In the era of asuka period and Nara in Japan, China had the most important influence on Japan's economic and cultural life. At that time, China ancient wuyue's long-sleeved robe spread to Japan, becoming the formal suit of the upper class, especially the formal suit of the imperial court. In the historical changes since then, although the kimono has been continuously improved, the basic elements of the kimono have never been separated from the fixed framework of the five clothes. There is another saying about the introduction of kimono: In the Nara era, the costumes of China in the Tang Dynasty were introduced to Japan, and they were first popular among the nobles, and were called tang style aristocratic clothes. In the Heian period, I made some changes to the aristocratic costumes of the Tang Dynasty, such as lengthening the sleeves and trunk and broadening the scope of clothes. In order to give people a sense of beauty, they wear it tightly on their bodies and consciously show the beauty of people's lines. For this change, the Japanese call it national weathering. Since then, this kind of clothing has been fixed as a Japanese kimono.

Therefore, kimono must have a certain relationship with ancient Chinese costumes: first, the patterns of costumes. Most of the patterns of costumes in Sui and Tang Dynasties are mainly flowers, or flowers are used as a foil. The pattern is standard, neat, continuous and symmetrical, and some images tend to be realistic. (2) In the article Wen Xin Diao Long, Liu Xie discussed the dialectical relationship between subject and object in artistic creation activities, advocated a natural taste, and thought that natural beauty was more noble than sculpting beauty. The natural flower * * * is a kind of beautiful pattern, which has the double meanings of technical beauty and pattern beauty, and also has the transliteration of flowers in ecology. The shape and pattern of Japanese kimono, cherry blossoms with kimono pattern characteristics, are so exaggerated and deformed, which is also a tribute to the image of ecological charm. (3) Secondly, whether in China or in ancient Japan, it is forbidden for women to show their faces. The Book of Rites stipulates that a woman must cover her face when she goes out. ④ From China's face clothes in Wei and Jin Dynasties, to Muluo in Sui and Tang Dynasties, and then to Tang Gaozong's hat, although the forms are constantly changing and innovating, their functions are all for hiding. In Japan, women are basically indoors, so the screen plays a hidden role, which is inseparable from China's feudal ethics thought followed by Japan, which is almost harsh. Thirdly, from the perspective of the collars of Tang dynasty costumes, it reflects the openness of thought at that time, even the appearance of the collars, the underwear inside and the chest outside. There is a saying in Tang dynasty that the pink chest is half-covered.

Although the appreciation of the Tang Dynasty focused on the charm of the chest, the Japanese costumes of the same period were surprisingly similar, especially the concave design of the neckline. In order to show the delicate and slender skin of the neck, kabuki costumes still retained this style until later. This involves the unique aesthetics of the Japanese. Fourthly, in the early Nara period, the costumes still inherited the wide robes and big sleeves of the Tang Dynasty. Meng Haoran's poem "Chun Qing" said: The clothes are wrapped in fine grass when sitting, and the skirts sweep plum blossoms when walking. The lady in the painting "A Lady with Flowers" is the dress depicted in this poem. Besides being influenced by China, there is another important reason, that is, religion. The wider the clothes are, the more abstract the human body is, which hides both the concrete body and the human character. From the visual recognition of depth, people's eyes focus on a small area, and things outside the focus look blurred, so wide clothes can attract people's visual focus, but the surrounding image is blurred and people's image is tall. (See the origin of clothing in Costume Aesthetics: the theory of wide robe and big sleeves) Fifth, the makeup style of the Tang Dynasty spread directly in Japan. It can be intuitively understood from the image of kabuki that pink face, wide eyebrows, small lips, pouting face and oblique red were all popular at that time. The difference is that for the treatment of hair, Japanese classical women will comb long hair, so that long hair and decoration can be integrated. Just like nature, the branches of trees are naturally combed. Branches hang down like long combed hair. Japanese women's headdresses have special requirements for any specific decorative accessories and ornaments. Just like China's Peking Opera figures, headdresses have specific norms and practices for certain roles such as Lao Dan and Hua Dan, and most of them are flowers in Japan.

Thus, China's costume culture has had a far-reaching impact on Japanese costume culture. Now, kimono has become a traditional national costume, and people will only wear it on grand occasions. No matter how we appreciate them now, they all add color and atmosphere to Japan.