父或母辞世时,称“谅暗”,在此期间,天皇(或下届天皇)以下的宫内所有人员,一律着接近于黑色的“钝色”丧服。《荣华物语》中写道:“世间皆呈谅暗,殿上人都为黑一色,犹如万物不毛的春日夜晚。”一般的丧事用丧服,丧服以素服为主,古时由藤蔓纤维纺制,后来由麻布制作。其颜色亦为黑灰色,依与死者血缘的远近,色调浓淡有别。宫中的服丧,不只限于衣裳,其束带、冠等也均换成黑灰色。 日本妇女穿和服时,背部都要缠上一个看来既象小背包,又象中国南方妇女背小孩用的襁褓似的东西。其实,那既不是小背包,也不是襁褓,日本人把它叫做“带”。用带系身可以不让和服送展,显出形体的美,同时也是为了装饰,使艳丽的和服更加多彩。 据考证,古代日本“纽”与“带”系法和代表的意义各有不同,纽的语源是“圣裳”,“圣”代表神圣,裳本是横幅的布,即今日的裙。系纽,不仅将纽与人的心结合在一起,同时也将人与神结合在一起。如果说古时,带侧重于装饰,而纽侧重于信仰的话,那末,至奈良时代,中国的女子礼服唐衣传入日本,女性亦开始着上下分开的裙装后,纽开始系在衣内,起带的作用,而带则更不为重用了。待到镰仓时代以后,类似于现代和服的狭袖便服(小袖)流行,纽由衣内改为系在衣外,恢复了带的作用,发展成为今日美丽的腰带。 日本的腰带在背后打有不同的花结,象征不同的意义,表达着本人的信仰和祈愿。据统计,日本带的普通结法就有289种。带,一般长3~4米,需在腰上缠三四圈。值得特殊介绍的是一种供日常系用的“名古屋带”。这种带宽30厘米,长6米。据说,桃山时代,日本女性曾用细带束腰,但因形象不美而未被推广。丰臣秀吉进攻朝鲜时,驻并名古屋。当时,云集在名古屋的艺妓头扎大发髻,身穿小袖衣,腰缠由中国工匠织的青红两种颜色的筒状锦带,很是艳丽。这种时髦的打扮,立即不胫而走,这种带亦被称作“名古屋带”。 【汉服与和服】 在日本的奈良时代,也即中国的盛唐时期,日本派出大量遣唐使到中国学习中国的文化艺术、律令制度,这其中也包括衣冠制度。当时他们还模仿唐制颁布了“衣服令”。至今日本仍把和服称为“吴服”,意为从中国的吴地(今江浙一带)传来的衣服。日本还有一种盛装礼服叫做“唐衣”。和服虽由汉服发展而来,但经过漫长的历史时期,已经发展岀自己的民族特色。比如女式和服背后的大腰带就是和服的特色之一,也是区别和服与汉服的主要标志。和服衣料上的纹饰等往往也具有鲜明的日本民族特色。 虽然日本和服的基本式样来自汉服,但是两者的差别还是一眼就能够看出来的。 现以汉服的典型代表“曲裾深衣”为例,与和服比较如下: 1、腰带:汉服的腰带——博带是束腰的,而和服是一堆布料叠加,腰很粗。 2、袖子:汉服的广袖裁剪线条柔和,而和服的振袖线条是直的,袖子有点像刀片;另外汉服的广袖是开口的,里面可以缝口袋,而和服的袖口下半部分是缝合的(大约因为冷的缘故)。 汉服的袖子长度过手,礼服回肘,和服袖子长至手腕。 3、衣裾:汉服的衣裾比较飘逸洒脱,和服的衣裾比较拘谨, 4、衣缘:汉服领、袖、裾都有衣缘,且衣缘与主料异色,如用同色,需用锦带镶在衣缘与主料的接缝处,以表示衣缘。和服只有领口有衣缘,且衣缘用料与主料相同。 5、领口:和服领口良家妇女把脖子包得很紧,艺妓领口往后遇出一大段脖子,汉服领口衣缘紧贴脑垂体后。 6、弧度:和服追求直线,汉服追求曲线,汉服深衣女式衣裾通常为曲裾,和服下裳分四片裁,都是正方型。汉服直裾深衣下裳分裁为十二片,梯形;曲裾深衣有4片裁也有6片裁亦有12片裁,皆为梯形。 7、穿法:汉服深衣上下分裁,而后缝合,汉服儒裙,由上儒与下儒组成。和服上衣下裳分开穿着。 汉服洒脱, 而和服必须穿成上下直桶状才符合他们的审美标准 【汉服与韩服(朝鲜服)】 和服主要模仿的是汉服中的深衣,而韩服(朝鲜服)主要模仿的是汉服中的襦裙。韩服(朝鲜服)和汉服的主要不同之处:汉服一般是交领右衽,也有对襟的(V字领),韩服(朝鲜服)服装一般都是V字领。韩服(朝鲜服)服装的裙子束的特别高,而且下摆十分宽大、蓬松。 汉服与和服、韩服(朝鲜服)剪裁做法的异同 汉服前身左片为整幅布(前后身同宽)、右片(前、中期多为整幅;中、后期多为半幅。服装史上,有些明朝交领衣略显向右斜倾交领(有称斜领衣,京剧明服多为此类),是右片半幅之故,且因某些右领口垂直向下裁剪所致)。成衣后,直接呈现交领;下摆比腰宽,呈现梯形。现代正规影视剧汉服显示,因现代布幅宽,袖多从上臂近肘处接余袖,前后身多为一整片,右衣片从“y”字型被剪开处接余片;出土汉服显示,因古代布幅窄,多从肩处接余袖,前后身多由左右两片向接。 和服前身左、右片为半幅布,左右领向下合于腰臀处而收尾;直身裁剪;腋下袖根纵向多出的袖宽常留开口不缝合,及与此开口横向同宽的衣片也留开口不缝合。成衣后,呈现如同直领衣中的半长领式的合领衣(即:不直接呈现交领形制)。穿时,左搭右相掩,呈现正交领形制。因直身裁剪,故下摆自然收拢显窄(其做法,保持了先秦古汉服的源本理念:交领本为前身直领,穿时左搭右相掩,呈现正交领;当然也有前身左、右片在半幅布基础上各加10多厘米宽的衣片而直接呈现交领者。) 韩服(朝鲜服)前身左、右片约为3/5幅布(多为半幅加缝10多厘米宽的衣片),成衣后直接呈现交领,领尾布带与右胸处布带相系。腰部界限多提升至胸部以下。 气韵是服装外在形式美中体现出的内在美,气韵来自于艺术的基本精神,我国以儒道为基础而形成的主流哲学和美学思想决定了中国女装造型体现的气韵风格,西方中世纪以后形成的哲学与美学思想与中国不同,所以造型与气韵也不同。当今,要把东西方的审美观互补地融合,力求用简单的形式语言,以理解其神韵的境界去设计,使造型传递给人以时代的气韵美。 气韵是神气与韵味的意思,气是指精神状态,韵是指韵味、风致与情趣。(出自《辞海》)常用于表现诗文书画的风格和意境。康定斯基说过:各种不同的艺术类型之间一定有一些相同的东西存在,即艺术的基本精神。表现在服装上即为气韵。 服装的气韵就如同人的气质,它是服装的灵魂,是服装的内在美。气韵是中国的哲学思想在女装造型上体现出的精神气质。气韵之美隐含着中国女性的服饰观,价值观和人生观。 在中国几千年来的历史进程中,在相对稳定、自闭保守的状态下,儒和道的学说信仰互助互补地融合,汇成了古代哲学思想的主流。我们的祖先创造了底蕴深厚的宽衣服饰文化,形成了特有的美学与哲学观念,与西方截然不同,与东方其它各民族也有差异。从而,在女装的宽衣造型上表现出了一种中国风格的神气与韵味,流露着民族的潜在精神和文化的内在灵魂。它体现了中国女性贤善宽容,自然朴质,淡泊明志的人格境界和道德修养,还有贤淑婉约,含蓄内敛,柔中寓刚,宁静致远的风韵气质和个性色彩。 儒家以“德”、“礼”来规范服饰。儒教力求社会的伦理规范和个性的心理欲求交融统一在服饰上加以体现。 儒家美学从社会整体的审美角度来要求人们着装造型的外在形式美和内在品质的气韵美相一致,体现了强化理想人格和提升道德修养的服装造型观念,把表里如一,内外兼顾的个性美融入整齐统一,秩序分明的社会风尚之中。儒家服饰观念由于历史上长期的统治地位,对历朝历代的女装基本造型都有影响。 道教认为纯自然状态是人类最理想的状态。服饰也应顺应自然,趋向自然,展现自然的人格精神。女装造型上的简约、质朴,减少繁琐的装饰,并不等于精神上的匮乏,并不影响服装的美感,在尽量与自然贴近相融的过程中,渐渐达到无我境地。 人与衣,人与自然,衣与自然三者之间的关系是和谐的,互不冲突的。衣不可束缚或加害身体,人亦不可破坏自然规律。在服饰上追求自然地遮盖人体,不以自我张扬炫耀为目的,不大肆表现个体。服装的宽松离体使身心自由,无拘无束,穿着时油然而生一种休闲惬意、轻松自在的舒适感,体现了融己于自然的脱俗的境界。 尽管中国历史上历代王朝起起落落、变更宕荡,但女装服饰基本保留着宽衣的造型,宽松的平面直线裁剪。 儒的入世思想体现了宽衣的质朴方正,严谨守礼的人格风尚。道的出世思想表达了洁心静气,超然淡泊的情感意境。 西方人把自己看成是世界的主人,是世界万物的主宰,以自我为中心,竭尽全力地开掘人的力量,释放人的潜能,主张拼命竞争,使私欲膨胀。在服饰上大力表现个性,强调夸张了的人体之美,不同程度地违背了自然规律。 中国服饰美学观念表现在女装造型上的是意象的结构,这种平面的直线与曲线的裁剪方法使衣服适体又不完全合体,不裸露张扬也不尽力束缚,在遮体的隐约之中含蓄地显现了流畅婉约,温情流动的人体曲线美,造型意识是节奏化的,让视点随着自己的心愿移动,使生命之体在宽衣的帖体与离体之间流露气韵。我国传统的服装空间造型是借“虚与实”、“明与暗”的节奏表达出来。中国人在服装造型上不追求明确的立体几何形态,不追求夸张人体的效果。中式的宽衣服装在摆放或悬挂时象画卷和布料一样平整,一目了然,尽收眼底,展现了二维平面的大方气度和坦荡胸怀。当穿在身上时,起伏连绵的衣褶和曲直缠绕的襟裾,营造了有远有近、有虚有实的活泼生动的三维立体效果。在造型上忽视了与人体三维关系相一致的精确数字,用这种没有明确凹凸的平面裁剪方法,求得了一个自成纹理、和谐统一的空间造型。这种平面剪裁的服装造型,更趋向于整体感,从心理学的角度上看,能给人一种视域空间上的扩大感觉。在柯尼洛夫等编著的《高等心理学》一书中提到:在一般的相等的条件下,立体的物体显得比与它相对的扁的以及平面的物体要小。因此,中式女装造型更显视域空间大,更显大气、大方的气韵。 而西方在塑型美学观念下产生的是竭力表现人体的立体裁剪的服装,无论挂在衣橱里还是穿在身上,或者行走起来,都没有太明显的变化,始终保持着相对静止的立体几何空间效果。西方的服装空间意识是在中世纪以后形成的,反映了西方人对空间的探求心理,有着明显的“自我扩张”的心理动机,渴望占据更多的空间,于是增大服装造型的体积,将服装视为扩大自我肉体的一种工具。这种夸张的服装造型使人与自然整体之间,人与人的个体之间保持着一定的距离,反映了西方人的宇宙观,也反映了人与自然万物、心灵与环境、主观与客观的对立性。由于东方与西方不同的哲学美学观念在服装上创造了不同的基本造型,体现了不同的精神气韵。 三宅一生被西方人看作是一个伟大的服装创造家,而不仅仅是一般意义的设计师,是因为他的设计具有革命的意义,在他的作品中成功地融进了东西方文化的精髓,又把古代精神与现代精神融为一体,又透着强烈的时代气息。他设计的服装造型是以日本传统的裁剪方法和服装空间意识为基础,淡淡隐现出作为东方的日本民族的哲学观念和对自然的态度,流露着东西结合、古今结合的气韵美感。他的设计灵感常来源于大自然,营造服装的意境神韵之美。他的服装舒畅、飘逸,使身体得到了最大的自由,身体的每一运动在他的服装上都能表现出柔和与性感的惊奇,这是一种无拘无束的穿着态度。他的服装表现着时代感的生活方式,又无过多的商业气息,他的设计是前所未有的,却让人联想起人类的历史。三宅的设计一直力求以为人本,简洁、单纯、易穿、易保养、免烫,极符合人性的要求,也极体现时代的气韵。 在服装上追求反璞归真的意境气韵,是现代东方人与西方人的众望所归。东西方人形体不同,观念不同,女装基本造型不同,体现的气韵风格也不同。种种不同,却能在今天的时代里达到神智与思想上的共通,都希望本土的设计能洋溢着国际主义的精神。 人们越来越发觉,服装是属于自然的,要回到自然中去。用现代的材质和技术达到反璞归真的目的,这正是当今的设计师所要探索和追求的,而中华民族的传统审美观念,早已具备了这种特点。 服装设计师马可曾说:设计师要力求去掉中国的形,留住中国的魂。气韵就来自于服装的灵魂。今天的女装造型设计上所要表现的时代气韵就是让民族精神融于世界精神,让古代精神融于未来精神,把东西方不同的哲学与美学观念下所表现的不同的神气与韵味互补地强化和体现。设计师们用简单的形式语言和视觉要素,以理解其神韵的境界和眼光去设计,才会使作品平中见奇。 如今全球经济的一体化,文化的本土化和多元化是人类持续发展的共识。东西方各国各族的服饰文化自古至今永不停歇地在同化和异化,似乎让我们看到了二十世纪时尚的未来走向。女装造型的外在形式美可以千变万化,但要传递给人透着时代气息的内在气韵美。 够不够啊
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