Four schools of cheongsam, different styles, same beauty
The Word of the King of Things:
Some people say that the Republic of China is a good era. The old is passing and the new is coming. It has its unique temperament, beauty and fashion.
But as Chunmei Fox said: "People did not sprout new thoughts because they entered the Republic of China, but those thoughts waited for the Republic of China to come!"
Just like cheongsam, it is not because of the beauty of the national cheongsam, but the cheongsam makes the Republic of China more attractive.
Wang Jiawei once said: "Thinking of the 1930s and 1940s when cheongsam was popular at this time, a hundred years have not passed, but there is no one with such colorful clothes on the street. I can't help but sigh that the times are forgetful."
But it is better to say that there is no cheongsam than the beauty without cheongsam. Because no one piece of clothing can change a person's face, temperament, and character. A cheongsam is like jade, and a person should be like jade. Missing cheongsam is actually missing the people of that eraThe pursuit of beauty and self.
Cheongsam has four major schools, Shanghai School, Beijing School, Su School, and Cantonese School. These schools are not divided by region, but by different styles of beauty, such as the style of literati, they are both graceful and bold.
Cheongsam is the gown of the manchurian. It was originally the robe of Manchu women. It was accepted by more women in the Republic of China and improved step by step.
The writer Zhang Ailing is constantly breaking the beauty of cheongsam. The cheongsam she saw when she was young was "cold and square, with a Puritan style". But in just ten years, the cheongsam changed from long to short; long sleeves became middle and short.The sleeves; the cheongsam that does not split ends, but also quietly opens the low slits.
In Zhang Ailing's mind, cheongsam should not only be unique, but also amazing. The leader should be short, and the weather should be collarless, sleeveless, and long to the knee. This is called "cool cheongsam".
Use a combination of red and green, preferably made of floral fabrics from the grandmothers, and can stand out among the crowd. Foreign countries import hollow fabrics, which they use to make "transparent, revealing and thin" cheongsam.
But this kind of lightness is not frivolous, but the beauty of soul.
Like a set of moon-white cicada-wing gauze cheongsam with white fringes in "Love in the Allure", after being ridiculed by her family, she hung the cheongsam on the wall, holding the skirt, and then let it go as if relieved.
The cheongsam dress represents her inner peace and calmness after undergoing changes. In the Republic of China, Shanghai was gorgeous and prosperous, and the beauties at that time were not afraid of the eyes of the times, and constantly made courage to change themselves.
Shanghai style cheongsam is like a bright pearl, shining on women, giving them the courage to break through themselves.
Beijing-style cheongsam has embarked on a simple path, but sticking to tradition is not because people cannot accept change, but because they pay more attention to the inner character of cheongsam.
A cheongsam teacher said: "Cheongsam is exquisite in characters, and the gown is wrapped and not tight." Different from the current expression of cheongsam, which emphasizes the "front convex and rearward", Beijing style cheongsam followsThe curve walks, but it is not tightly bound, with a slight grip, showing stability.
Beijing style cheongsam is cut with a traditional plane, the finished clothes are straight and wide, with a large placket, and the lace is wider than other schools, wrapping the wearer's body in it.
Someone may ask, is this too disguising a person's physical beauty?
Actually, tailors sometimes need to consider covering certain body lines in order to achieve harmony and reflect the self-cultivation and temperament of the wearer. The Beijing style cheongsam is not curvaceous, but restrained.
Luo Sancai, the inheritor of the Beijing style cheongsam said: "There is no one piece of clothing in the world that can change the face of the country. Even if the fairy feathers are the merit of ordinary people for thousands of years, they cannot be slowly polished.Such as jade, beautiful jade with beauties is great good."
Chinese people pay attention to character, Beijing style cheongsam just reflects that the bones of Chinese people are a kind of inner beauty.
Supai cheongsam is not much different from Shanghai cheongsam in style, but the materials are very particular, using Suzhou silk and soft satin. Xia Meng of the Republic of China was custom-made in Suzhou, and then it was collected by others. At first glanceOrdinary and a bit old, but only to find out that it is silk, shined under the light, it has the luster of beautiful jade.
Other Su-style cheongsams are also embroidered with Su embroidery on the neckline, placket, and cuff edges, mostly plum, orchid, bamboo, and chrysanthemum. In 2001, the emerald flower in the film "Dream in the Garden" directed by Yang Fan was dressed in one dressDai-green cheongsam with exquisite embroidered branches of flowers on the chest.
In the film, this man moves small steps and hums Kunqu opera. He comes out of the moon gate of the Humble Administrator’s Garden. The breeze is fascinating, and the flowers on his breasts seem to be swaying. Someone frankly said that the Su-style cheongsam is "Wu School of Painting"", combining China's most traditional opera and cheongsam.
Su-style cheongsam is like warm and moist running water. At first glance, it is unremarkable. Once staring at it, the love will not arise and deepen. Like the continuous splashes and surprises, it is reminiscent of the girl in the rain alley., Du Liniang in the garden...
It's just a pity that the Supa cheongsam has gradually disappeared in the years, and there is no longer too much echo.
It is customary to call cheongsam as "long gown" in Guangdong and Hong Kong. In 2018, the Guangdong Provincial Museum also exhibited "A Century of Fashion: Hong Kong Gown Story".
The term "long gown" is actually a general term for men's and women's clothing. In the Republic of China, women awakened their consciousness and pursued the same equal rights as men. They took off their complicated attire and put on cheongsam. In Hong Kong and Guangdong because cheongsam is similar to men's gowns,And it is also called "long gown".
Later, cheongsam gowns became ordinary attire for women. They would wear cheongsams to buy food and cook, do housework, and use gowns as daily clothes at work. The style of cheongsams is not what Zhang Ailing said, "the glaring rose is red with pinkFlowers, green leaves are printed with deep purple".
It is very simple, often monochromatic long gowns with no patterns and no buttons. Only at wedding banquets or more important occasions, cheongsams with a little more complicated patterns will be customized. These are especially called "drinking shirts."
Today, the school uniforms of some schools in Hong Kong are still Chinese gowns, blue or white gown skirts, long white socks, and black leather shoes. Although it is not strictly a cheongsam style, looking at it from a distance, it still makes people feel that it isThe Republic of China came to advance youth.
Perhaps compared with the cheongsam of ladies and ladies who go in and out of theaters and participate in high-end occasions, but the cheongsam that hangs around in colleges and universities and even the market kitchen has a secular beauty.
Because they make people see that beauty is not only a kind of poetry, but also a kind of custom.
Compared with the four major schools of cheongsam in the Republic of China, people's views on cheongsam are quite different today.
Modern people are more looking for curvaceous beauty. Whether it is good or not is not easy to make a conclusion. Because some people like to wear high-cross cheongsam to show their temperament, some people like introverted simplicity. It is not a question of which is good or bad, but the difference in aesthetics.
It’s just that, no matter what, cheongsam has gone through a hundred years. In it, some women are independent and strong, constantly changing themselves; some women always stick to their ideals; some are bright for this, even if it is walking around the city, it is likeThe spring is shining.
No matter how fast the change, how the aesthetic changes, we must understand that beauty is in the robe, more beautiful in the bone, in the soul, and in ourselves. Perhaps only in this way, we will be worthy of them using ourselvesHis hard work and tenacity illuminate this land.
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