Zhuang Nationality Clothing Presents A Pluralistic Integrated Pattern.

It includes two parts: one is clothing, that is, clothing (Yi Shang), including clothes, trousers, skirts, hats, scarves, gloves, belts, shoes, socks, leggings, etc. one refers to decoration (decoration), including hairstyles, jewelry, glasses, backpacks (backpack), or even arms, tattoos, etc.

The two combination of Zhuang costume is an important part of Zhuang culture.

Clothing is the most distinctive external image of a nation. It is both a material Hardware culture and a spiritual soft culture.

It reflects the level of economic development of Zhuang nationality, and shows the image of Zhuang's ideology, that is, spiritual connotation, such as customs, philosophy, aesthetic ideas, ethics, social etiquette, religious beliefs and so on.

The cultural form of Zhuang nationality includes economic factors, including the spiritual style.

Zhuang costumes are related to ancient Yue people, Xi ou, Luo Yue people and officials.

Now Ethnology Experts can only recalling the history of Zhuang people's costume generation and development from the historical data of some characters.

The data show that there are several bone trunnions in the Neolithic relics excavated at Zuli rock, Guilin. Experts concluded that it was a tool used by the ancestors of the Zhuang Nationality in south of the Five Ridges to sew the raw materials of animal skins or towing fibers, indicating that the ancient Zhuang people had already had the original ecological clothing of shading.

Later, in the Han Dynasty, the Three Kingdoms, Sui and Tang Dynasties, Song Dynasty, Ming and Qing Dynasties, Zhuang costumes evolved along with economic development.

According to experts' monograph, the black earth tangerine red brocade fragments were found in the Han Tomb of Luo Po Bay, Guigang, indicating that there were Zhuang Jin ornaments at that time.

There is also a kind of "Tong bu", which is linen fabrics and silk products, which indicates that far from the Han Dynasty, the ancient Zhuang people were raising silkworms by planting seeds, providing raw materials for clothing.

In the Three Kingdoms period, the bamboo cloth, the canvas, the white linen and the straw cloth in the Sui and Tang Dynasties served as tributes at that time.

In the Yuan Dynasty, cotton was planted and weave cloth.

During the Ming and Qing Dynasties, Zhuang brocade jewelry reached its peak and was colorful.

From the review of expert monograph, we can see the evolution process of Zhuang costume products, from banana fiber, hemp fiber to cotton fiber.

The dyeing and printing process is famous for the indigo dyeing of Zhuang nationality. Until now, women in some Zhuang villages still dyed black cloth with blue indigo to sew black garments.

Such as Nye Zhuang people in Napo, Chongzuo, Longzhou, Baise, Jinlong area, who called themselves "Dai Dai" Zhuang people, and Xinxian County board price women, they show their bright colors in the black costumes on the stage, and become the highlight of Zhuang nationality's clothing characteristics.

After the cloth is dyed, the horn glue is used to fold, smooth and shine.

Others use rice pulp to paste, dry and smooth.

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Zhuang population of about 15000000, gathered in Guangxi, located in Wenshan, Yunnan and Guangdong Lianshan and other places.

In such a vast area, the development of economy and culture is unbalanced. Each region's clothing has its own characteristics, that is, the Zhuang costumes of different regions and different plates constitute a multi-ethnic Zhuang costume.

In his monograph "the outline of Zhuang culture", Liang Tingwang, a great Zhuang nationality scholar, will take the whole vast number of

The culture of habitation and distribution area is divided into nine cultural areas: the middle and lower reaches of the Red River culture area, the Liujiang River, Longjiang cultural area, Northwest Guangxi Cultural Area, Guangxi Guangdong cultural area, Yongnan cultural area, Yongjiang, Youjiang cultural area, Zujiang culture area, Guangxi border cultural area and Wenshan cultural area.

The inspection, excavation, collection, research and display of Zhuang's clothing culture can also be carried out with geographical concepts.

Another way is to divide, collect, excavate, arrange and display Zhuang costumes, such as the Red River Basin, the left, the Youjiang Valley, the Yongjiang River, the Yujiang River Basin and so on.

There is also a close relationship between water culture and dress culture, such as Dong Lan, Bama and Fengshan in the Red River Basin, Nandan's frog worship, customs and Culture Festival, and the costumes displayed in the festival are also full of strong national characteristics.

My personal observation for many years shows that Zhuang nationality's clothing is still relatively reserved for traditional characteristics, such as the west of Guangxi, such as long Lin, Xilin, NPO, Jingxi and other counties. Zhuang nationality has strong clothing characteristics, mainly in blue and black.

The dress of Zhuang nationality women in Bama County in Northwest Guangxi is mainly composed of blue and white, and contrasts sharply with those of Nabo dress.

It is hard to find white or yellow and blue in black and White Zhuang men and women.

In the southwest of Longzhou and Jinlong, the clothing of Dai Dai men and women is mainly black, with women wearing clothes, trousers, and black long skirts, wearing black scarf, wearing black cloth shoes, black from head to toe, and white and pure skin.

In the southwest of Xinxian County, the women's dress of bun Nong is also distinctive: short dress, long pants skirt, shallow line scarf, flower shoes, gold teeth, silver bracelet and so on.

They often sing in the stream, and gather in front of their homes to set up a glutinous rice cake, a vivid image and spirit of the rice farmers.

The clothing of Zhuang Nationality in Northeast Longsheng is also very distinctive. Women wear scarves, and their tops are collars without collar, two buttons, wide knurled trousers and cloth shoes.

Other regions also have distinctive features, such as the Zhuang costumes of Wenshan, Yunnan, with outstanding features.

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The color of Zhuang costumes was dyed with indigo dye in ancient and modern times, dyed black or blue, and black was the main color of Zhuang costume.

This dominant tone is now preserved in the Zhuang population of Napo and Longzhou, and they are the active form of the culture of the farmers' clothing.

The Zhuang people's clothing in other regions has changed to the modern farming technology and economic form due to the decline of the self-employed and self-supporting economic structure of the farmers. Since the economy of self weaving and self-made has been broken, naturally, in the choice of clothing color, it tends to the contemporary common fashion colors, such as red, white, flower, yellow, cyan, tea and so on.

In fact, this is closely related to the economic foundation form.

Because of the changes, the strong people dressed in black are very strange and striking. They are called "black clothes Zhuang".

Zhuang nationality is a unified whole. Different costumes are formed by the differences of regional environment, climatic conditions and economic development level.

Personally, I think that throughout the entire Zhuang nationality's original ecological aesthetics, it started from the aesthetic concept of black tone, and then came into alienation.

To collect and display the clothing characteristics and development history of Zhuang people, it is necessary to conduct an in-depth investigation and investigation and practice process, especially when the contemporary multi culture is colliding with each other, and the economy and various cultures are interworking, interacting and blending.

The preservation and development of Zhuang's traditional dress culture can become a perfect combination of traditional elements and contemporary aesthetics. The important point is that we can not cut off tradition and deny the historical creation of the nation. We can only inherit, absorb, innovate and develop, and form a new fashion culture that is not far away from Zhuang's maternal culture and local main culture, and will be displayed on the stage of National Forest in the new century.

Innovation and re creation, museums provide the basis, that is, history, tradition, but also from the national aesthetic tradition to absorb its reasonable components.

Nowadays, "dumpling shaped" headwear on stage and ceremonial occasions is a hard shell with a sharp pointed sky and a colorful silk, which has lost its function in labor, and can only be used as stage ornament. It is too exaggerated to break away from the aesthetic and practical needs of the Zhuang Nationality as a rice farming nation.

This is my personal view, which is not necessarily correct.

The dress of Zhuang nationality has a long history. If it is classified according to gender, it should be divided into men's clothing and women's clothing. According to age, it can be classified into old, middle-aged, young and juvenile costumes.

All kinds of Zhuang costumes are the constituent elements of Zhuang's clothing culture. They must be protected, rescued, collected and collate, laying a traditional foundation for the new progress of Zhuang nationality's clothing.

In adapting to the rhythm of today's society, Zhuang costumes should enter a new aesthetic realm, which has both national characteristics and aesthetic needs and practical functions of contemporary people.

Any cultural innovation must proceed from the connotations of national tradition, psychology, aesthetics, philosophy, and so on.

Only by such a culture can the clothing culture of the Zhuang nationality go back to ancient times and be passed down from generation to generation, which will become a distinct symbol of the Zhuang's material culture and spiritual culture.