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唐代女装
相关语句
  tang women ' s clothing
     The Research of Tang Women's Clothing under Psychohistory
     心态史学视野下的唐代女装研究
短句来源
  “唐代女装”译为未确定词的双语例句
     THE WAISTLINE OF WOMEN'S COSTUMES IN TANG DYNASTY AND ITS AESTHETIC EFFECTS
     唐代女装的腰线及其审美效果
短句来源
     The Analysis of the Diversity of Tang Dynasty Costume and the Cause of Forming
     唐代女装风格的多样化特征及成因分析
短句来源
  相似匹配句对
     THE WAISTLINE OF WOMEN'S COSTUMES IN TANG DYNASTY AND ITS AESTHETIC EFFECTS
     唐代女装的腰线及其审美效果
短句来源
     The Research of Tang Women's Clothing under Psychohistory
     心态史学视野下的唐代女装研究
短句来源
     The Study of the Price of Grain in the Tang Dynasty
     唐代粮价研究
短句来源
     Studies in Family Instructions of Tang Dynasty
     唐代家训研究
短句来源
     Woman′s wear of Tianjin in modern times
     天津近代女装
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The women's costumes in Tang Dynasty were particularly important to the ancient history of Chinese costume, and had great influence on the development of clothing among neighbouring nationssuch as Japan and Korea. The waistline was the key style line of women's wear in that period. This paper deals with the different kinds of waistline of Tang dresses in order to get a better understanding of the Chinese culture related to clothing and inspiration for contemporary fashion design. The topic is approached from...

The women's costumes in Tang Dynasty were particularly important to the ancient history of Chinese costume, and had great influence on the development of clothing among neighbouring nationssuch as Japan and Korea. The waistline was the key style line of women's wear in that period. This paper deals with the different kinds of waistline of Tang dresses in order to get a better understanding of the Chinese culture related to clothing and inspiration for contemporary fashion design. The topic is approached from social psychological, historical and aesthetic points of view, wall paintings, carvings, terra-cotta figures and other Tang relics were used for visual analysis, and both ancient and modern literature were reviewed to get following conclusions: There were four types of waistline for women's costume in Tang Dynasty, they are, 1) high waistling under the bust; 2) high waistline above the bust; 3) low waistline; and 4) natural waistline. The high waistline under bust was similar to those of the European robes of Empire Style in early 19th century and dresses with features of Art Nouveau in early 20th century. It could be used to build an 8- or X-shaped silhouette, and show a healthy, sometimes strong, plump and resplendent image. It was frequently seen on those ensembles consisted of narrow-sleeved blouse, sleeveless short jacket, long scarve and long-full skirt. The waistline could bc formed by the hemline of the jacket, abelt or sash. The top of the emscmble would likely to have a low neckline showing the cleavage, and the skirt would probably be color-striped. The possible wearer could bc a lady or a dancer. The high waistline above the bust was quite a unique one. It could help to make a O-shappcd silhouette and show a heavily figured, idle but graceful image. It was likely to be found on those ensembles consisted of a wide-sleeved blouse, long silk scarve with painted motifs and long-full skirt. The possible wearer could be a lady or female attendant of high status in royal or other important families. The low waistline was mainly used for masculine robe or coat. The coat could have a round neckline and narrow sleeves, and worn with pants and boots. The belt or sash would be wrapped around the hip line to form a really low waistline. The coat could also have a high-shawl collar and be worn with Persian-styled and stripped pants, boots and leather belts. The most wearers were maids, and would show a masculine gesture, throwing out their bellies a little bit. The natural waistline was not popular during the period and could be considered as the intermediary between the high and low waistline. The different positions of waistline reflected the ideal images of women in Tang Dynasty, and were related to the relatively tolerant attitude towards women, the women's new role during the Empress Wu Period ( 684-704 ), and the androgenous fashion for women.

腰线是决定唐代女装特征的重要因素之一。唐代女装的腰线可分为高腰掩乳、高腰乳下,自然腰线和低腰线4种。其中两种高腰线应用最多,主要见于裙服。低腰线主要用于侍女袍服。自然腰线应用较少。唐代女装的腰线主要由半臂下摆、各种腰带和裙腰上端标出。影响唐代女装腰线处理的因素有:①较为开放的社会风气;②丰腴浓艳雍容华贵的女性理想形象;③女着男装以及仿效胡服胡妆的时尚。以上结论是对壁画、石刘、陶俑和绢画等形象资料作视觉分析并辅以文献考证以后得出的。由于资料的限制,以上结论仅适用于宫庭贵妇宫女、豪门仕女侍妾以及舞妓女乐的穿着。

It has received more and more attention that psychohistory applies to the research of history of the society.The paper states the role of mental analysis from four aspects, i.e. specially social mentality, the western-minority-nationality mentality of imperial family,the development of feminine consciousness and the change of aesthetic standard.

心态史学在社会史领域的应用已经越来越受到关注。文章以唐代女装为例 ,从特殊的社会心理、皇室的胡人心态、女权意识的崛起和审美情趣的变化四个方面 ,阐述心理分析方法对于社会史研究积极的辅助意义

Chinese women' s wear is famous for conservative style. There is a exception that the women' s wear of Tang dynasties is exposed. It' s distinguished by sexuality. The style of women' s wear of Tang dynasties is blouse and skirt. It' s characteristics is that blouse is short and skirt is long. Waist of skirt rise to bust. The blouse let women' s chest exposed.

中国女装自古以包裹严实而著称于世,而其中却有一个例外,那就是敢于祖胸露乳的唐代女装。如果 一定要用一个词去表述它的特色。那就是"性感"。唐代女装的穿戴形式是上身穿襦下身穿裙。上身穿着的襦短而 且小,下身穿着的裙肥并且长。裙上束至胸部,将颈部和胸部的肌肤外露。

 
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