旗袍(英文)-超級(jí)棒哦

contentsThedefinitionofcheongsamTheoriginofcheongsamTheevolutionofcheongsamThestructure

ofcheongsamRepresentativefiguresMypersonalopinionsoncheongsamPicturesappreciating第一頁(yè)第二頁(yè)，共31頁(yè)。Thedefinition（定義）TheQiPaoorChi-Pao,alsoknownasthecheongsamormandaringown(長(zhǎng)袍)；Abody-hugging(緊身的)one-piece(連衣裙)Chinesedress；TheEnglishvocabularycheongsamcomesfromtheCantonese(廣東話).ItisknowninMandarinChinese（普通話）astheqípáoinBeijingandShanghai.第二頁(yè)第三頁(yè)，共31頁(yè)。TheCheongsam（旗袍）camefromtheManchus（滿族人）whogrewoutof（產(chǎn)生于）ancientNuzhentribes（女真部落）.Intheearly17thcentury,Nurhachi（努爾哈赤）,agreatpoliticalandmilitarystrategist,unifiedthevariousNuzhentribesandsetuptheEightBannersSystem（八旗制度）.Overtheyears,acollarless（無(wú)領(lǐng)）,tube－shapedgownwasdeveloped,whichwaswornbybothmenandwomen.Thatistheembryo（胚胎）oftheQipao.ThedressiscalledQipaoinChineseortranslatedas“bannergown（旗服）",foritcamefromthepeoplewholivedundertheBannerSystem.Theorigin（起源）第三頁(yè)第四頁(yè)，共31頁(yè)。WideandlooseCoverbodyA-line第四頁(yè)第五頁(yè)，共31頁(yè)。WhycallQipaochinadressQipao,whichisfamouswithitsharmonyandunity,isknownastherepresentativeoftheChinesedressculture.Itshowstheeleganttemperament（優(yōu)雅氣質(zhì)）ofChinesewomen,demonstratestheculture(文化)andvirtues（美德）ofournation.Itcreatesanimpressionofsimplicityandquiet,charm,eleganceandneatness..It’samagnificentrainbowofthehumanculture.第五頁(yè)第六頁(yè)，共31頁(yè)。Theevolution（歷史沿革）ThelateQingDynasty.

AftertheOpiumWar(鴉片戰(zhàn)爭(zhēng)),theEuropean-stylesuitsenteredChinafirst.Thewideandloosebodyhadgraduallybecomeshortandnarrow.In1919,theOrdinance（法令）aboutgarmentswasannouncedbytheNationalGovernmentandcheongsamwasestablishedtobethenationalgarments.In1920sIntheearlyRepublicofChina（中華民國(guó)），thecheongsambegantobepopularagain.Thebodybecameshortened.Thewaist

（腰部）wasnarrowed.Latertherewasanewchangethatstyleofcollar（領(lǐng)子）washighlightedtobefashionabletoshowfeminineappearance.第六頁(yè)第七頁(yè)，共31頁(yè)。Fromthe1950sto1960sIntheEastAsia,thefoundingofthePeople’sRepublicofChinamarkstheendoftheoldlife.Thecheongsam,whichhasbeencherishedbypeopleforalongtimewasnotpracticalandwassetaside(放置一旁).Butin1950sand1960s,cheongsamsbegantoshowupagain

（再次出現(xiàn)）inthepeople'slives.Fromthe1930sto1940s

1930sand1940ssawthecheongsaminitspeakfashion(時(shí)尚頂峰).AffectedbythestylesoftheEurope,astepforwardwasmadeinexposingthefemalefigure（女性曲線）.Thecheongsamin1930swasshortenedwiththelengthtotheknees,andthecuffs(袖口)werealsonarrowed.

GoldenEraInmoderntimes.Popularagainnow.From1966to1976CulturalRevolution（文革）,disaster第七頁(yè)第八頁(yè)，共31頁(yè)。1920s1930s

1940s第八頁(yè)第九頁(yè)，共31頁(yè)。Thedistinction(區(qū)別)Qing:broad,flat,longtofeet,silk.Rep:shapedwaist.Qing:wearingslacks,seethebottomoftrousersfromtheopening.Rep:wearingsilkstockings,showthelegs.Qing:usebrocade(織錦)orjacquard(提花織物).Rep:printedfabric(印花織物),simplicity.distinction第九頁(yè)第十頁(yè)，共31頁(yè)。QingdynastyRepublicofChina第十頁(yè)第十一頁(yè)，共31頁(yè)。Frog盤扣Thestructure立領(lǐng)襟衩刺繡Mandarincollar立領(lǐng)Lapel/frontofagarment襟Openings衩embroidery刺繡第十一頁(yè)第十二頁(yè)，共31頁(yè)。Thestyle(樣式)Chi-paohasmanystyles,andthechangeismainlybasedonsleeves,Jin,collar,openings,andthelengthofCheongsam.Sleeves（袖子）:widesleeves,narrowandlongsleeves,middlesleeves,shortsleevesorsleeveless.Jin（襟）:roundJin,straightJin,slantingJin(斜襟),doubleJin（雙襟）,PipaJin（琵琶襟）,andsoon.Collar(領(lǐng)):highcollar,lowcollar，orcollarless.Openings（開(kāi)衩）:highopenings,lowopenings,noopening第十二頁(yè)第十三頁(yè)，共31頁(yè)。longsleevesshortsleevessleeveless.第十三頁(yè)第十四頁(yè)，共31頁(yè)。如意襟琵琶襟斜襟雙襟第十四頁(yè)第十五頁(yè)，共31頁(yè)。高領(lǐng)低領(lǐng)無(wú)領(lǐng)第十五頁(yè)第十六頁(yè)，共31頁(yè)。高開(kāi)衩低開(kāi)衩第十六頁(yè)第十七頁(yè)，共31頁(yè)。Thefactions(派別)TheBeijingstyle,withred-tapism,appearsreservedandconcise京派風(fēng)格則帶有官派作風(fēng)，顯得矜持凝練；ShanghaistylewithacharacterizationofabsorbingtheWestArtsisup-to-date,flexibleandhasastrongbusinessatmosphere.海派風(fēng)格以吸收西藝為特點(diǎn)，標(biāo)新且靈活多樣，商業(yè)氣息濃厚。第十七頁(yè)第十八頁(yè)，共31頁(yè)。京派第十八頁(yè)第十九頁(yè)，共31頁(yè)。海派第十九頁(yè)第二十頁(yè)，共31頁(yè)。Representativefigures張愛(ài)玲EileenChang(1920-1995)

Awell-knownwriter，beaddictedtocheongsam.Lifeisacolorfulgown,coveredwithlice.生命是一襲華美的袍子，上面

爬滿了虱子。

衣服是一種言語(yǔ)，隨身帶著一種袖珍戲劇……貼身的環(huán)境——那就是衣服，我們各人住在各人的衣服里第二十頁(yè)第二十一頁(yè)，共31頁(yè)。宋美齡SoongMay-ling(1897-2003)FirstladyinRepublicofChina.旗袍第一夫人Sheownsthemostnumberofqipaoallovertheworld.第二十一頁(yè)第二十二頁(yè)，共31頁(yè)。鄧麗君WherethereareChinesethereishervoice,shereallymadethebeautyofthecheongsam,cheongsamaccomplishedherlegend.有華人的地方就有鄧麗君的歌聲，她成全了旗袍的美麗，旗袍成就了她的傳奇。第二十二頁(yè)第二十三頁(yè)，共31頁(yè)。

Inthefilm《IntheMoodforLove》（似水年華）

，MaggieCheung（張曼玉）changemorethan23setsofqipao,afterthemovierelease,Itsetoffarushof“cheongsamhot(旗袍熱)."Can’titarouseourdeeplythinkingabouttheculturalchangeofcheongsam?Cheongsamreflectstheelegantcharmoforientalwomen第二十三頁(yè)第二十四頁(yè)，共31頁(yè)。第二十四頁(yè)第二十五頁(yè)，共31頁(yè)。MypersonalopinionsonqipaoThecheongsam,asadazzlingexoticflowerinChina‘snationalapparel（服裝）,willnotonlyexistinthefuturebutalsocontinuetobeinfullbloomtogetherwiththewonderfulgarmentsintheworld，becausetheuniquebeauty（美麗）,demeanor（