Traditional Costume Research Articles

Study on the Protection path of Intangible Cultural Heritage of Chinese Traditional Dress -- Taking Tang Dynasty Dress as an Example

China has been known as the “big country of clothing” and “the country of silk” since ancient times, and has a very rich heritage of traditional clothing culture. But now these traditional costumes are declining. In order to promote the cultural development of traditional Chinese clothing and protect and inherit China’s intangible cultural heritage, this study first takes the traditional Chinese clothing of Tang Dynasty as an example, reviews the culture and value of traditional Chinese clothing, then introduces the protection and development of intangible cultural heritage at home and abroad, and then analyzes the difficulties and necessity of the protection of traditional Chinese clothing intangible cultural heritage. Finally, combining with the reality, the protection path of traditional intangible cultural heritage is proposed to realize the protection and inheritance of Chinese traditional costume culture. This study will promote the protection of Chinese intangible cultural heritage to a certain extent.

Some solutions to preserve the traditional costumes of the dao ethnic group in trung minh commune, yen son district, tuyen quang province

This article is based on directive perspectives and theories regarding traditional costumes of ethnic minorities, as well as the current state of preservation of traditional costumes of the Dao ethnic people. It aims to propose solutions for preserving the traditional costumes of the Dao people in Trung Minh commune, Yen Son district, Tuyen Quang province. The research findings confirm the necessity and feasibility of preserving these traditional costumes in the present situation. The responsibility primarily lies with cultural agencies, local authorities, and the people in preserving, promoting, and disseminating the traditional costumes of the Dao people in Trung Minh commune, Yen Son district, Tuyen Quang province, both domestically and internationally.

Exploring the Artistry of Ahir Community: Traditional Costumes, Jewelry and Exquisite Embroidery

Exploring the Artistry of Ahir Community: Traditional Costumes, Jewelry and Exquisite Embroidery

Kaleidoskop der Berge : kulturreflexives Lernen im DaF-Hochschulunterricht am Beispiel der Alpen

Foreign language teaching represents a place that combines linguistic and cultural learning. The Alps as a culturally diverse living space are suitable as a topic for culturally reflective teaching. The focus of the paper is to explore how the concepts of Places of Memory (Erinnerungsorte) and Patterns of Interpretation (Deutungsmuster) can be used inclusively in teaching German as a foreign language. After an introduction of the two concepts, considerations of compatibility and didactic potential are made. This is followed by a presentation of the two concepts using the Alps as an example. On the one hand it is about life in mountain villages and cultural identity, on the other hand it is about traditional costume. The goal of the exercises is a critical examination from different perspectives. Specifically, they aim at providing access to Patterns of Interpretation as well as the development of discourse competence and symbolic competence for orientation in official German-speaking regions and, beyond that, one's own positioning.

Competencies of Fashion Design and Technology Lecturers and their effects on Students’ Success at Constructing Ghanaian Traditional Costumes

College and university lecturers, as well as other educators are esteemed as transformational agents to the learners who pass through them. Similarly, Higher National Diploma (HND) fashion design and technology programme is designed to equip fashion design students to be versatile, high calibre personnel in the field of fashion design in both local and foreign costumes. The construction of more foreign costumes over GTCs in the HND fashion design and technology programmes, neglecting the main objective is now the major problem facing the authorities of TUs in Ghana. This study aimed at establishing the competency of lecturers of fashion design programmes and their influence learners’ ability to construct Ghanaian Traditional Costumes (GTC). The study adopted convergent mixed method design. The study was conducted in six out of the ten technical universities (TU) in Ghana: Accra, Kumasi, Sunyani, Cope Coast, Tamale and Ho. Target population was 1265 comprising head of departments (HoDs), lecturers and students. Simple random sampling was used to select six universities from the ten TUs. Purposive sampling was used in sampling 24 lecturers of fashion design including HoDs, and Proportion sampling was used to sample 306 fashion design and technology students. Total sample size was 330. Data collection tools were questionnaires for lecturers and students, Interview guide for HODs and observation checklist on availability of GTCs in the TUs. Both quantitative and qualitative data was gathered in the study. Quantitative data was entered, cleaned and analysed using SPSS 22.0 software. Skills of lecturers of fashion design and technology on construction of GTCs using standard multiple regression. Themes were used to summarise Qualitative data using interpretative and coding techniques. The results showed that more than 75% of the lecturers had masters and PhD and were all trained in fashion related courses, acquired skills from practicing FDT also qualify to lecture programme.

The construction and practice of Curriculum Ideological and political education of apparel majors in applied undergraduate universities

Since the 18th Party Congress, the status and role of curriculum ideological and political education in the ideological and political work of universities have been further clarified and strengthened. Based on the positioning of talent cultivation and the attributes of the apparel major in Applied Technology College of Soochow University, this paper refines Chinese excellent traditional costume culture and skill transmission as the core ideological and political education concept for the major construction. In turn, this paper refines the corresponding elements of ideological and political education. It further proposes the implementation path of talent cultivation of this major under the ideological and political education concept, as well as the construction process of the specific course ideological and political education demonstration course The construction points and the mapping relationship between each link and the elements of ideological and political education in the construction process of specific courses of ideological and political education have achieved remarkable results and demonstration effects. The resulting construction program of curriculum ideological and political education under the dual drive of professional and ideological and political education provides ideas for other majors to draw on for the construction of curriculum ideological and political education.

МАНЬЧЖУРСКИЕ ЭЛЕМЕНТЫ В ТРАДИЦИОННОЙ ОДЕЖДЕ ТУВИНЦЕВ

The article examines the reasons for the appearance of Manchu elements in the national clothing of Tuvans, their features, semiotics, as well as the difference and similarity in details with th e traditional costumes of other peoples previously subordinate to the Manchu-Qing dynasty of China.

Свадебная обрядовая одежда как феномен духовной культуры в южнорусском селе XIX–XX вв.: семиотический аспект

Traditional clothing was an integral attribute of the spiritual and cultural space of a Russian village until the 20th century. In connection with the destruction of traditional and the subsequent resemanticisation of folk clothing in the 19th – 21th centuries, there was a need to clarify the main spiritual and cultural content of a traditional costume. Wedding ceremonial clothing was chosen as the object of research due to its high semiotic status and good preservation, which provides extensive research field. The empirical basis of the work consists of ethnographic descriptions of the studied origin regions of wedding suit, private collections, museum funds and the photo archive of the author, formed as a result of expeditions 2018–2019. The article considers the totality of all wedding sets of bride's clothes as a unified semiotic system. The context of this phenomenon is an entire syntagmatic sequence of wedding ceremonies, starting from matchmaking and ending with the last day of a wedding. The wedding in this case is considered as a rite of passage of a life cycle, the main leitmotif of which is the process of “dying-death-rebirth”. Special costume sets mark all stages of the passage (preliminary, liminary, postliminary): “sad” and “grief” clothes are gradually replaced by “kind”, “cheerful”, white and dark shades are replaced by bright, often in red, and, in general, the semantics of death is replaced by the semantics of life. The study also shows that wedding cultures of different villages represent different semiotic systems that function on the basis of a single principle of passage, but some of its aspects and symbolization may be different. At the same time, a complex relationship between the social and spiritual levels of passage is realized, the markers of which may be different characteristics of the same costume complex. In general, the semiotics of wedding ceremonial clothing testifies to the unity of the spiritual and social spheres of a Russian village in the 19th – 20th centuries.

Collective Nicknames of the Perm Region Residents

The article is the first part of the collaborative work studying Russian collective nicknames of the modern Perm Region. It aims to systematize the materials, analyze regional historiographical heritage and the sources of the studied units, explore the semantic features of collective nicknames in the region. The history of collection, publication, and research of collective nicknames of the Kama River area started in the 19th century when they were first mentioned in ethnographic descriptions. The first list of collective nicknames of more than forty units was published in 1927 by a famous Perm folklorist Valentin N. Serebrennikov. In the late 20th — early 21st centuries, intensive fieldwork of dialectologists, ethnographers and folklorists of Perm universities resulted in collecting a rich scope of materials on local nicknames which paved the way for their scholarly interpretation. The study of collective nicknames of the Kama River area showed their uneven distribution in the region. That was caused by both the specificity of field studies and the peculiarities of the region’s settlement by the Russians. Nowadays, the most numerous data on collective nicknames of the Kama River area are collected on the territory of the old-timers’ subdialects historically linked to the Russian North and in southern territories of later settlement. The authors substantiate that collective nicknames are a valuable source for the study of ethno-cultural specificity of the region. These units reflect different features of territorial groups among the local population: traits of character and behavior, specificity of Perm dialect speech, food preferences, cooking styles and the specificity of traditional costume, occupations, crafts, social status of the residents of various settlements, geographical and climate characteristics of the place, and migration history. Thus, the article shows that the studied anthroponymic units reflect the specificity of local identity and create the unique ethno-linguistic landscape of the Perm Region.

An Application and Technology of SWIR Hyperspectral Image for Inconspicuous Textile Pattern Analysis

This study applied short-wave infrared (SWIR) hyperspectral imaging technology to analyze the textile pattern used in the Jeogori of Baekdamsa Temple. First introduced in 1748, the Jeogori is a very important relic in the study of Korean traditional costume. The garment w as designated as a national treasure in 1993, and the pattern in its yellow silk has been well established. However, obtaining the pattern information of its reddish purple decoration has proven to be quite challenging. In contrast to yellow, reddish purple is a color that is difficult for a camera to recognize; thus, analyzing patterns in this color using only high-definition digital or infrared photography is difficult. In this work, SWIR hyperspectral imaging technology, which has recently been used in investigations of cultural heritage sites, was applied to identify the textile pattern on the Jeogori of Baekdamsa Temple. The technology successfully identified the patterns of a Wan-character, dragon, and phoenix. This type of textile pattern was identified in Korea from the end of the 17th century to the early-to-mid-18th century. This study is meaningful because it not only provides a detailed image of the textile pattern on the Jeogori of Baekdamsa Temple, which has not been previously achieved, but also proposes a new strategy based on hyperspectral imaging technology for studying the cultural heritage of textiles.

Developing Sustainable Clothing Design Using Chinese Auspicious Patterns

Chinese auspicious patterns(吉祥图案) have been widely applied to Chinese garments. In order to develop sustainable and innovative clothing design using Chinese auspicious patterns, this paper explored how the patterns were applied to the traditional costumes, and figured out how the concept of cherishing things embodied through the auspicious forms. On this basis, we developed four designs conveying sustainablity. The conclusions are as follows: firstly, by exploring the expression forms and symbolic meanings of auspicious patterns of Chinese traditional clothing. In this paper, we categorized them into three main categories, covering auspicious patterns in Chinese character form, auspicious patterns in pictographic form and comprehensive patterns. Secondly, this paper derived a concept of cherishing things(惜物) from Chinese culture, and developed a three-dimensional model showing how the concept can be applied: they are splicing of the waste fabrics, weaving and embroidering with waste or abandoned materials, and dyeing and painting with natural dyes. In addition, in the design practice, the upcycling of traditional Chinese auspicious patterns were completed by using three-dimensional models to realize the sustainable design of auspicious patterns. Finally, this paper developed a new fashion design that demonstrates the possibilities of diverse clothing design.

강릉단오제(江陵端午祭) 전통복식을 응용한 현대 여성복 개발에 관한 연구

Gangneung Danoje Festival, an outstanding Korean cultural heritage well-known worldwide for its artistry and creativity, is thought to have continuous growth. This festival enjoys a variety of cultural events as well as cultural preservation in tradition. Thus, developing clothing for a modern style and the heritage of traditional costumes for the Gangneung Danoje Festival is important. This study aims to reinterpret the costume with a modern sense for the Gangneung Danoje Festival and regional cultural development. This Gangneung Danoje Festival

The Covid-19 Pandemic and Contemporary Identity Attitudes of Young Vilamovians

Vilamovians, who are descendants of thirteenth-century Germanic settlers, have retained a strong sense of their own identity for centuries. This identity developed gradually under the influence of many factors and dominant groups, and for this reason it has never been one-dimensional. As a minority, Vilamovians had to adapt to the political situation, which influenced the development of various ideologies and attitudes. After the Second World War, they were forced to abandon their language, traditional costume and any other signs of ethnic distinctiveness. As a result, Vilamovian culture began to quickly disappear. It is only recent decades that have seen a change in the situation, thanks to the youngest generation becoming involved in the revitalisation process. The engagement of researchers and the process of overcoming the historical trauma by the community members not only encouraged them to openly speak about Vilamovian identity – these developments also put it on a new track, adapting it to the realities of the twenty-first century. As it turned out, identity and the sense of distinctiveness were a much stronger determinant of the ethnic group than the language or traditional costume, which, although in use again, are far less popular among Vilamovians. The Covid-19 pandemic had an unprecedented impact not only on the expressed identity attitudes, but also on activities shaping the revitalisation policy.

«BASHKIRIZATION» OF COSTUME COMPLEXES OF UDMURTS AND MARI PEOPLE OF BASHKORTOSTAN

The article examines the process of formation of regional variants of traditional costumes. The data of researchers of the 18th - early 20th centuries (P. S. Pallas, N. P. Rychkov, V. M. Cheremshansky, I. N. Smirnov, P. Eruslanov, U. Holmberg, etc.) and materials of Finno-Ugric museum collections are summarized. It is noted that consideration of "Udmurt", "Mari", "Bashkir" and other traditions can be considered with a high degree of conditionality, based on the long stage of the Finno-Ugric-Turkic community and the allocation of ethnoses with the discrepancy of their ethno-cultural boundaries. It is shown that in the works of the past centuries, the Bashkirs were generalized with the Tatars, meaning the Tatars as «eastern» peoples. Official statistics show that in the studied areas (Birsky, Belebeyevsky, Menzelinsky uezds of the Ufa province),) we are talking primarily about the Bashkirs. According to a corpus of sources, the evolution of costumes of the Udmurts and Mari people of Bashkortostan went the same way. At the end of the 18th century, the perception of individual elements (girls' headdresses) observed. In the first half of the 19th century there was "Bashkirization" of men's costume (borrowing headdresses, upper swing clothing camisole and beshmet). Udmurt and Mari women's costumes found themselves in a single stream of ethno-cultural changes, along with Bashkir and Tatar, during the democratization of society, the formation of a single trade, economic and ethno-cultural space with changing fashion. In the middle of the 19th century, traditional white-canvas clothing, products made of krashenina and pestryad, as well as manufactured clothing, coexisted among different peoples. New fabrics first used as an element of finishing products, then independently. Bright colors and jewelry made of coins were preferred. The cut and methods of decorating clothes have become multivariate. The image of the "Bashkir" Udmurts and Mari people formed.

Promoting local wisdom through the dimensions of applied folk dance forms Case study: Weaving loincloth in five colors of Lao Wiang community, Ban Noen Kham, Noen Kham District, Chainat Province.

A study of the process of weaving loincloths in five colors: a case study of Lao Wiang community, Ban Noen Kham, Noen Kham District, Chainat Province. Community products were creative research, the objective is to study the process and process of weaving loincloths in Lao Wiang people, Ban Noen Kham, Chainat Province at present. The loincloth in five colors is a culture on a beautiful cloth, the uniqueness of Lao Wiang, Ban Noen Kham. The creation of the work has foreseen the importance of five colors of loincloth and used it as inspiration to study the process of weaving of five colors of loincloth according to the process of Lao Wiang, Ban Noen Kham community to conserve local wisdom of Lao Wiang community, Noen Kham district, presented in the form of applied folk dance using the concept of semiotic theory to create works. In addition, the creators have studied and gathered information from related documents, interviewed experts about research and visited the area to bring the information that has been created to create a show.The research results showed the creation of dance works from local wisdom on the process of weaving loincloths in five colors of Lao Wiang people at Ban Noen Kham, Chainat Province, a set of five colors of loincloth, can be classified according to 8 elements of the dance, as follows: 1) The performance was created from the Lao people's liking for the wisdom of weaving the loincloth in five colors, divided into 3 periods, as follows: Color Lines, Phase 2, Precious Wisdom of Noen Kham’s loincloths, and Phase 3, Noen Kham Growing Products, OTOP. 2) Selected actors with basics in performing Isan folk dances, beautiful bodies and witty in front of the stage, it also requires discipline in training. 3) The style is designed by using gestures from the villagers' five colors of loincloth weaving process to create a dance gesture for beauty. 4) Music and sound design, using Isan musical instruments in the Pong Lang orchestra type using the music pattern, melody, floor and newly created melody. 5) Equipment designed by using some equipment in the process of weaving five colors of loincloth, used as symbols. 6) Venue at the auditorium of Ayutthaya Rajabhat University. 7) The costumes, part 1, are designed using silk or cotton threads that are woven into five colors of loincloth, Part 2 is designed by bringing Lao Wiang, Noen Kham traditional costumes to improve. 8) Light to help camouflage the errors of the show and help convey emotions, feeling. The results of this research are consistent with the conceptual framework and fully comply with the objectives set by the researcher.

Evaluation of the Keys from the Traditional Romanian Costume

The paper presents the result of the study focused on the analysis of the structural elements of the traditional Romanian costume - the join points called "keys" that ensure the processing of the edges of the components of the pieces of the traditional costume, their combination and the increase of the artistic value. The diversity, aesthetic and technical complexity of making the keys that combine the pieces of traditional shirts, both for women and for men, denotes the creativity and aesthetic taste of the creators. In addition to the structural variety of the keys, the functional characteristics are equally representative. Thus, the last part of the study is directed to the evaluation of the durability of the keys, demonstrating high strength and long service life. The study was done within the State Project 20.80009.0807.17. “Education for the revitalization of the national cultural heritage through traditional processing technologies used in the Republic of Moldova in the context of multiculturalism, diversity and European integration,” running at the Technical University of Moldova.

Славянска лексика при названията на елементи на женския родопски традиционен костюм

The article reveals old Slavic layers in the Bulgarian names of elements of the Rhodope women’s traditional costume. The research is based on 156 terminological units that prove the existence of numerous equivalents in Slavic languages for the names of women’s outerwear, hairstyles and headscarves, aprons and belts. The largest share of the studied terms comes from the general Slavic lexicon with terminological names or their etymons found in all three groups of Slavic languages. Some of the names used in the Rhodope region, however, appear only in South and East Slavic languages. Several terms have been borrowed into Bulgarian and other Slavic languages from non-Slavic languages. The author concludes that although etymons in the vast majority of the studied terms are common Slavic, there is also a number of lexemes used in the Rhodope region that appear in other Slavic languages with the same morphemic composition.

The arts of traditional costumes and their complements with the "Halayeb, Shalateen and Abu Ramad" triangle Red Sea Governorate

The arts of traditional costumes and their complements with the "Halayeb, Shalateen and Abu Ramad" triangle Red Sea Governorate

Decorative applied art and folk crafts. Reference book for self-extracurricular work of students (final part)

Reference book is addressed to students studying in the specialty 54.02.02 “Decorative applied art and folk crafts”. The manual introduces the most significant areas of folk culture — Russian traditional architecture and folk costume, reflecting all the diversity of the artistic language of the types of traditional artistic crafts. The presented material gives a general idea of the formation and evolution, regional specifics, variety of constructive, stylistic and aesthetic features of monuments of wooden architecture and Russian traditional costume. The content of each topic is structured by a short list of the main range of problems under consideration, creative tasks focused on the formulation of one's own position, argumentation of opinion, control questions. Supplements each topic with an educational travel itinerary, interesting facts, a dictionary of terms and a list of literature.

Ühe sitsijaki lugu: koopia õmblemine umbsest Kihnu jakist / The story of a chintz jacket: making a copy of a Kihnu pullover (umbne) jacket

The article is an extension of the author’s MA thesis, “Cotton jackets in the tradition of wearing folk costumes in the mainland and islands of West Estonia at the end of the 19th century and the in the first half of the 20th century” (2022). The process of making a replica of a special umbne chintz jacket found in Kihnu was initiated during the author’s field work on the island. The owner of the jacket donated it to Kihnu Museum. As the original item was in a wretched condition, having been stuck between the logs of a wall as insulation material, the Kihnu Museum ordered a copy of it from the author of the present article. This process was supported by carrying out an inventory of the rest of the Kihnu chintz jackets, 14 items, from the same time period. The article addresses the problems that occurred over the course of making the patterns, choosing the material, and sewing the jacket. Alternatives are discussed and choices are explained.
 Typical Kihnu chintz jackets are simple in cut. Side and shoulder seams are shifted towards the back. Sleeve cuts consist of two details: sleeves are slightly bow-shaped and shortened in order to allow hassle-free performance of physical work. The lower-back edge of the jacket is elongated and arched, creating a tail (händ) that covers the back when the wearer bends over. As a rule, Kihnu chintz jackets have a buttoned front placket. The jacket under discussion is different as it has no buttoned opening in the front and the placket is located on a shoulder. No other similar jackets have been preserved, but there are oral recounts of making such items during the period of 1935–1945.
 Patterns were taken from the original jacket, but as its sleeves were heavily damaged, their patterns had to be re-created and modified according to the measures of the original jacket. In order to test out the feasibility of the pattern, two test jackets were sewn.
 As paisley-patterned fabric similar to the original was not available commercially, the author created a digital fabric pattern herself and ordered it to be printed on a suitable material. The original fabric was photographed and its pattern was digitally re-created. Cleaning and combining the elements of the pattern into a seamless surface was time-consuming work, but the final result was worth it.
 The experience in sewing the test jackets provided the author with the necessary confidence to cut up the valuable specially-produced fabric. The length of the machine stitches and the original black colour of the thread closely follow the original, as does the sequence of joining and finishing the details. A major difference from the original lies in the finishing of the hems and decorative collar folds, as the wide, white selvedge of the printed fabric could not be used in the same way Kihnu women would have used their fabrics when finishing the edges of the garment. The author also made the textile covered buttons herself.
 The replica of the jacket turned out well and it can be seen in the Kihnu Museum now.
 Keywords: chintz jacket, Kihnu, traditional costume, replica, reconstruction