The Death Of National Costumes -- The Number Of Modern Clothing Brings Impact On National Costume Is Decreasing Day By Day.

In Yuanyang Hani cottage, most women wear activities.

With its rich national culture, Yunnan attracts the attention of scholars and tourists from all over the world. Cultural diversity has also made Yunnan's tourism industry flourish.

The easiest way to distinguish different nationalities is the traditional costumes and patterns of different nationalities. This is also an important carrier for the pmission of national culture.

For example, Hani women are proud to wear colored lace on the shoulder of the coat, big skirts, cuffs and trouser legs; the sire of the Yi compatriots like to embroider the golden melon and silver fruit that symbolizes the harvest; the embroidery on the pleated skirt of the Miao women is as colorful as peacock.

These patterns have strong local characteristics and breath of life, containing the social psychology and aesthetic consciousness formed by the accumulation of national cultures.

But in recent years, fewer and fewer people wear ethnic costumes, and some national patterns with rich cultural connotations are disappearing.

The variation of dress will eventually affect the inheritance of the entire national culture.

The current grim situation has attracted the attention of many people of insight.

Yi arts and crafts spend 50 years collecting hundreds of national patterns.

Bai Ning said, "there are quite a few people who study art in Honghe Prefecture. But how many people will spend decades drawing these national patterns?"

He is a true love of national culture.

In 2005, the Red River ethnic pattern collection was compiled by the Honghe Yi and Hani Autonomous Prefecture (hereinafter referred to as the Red River State) CPPCC Committee, and Yang Fusheng, governor of Honghe Prefecture.

Most of the pictures in the picture book are traditional designs selected from the clothing, roof and paper cutting of Yi, Hani and Miao people in Honghe Prefecture.

These designs were collected by Bai Zuwen, the deputy research librarian of the Honghe Group Art Museum and the craft artist (now dead) from 1954 to the end of the last century in 80s.

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Mr. Bai Zuwen's son, Bai Ning Ning, recalled that his father was a Yi nationality born in Honghe County. When he was a teenager, he was a Book boy for a master in a Tusi family. He learned a lot of knowledge and was interested in art.

In 1953, Bai Zuwen graduated from the Fine Arts Department of southwest people's art college.

Since 1954, he has visited many ethnic villages with the opportunity of engaging in the work of national culture and dance design.

Out of right

Bai's love is everywhere. He asks the folk artists and embroidery experts everywhere, and walks in the street without paying attention to the costumes of the minority compatriots.

If you encounter strange patterns, you will find out the names and addresses of the other people before you visit them, and carefully describe the patterns.

In Bai Zuwen's life, apart from his work, he spent most of his time finishing and drawing the patterns he collected. He often painted from 7 o'clock in the morning to 1 o'clock in the morning, and at weekends he basically collated and painted patterns at home.

For a pattern similar to "cross stitch", he first drew a dark case with a pencil, then dipped it with different brushes and put it on a little bit of paper. Sometimes he could only draw several grids in one night.

The arrangement of a minority pattern is less than more than 10 days, many months or even half a year.

After his retirement in 1986, Bai also insisted on collecting the national patterns for several years, while the arrangement and painting of the pattern continued until he became ill in 2003.

In the past 50 years, hundreds of drawings have been completed.

Bai Ning said, "there are quite a few people who study art in Honghe Prefecture. But how many people will spend decades drawing these national patterns?"

He is a true love of national culture.

Traditional patterns hide passwords.

Reflecting the history, migration and customs of ethnic minorities

The pattern on the top is the "character" of the Miao people, which is the password to interpret the history of the Miao nationality.

These "words" and passwords represent the original residence of the Miao ancestors, as well as the process of migration and subsequent settlement.

In 2005, Mr. Bai Zuwen collected and collated the patterns of ethnic minorities, which he received the attention of the Honghe Zhou People's Political Consultative Conference, and edited and published them.

Yang Fusheng, governor of Honghe Prefecture, wrote in the preface of the picture book: "these patterns have strong local characteristics and breath of life, containing the social psychology and aesthetic consciousness formed by the accumulation of national cultures."

"Mr. Bai Zuwen has preserved some ancient costumes on the verge of lost for his fellow countrymen. Some of the designs he collected in his early years has become valuable cultural relics."

Dai Cunyou, an Associate Investigator of the Honghe Zhou Political Consultative Conference, said Mr. Bai Zuwen's early work was mainly aimed at depicting the lingering charm and the lost designs.

It reflects the history, migration, social life and traditional customs of ethnic minorities.

However, because of the lack of written language, the history of ethnic groups is difficult to find complete traces in Chinese.

For example, the Miao people's aesthetic culture represented by costumes and patterns is called "primitive worship, clues of identification, traditional textile science carriers, and historical memory" by ethnologists.

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The pattern of the Miao costumes is the "character" of the Miao people, which is the password to interpret the history of the Miao nationality.

These "words" and passwords represent the original residence of the Miao ancestors, as well as the process of migration and subsequent settlement.

For example, the stripes of the skirts show the mountains and rivers passing by on the way, blue stripes represent water waves, white stripes represent land, black stripes symbolize Heihe, and the red stripes are the red river of the current settlement.

The deputy director of the Lvchun County Museum of Honghe County, Changbai, introduces the laces arranged in the Hani costumes, which are not simply pieced together. Rather, they mean that the Hani ancestors crossed the mountains and came to this place, representing the history of migration.

The Hani nationality also has a historical origin with black as its background.

The Hani people first dressed in white clothes, found in migration and war, black in the forest is a better protective color, and at the same time has a warm effect, so the Hani nationality's multi branch clothing background is black.

Patterns and costumes not only reflect history and culture, but also reflect the richness of ethnic minorities' lives and family education.

Because before the national costume is sewn by oneself, if the family's many national costumes and the silver ornaments on the clothes, it shows that the family is rich.

The quality of girls' clothing patterns can also reflect whether young girls are ingenious.

This has become an indicator of men's choice of spouse.

Modern clothing brings impact

The number of ethnic costumes is decreasing.

At present, the frequency and number of ethnic minority costumes are decreasing, especially among young people living in cities and towns.

The collection of Red River ethnic collection has been published for nearly 7 years, but how many designs have been restored on the verge of missing books? Dai Cunyou, an Associate Investigator of the Honghe Zhou Political Consultative Conference, is not optimistic about this.

According to him, the book published 1000 copies in 2005, mainly through the presentation.

In 2008, when he went to Lvchun to take part in the research work, he introduced the book to the head of a national garment factory, and told him that he could get it from the CPPCC, but so far the responsible person has not received it.

Many of the national patterns published in the book have been lost and most of them are missing.

He thought that once the pattern of national flavor and blood vessels disappeared, it would mean the chain breaking and blank of this national history and culture.

Indeed, at present, the frequency and number of ethnic minority costumes are decreasing, especially among young people living in cities and towns.

According to Bai Hei, Lvchun county is the county with the highest proportion of Hani population and the largest number of branches in county level cities.

89% of the 220 thousand people in the county are Hani people, and 10 of the Hani people live here.

Although there are Hani dress and adornment hall in the village of Po tou village in Lvchun County town, most of the people in the village wearing ethnic costumes are middle-aged and old women, but men and young people seldom wear them.

In county towns, there is a higher proportion of people who do not wear ethnic costumes.

Such problems also exist in Yuejin community, Kaiyuan city and Zhongying town.

The residents of the community are all Miao people, as well as the exhibition hall of Miao nationality.

Compared with other regions, the preservation of Miao culture here is already better.

However, Tao Zhinan, a community secretary, said that only the older women were dressed in national costumes, while young people only wore them during festivals.

This also leads some guests to the community to ask, "how many of you are Miao people?"

Nandu is also worried that the traditional costumes will be lost.

For the reason why fewer people wear ethnic costumes, two people share similar views.

First of all, with the development of economy, all kinds of clothes have entered into the national settlement area. The rich styles have brought a certain impact on traditional national costumes.

Secondly, compared with recreational sportswear, the wearing of national costumes is more complicated, with a sense of constraint, as well as the difficulty of cleaning and inconvenient labor.

Thirdly, the production of national costume is long and the cost is relatively high.

The traditional costumes of Miao and Hani are mostly made by hand, and the production of a suit is less than a month and more than half a year, and the cost ranges from one thousand to three thousand yuan.

Interpretation of traditional patterns is becoming more and more difficult.

Traditional clothing production technology is also missing.

The black and Tao Zhi Nandu recognized the fact that the decline in the number of ethnic costumes caused some traditional designs to fail.

Many people are hard to explain in detail when facing traditional patterns. It is becoming more and more difficult to interpret traditional patterns.

Lvchun museum is the museum with the largest collection of Hani people in the world. A total of 46 Hani costumes from home and abroad are collected in the museum.

For the display of national costume patterns in the museum, the staff members are relatively general.

For example, the sun and moon patterns on silver on clothing reflect the worship of the sun and the moon.

But when asked about its connotation, it is also difficult for the staff to interpret it.

As for the Hani pattern printed in the collection of red river national patterns, most of them are hard to see, and it is difficult for the staff to explain the meaning.

Not only the number of people wearing ethnic costumes is decreasing, but also the production of traditional ethnic clothing is gradually losing with the progress of science and technology.

The traditional Hani clothing is made through 16 processes: Cotton shelling, spinning, weaving, dyeing, cutting, embroidering lace and silver ornaments.

It takes 2 months to make a garment according to the traditional process.

Because of the progress of science and technology, many handicraft shops directly buy foreign fabrics.

The complete production process is currently available only in Lvchun Hani clothing and heritage hall.

The same problem also plagued the Miao compatriots in Kaiyuan and Zhongying town.

Tao Zhinan introduced the Miao ancestors' 3 great migrations from Shandong to the Yunnan Guizhou Plateau and Southeast Asia, so the wrinkles of the pleated skirts represent the mountains and rivers that flow through the migration, and the batik paintings in the folds represent the land and home of farming.

The two circles on the pleated skirt represent the the Yellow River and the Yangtze River when the Miao nationality migrates.

But it is also hard to answer the question of what other patterns of traditional costumes represent.

For the Miao nationality patterns collected in the collection of Red River nationalities, they have said that most patterns have been seen, but they do not know the meaning contained in them.

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National costume resurgence

It is difficult to save the decline of traditional patterns.

Customers are too old fashioned with traditional designs, and 60% of the garments currently produced are improved.

Some of the improved Hani ethnic costumes have changed the tradition of black bottoming in the past, replacing the traditional patterns with red, broad and gorgeous flower patterns.

The introduction of Hani culture in Lvchun county is a well preserved and most potential development in the country.

At present, there is a Hani biography hall, 2 mechanized ethnic costume production enterprises and more than 30 hand made ethnic garment workshops in Lvchun.

The production of ethnic costumes in the surrounding counties is difficult to compare with that of Lvchun. Most of the government's receptionist clothing and Hani dress of national celebration are mostly selected from Lvchun.

Hani clothing products will be the most potential cultural industry in Lvchun.

Since the beginning of a large-scale The Strip banquet in Lvchun in 2004, the reform of Hani dress in Lvchun has begun to accelerate.

Because the The Strip banquet attracted a large number of Hani compatriots and tourists from outside to join in. In the grand festival, beautiful and gorgeous national costume became the object of mutual comparison.

Since then, the Hani dress reform in Lvchun has begun. Some beautiful patterns have been adopted and exquisite and colorful fabrics have been adopted.

Bai Li, director of Lvchun DMU garment factory, said that the Hani dress produced by her garment factory came from Thailand's aka people, but also from European and American tourists, but mainly sold to Lvchun and surrounding Hani settlements.

Due to customers' obsolescence in traditional patterns, 60% of the garments currently produced are improved, for example, they absorb large mouths of Tang dresses.

Some of the improved Hani ethnic costumes have changed the tradition of black bottoming in the past, replacing the traditional patterns with red, broad and gorgeous flower patterns.

Traditional patterns are gradually declining in the new round of dress reform.

In Yuejin community, Kaiyuan city and Zhongying Town, the prosperity of ethnic costume production began in 1997.

At that time, a girl who was married to the United States and started to sell Kaiyuan Miao costumes in the United States.

Her brother Li Wenwu said that from 1997 to 2007, they sent 200 to 300 sets of Hmong costumes to the United States every year, all of which were made of traditional handmade Miao clothes.

In 1997, the cost of making a suit was only 250 to 300 yuan, and it could be sold to the United States for 300 dollars.

In the meantime, the huge gap allowed the Li Wenwu family to live a prosperous life.

But after the financial crisis in 2008, because of the rise in domestic material prices and the appreciation of the renminbi relative to the US dollar, Li Wenwu's family no longer acted as a national clothing export business, but instead sold it to the domestic market.

But he said that the traditional clothing sold abroad did not sell at home.

Domestic customers demand fashion and cheap clothing for the Miao people.

This forced them to improve and replace the traditional patterns with new patterns.

Because the price is lower, the traditional linen is no longer used, and the quality is also different from the garments exported.

In addition, winter clothes, summer wear, costumes and mini skirts were added to the design.

He admits that it is difficult to represent the two circles of the Yangtze River and the Yellow River on the mini skirts.

Inheritance of traditional patterns and costumes

Industrial development is needed.

The market of ethnic costumes is gradually decreasing, and some ancient and complex designs are gradually disappearing.

This is not a national problem, but a problem faced by all nationalities.

Bai Zuwen's son Bai Ning Ning is the original person in charge of the cultural relics management office of Honghe Prefecture.

He believes that the market of ethnic costumes is gradually decreasing, and some ancient and complex designs are gradually disappearing.

This is not a national problem, but a problem faced by all nationalities.

According to Bai Ning Ning, there are 500-600 sets of clothes worth collecting in different branches of the 10 ethnic groups in Honghe Prefecture.

Collecting clothing alone is not enough. The government should allocate funds, arrange special personnel, purchase specialized equipment, record and preserve the cultures, costumes and patterns of the nationalities, know the cultural connotations of the patterns, and record the wearing methods of national costumes.

At present, although all departments are doing this work, they lack professional personnel, funds and equipment.

The matter should be jointly carried out by ethnic departments and cultural departments, and attention should be paid to personnel training.

It is still too late to attach importance to this work.

Huang Shaowen, a researcher at Honghe National Institute, said that the reform of Hani costumes and the disappearance of traditional patterns should be viewed from two aspects. On the one hand, it reflects the integration of different cultures and national cultures.

On the other hand, such phenomena are easy to lose the diversity of national culture, and lose the excellent cultural traditions of ethnic minorities.

But the change of clothing is inevitable. Governments at all levels should advocate and protect excellent national culture and guide people to wear national costumes and enhance their sense of identity during festivals.

For the protection of ethnic costumes, Huang Shaowen believes that there are three difficulties: first, the lack of protection funds; two, the lack of knowledge; three, the lack of professionals, and the most critical thing is not understanding.

The Ethnic Affairs Committee of Honghe Prefecture has collected more than 30 sets of ethnic costumes, but this number is less than 1/4 of a national costume.

And a branch should at least collect 5 suits of old, medium, green, male and female.

In this way, the whole red river state should collect thousands of garments.

Huang Shaowen believes that the most urgent thing is to collect and dress the clothes. Secondly, let others understand their cultural connotations and display them later.

To inherit traditional costumes and traditional patterns, we need to carry out industrial development and make excellent national patterns and ethnic costumes as tourist souvenirs.

In this respect, Honghe Prefecture has not yet been developed. Compared with Lijiang and Dali, the gap in the development of national cultural industry is still very large.