2, familiar with the main factors affecting the change of human clothing. 3. Understand the relationship between the origin of clothing and human labor and the phenomenon of clothing changes.
Teaching emphasis: the general law of human clothing development; teaching difficulties: the main factors affecting human clothing changes; teaching contents: Chapter 1: the origin of human clothing, the concept, function and composition of human clothing, the clothing situation in primitive society, the period of naked life, the period of hides, leaves and decoration, the period of fiber fabric, and the clothing motivation of primitive people. Physiological needs theory (1) Climate adaptation theory (2) Body protection theory (1) Amulet theory (2) Symbolism theory (3) Decoration aesthetics theory (3) Sexual needs theory (1) Shame covering theory (2) Attraction theory 4. The relationship between the origin of clothing and human labor is in the process of labor. Chapter II Characteristics of Human Clothing 1. The main factors affecting the change of human clothing are 1, environmental factors (1), natural environment (2) social environment (3) functional environment 2. The phenomenon of clothing change is 1, the contradiction between resistance and strength 2. The intersection of gradual change and sudden change 3. The conflict between external factors and internal factors. The development of human clothing. Imitate the law of conformity and originality; 2. Seeking simplicity, convenience and beauty through decoration; 3. Abide by the laws of environment and internal factors; 4. The law of integration, absorption and self-inheritance; 5. Sign the Personal Freedom Act; 6. Carry forward the principle of excellence and eliminate the outdated; 1. Briefly describe the clothing motives of primitive people.
2. Briefly describe the general law of human clothing development. Chapter III Clothing of Slaves in Primitive Society Social Clothing of the Fourth Slave-Accumulation and Stereotyping The purpose of teaching is to understand the basic form of clothing in Primitive Society and Slave Society.
Teaching emphasis: the technical performance of tools and materials in the initial stage of China clothing and the teaching difficulties of coronation clothing. Morphological characteristics of two basic clothing styles and their position in China clothing history. Teaching content: Chapter III: Clothing in primitive society: the earliest sewing tools and body accessories 1, the earliest sewing tools; Bone needle 2, body ornament (1); Necklace 3, Loom) 4, Fiber and Fabric (1) Fiber Chapter IV Clothing in Slave Society 1. Primitive belief and its influence on clothing concept 1. Clothing shows reverence for nature and ancestors (1). The shape of the coronation is made of mysterious clothes. Shape and color represent heaven and earth, reflecting the worship of heaven and earth.
(2) Before and after the Emperor of Heaven was crowned, 12 was hung, which represented the astronomical view of 12 months for one year and reflected the worship of heaven. (3) There is a 12 pattern (chapter 12) on the crown of the Emperor of Heaven, which embodies the worship of nature.
10 (4) wearing a wreath with knee pads is a reverence and prayer for ancestors; 2) Clothing embodies the world view of Yin-Yang and Five Elements; 2) Ritual system and crown system1; 3) Coronet consists of crown, top and skirt, arrow (f), arrow (x) and belt. Four, two basic clothing styles Chinese ancient clothing can be divided into "up and down" and "up and down" styles.
V. dress etiquette and Social Folklore Work 1, Noun Interpretation Etiquette, Orthochromatic, Clothing, Deep Dress, Shoufu, Chapter 12, Crown, Skirt, Shanfu, Clothing, Skirt and Wufu. 2. Why is it important to trace the original beliefs embodied in clothing to understand the clothing culture in China? And analyze its specific content.
3. What is a coronation suit? Briefly describe its shape and type. 4. Briefly describe the two basic shapes of a coat, namely, the lower garment, the upper garment and the lower garment, and their influences on China's clothing in past dynasties.
5. How did the folk customs of Xia, Shang and Western Zhou affect dress etiquette? Please give an example. The purpose of teaching is to master the characteristics of costumes in the Warring States, Qin and Han Dynasties, Wei, Jin, Southern and Northern Dynasties, understand the development of silk, and fully understand the development and significance of the Silk Road.
The relationship between the culture of Chu and Han and the dress and the difficulties in dress teaching are reflected in the fashion of men and women in Qin, Han, Wei, Jin, Southern and Northern Dynasties. Chapter V Clothing teaching content in pre-feudal society: Chapter V Clothing in pre-feudal society 1. Silk and Silk Road Dye Multilayer Fabric-Brocade First of all, the Silk Road is one of the earliest windows for China and the western world to understand each other. After the opening of the Silk Road, China's silk products enjoyed a high reputation in Europe, and China's culture influenced many countries and regions in East Asia, which was a very important event in the history of world cultural exchange. Secondly, the Silk Road was a channel for China's ancient western minorities to accept advanced culture and understand the outside world.
Second, 1, 1, 1, 1, 1, 1, 65438 from the 3rd century BC to.
The pattern of Chu robe is a style of winding mountains and rivers in the south with magnificent scenery, and it is a local feature of China people who worship ghosts, witches, sun and red. Color characteristics: Black and red are precious colors, with strong contrast between light and shade.
The costumes of Chu men and women (silk paintings unearthed from Chu Tomb in Changsha, Hunan Province) (2) Han culture and robes originated from Chu culture and official culture, and are characterized by realism, simplicity, grandeur and flying, breaking the old and creating the new, which is a kind of culture with great boldness of vision and positive and optimistic spirit of the times. Han robe shape: inherited the etiquette of the Qin dynasty, mainly robes, and was most influenced by Chu robes.
The pattern of this dress is very simple. Hanpao Ququ: Tie a triangular piece of silk on the right side of the skirt to make the skirt longer, and the tip goes from the left armpit to the back and then to the front.
The shorter twists and turns are only behind. Han robes: Chu robes, which continued to be popular from the Western Han Dynasty to the Eastern Han Dynasty, eventually replaced Qufu robes and became the mainstream clothing style.
Clothing of Wei, Jin, Southern and Northern Dynasties II. Short coat, sabre and hook were divided into north and south during the Warring States period, and the clothes made in different countries were different. The most prominent thing is that the bronze casting industry was very developed in the Spring and Autumn Period, and a large number of swords were produced, making sabre a fashion. Hook shape: made of bronze, fixed at one end of the belt, and hooked on the ring or hole at the other end of the belt when girding, similar to the belt used now.
2. China Historical Costume Performance Courseware In the late Paleolithic period, people already knew that they could sew clothes, and bone needles were found in the cultural remains of the Neanderthals in Zhoukoudian.
By the end of the Neolithic Age, people of different regions and nationalities had different clothing styles. Take the hairstyle as an example. Dadiwan culture has a short ponytail, Majiayao culture has an inverted braid, Dawenkou culture has a hair band made of pig teeth, and Longshan culture has bone hair. A jade man's head unearthed from the Shenmu Shige site in Longshan culture, Shaanxi Province, has a bun on the top of his head, which may be the reflection of his hair.
Bones have been unearthed in Erlitou-type and Dongxiafeng-type sites equivalent to Erlitou culture in Xia Dynasty, and their shapes are the same as those of similar artifacts in Shang Dynasty. Therefore, knowing that hair is tied in a bun has always been a major feature of ancient Chinese costumes.
Xia Shang and Xia Shang's costumes did not really exist in the Western Zhou Dynasty. According to the jade and stone statues unearthed from Houjiazhuang and Muhao tombs in Anyang, it can be known that the nobles of Shang Dynasty wore collar clothes, a gentry belt at their waist, a petticoat under them and a city (covering their knees) in front of their bellies. There are few figures left over from the Western Zhou Dynasty.
Judging from the jade and bronze humanoid car unearthed in Luoyang, clothes, dresses, belts and markets are still the basic components of aristocratic men's wear. Its clothes are positive color and middle color, pay special attention to the market in front of the clothes.
According to the bronze inscriptions in the Western Zhou Dynasty, Zhou Wang often gave clothes at the registration ceremony, such as "Zhu Shi, scallion yellow" (Mao), "Shi, Huang" (Xun Gui) and so on. In ancient literature, Cheng and Huang refer to "balance", which refers to knee covering, and "balance" refers to a whole set of accessories including jade binding group and jade pieces.
The figurines unearthed from Changtaiguan in Xinyang, Henan Province and Jin 'an in Jiangling, Hubei Province belong to Yu Pei in front of their bellies. On the other hand, under the rule of Yu Pei, nobles were highlighted with special colors, thus becoming a symbol representing their status.
During the Spring and Autumn Period and the Warring States Period, deep clothes and Hu clothes became popular. Deep clothes are called deep clothes because they connect clothes that were not connected up and down in the past.
Its hem is not sewn, but the skirt is extended and covered backwards, which is called "continuous sewing and hemming". Deep clothes were quite popular during the Warring States period, and there were people wearing deep clothes in the Zhou royal family and the relics of Zhao, Zhongshan, Qin and Qi.
Chu tombs reveal the deep clothes of folk figures, and the detailed structure is clearer. Short sleeves are a major feature of Chu clothing.
There used to be a short-sleeved "dress" in the tomb of Mashan 1 in Jiangling. According to Shuowen, it's a jacket. According to Zeng Houyi's clothes, it should be short-sleeved clothes.
Khufu mainly refers to clothes and trousers, especially trousers, which are the costumes of the northern grassland nationalities in China. For riding convenience, they wear narrower coats, trousers and boots.
According to Records of the Historian Zhao Shijia, this system was first used by King Wuling of Zhao to equip the Zhao army. The bronze warrior statue of Changzhi watershed in Shanxi Province, wearing a straight-breasted coat with a rectangular collar, trousers, belt and sword, is the image of Zhao warrior who uses Hu fu. "Hufu is used, the crown is Huiwen, the belt is the northern generation, the shoes are worn, and the pants are pleated."
Since the introduction of King Wuling of Zhao, Riding and Shooting, and Trouser Pleats into China in the Warring States Period, all previous dynasties believed that either its crown, its shoes, or its belt, or all three were used by the people in the Jin Dynasty, only occasionally. During the Northern and Southern Dynasties, Hu Fu was the official costume of the Northern Dynasty, while Han Fu was the military uniform of the Southern Dynasty. Compared with the Sui and Tang Dynasties, the emperor was a hunting costume, or a public costume, and folk costumes were the most popular.
Tracing back to its spread and prosperity, from military to civilian, it has a long history and complicated changes. Wang Guowei's "Hu Fu Kao" is the most detailed, so there is no need to repeat it. It was only in the Tang Dynasty that why it became so popular has not been verified so far, and Wang has not mentioned it.
In my humble opinion, there are three reasons: (1> During the Tang Dynasty, many Hu people lived in the mainland. (2) The aristocratic class abandoned the past and sat for the conference semifinals; (3) courtiers, abandon the car and ride horses. In Khufu, there are so-called semi-armed people.
In ancient times, it was called half arm, but today it is called mandarin jacket. There is no official script in Shuowen, and there is no official script in Pian Yu, for fear that it is an official script. Li Shu and Li Shu both get their sounds from Guangxi, but they can't be hung up or hung up.
Sleeveless or semi-armless clothes are Hu clothes. "Sin only records crown clothes" says: "Every dynasty wore pleats, and the clothes were also military, with short sleeves or sleeveless, with horizontal pleats and vertical pleats under them. If the sleeves are long, they are dragged or interrupted at the waist, and they intersect with a line, which is called Cheng Ziyi and Wireless Road, which is called Taoist robe. "
Just like this trouser pleat, it became the general name of Khufu. All sleeveless, short-sleeved and long-sleeved clothes, as well as robes that span the waist with cable channels or wireless channels, can be called trousers pleats, so it is no problem that the half arm in question is Hu clothes.
As for its shape, Song Zengsan's article "Raccoon Sleeve" describes it in the most detail: "There is a clothing system close to the times, such as spiral clothing, which is not longer than the waist. The sleeves only cover the elbows, and the thickest silk is still wrapped with clips. It is still the kind of cotton sleeve named Ri sleeve because of purple soap, which was heard from Imperial Horse Academy. Not longer than the waist, the sleeves only cover the elbows, and the edges are covered with purple soap cloth, with coats and cotton-padded clothes. Obviously, it is a half-arm system.
Because its front and back lapels are very short, you might as well take them off when sitting on the saddle, so it can also be called a jacket, which is a pair of lapels. The system of Ming and Qing dynasties still exists.
The Japanese Records, Volume 28, Duijian Clothing, said: "Taizu recorded that in March of the 26th year of Hongwu, officials and civilians were forbidden to wear Duijian clothing, and only rode horses to let them ride." Yeah, yeah. "
(A preliminary study of Huang Xianfan's Interpretation of Ancient Books) A large number of pottery figurines were unearthed in the pits of terracotta warriors and horses in Qin and Han Dynasties, which provided sufficient examples for the samurai costumes in Qin and Han Dynasties. The half-length clothes they wear are relatively light, but they are still deep clothes, with pants below and a belt with hooks around their waist.
This kind of clothing was still widely popular in the Western Han Dynasty, and pants gradually spread to the whole society. The establishment of the crown system was realized in the Han Dynasty.
In ancient times, the crown of Huaxia nationality was mainly subordinate to the ritual system, and men had to perform the crown ceremony when they were adults. The crown system in Han dynasty was mainly subordinate to the service system, which was a symbol of identity, official position and even rank.
People with low status can only wear hats, not crowns. A crown is a hair cover added to a bun and does not cover the whole head.
E is like a hat. The crown and cloak have nothing to do with each other. Wang Mang arrived. It is said that because he was bald, he wore a cloak first and then was crowned.
Later, this way of wearing became popular, so the crown that appeared on the stone relief in the Eastern Han Dynasty was also placed under it. Crown and martial arts can't be matched casually. The crown worn by civil servants should match the martial arts worn by roof-shaped intermediaries and military officers.
3. Who has information about the costumes of the Republic of China? Buy a Book —— The History of Clothing Development in China The Opium War broke out in the modern times of 1840, which was the beginning of the modern history of China.
China gradually changed from an independent feudal country to a semi-colonial and semi-feudal country. The influence of western capitalist culture is deepening day by day, and clothing has also changed.
After the Revolution of 1911, although the original clothing form withdrew from the historical stage, the old ideas still have a great market. Dr. Sun Yat-sen advocated that the people should get rid of abuses and change customs, which made positive contributions to the development of China's clothing. The "Zhongshan suit" named after him has gone far beyond the clothing itself. During this period, men's wear showed an "exposition" situation in which the old and the new alternated and Chinese and western coexisted, paving the way for further changes in men's wear.
After the May 4th Movement, under the impact of western industrial civilization, China's clothing industry began a difficult development process. Under the influence of new ideas and concepts, the dress image of women in China has been gradually changed for thousands of years.
The majority of women are liberated from the shackles of bad habits such as foot binding, and boldly try to fully display the beauty of the natural human body with clothing. Therefore, it is an inevitable trend to improve the ordinary wearing of cheongsam, which appeared in the bustling landscape of big cities in the 1920s and 1930s, pushing the development of women's wear to * * *.
The concrete manifestations are: directly introducing foreign advanced science and technology, cutting technology, clothing production equipment and management methods; Direct introduction of foreign clothing culture; Domestic national textile and garment industry strives for survival and peaceful development in the fierce competition with foreign goods. The change of women's clothing in this period is of epoch-making significance.
At the same time, it also gives people useful enlightenment on how to treat traditional costume culture. Every nation has its own traditional culture and aesthetics.
Numerous clothing styles, exquisite clothing techniques and diverse clothing styles have constantly decorated the lives of people of all ethnic groups, and become a timeless cultural landscape in China, showing the world the special charm of Chinese national clothing culture. Taiping Heavenly Kingdom loyalist robes Qing Dynasty Taiping Heavenly Kingdom costumes Taiping Heavenly Kingdom is the only peasant regime in China with a clothing system.
In clothing, it not only inherits the traditional system, but also innovates, forming a unique dressing system. The crown hats of generals in Taiping Heavenly Kingdom include horn hats, wind hats, cool hats and hats.
Horn hat with dragon and phoenix patterns on it. There are two kinds of gowns: gowns and mandarin jackets, with round neck and wide sleeves, embroidered with patterns to distinguish positions.
There are two kinds of mandarin jackets: red and yellow, and positions are distinguished by color. Although the Taiping Heavenly Kingdom's wide-sleeved clothes and the Taiping Heavenly Kingdom's clothes in the Qing Dynasty had some regulations on women's wear in the Qing Dynasty, they were not strict.
Most women don't wear horns and cool hats. Most of them tie their foreheads with silks and satins and wear hoods in winter. At the beginning of the uprising, women wore men's clothes, and some wore miao clothing.
After Tianjing, the capital, due to the improvement of living conditions, women wear men's clothes, and the patterns used vary according to their status. Ordinary women wear robes made of various silks and satins.
The style is mainly round neck, the neckline is small, the waist is more suitable, the hem is loose, and the dress is knee-length and left collar. In order to facilitate activities, slits are often arranged at the bottom, either at the sides or in the middle.
There is still some. Go and see for yourself. .
4. What are the key points to grasp when watching a historical documentary ppt? Personally, I think ppt is a good PPT in terms of form and content.
Formally speaking, ppt is not mainly in form, but only an auxiliary part. Just keep it simple. Any animation format is not good if it has nothing. It is best to use consistent animation to avoid dazzling people.
Content is more important. A good ppt should be rich in content but concise, with clear thinking and clear logic. As a speaker, I should be clear about the theme and overall logic of my speech. The displayed single-page ppt can be expressed by pictures and words (phrases). When I speak, I will tell the person I want to express with a word and a picture. If you show everything you want to express on the ppt page, it will look much more special. So you can't highlight the key points, which makes people feel boring.
5. The historical data of China's costume design in 1930s and 1940s are analyzed, and the costume design in the Republic of China is summarized: This paper takes the costume of the Republic of China taken in the background from the late Qing Dynasty to the early Republic of China in the 1930s and 1940s as the research object, and summarizes the concrete display of the costume design style of the Republic of China-"historical truth" and "artistic truth", and summarizes the "limitation" and "reality" of the costume design in the Republic of China according to the specific artistic display.
The drama of the Republic of China is a branch of TV series. This paper hopes that through the research on costume design of drama in the Republic of China, we can see "big" from "small" and "point" from "face", which will play a certain role in promoting the healthy development of costume design of TV dramas in China. Key words: drama of the Republic of China; Fashion design; The costume design style of drama in the Republic of China based on "drama" In the creation of film and television dramas, the costume design style refers to the different costume styles reflected in shaping the appearance of characters, including the use of artistic means and expressive skills.
Compared with costume drama, the drama of the Republic of China has a specific time range, which refers to the historical period from the late Qing Dynasty to the early Republic of China to the thirties and forties. Due to the definition of time, the costumes of the dramas of the Republic of China basically reflected the social dress style at that time, and the performance style was more realistic than that of martial arts dramas, legendary dramas and other dramas that pursued fantasy colors.
Therefore, according to the positioning of historical TV series on history and artistic style, and the performance of realistic style of costume design in the Republic of China, the author further divides the costume design style in the Republic of China into historical truth and artistic truth from the perspective of historical restoration. 1. Historical Truth Historical Truth means that clothing design objectively reflects the image of life in time and space from the perspective of respecting history and based on historical facts, and its expression is faithful to a certain era scene in daily life, so this kind of style clothing has the characteristics of "museum consciousness".
Because of the objective reflection of historical essence, clothing has the specificity of following historical facts, so clothing will be designed realistically according to the changes of times, seasons, places, atmosphere and characters, from modeling to decorative patterns, from the use of materials to technological characteristics, from colors to clothing accessories, and strive to reproduce the real image in front of the screen, so that the audience can truly feel the face of real life. Historical and authentic clothing styles usually appear in realistic dramas that reflect major historical events in the Republic of China, such as Towards Harmony, Bright Sword, Flowers in Time, Historical Sky, etc. The seriousness of operas determines the authenticity of clothing, so the clothing in these operas in the Republic of China is not only from the shape, fabric, style, technology and even accessories. From the structure to the microscopic part or the fine needle and thread, it has been strictly researched, objectively reappearing the social customs and living environment at that time, and giving the role different vitality through different types of styles and details.
2. Artistic truth Artistic truth is relative to historical truth. Artistic expression of the essential truth of history is usually called artistic truth. Artistic truth is mainly based on the non-objective realistic orientation of the script. According to the requirements of the script, designers use artistic means such as emphasis, abandonment, concentration, simplification and variation to reveal the essence and essence of real life in an illusory form through artistic creativity, and create an image different from history on the basis of the original appearance of history.
Therefore, the essence of art lies in the artistic agreement between artistic image and the inherent laws and logic of social life. Artistic truth mainly appears in plays adapted from historical and literary works. Designers break through the symbols of life, create personalized clothing, and strengthen the representation through addition and subtraction.
Such as orange is red, night is like fog, rain is like wind, singing at midnight and so on. To sum up, historical truth is a concrete representation of history, and artistic truth is an abstract expression of history.
At present, in the drama market of the Republic of China, dramas adapted from famous literary works such as Zhang Ailing, Zhang Henshui and Ba Jin are particularly popular with consumers, and their screen broadcast rate far exceeds that of dramas reflecting major historical events of the Republic of China, so artistic truth has become the most common fashion design style in dramas of the Republic of China. Of course, whether we use the true style of history or the true style of art, we can't escape a principle: starting from the script, the performance of clothing style must be based on the positioning of the script style, and on this basis, we can talk about change and artistic improvement.
In addition, the "style" of clothing should be coordinated with space, lighting and makeup in creation, and finally achieve tacit harmony with script style and director style from the aspects of composition means, materials and technology of clothing image, so as to make the overall style seamless. The relationship between historical truth, artistic truth and historical truth. 2. As we all know, the costume design of drama in the Republic of China is composed of characters, movements, voices, expressions, costumes and makeup.
As a part of image-building, the existence of clothing is limited by time and space. According to the factors considered in advance, creating the external image of the script characters through intuitive visual means is a complex design process from image to ready-made clothes and finally presented in front of the screen. As a part of the role decoration, the costume of the drama of the Republic of China is a comprehensive embodiment of the designer's concept and a material carrier of the costume, so it also has distinct personality characteristics.
1. Restricted means restricted. As a symbol of image decoration, the ultimate goal of shaping the image determines that the costume design of the drama of the Republic of China will be restricted by the script and people.
The limitation of the script refers to the style of the play, just like the major historical events mentioned above. The authenticity of the script determines that clothing must conform to the atmosphere and form described in the script, and it must be based on drama and cannot violate history, so the definition here can also be interpreted as "subordination". The limitation of people refers to the genre of directors, the form of performances, the conditions of actors and so on. These factors will affect the designer's thinking more or less, especially to apply the laws of fashion plastic arts in the assumed time and space according to the director's requirements.
In addition, like movies and dramas, the costume design of dramas in the Republic of China is also influenced by lighting and makeup. The success of fashion design can not only depend on the talent of designers, but also on many departments.