The folk costume in waterside villages of Southern Yangtze in China was notonly daily consumer goods, but also a symbol system of folk-custom culture. This symbol system was directly conveyed by a series medley shape ...The folk costume in waterside villages of Southern Yangtze in China was notonly daily consumer goods, but also a symbol system of folk-custom culture. This symbol system was directly conveyed by a series medley shape signs, many-faceted color signs and decorated craft signs of pleated skirt. Its origination, accumulation, continual process and development were greatly associated with the life style and paddy culture of waterside villages, such as the folk religion, social life, artistic philosophy, regional culture, the landform of waterside villages and the humanity environment. So the folk costume was the significant sign of practical function and also the significative sign of folk traditional culture, both of which composed the costume cultural symbol system of waterside villages of Southern Yangtze called ＂ integration of aesthetic and practical function＂.展开更多
The research is started with a query that whether the width of collar in Qing Dynasty is too small. The paper bases on the statistics which come from the collection of the Costume Museum of Denghua University. compare...The research is started with a query that whether the width of collar in Qing Dynasty is too small. The paper bases on the statistics which come from the collection of the Costume Museum of Denghua University. compares the results with the national standard specification, then analyzes the structure and shape of collars in Qing Dynasty, and tells the relationship between collar and the garment. Furthermore, the paper discusses the function of lady＇s collar in Qing Dynasty and gives a suggestion that collar being an indicator to distinguish women＇s wear from children＇s wear.展开更多
Traditional Chinese painting possesses its own unique artistic style in the world＇ s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese ...Traditional Chinese painting possesses its own unique artistic style in the world＇ s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese painting. In traditional Chinese painting, top priority is given to the expression of the creator＇s subjective interests, but not to the external colors and similar appearances. The masters in the world of traditional Chinese painting have always attached high importance to expressing the spirits with forms or appearance since the ancient times. In traditional Chinese painting, ＂similarity in form or appearance＂ and ＂similarity in spirit＂ are always dialectically unified with consciousness and unconsciousness, so that the art form with the ＂freehand brushwork＂ aesthetic characteristics is produced and significantly features Chinese spirit and oriental style. Also, the realm of art to express spirit with appearance is always pursued in traditional Chinese painting, and this is totally different from the ＂express appearance with appearance＂ in the western paintings. Moreover, expression is always stressed in traditional Chinese painting so as to express the feeling world of human using the ＂freehand brnshwork＂ aesthetics as the creation method. The ＂freehand brushwork＂ aesthetic characteristics of traditional Chinese painting are branded with a profound Zhuangzi philosophy.展开更多
基金Society and Science of Jiangsu Province (No.06JSBYS005)
文摘The folk costume in waterside villages of Southern Yangtze in China was notonly daily consumer goods, but also a symbol system of folk-custom culture. This symbol system was directly conveyed by a series medley shape signs, many-faceted color signs and decorated craft signs of pleated skirt. Its origination, accumulation, continual process and development were greatly associated with the life style and paddy culture of waterside villages, such as the folk religion, social life, artistic philosophy, regional culture, the landform of waterside villages and the humanity environment. So the folk costume was the significant sign of practical function and also the significative sign of folk traditional culture, both of which composed the costume cultural symbol system of waterside villages of Southern Yangtze called ＂ integration of aesthetic and practical function＂.
文摘The research is started with a query that whether the width of collar in Qing Dynasty is too small. The paper bases on the statistics which come from the collection of the Costume Museum of Denghua University. compares the results with the national standard specification, then analyzes the structure and shape of collars in Qing Dynasty, and tells the relationship between collar and the garment. Furthermore, the paper discusses the function of lady＇s collar in Qing Dynasty and gives a suggestion that collar being an indicator to distinguish women＇s wear from children＇s wear.
文摘Traditional Chinese painting possesses its own unique artistic style in the world＇ s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese painting. In traditional Chinese painting, top priority is given to the expression of the creator＇s subjective interests, but not to the external colors and similar appearances. The masters in the world of traditional Chinese painting have always attached high importance to expressing the spirits with forms or appearance since the ancient times. In traditional Chinese painting, ＂similarity in form or appearance＂ and ＂similarity in spirit＂ are always dialectically unified with consciousness and unconsciousness, so that the art form with the ＂freehand brushwork＂ aesthetic characteristics is produced and significantly features Chinese spirit and oriental style. Also, the realm of art to express spirit with appearance is always pursued in traditional Chinese painting, and this is totally different from the ＂express appearance with appearance＂ in the western paintings. Moreover, expression is always stressed in traditional Chinese painting so as to express the feeling world of human using the ＂freehand brnshwork＂ aesthetics as the creation method. The ＂freehand brushwork＂ aesthetic characteristics of traditional Chinese painting are branded with a profound Zhuangzi philosophy.
