英语论文-中西服饰文化差异

ABSTRACTDRESSCULTUREISACULTURALPHENOMENONUNIQUETOHUMANBEINGSASITHASDIFFERENTAESTHETICIDEAS,DIFFERENTDRESSINGCONCEPTSANDDIFFERENTDRESSETIQUETTEINCHINAANDWEST,ITFORMSCHINESEANDWESTERNDRESSCULTUREOFTHEDIFFERENTCONNOTATIONANDCHARACTERISTICSTHISTHESISISDIVIDEDINTOFOURMAJORSECTIONSTHEFIRSTPARTDESCRIBESTHEDIFFERENTFEATURESOFCHINESEANDWESTERNDRESSANDWHYPEOPLEWEARCLOTHINGTHESECONDPARTDESCRIBESCULTURALDIFFERENCESBETWEENCHINESEANDWESTERNCLOTHINGTHETHIRDPARTGIVESANANALYSISOFCHINESEANDWESTERNDRESSCULTURETHELASTPARTDESCRIBESCHINESEANDWESTERNDRESSAESTHETICCULTUREANDDRESSCONCEPTBASEDONTHEANALYSIS,THETHESISFINALLYDRAWSACONCLUSIONCHINESEANDWESTERNDRESSCULTUREEACHHASRICHCONNOTATIONANDDISTINCTCHARACTERISTICS,WHICHAREPRECIOUSCULTURALLEGACYWHICHISLEFTBYHUMANANCESTORSANDARETHEWORLDCULTUREHERITAGEATTHESAMETIME,WETREASUREOUROWNCIVILIZATIONOFFIVETHOUSANDYEARSINSTEADOFBELITTLINGOURSELVESITISSIGNIFICANTTOPROMOTEANDDEVELOPOURUNIQUECOSTUMECULTUREWEARECONFIDENTANDMAKECONTRIBUTIONSTOREALIZINGTHEREJUVENATIONOFOURCHINESENATIONANDENRICHINGTHECLOTHINGCULTUREOFTHEWHOLEWORLDKEYWORDSCHINESEANDWESTERNCLOTHINGCULTURE；DIFFERENCES；AESTHETICCULTUREANDCLOTHINGCONCEPTSINTRODUCTIONCOSTUMECULTURE,CARRIEDBYCOSTUME,ISARESPECTOFOURPHYSICALANDSPIRITUALLIFEANDAMIXTUREOFOURPSYCHOLOGICALACTIVITIESLIKECONSCIOUSNESS,EMOTION,IDEAANDIDEALTHERAPIDDEVELOPMENTOFADVANCEDTECHNOLOGYMAKESMULTICULTURALISMSTANDOUTANDALSOMAKESCONFLICTSBETWEENCHINAANDTHEWESTINCREASEINTHATCASE,ITBECOMESMOREANDMOREIMPORTANTTORECOGNIZETHESIMILARITIESANDDIFFERENCESOFCOSTUMECULTUREBETWEENCHINAANDTHEWESTNOWADAYS,THEWHOLEWORLDIS,TOSOMEEXTENT,DOMINATEDBYTHEWESTERNCOSTUMECULTURE,WHICHHASWOUNDITSWAYINTOTHEDAILYLIFEOFTHEWHOLEWORLD,TOGETHERWITHTECHNOLOGY,LIFESTYLEANDVALUESFROMTHEWESTQUITEPOPULARINCHINA,ITSNOMINALLYCALLED“INTERNATIONALIZATION”OR“GLOBALIZATION”INRECENTYEARS,THECOSTUMEINDUSTRYOFCHINAHASDEVELOPEDSWIFTLYTHE“INTERNATIONAL”COSTUME,FEATUREDBYTHEWESTERNCOSTUMECULTURE,HASBECOMEAPRETTYIMPORTANTPARTOFOURDAILYLIFEHOWEVER,ASOURECONOMYTAKESOFF,INTERNATIONALSTATUSRISESANDLIVINGSTANDARDIMPROVES,AWAVEOFNATIONALCOSTUMECULTURERESURGENCEISRISINGMOREOVER,PEOPLEFROMTHEWESTPAYMOREANDMOREATTENTIONTOTHEGIANTDRAGONINTHEEASTCHINAWESTERNCOSTUMEDESIGNERSCONSTANTLYINTRODUCECHINESECOSTUMECULTURALELEMENTSTOTHEIRLATESTDESIGNSTHOSEPHENOMENAAROUSEASERIESOFTHOUGHTSWHATDISTINGUISHESCHINESECOSTUMECULTUREFROMTHEWESTERNONEARETHEREANYSIMILARITIESBETWEENTHEMWHATKINDOFCOSTUMECULTUREWILLWECHINESEHOLDASTHEMAINSTREAMINTHEFUTURE,THESOCALLED“INTERNATIONAL”WESTERNONE,THECHINESEONEORTHEFUSIONOFTHETWOTOOBTAINTHEANSWERSTOTHESEQUESTIONS,WEARESUPPOSEDTOSTUDYANDCONTRASTCAREFULLYTHECHARACTERISTICSANDDEVELOPINGPROCESSESOFTHEM,ANDTHENDRAWSOMEREGULARITYTOCONTRASTTHECOSTUMECULTUREBETWEENCHINAANDTHEWEST,ITISNECESSARYFORUSTOMASTERAGOODKNOWLEDGEOFTHECHINESEANDWESTERNCOSTUMECULTURALCHARACTERISTICS1CHINESEANDWESTERNDRESS11THEDIFFERENTFEATURESOFCHINESEANDWESTERNDRESSCHINAISKNOWNAS“XIA”ASITSALANDOFPROPRIETY,ANDITSALSOKNOWNAS“HUA”WITHTHEBEAUTYOFITSCOSTUME左传P83OURNATIONALCOSTUMEISHANFUITORIGINATEDINTHEYANHUANGERA,FORMEDINTHESPRINGANDAUTUMNPERIODANDOFFICIALLYTOOKFORMINHANDYNASTYTHATSTHEREASONWHYITSCALLED“HANFU”SINCETHEN,INSPITEOFHISTORICALEVOLUTIONSOFALLAGES,THEIRBASICCHARACTERISTICSHAVENEVERCHANGEDHANFU,ONTHEWHOLE,CANBEDIVIDEDINTOFOURDEVELOPINGSTAGESZHOUHANHANFU,WEIJINHANFU,SUITANGHANFUANDSONGMINGHANFUZHOUHANHANFUWASFEATUREDBYDIGNITYANDSIMPLICITY,WHILEWEIJINHANFUBYCHICANDELEGANCE,SUITANGHANFUBYDIGNIFIED,GRACEFUL,ELEGANTANDPOISEDSTYLEHANFUINSONGANDMINGDYNASTIESEPITOMIZESTHECHARACTERISTICSOFTHEPASTSIMPLE,DIGNIFIED,ELEGANT,ETCINQINGDYNASTY,HANFUWASFORBIDDENBYTHEGOVERNMENTANDDISAPPEAREDFROMTHELANDOFCHINATHEMAINFEATURESOFCHINESECLOTHINGAREFOCUSINGONTHERIGHTCOLLARSOVERLAP,THEBANDDEDUCTEDHIDDEN,BIGSLEEVES,NOBUTTONSANDUSINGSTRINGBINDING,GIVINGTHEIMPRESSIONOFFREEANDEASYFLOWINGTHESECHARACTERISTICSAREOBVIOUSLYDIFFERENTFROMTHOSEOFOTHERETHNICCOSTUMESHANFUISDIVIDEDINTOUNIFORMANDCOMMONCLOTHINGWITHSTRICTSTANDARDS,UNIFORMISDRESSEDONFORMALOCCASIONSWHILETHECOMMONCLOTHING,WITHOUTLONGSLEEVES,ISVERYCONVENIENTTOPEOPLESDAILYLIFEHOWEVER,THEWESTERNCLOTHINGISDIFFERENTFORMTHECHINESECLOTHINGTHEWESTBELONGSTOMARINECIVILIZATION,ITEMPHASIZESTHESUBJECTIVEANDOBJECTIVESEPARATIONANDTHATWESHOULDRATIONALLYTREATCLOTHING,ADVOCATERELEASINGPERSONALITY,STRESSDRESSEFFECTANDBEGOODATSHOWINGBEAUTIFULTHEPOSTUREOFTHEBODYBESIDES,WEUSEVARIOUSCLIPPING,COLORCOLLOCATIONMEANSTOPERFECTBODILYCURVEANDGIVEAPERSONWITHVISUALCOMFORTINTHEMODELINGASUIT,ALSOKNOWNASABUSINESSSUIT,COMPRISESACOLLECTIONOFMATCHINGCLOTHINGCONSISTINGOFACOATCOMMONLYKNOWNASAJACKET,AWAISTCOATOPTIONALUSAVESTFORMEN,APAIROFTROUSERSUSAPANTS,ORFORWOMEN,ASHIRTORTROUSERSASUITISGENERALLYACCOMPANIEDBYTORMENT,ASHIRTANDTIEORFORWOMEN,ABLOUSE12WHYPEOPLEWEARCLOTHINGCHINESEPEOPLEARECONCERNEDMOREABOUTITSSOCIALFUNCTIONOFHELPINGTORULEACOUNTRYWELLTHANTHATOFKEEPINGWARMORDECORATINGITHASALOTTODOWITHRULINGACOUNTRYTOREGULATETHEDRESSINGWAYOFTHECOMMONPEOPLENEVERTHELESS,THEWESTERNERSPAYMOREATTENTIONTOITSWEALTHVALUEANDFUNCTIONTHEREFORE,PEOPLEPUTONCLOTHINGFORFUNCTIONALANDSOCIALREASONS121THEFUNCTIONALREASONTHEFIRSTUSEOFCLOTHINGISTORESISTTHECOLDANDCOVERTHEBODYFUNCTIONSOFCLOTHINGINCLUDEPROVIDINGTHEHUMANBODYPROTECTIONAGAINSTEXTREMESOFCLIMATEEXTREMEHEAT,ICYWINTERS,ANDDRENCHINGSTORMSANDPROTECTIONAGAINSTINSECTS,NOXIOUS,CHEMICALS,ANDCONTACTWITHABRASIVESUBSTANCESINSUM,CLOTHINGPROTECTSHUMANBEINGSAGAINSTANYTHINGTHATMIGHTINJURETHENAKED,UNPROTECTEDHUMANBODY122THESOCIALREASONCLOTHINGALSODELIVERSSOCIALMESSAGESTOOTHERHUMANSSOCIALMESSAGESSENTBYCLOTHING,ACCESSORIES,ANDDECORATIONSCANINVOLVESOCIALSTATUS,OCCUPATION,ETHNICANDRELIGIOUSBELIEF,MARITALSTATUS,CULTURALDEGREEANDSEXUALAVAILABILITY,ETCFOREXAMPLE,ONLYROMANCITIZENSCANWEAR“TOGA”INROMEWHILEDRAGONROBECANONLYBEDRESSEDBYTHEEMPERORINCHINA2CULTURAIDIFFERENCESBETWEENCHINESEANDWESTERNCLOTHINGASTHESAYINGGOES“PEOPLERELYONAPPAREL,BEAUTYRELIESONGOODMAKEUP“THISISTHESAMEBETWEENCHINAANDTHEWEST,BUTFORTHESPECIFICPERFORMANCEITWILLBEDIFFERENTCHINESECLOTHINGCULTUREDIFFERSFROMWESTERNCLOTHINGCULTUREINTHEFOLLOWINGASPECTS21DESIGNTHECHINESESTYLEISDECIDEDBYTHEUNIQUECHINESECULTUREANDTHEORIENTALBODYFEATUREASTHECURVEOFWEYELLOWRACESBODYISNOTSOOBVIOUS,ANDCHINESEAREFASTIDIOUSABOUTSELFRESPECT,IMPLICITLYANDTHEDOCTRINEOFTHEMEAN,OURCLOTHINGISASTRAIGHTOVERALLWITHWIDECOATANDFATSLEEVES,WHICHEMPHASIZESPLANEDESIGNMENSWEARISAONEPIECEROBEWHILEWOMENSWEARISASHORTCHINESESTYLEJACKETANDALONGSKIRTTHEWESTERNSTYLEISDETERMINEDBYTHEWESTERNAESTHETICTHOUGHTOFPRAGMATISMANDNATIONALISMANDTHEWHITERACESBODYSTRUCTURETHEIRBODYCURVEISPRETTYSHARPSTRESSINGSCIENTIFICNATURE,THEWESTERNCLOTHINGISINKEEPINGWITHTHELAWOFMOTIONITSSEMISTEREOSCOPICDESIGNEDWITHMUFFS,PUCKERS,ETCBESIDES,ITADVOCATESINDIVIDUALITYANDPHYSICALBEAUTYVARIOUSKINDSOFDESIGNSSHARPLYREVEALEDTHEBODYLINEMENWEARASUITOFCOATANDTROUSERSWHILEWOMENWEARAONEPIECEDRESSINAWORD,CHINESECOSTUMECULTUREISA“COVERING”ONEWHILETHEWESTERNONEISA“REVEALING”ONE22COLORCHINESECLOTHINGCOLORLAYSPARTICULARSTRESSONETHICANDASKSFORMAINTAININGSOCIALORDER,BUTWESTERNSTYLECLOTHINGCOLORLAYSPARTICULARSTRESSONEMOTIONANDPAYSATTENTIONTOPSYCHOLOGICALADJUSTMENTTHEMOSTIMPORTANTFACTORISTHECOLORELEMENTOFCLOTHINGCLOTHINGCOLORFALLSINTOTWOCOLORSWHICHARETHEPURECOLORANDTHESECONDARYCOLORINANCIENTCHINATHEPURECOLORISBLUE,YELLOW,RED,WHITEANDBLACK,THEOTHERCOLORSARESECONDARYCOLOR,ANDITPROVIDESTHATTHEUPPERGARMENTISTHEPURECOLOR,THEUNDERGARMENTISTHESECONDARYCOLOR礼记玉藻DARKERCOLORSWEREFAVOREDOVERLIGHTERONESINTRADITIONALCHINESECLOTHING,SOTHEMAINCOLOROFCEREMONIALCLOTHINGTENDEDTOBEDARKWHILEBRIGHTLIGHTERCOLOREDCLOTHINGWASWORNMOREFREQUENTLYBYTHECOMMONPEOPLEFOREVERYDAYCHINESEARESAIDTOHAVEAFULLYDEVELOPEDSYSTEMOFMATCHING,COORDINATINGCOLORSANDSHADESOFLIGHTANDDARKINCLOTHINGPEOPLEINANCIENTCHINAALSOUSEDIFFERENTCOLORSOFCLOTHINGTODISTINGUISHPEOPLESIDENTITYTHEBLACKCOLORWASREGARDEDASTHEONEOFTHECELESTIALRULERSUPREMEGODTORULEEVERYTHINGSOINTHEXIASHANGANDZHOUDYNASTY,THECLOTHINGWASMAINLYBLACKWITHTHEDEVELOPMENTOFTHEFEUDALUNITARIANISM,PEOPLEBEGANTOADORETHEGROUNDYELLOWINSTEADOFGODBLACKSOITFORMEDTHERULERSINANCIENTCHINABELIEVEDINTHETHEORYOF“FIVEELEMENT”THEYTHOUGHTHEBLUE,REDYELLOW,WHITEANDBLACKREPRESENTEDRESPECTIVELYFIVEELEMENTSOFTHEWOOD,FIRE,EARTH,GOLDANDWATER“YELLOW,REGARDEDASTHENOBLEST,SYMBOLIZEDTHEEAST；RED,THESOUTH；WHITE，THEWESTANDBLACK,THENORTHTHESEFIVECOLORSWERE“PRINCIPALCOLORS,”ANDINSOMEDYNASTIESWEREEXCLUSIVETOTHEGARMENTOFEMPERORSANDOFFICIALS,COMMONPEOPLEWEREALLOWEDTOWEARONLYSECONDARYCOLORS”ZHI73THISSYSTEMOFCLOTHINGCOLORSHADLASTEDTOTHEQINGDYNASTYANDTHEYELLOWROBEHADBEENTHESYMBOLOFIMPERIALPOWERALLTHETIMETHEREDCOLORISREGARDEDASANAUSPICIOUSCOLORWHILEHAVINGAHAPPYEVENT,SUCHASWEDDING,THEBRIDEANDBRIDEGROOMWILLWEARREDCLOTHESANDSHOESINANCIENTCHINATOSHOWTHEIRHAPPYFEELINGSANDWISHESFORGOODLUCKTODAYCHINESEPEOPLESTILLTENDTOCHOOSEREDCOLORONHAPPYOCCASION23PATTERNANDORNAMENTSTHEFORMEREMPHASIZESCOLORMATCHING,PATTERNDESIGN,THEEFFECTOFEMBROIDERYANDTHECHANGEOFTHECLOTHINGSFRONTPIECE,COLLAR,SLEEVES,ANDBUCKLESANDSOONREPRESENTINGTHECHINESEWRITERSIDEALSPIRITS,PLUMBLOSSOM,ORCHID,ANDCHRYSANTHEMUMANDPINETREECANBECOMMONLYSEENONCHINESECLOTHINGAMONGALLORNAMENTS,THEJADEISTHEMOSTPOPULARONEHOWEVER,THELATTERPAYSMOREATTENTIONTOTHELACEANDEMBROIDERYOFTHENECK,CHESTANDSLEEVESTHEPATTERNSAREMOSTLYREGULARPOMEGRANATEGRAINSANDWATERCHESTNUTLINESITSLAYOUTISSYMMETRICAL,MODELINGFULLANDCOLORSGORGEOUSTHEFEMALEATTIREISUSUALLYDECORATEDWITHJEWELRYLIKEPEARLSANDDIAMONDSBESIDES,THEHATANDGLOVESAREINDISPENSABLEORNAMENTSFORMEN,AHATANDAWALKINGSTICKAREENOUGH24MATERIALTHERELATIONSHIPOFHUMANTONATUREISALSOREFLECTEDINTHECHOICEOFTHEMATERIALSDURINGTHESTONEAGE,CHINESEINVENTEDTHEBONEAWLANDTHEBONENEEDLEANDCREATEDPRIMITIVECLOTHINGWITHTHEAIDOFTHESETOOLSAPPROXIMATELY5000YEARSAGO,CHINAWASINTHENEOLITHICPRIMITIVEAGRICULTUREANDTHETEXTILESINDUSTRYATFIRSTPEOPLEUSEPLANTFIBER,SUCHASLINEN,RAMIE,ETC,ANDANIMALFIBERS,SUCHASWOOLTOWEAVELATERTHEYDISCOVEREDHOWTORAISETHESILKWORNANDSPINSILK,ANDTHEPURESILKCLOTHESWERELIKEDBYMANYCHINESEPEOPLE,ESPECIALLYTHEWEALTHYITISASYMBOLOFTHEIRSOCIALSTATUSSILKISAGREATCONTRIBUTIONTOHUMANLIFEFROMCHINESEPEOPLE,SOITISIMPOSSIBLETOTALKCHINESECLOTHINGCULTUREWITHOUTSILKINAWORD,CHINESECLOTHINGPREFERSSILK,COTTON,LINENANDCOHEMPWHILETHEWESTERNONETENDSTOUSEFLAX,WOOL,COTTONANDVELVETTHESILKISONEOFTHECONTRIBUTIONSCHINAHASMADETOTHEWORLD“WEWESTERNERSHAVERECEIVEDTOOMUCHFROMTHECHINESE”法国服装设计师伊夫圣洛朗，中国美术馆举办作品回顾展时的前言，1985年5月THEFORMERADOPTSBASTING,HANDNEEDLEANDPATCHWHILETHELATTERPAYSMOREATTENTIONTOADAPTINGTOCLOTHINGSFUNCTIONINSEWINGCRAFT25STRUCTUREANDMODELING“THEELEGANTLINEDEPENDSPRIMARILYONTHESTRUCTUREOFPURITYANDREFINEMENT”（YVESSAINTLAURENT）ITREFLECTSTHATTHESTRUCTUREISVERYIMPORTANTFORCLOTHINGTHESTRUCTUREOFCHINESESTYLECOSTUMEISCOMPLETELYPLANAR,STRAIGHTANDCOMFORTABLEHOWEVER,THESTRUCTUREOFWESTERNSTYLEDRESSISSTEREOSPLITTYPEANDSUITABLETHEBODYCHINESECLOTHINGMODELINGISCLOSEDANDIMPLICATIVE,WESTERNCLOTHINGMODELINGISOPENANDREVEALEDSOMEPEOPLEALSOREGARDCLOTHINGMODELINGASDRESSDESIGNORSTYLEINFACT,MODELINGANDSTYLEHAVECONNECTIONSANDDIFFERENCESGENERALLYSPEAKING,MODELINGREFERSTOTHECONTOUROFCLOTHING,WHICHISABIGPICTURE,SUCHASTHEPOPULARLYLOOSEHTYPEORTIGHTFITTINGXTYPEATPRESENT,CHINESEPEOPLEOFTENMIXTHECLOTHINGMODELINGANDCLOTHINGSTYLEITISTHESHAPEOFCLOTHINGDESIGN,BUTALSOTHECOMBINATIONOFCLOTHINGINSIDESEWANDTHEDECORATIONOFDETAILTRADITIONALCHINESECOSTUMESASKTHEHUMANBODYTOBETIGHTLYWRAPPEDBYTHECLOSELYCOLLAR,WIDECLOTHING,LONGSLEEVESANDPANTS,SKIRTS,ANDITSEEMSLIKEAPOCKET,THEHUMANBODYISINSIDEITISEXTREMELYCLOSED,CONSERVATIVEANDDULLFORTHOUSANDSOFYEARS,IFITISNOTUPANDDOWNSEPARATE“CLOTHINGSYSTEM“,ITISCONNECTEDFROMTOPTOBOTTOM“DEEPCLOTHINGSYSTEM“WHETHERMANSROBES,ORWOMANSSKIRTS,LEGSAREALWAYSWRAPPEDBYLEATHERGEAR,LONGCLOTHINGDRAGSTOTHEGROUNDANDINSIDEANDOUTSIDEOFCLOTHESAREOVERLAPPING,THESEARECOMMONLYREFERREDTOAS“TRIPLECLOTHING”OR“FIVECLOTHING“ASWESTERNDRESSCONCEPTADVOCATESREVEALINGTHEHUMANBODY,FOCUSINGONSELFEXPRESSION,ANDSHOWSOFFTHEBEAUTYOFITSOWNCONSEQUENTLY,INTERMSOFCLOTHINGSTYLE,ITBECOMESOPEN,REVEALINGANDVARIEDALLTYPESOFBARE,OPENSTYLESARESTILLTHEMAINSTREAMOFWESTERNSTYLECLOTHING,ALLKINDSOFLARGECOLLAR,VNECK,SHORTSLEEVEANDWAISTCOATSLEEVESAREFREQUENTLYUSEDWOMENAREFONDOFCHOOSINGTHOSETHINANDTRANSPARENTMATERIALSWHICHAREGRACEFULANDELEGANT，BEAUTIFULLYWROUGHTWHENWEARINGTHEM,ASIFYOURBODYISWRAPPEDBYGAUZES,ANDYOUAREWONDERFULANDCHARMINGWESTERNSTYLEMODELINGISPARTICULARABOUTNUDITYBESIDESCONCEALMENTTHEYHAVEAVARIETYOFWRAPSTYLECLOTHING,BUTTHEIRCLOTHINGISDIFFERENTFROMCHINESECLOTHINGTIGHTWESTERNSTYLECLOTHINGISTHESTYLEOFTHREEDIMENSIONALANDNARROW,CLOTHINGCLOSESTOTHEHUMANBODY,CANABSOLUTELYSHOWTHEBODILYCURVESANDCANFULLYREVEALTHEBEAUTYOFHUMANBODYASLUXUNSAIDTHECONCEALMENTISSOMETIMESMOREATTRACTIVETHANTHENUDITY,ITISCONCEALMENTANDSTIMULATION,CONCEALMENTANDOBSTACLESWILLHAVETHEWONDERFULANDUNPREDICTABLEPSYCHOLOGICALEFFECTSOWESTERNSTYLEDRESSMODELINGBELONGSTOTWOFORMSOFTHESAMESUBJECT3ANANALYSISOFCHINESEANDWESTERNDRESSCULTURE31GEOGRAPHICALENVIRONMENTTHEGEOGRAPHICALENVIRONMENTISONEOFTHEMAINREASONSWHYTHESEDIFFERENCESAREFORMEDASWEALLKNOWN,WESTERNCIVILIZATIONORIGINATESFROMTHEAEGEANSEABUT,THEMAINDEVELOPMENTISINTHEMEDITERRANEANREGION,THUSWESTERNCIVILIZATIONISALSOCALLEDASMARINECIVILIZATIONTHISDETERMINESTHEWESTERNERSEXPORTORIENTEDCHARACTEROPEN,ACTIVEANDTHECURIOSITYOFTHEOUTSIDEWORLDPERFORMANCEINTHECLOTHINGISMAKINGWIDELYKNOWN,SEEKSTRONGEFFECTINCONTRAST,THECHINESEGEOGRAPHICALENVIRONMENTISCLOSEDTHEOUTSIDEOFEASTCOASTLINEWITHOUTNEARCONTINENTANDLARGEISLANDS,THEREFORE,ITHARDLYGOESTOSEAWESTANDEURASIANAREAISALMOSTCUTBYMOUNTAINS,THEPAMIRSANDTHETIBETPLATEAUWHICHISCALLEDTHEROOFOFTHEWORLD,THEONLYSILKROADALSONEEDPASSTHROUGHDESOLATEDESERTANDBIGGOBIDESERTSO,ITISEXTREMELYDIFFICULTFORANCIENTCHINESEPEOPLEWHOSETRANSPORTISUNDERDEVELOPEDTOWALKOUTINADDITION,CHINAITSELFHASVASTTERRITORYANDABUNDANTNATURALRESOURCES,ITISNOTNECESSARYTOGOOUTTHISCREATESCHINESEINTROVERTEDPERSONALITYITREFLECTSINTHEGARMENTISIMPLICITANDDOESNOTAPPEAR,THEHUMANBODYISHIDDENINCLOTHING32THEHISTORICALREASONSPEAKINGFROMTHEHISTORICALREASONS,IFWETOOKTHEWHOLEEUROPEANASALARGEGROUP,ITSHOULDTURNINTOAHISTORYOFCONQUESTSANDDOMINATIONSBETWEENNATIONSASWELLASPEOPLESWHENANATIONISPOWERFULANDOCCUPIESDOMINANTPOSITION,ITSCULTUREANDREFLECTINGTHEDRESSOFTHECULTUREWILLHAVEANAFFECTONTHEOTHERPEOPLESANDNATIONSFORINSTANCE,SPAINWASUNPRECEDENTEDINTHE16THCENTURYTHESPANISHGOVERNMENTIMPLEMENTSTHECLOTHINGOFSPANISHSTYLE,ANDTHEMOSTTYPICALDRESSISRAFFCOLLAR,CORSELETANDBUSTLEANDBOTHMENANDWOMENADDALOTOFFILLERINCLOTHESTOMODELASTIFFANDMECHANICALAPPEARANCE,ITISBEGINNINGWITHSPAINTHATMENSCLOTHINGADVOCATESBLACKBRITISHBEGANINDUSTRIALREVOLUTIONINTHE17THCENTURY,MAKINGITSMENSCLOTHINGTHEEARLIESTTOWARDSTHEMODERNIZEDDIRECTIONOFDEVELOPMENTSINCETHEN,BRITISHMENSCLOTHINGHASBEENREGARDEDASACLASSICINCONTRAST,THEDEVELOPMENTOFCHINESEHISTORYISBASICALLYAVERTICALDEVELOPMENTOFTHEVARIOUSDYNASTIES,LITTLECHANGEINTERRITORYTHISDETERMINESTHETRADITIONALCHINESECLOTHINGISNOTTOOMUCHCHANGE,ALTHOUGHABSORBINGMINORITYCOSTUMESINTHEHISTORY,THEDOMINANTPOSITIONISALWAYSHANCLOTHINGANDCULTURE,EVENASTHEQINGDYNASTYWHICHFORCESIMPLEMENTATIONOFTHEMANCHUCLOTHINGWITHTHEPOWEROFTHEGOVERNMENT,BUTINFACT,MANCHUISULTIMATELYTHESAMEASCHINESEINPOLITICALCULTURE,SOTHEHANCLOTHINGCULTUREISDERIVEDFROMTHESAMEORIGIN,ITISHISTORICALCONTINUITYANDITDECIDESTHATCHINESECLOTHINGCOULDNOTHAVEHAPPENEDVERYUNEXPECTEDCHANGE33THEPOLITICALREASONSPEAKINGFROMTHEPOLITICALREASONS,MOSTOFCHINASHISTORYISINASTATEOFUNITY,ITBEGINSWITHONEPERSONWHORULESTHEWORLDFROMTHEYELLOWEMPERORTHEUNIFIEDTHOUGHTSFOLLOWCHINAFORTWOTHOUSANDYEARS,ANDKINGSINTHEPASTDYNASTIESCONSTANTLYREINFORCETHISTHINKINGTHISUNITYINCARNATESALLASPECTS,BUTTHEMOSTESSENTIALISTHEIDEOLOGICALANDCULTURALUNITYANDTHEUNITYOFTHECONCEPTTHEBIGGESTROLEOFCLOTHINGISTODISTINGUISHTHECLASSINANCIENTCHINA,PEOPLEOFEACHCLASSHAVEAGENCYINFASHIONANDCLOTHINGISGIVENSTRONGPOLITICALANDTHEORETICALCOLORS,EVENTHEARISTOCRACYWOULDNOTEASILYMAKECHANGESTOTHEDRESS,BECAUSEITMAYTOUCHONMORALANDETHICALISSUESWESTERNERSTAKETHEMSELVESASMASTERSOFTHEWORLDANDTHERULEROFTHEWORLDTHEYARESELFCENTERED,MAKEEVERYEFFORTTOTAPINTOTHEPOWEROFPEOPLE,RELEASEHUMANPOTENTIAL,ADVOCATEHARDCOMPETITIONANDMAKEDESIRESEXPANDTHEYSTRONGLYEXPRESSINDIVIDUALITYINDRESSANDEMPHASIZETHEBEAUTYOFTHEEXAGGERATEDHUMANBODYTOVARYINGDEGREES,THEYVIOLATETHECOURSEOFNATURE4CHINESEANDWESTERNDRESSAESTHETICCULTUREANDDRESSCONCEPT41DRESSAESTHETICCULTURETHEREAREMANYDIFFERENCESBETWEENCHINESEANDWESTERNDRESSAESTHETICCULTURE1WESTERNCULTUREORIGINATEDINMARINECIVILIZATION,CULTURALINSTINCTISMOREOPENANDEASYTOFUSEOUTLANDCOSTUMECULTURECHINESECULTUREORIGINATEDINMAINLANDCIVILIZATION,CULTURALINSTINCTISMORECLOSEDITHASSTUBBORN“THEORIGINALBODY“CONSCIOUSNESSINTHECLOTHINGTRADITIONALCOSTUMEFORMSSTABLEPOSITIONFORTHOUSANDSOFYEARS,ITISRELATIVELYDIFFICULTTOABSORBFOREIGNCLOTHING2WESTERNCULTUREISGOODATEXPRESSINGCONTRADICTIONANDCONFLICT,WHICHEMPHASIZESSTIMULATIONANDEXTREMEFORMINAPPARELSTRUCTURECHINESECULTUREISAHARMONIOUSCULTURE,WHICHEMPHASIZESTHEEQUILIBRIUM,SYMMETRYANDUNIFIEDCOSTUMEMODELINGMETHODITISBEAUTIFULFORRULEANDSTABLE3WESTERNCULTUREISASIMILECULTURE,WHICHLAYSSTRESSONMODELING,LINE,DESIGNANDCOLORWITHVISUALCOMFORTABLEFORTHEFIRSTCHINESECULTUREISAMETAPHORCULTURE,WHOSEARTLAYSSTRESSONLYRICISMITPURSUESTHESPIRITUALIMPLICATIONANDCULTURALGRADEOFTHECLOTHINGINSCAPE4WESTERNCULTUREADVOCATESTHEBEAUTYOFHUMANBODY,WHICHTAKESSERIOUSLYTOSHOWHUMANSEXUALDIFFERENCEITDOESNOTTABOOONPERFORMINGSEXYCLASSICALMODEISAPERFORMANCEOFSECONDARYSEXCHARACTERISTICS,WOMENLIKETHENUDENECK,NUDESHOULDER,SCOOPBACKANDHALFCHESTITDISPLAYSTHEBODILYCURVEOFFEMALEWITHTIGHTENINGWAISTLINEANDFILLINGUPBUTTOCKMODERNMODELSHOWSTHEBODYSNATURALSHAPETHROUGHTHECONTRACTEDFORMANDSHOWSMODERNFASHIONTHROUGHSHORT,NUDEANDTIGHT5CHINESECULTUREDISREGARDSTHEEXISTENCEOF“SEX“,THECLOTHINGDOESNOTMANIFESTBODILYCURVE,WHICHDONTHAVEASENSUALELEMENTSTHECLOTHINGISWIDEANDCOVERSWITHHUMANBODY,WHICHEXPRESSESISAGRAVE,IMPLICITBEAUTYTHEAESTHETICCHARACTERISTICSOFCHINESECLOTHINGREFLECTTHECHINESENATIONSAESTHETICMENTALITYANDCULTURALCHARACTERISTICSCHINESEPEOPLEPAYATTENTIONTOCOMBINEEMOTIONWITHREASONANDPURSUITLEISURE,MODERATIONANDORDINARY,WHICHPURSUETHESPIRITUALIMPLICATION42DRESSCONCEPTTHEREAREOBVIOUSDIFFERENCESONDRESSCONCEPTSBETWEENCHINESEANDWESTERNPEOPLEINFLUENCEDBYCONFUCIANTHOUGHTANDETHICALFUNCTION,CHINESEPEOPLEHAVEALWAYSMAINTAINEDANEASTERNS