Image Recognition Of Hanfu Culture

This is the world or fairyland, the beauty of the beauty of the clothes to play the symbol of the ultimate immortal.

In movies,

As a symbol of the Chinese culture, it bears the function of image recognition. Even people who have a certain understanding of Hanfu are able to see from the costume the factors of the times, the character and the tone of the movie.

This is closely related to the aesthetic characteristics of Hanfu.

The right sleeves and wide sleeves of the robe are very nice.

The unique aesthetic characteristics of Hanfu are closely related to the cultural tradition of the Chinese nation.

"Hua Xia" has become the name of our country, which implies the beauty of dress is the great symbol of our country.

From Qu Yuan's singing of "Qie Qiyun's Cui" to the Mao Zedong's "lonely Chang'e Shu Guang sleeves", there are many excellent works of literati and scholars in the past.

The beauty of Hanfu is the embodiment of the specific life style and aesthetic concept formed by Han nationality for thousands of years. It is the crystallization of the aesthetic structure of Chinese culture and the sublimation of clothing.

The basic characteristics of Hanfu have not changed radically for thousands of years, reflecting the continuity and stability of Chinese culture development. Deep historical and cultural accumulation made clothes become the unique spiritual pursuit and cultural tradition of Chinese society.

The beauty of Hanfu is mainly reflected in its form, color, decoration and characteristics of the times.

The right hand, the wide robe, the big sleeves and the crown belt show the beauty of the Hanfu's formal beauty.

1. beauty of form

The most intuitive visual effect conveyed by Hanfu is the beauty of form, the unique external appearance of the right hand, the wide robe, the broad band and the imperial tape.

This design concept regards clothing as a product of nature.

The book of changes in Zhouyi said, "the emperor's Yao and Shun's clothes are taken from all kinds of heaven and earth". "Kao Gong Ji" says, "sometimes the sky is sometimes filled with Qi, the material is beautiful, the work is skillful, the four are the same, and then it can be good". The book of Rites "deep clothing" says, "ten of the two pieces should be ten in February."

In the eyes of the ancients, man is the unity of form and spirit, the unity of body and spirit, and the form of clothing reflects the harmonious relationship between human beings and objects. This kind of aesthetic emotion consciousness tends to be exposed to clothing as well as "natural".

The formal beauty of Hanfu is also reflected in the proportional relationship between human body and clothing.

The book of Rites "deep clothing" also says, "not to see the skin, but not to be covered by the earth; to continue to hook the side, to sew half the bottom; to raise the height, to carry the elbow; the length of the sleeve, to oppose the elbow and the elbow", and to make the Hanfu have a graceful aesthetic feeling by the wide and fat of the coat.

Hanfu dress, such as Xuan end, is a better manifestation of the beauty of the crown. The harmonious and unified system of practical functions and aesthetic ideas can meet people's needs of material life and spiritual life at a higher level.

2. beauty of color decoration

The beauty of color decoration is another feature of the beauty of Hanfu.

The inner essence of clothing reflects through external appearance. To a large extent, color decoration is a reflection of the internal character and spirit of a nation in external modeling.

Since the formation of the service system in the Zhou Dynasty, the dress colors have strict boundaries, and they also have different meanings.

Take the Xuan end as an example, Shi Xuan's Xuan clothes and his clothes are black and red in the dark, yellow and red in color, and a deep and solemn beauty.

Like Zhu Zishen's clothes, white clothes, pure and simple expression, the spirit of the Confucianists is expressed.

The original patterns of the Chinese nation, such as moire, rhombus, Unred, etc., are mostly represented by the two party continuous composition. The subjective color is not strong. It is often an abstract representation of some natural object.

Take the crown costume as an example, the twelve chapters of the sun, moon, star, dragon, mountain, China worm, fire, Zong Yi, algae, powder, rice, and bamboo are all implied from heaven and earth.

3. characteristics of the times

Different times have different aesthetic customs, and Hanfu also has distinct characteristics of the times. From the clothes and clothes, we can see the fashion of the generation, the trend of the times and the change of civilization.

In the Wei and Jin Dynasties, scholars liked to talk about nature and the pursuit of nature. The costumes of that era did not follow the rules of ceremony and law. They were not only decadent, but also straightforward in nature.

Others, such as the simple atmosphere of the Han Dynasty, the magnificence of the Tang Dynasty, the simplicity and elegance of the song, and the carving of the Ming Dynasty, are all in one continuous line, evolving orderly.

As far as the aesthetic image of Hanfu is concerned, it will convey a spiritual connotation. In other words, Hanfu can reflect and express the social state and cultural thought of China at that time.

Hofstader, a cultural research expert (Hofstede), analyzes the cultural stratification and compares the culture of a nation into an onion, symbolizing from exterior to interior, heroic character, etiquette and values.

In his theory, Hanfu, like languages and buildings, is visible and easily distinguishable. They belong to the outermost symbol.

However, we should also see that the Han costume in symbolic meaning is due to the need for etiquette.

It is often related to individual behavior and methods in social interaction and life.

Hanfu is also part of etiquette.

In fact, whether it's a symbol or a ritual,

Undoubtedly, it can convey the values of Chinese traditional culture.

According to the theory of Barthes' structuralism semiotics, film costumes design has become a kind of code for the use of image processing and creating the screen world. It also has two structural systems, the surface and the deep.

It can not only sense the visual image, but also generate meaning and identity.

In this sense, the Hanfu as the visual symbol of a movie has the function of production, and it produces certain meaning, that is, the value of Chinese traditional culture.

Moreover, the Hanfu, as a visual symbol of a movie, produces corresponding social interpretation and cultural identity, thus giving birth to individual identity and the same ideology.

Therefore, in the movie

We should first take the beauty of the three aspects of Hanfu as the highest reference, otherwise it will easily lead to the phenomenon of cultural misreading, not only can not convey the aesthetic ideal of the Chinese nation, but also the cultural tradition and ideal pursuit of Han nationality can be misinterpreted.

In other words, Hanfu, as a carrier of national culture, plays an important role in the dissemination of culture in movies. It is necessary for every Chinese descendant to find some spiritual conversion from it, to experience the sense of gravity in history, and to let all the people feel the beauty of Chinese culture.