篇一：汉服,英语论文,中国传统文化,传统文化,成稿 (3000字英文论文,可直接交作业哦~)
《中国文化概况》期末论文
Hanfu（汉服）
Contents：
1.Brief Introduction of Hanfu --------------------------------------------------------1
2. The Main Style of Hanfu-----------------------------------------------------------1
3. The History of Hanfu---------------------------------------------------------------3
4. The Disappearance of Hanfu------------------------------------------------------5
5. Today People’s Negligence Misunderstanding to Hanfu--------------------------6
6. The Importance of Hanfu----------------------------------------------------------6
7. The Reasons for Hanfu Decline----------------------------------------------------7
8. Revival Movement of Hanfu -------------------------------------------------------8
【Refrences】------------------------------------------------------------------------10
1. Brief Introduction of Hanfu
1.1 The Definition of Hanfu
Hanfu or Han Chinese Clothing, also sometimes known as Hanzhuang, Huafu and sometimes referred in English sources simply as Silk Robe (especially those worn by the gentry) or Chinese Silk Robe refers to the historical dress of the Han Chinese people.
1.2 The Features of Hanfu
The main features of the Hanfu is Jiaoling Youren (cross collar and overlap the right collar to the left one), Yinkou Shudai (hide the buttons and tie the clothing with the pine) and Kuaxiu Dapao (Big robe and sleeves). The clothes do not use the buttons but pine , which gives people free and easy and elegant impression. Hanfu in these characteristics are significantly different from the clothes of the other ethnic groups.
2. The Main Style of Hanfu
Han Chinese clothing, reflecting the cultural expression of the Han people, is part of the ritual system. The core of the Han civilization is cultural etiquette, and etiquetteculture is rooted in the Hanfu system. And Hanfu system is a whole dressed system, including clothing, caps, hair style, surface decoration, footwear, accessories, and so on.
2.1 Hanfu Clothing
Hanfu clothing had changed and evolved with the fashion of the days since its commonly assumed beginnings in the Shang dynasty. Many of the earlier designs are more gender-neutral and simple in cuttings. Later garments incorporate multiple pieces with men commonly wearing pants and women commonly wearing skirts. Clothing for women usually accentuates the body’s natural curves thro
wrapping of upper garment lapels or binding with sashes at the waist.
2.1.1 Informal Wear
Types include tops (yi) and bottoms (divided further into pants and skirts for both genders, with terminologies chang or qun), and one-piece robes that wrap around the body once or several times (shenyi).
Shenyi: a long full body garment
Quju: diagonal body wrapping
Zhiju: straight lapels
Zhongyi or zhongdan: inner garments, mostly white cotton or silk
Shanqun: a short coat with a long skirt
Ruqun: a top garment with a separate lower garment or skirt
Kuzhe: a short coat with trousers
Zhiduo/zhishe: a Ming Dynasty style robe, similar to a zhiju shenyi but with vents at the side and stitched sleeves
2.1.2 Semi-formal Wear
A piece of Hanfu can be made semi-formal by the addition of the following appropriate items:
Chang: a pleated skirt
Bixi: long front cloth panel attached from the waist belt
Zhaoshan: long open fronted coat
2.1.3 Formal Wear
In addition to informal and semi-formal wear, there is a form of dress that is worn only at confucian rituals (like important sacrifices or religious activities) or by special people who are entitled to wear them (such as officials and emperors).
Formal garments may include:
Xuanduan: a very formal dark robe; equivalent to the Western white tie
Daopao/Fusha: Taoist/Buddhist priests' full dress ceremonial robes
Yuanlingshan, lanshan or panlingpao: closed, round-collared robe; mostly used for official or academical dress
2.1.4 Court Dress
Court dress is the dress worn at very formal occasions and ceremonies that are in the presence of a monarch (such as an enthronement ceremony). The entire ensemble of clothing can consist of many complex layers and look very elaborate. Court dress is similar to the xuanduan in components but have additional adornments and elaborate headwear. They are often brightly colored with vermillion and blue. There are various versions of court dress that are worn for certain occasions.
Court dress refers to:
2.2 Hats and Headwear
On top of the Hanfu, hats (for men) or hairpieces (for women) may be worn. One can often tell the profession or social rank of someone by what they wear on their heads. The typical types of male headwear are called jin for soft caps, mao for a stiff hats and guan for formal headdress. Officials and academics have a separate set of hats for them, typically the putou, the wushamao, the si-fang pingding jin and the Zhuangzi jin. A typical hairpiece for women is a ji but there are more elaborate hairpieces.1
3. The History of Hanfu
Hanfu has a history of more than three millennia, and is said to have been worn by the legendary Yellow Emperor. “Yellow Emperor Yao and Shun down clothes and rule the world, using come from to build the course of events.”2 In 1 蒋玉秋、王艺璇、陈锋： 汉服, 青岛出版社, 2008年1月
2 金晶芳著： 《易传·系辞传》新编详解, 黄山书社, 1998年10月——“黄帝尧舜垂衣裳而天下治，盖取诸乾坤。”
other words, as early as the era of the Yellow Emperor, ancient Chinese costumes have been on quite a scale. From the beginning of its history, Hanfu (especially in elite circles) was inseparable from silk, supposedly discovered by the Yellow Emperor’s consort, Leizu.
The Shang Dynasty (c.1600 BC-1000 BC), developed the rudiments of Hanfu; it consisted of a yi, a narrow-cuffed, knee-length tunic tied with a sash, and a narrow, ankle-length skirt, called chang, worn with a bixi, a length of fabric that reached the knees. Vivid primary colors and green were used, due to the degree of technology at the time.
Chinese rules of wtiquette regarding Hanfu started taking shape in the Zhou Dynasty, regulating from the royalties down to the commoners. As early as the Zhou Dynasty, garmens were already classified into sacrificial attire,court attire, army uniform,mourning attire and wedding attire. And different styles of clothes showed people’s positions and their states of origin.
The Qin and Han dynasties witnessed the unification of China and its written language. Qin Shihuang, the first emperor of the Qin Dynasty, established many social systems,including that of uniforms to distinguish people’s ranks and social positions.
Chinese clothing developed rapidly during the Wei, Jin, and Southern and Northern dynasies. Some time before 265, the cultural and aesthetic views of the peoples in north and south China merged following mass movements of the population caused by frequent wars, Philosophical schools of thought influenced both people’s lives and the concepts of clothing design.
During the Sui Dynasty, all poor people had to wear black and blue clothes, and only the rich people could wear other colours.
In the Tang Dyansty, clothing was more varied than before because the state was more open to the outside world.What is worth special mention is that women of the Tang Dynasty did not have to abide by the traditional dress code. They were allowed to expose their arms and back, and wear dressed that absorbed elements from other cultures. They could wear men’s riding garments if they liked. The
篇二：中国文化论文
文化专题写作
流失的文化
——汉服学院：专业：学号：姓名：
衣裳一体男儿装，交领盘领主式样。 中衣交领露衽边，内外两重好品相。 领袖缘边异衣身，袖摆覆手松而长。 出手回肘是正体，平民也有短衣裳。 隐扣系带正衣冠，裤脚套袜靴中藏。 这是古代男子汉服的元素歌诀。
前两天适逢五一假期，和小伙伴去看了一场漫展，在台下站了许久，期待已久节目没有想象中的种种创意，但服装的确华丽，善歌者还可带来些许视听享受，这种表演的意义，在于引领观众，唤起对漫画小说所描绘的美好世界再一次深深的共鸣。只可惜呈现出的内容，无非是将熙攘喧闹的歌舞镶嵌拼接，大家往往只会在看到了熟悉的角色后欢呼片刻，随后便陷入了审美疲劳的怪圈。
正寻思离开，却有未曾料想的汉服女子登场亮相。
与其他组别不同，简单的动作在气质天然的汉服女子身上，展现出了最想表达的意境，柔美，恬淡，一柄油纸伞，涟漪圈圈，回眸一笑，悄然入屏间。
正是这唯一的亮点，让我又忆起自己对汉服的一直由衷的喜爱却寡见少识的遗憾。 从三皇五帝到明朝这一段时期汉民族所穿的服装，被称为汉服，作为汉民族传承千年的传统民族服装，几千年时间里，汉民族凭借自己的智慧，创造了绚丽多彩的汉服文化，发展形成了具有汉民族自己独特特色的服装体系——汉服体系
在我国古代，含蓄作为传统美学，自然会被引入到服饰文化的艺术创作之中，设计者注重“不着迹象、超逸灵动”之美，不刻意追求数字上的精确性或纯形式的客观美感，而是崇尚用无穷的意象美含蓄地表现情感。如用宽衣大袍、中规中矩的样式或写实与变体相结合的动物、几何纹样、花草枝、藤蔓纹等具有抽象理的关联意向。
汉初之“袍”被作为礼服，一般多为大袖，袖口部分收紧缩小，紧窄部分为“祛”，袖身宽大部分为“袂”，所谓“张袂成荫”就是 形象化的描述;而说到中国传统的女子服饰，当推旗袍，更是传统服饰文化与现代时尚设计完美结合的典范，它造型完美、结构适体、内外和谐，是兼收并蓄中西服饰特色的近代中国女性的标准服装，是中华服饰文化的代表，在女装舞台上有着不可替代的重要地位。旗袍的设计表面上不温不火，实质上内涵丰富、意蕴幽远，达到了形式与内容的完美融通。光滑的质感和简洁的造型表现出流畅明快的线条与和谐一体的气韵，展示出东方女子温柔、典雅之美。这种气韵不仅展于外表，而且沉于内心。穿上旗袍，既能衬托出东方女性优美的身段，又能显示出其幽雅的心境和悠闲的生活节奏，充分展示出中国传统服饰的含蓄美，呈现出一种宛若自然生命律动的朦胧佳境。
可是，这一切已远远的过去。令人汗颜的是，有国人身穿汉服走在街上，竟被行人批判穿日本和服不爱国，这悠悠4000余载，上启炎黄，下至明末，谨承周礼，延续道统的民族服饰，宽衣交领，袖松且长，隐扣系带，上衣下裳，却落得如此下场。
君不见，中华民族的传统底蕴流失有多么严重！由汉服，到传统手工业几乎消失殆尽，还有日本的茶道，明明传自中国，而咱自己的功夫茶却远没有人家的影响力。
再说和服，也是在盛唐时期传自中国，却能坚持不懈数千年，相对比，我国又是怎样人为的放弃乃至忘本呢？
汉服可否复兴？汉服复兴又该走向何方？在这片服饰流行浪潮中，还有多少人可以发自内心的喜欢汉服，而不是仅仅当作赴一场时尚的盛宴？
篇三：汉服与中国传统文化
汉服与中国传统文化
作者：杜洋
班级：高一（江油高中2014级）5班
成员：李莎莎（组长），杜洋，陈熙亮，杨鑫，马艳华，羊绍鹏，李瑞
分工：李莎莎和杜洋收集相关材料
陈熙亮，杨鑫，马艳华负责调查 羊绍鹏，李瑞负责图片收集和整理
指导老师：黄老师（黄怡）
正文
汉服，即华夏衣冠，中国汉族的传统服饰，又称为汉装、华服。此不能与“唐装”、“和服”相混合。其由来可追溯到三皇五帝时期一直到明代，连绵几千年，华夏人民（汉族）一直不改服饰的基本特征，这一时期汉民族所穿的服装，被称为汉服。自炎黄时代黄帝垂衣裳而天下治，汉服已具基本形式，历经周朝代的规范制式，到了汉朝已全面完善并普及，汉人汉服由此得名。但目前在中国，很多人并不了解她，也不清楚汉服究竟是怎样一个概念。同时，作为目前宣传汉服的最重要工具的汉服历史剧在日益发展的同时，也存在着突出的错用、乱用汉服等问题，使得很多原本就对汉服就不是很了解的观众陷入的误区。
汉服历史剧是汉服知识的传播者。根据我们的问卷调查，在填写问卷的200人中，分别有24人和83人表示中国汉服历史剧是他们对汉服
认识的主要来源和部分来源，总共占了78、5%。由此可见，汉服历史剧在人们对汉服的认识上起了多大的作用！它在汉服与观众之间架起了一座桥梁。倘若没有它，恐怕汉族人对本民族服饰了解是少之又少。
同时，汉服历史剧也是汉服知识的混淆者。随着汉服历史剧的日益发展，其弊端也日益明显地暴露出来而在种种问题中，汉服的错误使用便是其中之一。现在，随便几部历史剧，我们便能看出其中汉服掺杂着过多的现代元素。同时，汉服在剧中搞朝代的穿越现象更是屡见不鲜。有时，剧中明代的汉服竟然还能变成清代的满服。而在电视剧的影响下，对汉服知识本来就缺稀的观众便产生了错觉，进入各种误区。如人们常见的将古装等同于汉服或将满服归于汉服等??而根据我们的调查，46.5%的人不知道“汉服”是什么，40%的人则表示在意识上对汉服的认识还好，而真正表示对汉服很了解的只有5人，仅占2.5%。由此可见，事实上很多人对“汉服”概念的理解亦是相当混乱的。
中国传统文化对中华民族的文化结构、心理特征、伦理道德等等都有深深的影响。其积极的层面都为历代的仁人志士所继承和发展, 成为中华民族长期发展的巨大力量。而它的具体的标志就是要看：（1）这个文化是否还有严格意义上的传人，即一些以团体的方式、用自己的生命实践在自觉地传承她的“道统”的人们；（2）她赖以生存的最基本的社会结构是否还存在；（3）她的基本价值取向是否还能影响人们在生活中做出的重大选择；（4）她的独特语言是否还活在人
们表达关键思想和深刻感情的话语和艺术形式之中。中国节日丰富多彩，如春节，立春，元宵节，中和节（二月二日），上已节（三月三日），清明节，天贶节（六月六日），夏至节，七夕节，中秋节，重阳节，冬至节，端午节，腊八节（十二月初八），祭灶节（十二月二十三日），除夕节等等。
可随着社会的发展走向国际化，很多人都更加青睐西方节日。如：圣诞节和万圣节等。中国的传统文化和汉服文化正面临危机。
总而言之，我们要爱护和尊重我们自己的传统文化，也不盲目抵制外国文化。