As a traditional clothing symbol that is unique to the Chinese nation, the dragon symbol combines the distinctive features of the Chinese nation, reflecting the depth of mental changes and the historical context of Chinese culture. The image of the dragon has formed a kind of dragon pattern as a certain set of ideas about the culture that encoded all its changes. Therefore, in national clothing the dragon image has been one of the most favorite patterns for (...) thousands of years. With the interweaving of world cultures and the deepening of the concept of clothing design, the dragon pattern will incorporate fresh elements of Western culture while maintaining the essence of traditional Chinese culture, and show a new design image through the utilization of various innovative ideas and design methods. The following methods were used for the study: literature review, field research, analysis of design cases, analysis of fashion trends. Using these methods, the specifics of using dragon designs in the fashion industry in different seasons and years are analyzed, and the trend of their evolution in the field of high fashion is studied. In the article we analyzed modern trends of clothing design and gave their characteristics. The results of the study showed that even in modern youth fashion this national symbol is actively used, which indicates that the patterns and images of the dragon have real applicability and wide prospects of application in modern fashion design. Modern clothing design provides a rich cultural heritage for modern clothing to retain the characteristics of civilization on the basis of continuous innovation. The use of dragon motifs in modern clothing not only meets the aesthetic concepts of modern people, but also adds vitality to clothing design. (shrink)

The object of the study is clothing as a sociocultural phenomenon, a product of material and spiritual cultures. The evolution of clothing is closely related to sociocultural changes in society. The subject of the study is the transformation of clothing in China under the influence of political, economic, social, and aesthetic factors after the beginning of Chinese economic reform and opening up policy. The significant changes have taken place in Chinese clothing, the main of which was (...) the transition from a uniform style of clothing for the whole country to a variety of fashion and styles, as well as the revival of traditional clothing. The transformation in the style and production cycle of clothing in China is based on objective (technology development, market laws, global fashion trends) and subjective reasons (psychology, personal preferences and aesthetic tastes of consumers). There is always a concept behind the behavior in clothes, and the desire for beauty is the main driving force behind the development of clothing. The social psychology of imitation and difference contributes to the spread of fashion trends in clothing. The author's special contribution to the topic is a detailed examination of the impact on the transformation of clothing of political, economic, sociocultural, aesthetic factors, as well as cultural exchanges and folk traditions. The author traces the sequence of fashion trends in China in recent decades. Сontemporary changes in Chinese clothing culture are not limited to simply borrowing Western trends, but are accompanied by the emergence of postmodern ideas and the promotion of the globalization process, which leads not only to the technological and design enrichment of clothing characteristics in China, but also to the growth of cultural awareness and the revivalization of traditional and local cultures. (shrink)

Chinese traditional costume is one of the important carriers of Chinese culture. The process of the emergence and development of the culture of traditional Chinese costume also reflects the cultural background and evolution of ancient Chinese society. In the context of the strengthening of the Chinese economy, the inheritance and development of Chinese clothing culture is of great importance for modern society. The epochs of Wei, Jin, Southern and Northern dynasties are a period of Chinese history marked (...) by frequent wars, ethnic integration and convergence of various ideas. Against this background, there was a weakening of the Confucian "ritual" style, followed by the spread of the teachings of Xuan Xue, Buddhism and Taoism, and a freer, down-to-earth, elegant clothing culture appeared. This article consists of the following three parts: Diversity of social background; Artistic forms of costume culture of the Wei-Jin eras; Modern trends in the development of clothing culture. Based, among other things, on such material as the scroll painting "The Fairy of the Lo River" by the artist Gu Kaizhi of the Eastern Jin Dynasty, this article analyzes the influence of the teachings of Xuan-xue, Buddhism and Taoism on the costume of the Wei and Jin dynasties, illustrates the direction of development of modern Chinese costume culture, and continued the path for the development of clothing culture with Chinese specifics. (shrink)

Proponents of the capabilities approach claim that it should be used to give guidance for the implementation of good constitutional laws. This suggests that it also gives us grounds to support attempts to create or protect constitutions based on something like the capabilities approach. The Turkish Republic claims that in order to protect secularism and the equal status of women, it needs to keep certain Islamic practices away from the public domain. The wearing of the headscarf has been singled out (...) as such a practice, and the Turkish Republic has therefore legislated against headscarf wearing in schools, universities, and government buildings. In consequence many women are forced to choose between religion over education and politics in a way that curtails central human capabilities. Nussbaum claims that the best way to help states resolve the dilemma presented by the conflict between religious choice and other central capabilities is to refer to principles embodied in to the US Religious Freedom Restoration Act 1993, which states that a law can burden a person's exercise of religion only when the burden is a furtherance of a compelling state interest. In this paper I consider how this advice partly vindicates the Turkish case and how the solution it yields is in many ways more satisfactory than that of more traditional approaches in political philosophy. (shrink)

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the (...) cognitive and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)

Reseñado por FERNANDO DOMÍNGUEZ REBOIRASAlbert-Ludwigs-Universität Freiburg, [email protected].

Reseñado por JUAN JOSÉ HERRERA Universidad del Norte Santo Tomás de Aquino San Miguel de Tucumán, AR [email protected].

This study examines the Korean aesthetic consciousness of colour by focusing on the preference far white in clothing culture. A nation's symbolic use of certain colours develops over time as a tradition representing the national sentiment and philosophy of life. In this way, traditional colours not only influence the senses but also evoke ideas about a country's social customs. Far example, white clothes without bleaching, artificial processing, or fancy patterns have a simple and pure beauty. This paper discusses (...) the Korean partiality toward such clothing as representative of the spiritual virtues of purity and holiness. A comparison is drawn with China and Japan, where traditional clothes feature other colours despite some shared concepts across the cultures, such as yin-yang and the five elements. (shrink)

This study examines the Korean aesthetic consciousness of colour by focusing on the preference far white in clothing culture. A nation's symbolic use of certain colours develops over time as a tradition representing the national sentiment and philosophy of life. In this way, traditional colours not only influence the senses but also evoke ideas about a country's social customs. Far example, white clothes without bleaching, artificial processing, or fancy patterns have a simple and pure beauty. This paper discusses (...) the Korean partiality toward such clothing as representative of the spiritual virtues of purity and holiness. A comparison is drawn with China and Japan, where traditional clothes feature other colours despite some shared concepts across the cultures, such as yin-yang and the five elements. (shrink)

ABSTRACTIn this study, I examine the Confucian influence upon An Inquiry into the Good, the first publication of Nishida Kitarō. Nishida’s student Kōsaka Masaaki depicts his mentor’s conception of the good in terms of realising the 'Mandate of Heaven'. Taking this to be indicative of the importance of Confucianism for Nishida’s early thought, I compare his philosophy of pure experience and ethical project of ‘self-realisation’ with corresponding ideas found in the Confucian corpus. I especially focus on the Great Learning and (...) Doctrine of the Mean as interpreted by the Neo-Confucian Wang Yang-Ming. This study builds upon the pioneering work of Michel Dalissier, Dermott Walsh and David Williams on the Kyoto School and Confucianism. My portrayal of Confucianism is indebted to the ‘philosophical’ translations of Roger Ames, David Hall and Henry Rosemont, Jr., which bring into relief the tradition’s ‘relational ontology’ that Graham Parkes teaches is shared by the Kyoto School. (shrink)

In recent years, Chinese clothing cultural heritage and knowledge genealogy along the Silk Road have become the research headline attracting public attention. In particular, Kazakh clothing in Northwestern China has become the focus of today's traditional national culture. Kazakh, located at the intersection of the Silk Road, has an important position. The traditional clothing made by various social factors reflects the style and identity integration throughout history in cultures along the Silk Road, taking women's (...) class='Hi'>clothing as an example. Kazakh women are good at crafts, which is reflected in their strong grit. They gradually changed their role and traditional values, which has guided their social role. At the same time, it also reflects the awakening of Kazakh women's feminist consciousness to a large extent, and complies with Confucianism, along with the mainstream value of “advanced gender culture” of the world's outstanding civilization achievements. This paper summarizes the form, color, and patterns of Kazakh women's clothing by analyzing the garment, headdress, and footwear in Xinjiang Uygur Autonomous Region Museum, Aksai Kazakh National Museum, and Capital Museum of China. Through the analysis, this paper further probes into the multicultural integration between Kazakh and the regions along the Silk Road and interprets the idea represented by the forms, colors, and patterns in the clothing to promote the inheritance and development of traditional and regional cultures together with ethnic features along the Silk Road. (shrink)