Every Saturday 13:30- 16:30.
(Note: it will be closed 30 minutes before closing; Holidays, winter and summer vacations are not open)
Group visits with more than 20 people need to be booked by telephone 1 week in advance. Many ethnic groups in China have the habit of wearing silver ornaments. In the traditional concept, silver ornaments can ward off evil spirits, which means good luck and happiness. In modern concepts, silver ornaments are symbols of wealth and beauty. The custom of advocating silver ornaments of all ethnic groups contains rich cultural contents. Due to the differences in geographical environment, cultural background and living customs, the northern and southern ethnic groups show completely different decorative styles, and even among different branches of the same ethnic group, there are great differences in silver ornaments. For example, the silver ornaments of Miao nationality's Leishan short skirt Miao nationality reflect primitive and rough cultural characteristics from modeling to decorative patterns, while the silver ornaments of the well-developed Shidong Qingjiang Miao nationality are exquisite and delicate. Therefore, these differences greatly enrich the types of silver ornaments.
Silver ornaments can be divided into headdresses, earrings, necklaces, brooches, bracelets, rings, silver bubbles, silver flowers, silver pieces and silver bells. The production process of silver ornaments is very complicated, including inlay, bead inlay and jade inlay; There is a flower carving method, carving dragons and phoenixes; There is a filigree method, which is made of silk; There are also various metal processing techniques, such as welding, forging, hollowing, winding and beading. Skillful skills have also made colorful silver ornaments on the other hand. There are obvious differences between north and south in China's national costumes. Long skirts are an important feature of national costumes in northern China. The clothing styles of the northern nationalities belonging to the plain culture tend to be unified in richness, mostly big-breasted or inclined-breasted robes. Clothing materials are mainly fur, felt and brocade, and decorations are mainly precious gold and silver, pearls and jade, corals and turquoise. Manchu, Mongolian, Tibetan, Oroqen, Ewenki, Uygur, Tajik, Kazak, Kirgiz, Yugur and other ethnic groups are all like this.
Most of the costumes of the southern nationalities belonging to mountain culture are from top to bottom, and the clothing materials are mainly cotton and linen. Their clothes are rich in styles and decorative forms, which is magnificent, which is determined by the characteristics of mountain culture. Among the southern nationalities, the most gorgeous dress is the silver embroidered skirt of the Miao nationality in Shidong; The most primitive is the clothes worn by Li and Wa people. The strangest thing is Yao's dog tail shirt; The most beautiful is the short skirt of Dai nationality; Hani girls wear the most ornaments, such as flowers, grass beads, shells, feathers and beetles. All the beautiful things in nature can be their decorations.
The shapes of national costumes in China can be divided into robes, dresses, dresses, long-breasted dresses, long-breasted trousers, double-breasted dresses, oblique-breasted dresses, through-the-head dresses and other basic styles. These shapes include the original form of clothing and its development process, so China's national clothing is known as "a living history of clothing development". All ethnic groups in China have a textile tradition. The northern nationalities are good at spinning wool, while the southern nationalities are good at spinning cotton, hemp or brocade. As early as the Han Dynasty, China's brocade craft was very developed, and it has been developing continuously since then, resulting in masterpieces. The brocade of the southern nationalities absorbed the essence of the brocade of past dynasties, and blended into the living customs and cultural characteristics of this nationality, making the brocade the most distinctive folk weaving art among the southern nationalities in China.
Embroidery is gradually emerging with the birth of fabrics. It uses silk and cotton thread to form patterns on fabrics and silk through the operation of needles. Embroidery is widely used in folk costumes, and all ethnic groups in the north and south use embroidery to decorate clothes. There are many kinds of embroidery, such as braid embroidery, lock embroidery, twist embroidery, pile embroidery, ponytail embroidery, crepe embroidery, yarn embroidery, cross embroidery, seed embroidery, gold embroidery, tin embroidery, hollow embroidery, clip embroidery and so on.
In the Tang Dynasty, batik drawing technology reached its peak. Although the original batik was gradually replaced by silk reeling, brocade, embroidery and other techniques, among the Miao, Yao, Buyi and Gelao nationalities in southwest and central south, batik is still passed down from generation to generation with its simple and fresh style, showing eternal charm.
Weaving, embroidery and dyeing are not only diverse in forms and exquisite in craftsmanship, but also rich in cultural connotations. Ethnic groups without writing make use of the painting functions of weaving, dyeing and embroidering to depict primitive totems with patterns, record historical myths, reproduce customs and people's feelings, and place spiritual yearning on them, so that their value far exceeds the practical and decorative functions. The Old Photo Gallery shows a batch of photos of ethnic surveys in 1930s, which were taken by the famous ethnologist and photographer Mr. Sakamoto. These photos taken by Mr. Zhuang are very rich in content, reflecting the actual situation of the social history, political economy, religious culture and living customs of the Yi, Qiang and Tibetan people at that time. It has high ethnological value and historical significance.
From the contents of the photos, we can see that the author has a keen ethnological vision, as well as superb photography skills and aesthetic consciousness. The excellent comprehensive quality of the author makes these photos not only academic but also artistic. There are war scenes, religious ceremonies, daily life, and many pictures reflecting the evolution of costumes, which clearly show the social features of all ethnic groups in Xikang area, which borders on Tibet in Sichuan at the beginning of last century. Some contents have completely disappeared in the process of social and historical development, so these old photos are more precious and have more historical value. Among the southern nationalities in China, Miao costumes are the most colorful. There are more than 100 branches of Miao nationality, and there are more than 100 kinds of costumes, ranging from exquisite and gorgeous Shidong Miao costumes to primitive and rough Nandan Miao costumes with different styles. Guizhou is the most exquisite place of Miao costumes, with excellent embroidery, batik, textile and silver ornaments, which fully embodies the unique Miao costume art.
Miao nationality is a nation with strong national consciousness and artistic talent. They not only inject cultural traditions into oral literature, but also into costume patterns, including Mother Butterfly, which tells the myth of human origin, Jiangyang Shooting at the Sun and Moon, which tells the story of Miao ancestors, and Yellow River, Yangtze River, Plain, City and Dongting Lake, which trace the tragic migration history of Miao ancestors. No nation in the world regards costume patterns as history books like Miao people, expressing history profoundly and passing it on from generation to generation as the symbol of Miao people. Han nationality is the main ethnic group of the Chinese nation and the most populous nation in the world. The Han nationality has a long history and has created its own splendid costume culture in the long process of development.
The costume culture of the Han nationality has a long history and is profound. Its emergence and development are closely related to the political, economic, military and spiritual beliefs, social customs and aesthetic tastes of each era. The profound cultural connotation and colorful patterns of Han costumes reflect the ingenious skills and ideal creation of the Han people to meet their material and spiritual needs for thousands of years, and also show their long-term and multifaceted cultural exchanges with ethnic minorities. The materials, colors, shapes and patterns of Han costumes are unique, and their stitches and dribs and drabs reflect the universal value orientation and aesthetic characteristics of Han people, which are subtle, elegant, dignified and simple.
Hanfu Pavilion shows different types of costumes in different areas of Han nationality in modern times. Due to different customs and backgrounds, Han costumes have both unity and differences. Its colorful literary talent and diverse forms far exceed the capacity of this small exhibition hall, but with the help of words, tables and pictures, the museum introduces the general appearance of Han costumes as comprehensively as possible.
(The information comes from the National Costume Museum of Beijing Institute of Fashion Technology, which was established in 2000. China is the first museum specializing in clothing, and it is a cultural research institution integrating collection, display, scientific research and teaching. The National Costume Museum has won the "Top Ten Exhibits of National Museums-Best Production Award", and it is one of the best costume museums in China at present. It has a collection of more than 10,000 pieces of costumes, ornaments and fabrics of various ethnic groups in China, as well as nearly 1,000 pictures of the life of Yi, Tibetan and Qiang people in 1930s, which is extremely precious. The existing exhibition hall of the National Costume Museum covers an area of 2,000 square meters, including seven exhibition halls, including the minority costume hall, the Miao costume hall, the Han costume hall, the metalworking jewelry hall, the brocade embroidery batik hall, the Olympic costume hall and the photography hall, as well as the China National Traditional Costume Technology Learning Hall for the majority of young people and the public to learn, understand and interact. ) The 2008 Beijing Olympic Games attracted worldwide attention. It holds high the Olympic ideal and shows the spiritual and cultural characteristics of the people of China through its unique artistic design. With its professional knowledge and design strength, Beijing Institute of Fashion Technology has made positive contributions to this sports event.
On June 5438+February, 2005, BOCOG officially launched the Olympic uniform design project to invite tenders at home and abroad. The teachers and students of the school actively participated in and formed a design team and submitted the design scheme. After more than half a year's efforts, the clothing design schemes for staff, technical officials and volunteers of the 2008 Olympic and Paralympic Games, mainly submitted by the Olympic clothing design team of Beijing Institute of Fashion Technology, stood out from more than 200 schemes at home and abroad and passed the review. After that, the design scheme of the Olympic and Paralympic torch relay costumes, China athletes' award-winning costumes and ceremony costumes submitted by the school also passed the evaluation of BOCOG, the State Sports General Administration and the International Olympic Committee. The school has also completed these designs and other Olympic costumes, such as plate making, sample garment making and model display.
The Olympic Clothing Pavilion displays various series of clothing and related materials designed and produced for the 2008 Olympic Games. They constitute a beautiful landscape of this grand event, and also fully reflect the teaching purpose of the school "combining national costume culture with modern design concepts".