Buyi costume culture embodies the essence of Buyi people's wisdom and reflects Buyi people's adaptation to their geographical environment. With the development of productive forces, it is of great significance to protect endangered national costumes. Buyi nationality is a member of the big family of Chinese nation, which evolved from Max Loehr, a ethnic group of Baiyue. They mainly live in southern Guizhou and southwestern Guizhou, Guanling, Zhenning and Ziyun in Anshun, and some areas in Guiyang, Liupanshui and southeastern Guizhou, with a population of about 2.545 million (1990), accounting for 65,438+of China's population of over one million. In the process of understanding, conquering and transforming nature for a long time, Buyi people have formed a unique costume culture, which has become an important reference for the development and progress of human civilization in Buyi areas and the crystallization of material civilization and spiritual civilization in Buyi areas. This paper attempts to reveal the profound connotation of Buyi costumes, aiming at promoting a comprehensive study of Buyi people, promoting minority culture and serving the economic development of ethnic areas. The formation and development of any region or national culture are closely related to the geographical environment of the region. The so-called geographical environment refers to the sum of natural conditions in which the society is located, including the distribution of climate, topography, rivers, oceans, soil, animals and plants. This is the basis for the survival and development of human society. Practicality is the most basic function of clothing. ① No matter in ancient times, when the materials of material life were extremely scarce, or in modern times, when the material wealth was relatively rich, there was no exception. Due to the different geographical environment such as region, climate and rivers, each nation has different choices and requirements for the practical functions of clothing. In other words, the geographical environment not only determines the practicality of clothing, but also exerts a subtle influence on the formation and development of clothing characteristics of each nation. Of course, the decisive role of geographical environment on the practicality of clothing will vary with the development level of productive forces. The lower the productivity level, the greater the effect of geographical environment on the practicality of clothing, otherwise it will gradually weaken. First of all, the geographical environment provides essential material for Buyi costumes. Most of the areas where Buyi people live are located in temperate zone with low altitude, subtropical climate and abundant rainfall. The annual rainfall is between 1, 200- 1, 400 mm, with no heat in summer and no cold in winter. The annual average temperature is about 65438 0.9℃, and the frost-free period is about 8 months. Superior natural resources provide the necessary material conditions for Buyi costumes. The original function of clothing is to prevent cold and cover the body. Mozi said, "Eat when you are hungry and wear when you are cold." Explain the name and clothes and say, "When you wear clothes, you can rely on them, so you can protect yourself from cold and heat ..." ② The Buyi people's ancient song "Everything is Cotton" sang: "In ancient times, there was no cotton in the world. Everyone hangs leaves and is wrapped in bark. " Later, people discovered: "There is a kind of flower on the mountain, and its leaves are really big, round and slippery, just like a big slap ... Hold the flower and twist it slowly, thin and long, unbreakable, just like a spider's web." So, "we went to pick wild flowers, and the girl twisted the thread, and the thread was tied into a ball, and the cloth was woven." (3) According to a large number of stone spinning wheels and other relics unearthed in the Neolithic Age, Buyi people were able to twist wild plant fibers into fine threads and weave them into coarse cloth more than 7,000 years ago. (4) the history of the South. "Art Carving" contains: "Forest color country, Han Mu said that Nanshao looks like Linxian", and there is "Gubei, whose tree name is also like goose feather, spun with cloth, different from ramie, dyed with five colors and woven into class cloth." There was a record of "weaving wood veneer, dyeing leather and wearing five-color clothes" in the biography of Nan Man in the Later Han Dynasty. It can be seen that the Buyi people have already used the plant fibers such as Pueraria lobata and Hua Mao provided by superior local natural conditions as raw materials to "weave clothes". After the Ming Dynasty, with the planting of cotton in Buyi areas, Buyi people gradually used cotton as the main raw material for clothing. Secondly, the geographical environment has a far-reaching impact on the Buyi clothing style. The warm climate and abundant rainfall in Buyi area provide superior conditions for rice planting. Therefore, Buyi nationality is also called "middle (middle) nationality". The third volume of Daoguang's "Guangnan County Records" said: "Baisha people are scattered in all directions ... On leisure days, men go to Hanoi to fish and are diligent when farming." "Black sand people are scattered in streams and rivers. Both men and women are cultivated and understand trade. " The Baisha people and the Heisha people here are all part of the Zhong family. Buyi costume is produced to adapt to Buyi rice farming and its geographical environment. Its main feature is wearing skirts and bouquets, and its body, sleeves and legs are loose, which embodies the characteristics of "simple men and numerous women". That is, men's wear is relatively simple, wearing a dress, big shorts and a green handkerchief; Women's clothing is rich and varied, mostly short skirts and long skirts. Miao Man, Guizhou Tongzhi, records: "The women in the Zhong family are very skilled, with green cloth bun, long skirts and short sleeves, as many as twenty pieces, and colorful cloth to drag their waist ..." In the hot climate, loose clothes are breathable, comfortable and cool, loose pants are convenient for walking and working in the rainy river, and large sleeves are convenient for flexible use of labor tools. Later, women in many places changed their skirts into trousers, but most of them kept their loose features. So are the shrouds and dresses preserved in many places. This reflects the loose clothing of Buyi people, which is formed in response to the climate, topography, rivers, rainfall and farming economy in Buyi areas. Thirdly, the Buyi area is densely forested, with a wide variety of plants and rich dye resources, which has laid a solid material foundation for the development of Buyi printing and dyeing technology. Buyi printing and dyeing technology has a long history and high technical level. The colors are mainly cyan, blue and white, with unique technology, firm dyeing and not easy to fade. Westerners call it "China Technology", which embodies the industriousness and wisdom of Buyi people. Buyi people can extract blue, blue and red dyes from roots, stems and leaves of plants very early. For example, indigo dye is made from Radix Isatidis. It is said in the History of Southwestern Han Dynasty that "the land is rich and beautiful, and it is suitable for five grains of silkworms, dyeing, embroidery, brocade and blue dry fine cloth, five feet wide, white and pollution-free." Buyi people have a long history of printing and dyeing. As early as the Song Dynasty, there was a record of "Nanning specialty ... beeswax and batik cloth". The famous Biandan Mountain in Zhenning is known as the hometown of batik for Buyi people. ⑥ It shows that Buyi people have many unique features in printing and dyeing. In particular, the batik art of Buyi people has made its own contribution to the printing and dyeing technology in China. Batik is made of beeswax and maple gum. When dyeing, first spread the white cloth on a table or a wooden board, put the wax into a pot, heat it until it melts, dip the wax liquid with a wax knife, draw various patterns on the white cloth, then soak it in the dyeing vat for many times, take it out after the cloth is completely soaked with dye, then dry it, and then boil it with clear water. After the wax is boiled, the place where the wax liquid was originally applied is convenient to appear white. Guizhou Tongzhi describes the production method of batik: draw flowers on cloth with wax and dye them, that is, remove the wax and the pattern will be picturesque. "In addition, Buyi printing and dyeing also includes overlapping dyeing and Fengxiang dyeing. Overlapping dyeing is that white cloth is folded and knotted according to the required pattern, or covered with coarse linen thread, then wrapped with linen thread for sewing, and then immersed in the dyeing vat, and the pattern appears on the broken line. ⑦ Liquidambar formosana is dyed with Liquidambar formosana resin as anti-dyeing material, and the method is the same as batik. Fourthly, the patterns of Buyi costumes also reflect the decisive role of geographical environment in costumes. Buyi costume patterns are unique, varied and highly decorative, including realistic flower, bird, insect and fish patterns such as fern flowers, quinoa flowers, petals, phoenix, mandarin ducks and fish scales, as well as abstract geometric patterns such as curves, spirals, teeth, water waves, triangles, squares, circles and clouds. Realistic patterns such as bracken patterns and Gigi Lai patterns are closely related to the products in the geographical environment where Buyi people live. Abstract mode is a high generalization of Buyi people's living environment. Whether it is realistic animal and plant ornamentation or abstract geometric patterns, it originally contains the meaning and content of serious totem worship. " Totem worship is a fantastic reflection of primitive people's realization that the relationship between man and nature is still in a chaotic state. They regard natural objects as their national ancestors or national symbols. Pet-name ruby Therefore, the pattern on Buyi costumes is that Buyi people give full play to their intelligence and wisdom, and embody and sublimate the art of natural creatures in costumes. The development and evolution of Buyi costumes are also influenced by their geographical environment to some extent. When the geographical environment is relatively closed, costumes retain their traditional patterns, and when the geographical environment is relatively open, there will be a leap from quantitative change to qualitative change. The mountains and dangers of Buyi people often become natural barriers in this area. They have little contact with the outside world and their clothes are less influenced by the outside world. Their costumes are preserved and spread mainly through mutual learning among groups and parents' teaching. Buyi girls usually start to learn embroidery at the age of seven or eight, and they can knit on the machine at the age of twelve or thirteen. When they grow up, everyone will pick flowers and weave. Therefore, in the concept of Buyi people, the quality of needlework is often regarded as the standard to evaluate a girl's intelligence. Qian Shu recorded that unemployed women were "slimmer and more diligent in weaving". This closed and isolated state makes its costumes retain traditional cultural characteristics. However, with the development of productive forces and the acceleration of economic development, their clothing raw materials have changed from mostly animal and plant fur and self-spun cotton cloth to reprocessed cotton cloth, satin, woolen cloth, chemical fiber and other raw materials. In addition, with the changes of the times and the intervention of the rulers, Buyi costumes are constantly changing. Since the implementation of "returning home" in the Buyi area in the fifth year of Yongzheng in Qing Dynasty (1727), great changes have taken place in Buyi costumes due to the forced modification of ethnic minorities by the Qing government. In addition, with the continuous strengthening of ethnic integration, the Han people continue to flock to ethnic areas, making Buyi costumes gradually change into Hanfu. During the Republic of China, Yang Sen, chairman of Guizhou Province, "described the costumes of ethnic minorities as' bulky and ugly', which prevented a nation from having different costumes, characters and languages" and forced Buyi people to modify them. After liberation, our party abolished the system of ethnic oppression and implemented the ethnic policy of ethnic equality, unity, mutual assistance and prosperity. After decades of efforts, especially since the reform and opening up, the social outlook of Buyi areas has undergone earth-shaking changes. Buyi costumes have undergone further significant changes. In most areas, traditional costumes only appear in festivals, festivals and other occasions, and they usually wear Hanfu. Most of them put on all kinds of T-shirts, shirts and coats bought in stores. Many young people also put on suits and watches. In Duyun and Dushan in southern Guizhou, you can hardly see national costumes at ordinary times, and only wear traditional national costumes at some ceremonial activities and grand festivals. With the development of productive forces, frequent ethnic exchanges and the improvement of people's living standards, the original national costume culture in Buyi areas is on the verge of disappearing. The national costumes in some places have basically lost their traditional characteristics. Therefore, it is imperative to protect Buyi costumes, and the following measures should be taken to protect Buyi costumes. First, the investigation and excavation of Buyi clothing culture; Understand and study the existence of Buyi costumes, audio-visual materials and pictures related to Buyi costumes; The collection, collection and protection of Buyi costumes are exhibited irregularly, creating a good environment for promoting Buyi costume culture. Second, planning ethnic tourism products, opening ethnic clothing stores and marketing networks. In production, we should aim at the sales direction, ensure the product quality, diversify its varieties, colors and styles, strive to improve productivity, reduce production costs and meet the needs of multi-level consumers. Can produce curtains, tablecloths, cushions and other home decorations and ties, travel bags, flower bags and other tourist souvenirs. Third, do a good job in the publicity of Buyi clothing, make full use of various clothing fairs, exchange meetings, cultural performances, tourist brochures and other media to promote and improve their influence. Throughout the foregoing, the emergence and development of Buyi costume culture is closely related to its geographical environment, which reflects the unique history, culture and aesthetics of Buyi people. In the long historical process, with the improvement of productivity, Buyi costumes gradually lost their traditional national characteristics. Therefore, it is particularly important to protect the national characteristics and artistic value of Buyi costumes today, when folk tourism is one of the tourism themes.