The Cultural Beauty Behind Hanfu

The Cultural Beauty Behind Hanfu

Two girls dressed in Hanfu admire their own film in the ancient city of Luoyi, Luoyang City, Henan Province. Published by Xinhua News Agency

【The viewer has a heart】

The rise of Hanfu craze in society not only shows that people like the beautiful style of Hanfu, but also represents people's recognition of the traditional culture carried by Hanfu. When some non-standard or even historical Hanfu become popular in real life, people will also regard it as a window to understand traditional culture, and they are likely to have a misunderstanding of traditional culture.

Elegant and delicate skirts, elegant feathered coats, paper-thin blouses... Nowadays, whether in the streets or in parks and shopping malls, young people wearing Hanfu can often be seen traveling. In many photo shoots, film and television creation activities, Hanfu is a must-have costume.

In a broad sense, Hanfu is a general term for the traditional costumes of the Han nation. It generally refers to the Chinese costume system that is gradually formed with the traditional costumes of the Han nation as the main body and constantly absorbing the characteristics of other national costumes in the course of social evolution. Hanfu in the narrow sense is a historical concept, mainly referring to the clothing system represented by the Guanzhong and Gyeonggi areas in the Han Dynasty. Its form is in line with the diverse clothing culture of the Eastern Zhou Dynasty, such as the curved train of Chu clothing, the neck and Qi clothing of Qin clothing. concave back hem, etc. The stable morphological foundation of Hanfu was laid in the Han Dynasty, and its formation and development process have always been accompanied by the spread of Han culture. In the development of more than 2,000 years, although Hanfu has been continuously absorbing new clothing cultural elements with an open and inclusive attitude, showing a sustained, long-term, and progressive development trend, its core characteristics formed in the Han Dynasty have always been retained, such as communication. Right collar, wide robe and big sleeves, flat cut, silk and linen materials, etc.

In recent years, the Hanfu consumer market has shown explosive development. The current market size has exceeded 10 billion yuan, and the number of Hanfu consumers has reached tens of millions. However, there are still many irregularities in the Hanfu market. For example, some designers mix and match clothing from different eras in order to be "new"; some Hanfu are overly artistically processed and gaudy, and do not meet the requirements of Hanfu shape; some Hanfu products are shoddily made, or The fabric is inferior or the cut is rough; in some online games, some fictitious clothing without any historical basis are also called "Hanfu"...…

"China has great etiquette, so it is called Xia; it has the beauty of clothing and seals, so it is called Hua." Hanfu has multiple cultural connotations such as etiquette and aesthetics, and is one of the markers of national characteristics. "How does the Luo Yi flutter? The light train returns with the wind." Hanfu vividly embodies the beauty of classical, subtle, light and elegant. Today, the rise of Hanfu craze in society not only shows that people like the beautiful style of Hanfu, but also represents people's recognition of the traditional culture carried by Hanfu. Those young people wearing Hanfu are a mobile window showing Chinese traditional culture to the world.

From the perspective of cultural inheritance, irregularities in the field of Hanfu are not conducive to the inheritance and spread of traditional culture. Because when some non-standard or even without historical basis Hanfu becomes popular in real life, people will also regard it as the carrier of traditional culture, and they are likely to have a misunderstanding of traditional culture.

There are many reasons for the above problems in the Hanfu market. On the one hand, it is related to the eagerness of merchants to blindly pursue profits; on the other hand, it is also related to the lack of solid and systematic research on Hanfu in the academic and design circles, resulting in the lack of authoritative and unified design specifications and design standards for Hanfu.

Hanfu is contemporary and future, but first of all it is historical. To inherit and develop Hanfu culture, one must have awe of history, and especially respect the traditional Chinese costume culture. On this basis, we can first restore and copy Hanfu, and then gradually achieve the restoration and revival of Hanfu.

Restoration refers to restoring the original state, transforming the original thing from old to new by repairing it; copying is to recreate an identical thing according to its original state; retro is to draw on certain ancient elements in recreating things, and reconstructing things does not contain those ancient elements. Elements also contain certain attitudes and feelings of the re-creator; revival is a comprehensive reproduction from material to spiritual, and this process emphasizes the refining of cultural essence and the improvement of cultural connotation.

As far as the inheritance of Hanfu culture is concerned, on the one hand, it is necessary to combine documentary materials and unearthed Hanfu cultural relics to strengthen the research on the shape and materials of ancient Hanfu. At the same time, it is necessary to strengthen the repair of incomplete Hanfu and replicate "Hanfu samples" of different eras as soon as possible. On the other hand, combined with modern people's aesthetics and living habits, and drawing on ancient costume cultural elements, new Hanfu is designed to meet market demand. To achieve the above two aspects, we should first do a good job in top-level design, adhere to the two-pronged and coordinated advancement of research and application promotion, establish and improve the integrated development layout of research, academia, production, and communication, and form an industrial closed loop.

In order to inherit and develop Hanfu culture, in addition to developing and designing decent Hanfu products that can be worn on the body, how to make ancient costumes "speak" is also a subject that requires constant thinking and practice. From the research field of ancient Chinese costumes pioneered by Shen Congwen, to the research on ancient costumes continued to be consolidated and expanded by Sun Ji, and then to the transformation of these results into the "Exhibition of Ancient Chinese Clothing Culture" and a series of courses for the public, these are all efforts to promote the inheritance of Hanfu Useful practices for development. In the future, we will promptly transform the research results on Hanfu into products that are easy to read, understand, andImages suitable for display to the general public, and these images with reliable basis can be displayed in classrooms and exhibition halls.

Ancient costume research institutions such as the National Museum have a duty to inherit and promote Hanfu culture, but the inheritance of Hanfu mainly depends on the public. When some young people wear Hanfu and wander among the green mountains and scenic spots, they have implicitly assumed the role of inheritors of Hanfu culture. Of course, if these young people can master more abilities in appreciating Hanfu and interpreting Hanfu culture, then Hanfu culture will be better inherited.