浅谈我国近现代传统男装服饰中的文化精神  

The cultural spirit in traditional men’s wear of modern China

作　　者：王瑞芹[1] 

机构地区：[1]邢台职业技术学院

出　　处：《国际纺织导报》2012年第6期80-82,共3页Melliand China

摘　　要：中山装是中国近现代男装的标志,不仅具有浓厚的民族、艺术等文化特色,也充分体现了当时的政治思想。中山装作为辛亥革命至改革开放时期的主要男装,一度被世界公认为中国的国服,很大程度上承担着东方民族服饰艺术特色载体的功能。由于特殊的政治经济和文化背景,建国之后的中国服饰发展曾一度近乎停滞,中山装没有随着时代而演变。改革开放后,西服一统中国男装礼服的市场,从此中国没有了自己的男装民族服饰。放眼未来,我们必须重新整合资源,创造属于我们自己的"形变而中国精神不变"的服饰。Zhongshanzhuang is the symbol of men＇ s wear in modem China. It has strong national, artistic, cultural characteristics, and also fully reflects political thoughts at that time. Zhongshanzhuang, dominating the men＇ s wear from the Xinhai Revolution to the Reform and Opening-up, was once recognized by the world as the Chinese National Costume. To a large extent, it functions as the carrier of the eastern national costume＇ s artistic features. Because of the special economic, political and cultural background, after the founding of People＇ s Republic of China, Chinese clothing once nearly stopped developing for quite a long time. Zhong- shanzhuang has not kept pace with the evolution. After the Reform and Opening-up, foreign suit dominated the market of men＇ s wear in China, and since then, we have lost our own men＇ s national costume. Loking to the future, we must integrate resources, and create our own ＂form-changing, Chinese spirit unchanging＂ costumes.

关 键 词：中山装 传统文化 传承 创新 

分 类 号：TS941.12[轻工技术与工程—服装设计与工程]