选题理由
In Vietnam, accessing quality resources on traditional costume culture can be quite challenging Specifically, finding clear information comparing the Ming Dynasty's cross-collared women's attire with that of the Later Le Dynasty in Vietnam is particularly difficult.
The influence of French culture in Vietnam has led to a dilution of traditional Vietnamese attire However, in the 21st century, especially among the youth, there is a renewed effort to revive the value of traditional clothing Unfortunately, a lack of historical information leaves many unaware of how their ancestors dressed, behaved, and lived This scarcity of resources has resulted in some individuals casually designing garments and labeling them as traditional Vietnamese attire, a practice that poses a significant risk to the authenticity of the culture.
Movies and television are the most effective tools for cultural dissemination Nowadays, cultural exchange is incredibly easy, yet it’s ironic that some popular films feature costumes and jewelry sourced from platforms like Alibaba and Taobao This trend poses a significant and unimaginable risk to cultural authenticity.
研究目的
This report, titled "A Comparison of the Cross-Collar Women's Garments of the Ming Dynasty in China and the Later Le Dynasty in Vietnam," aims to assist young people in understanding the traditional clothing cultures of both countries, particularly focusing on their cross-collar garments It serves as a simple report rather than a historical document or significant cultural artifact for future generations The perspective presented is from a student who appreciates both Vietnamese and Chinese traditional attire.
研究现状
Throughout history, clothing has remained a focal point of interest, serving not only as a necessity but also as a reflection of a culture, particularly through traditional attire Among various types of garments, the cross-collar garment stands out as one of the oldest traditional outfits Although it was once forgotten, it is now experiencing a resurgence in appreciation and is more intriguing than ever As an enthusiast of traditional Chinese and Vietnamese clothing, I have diligently gathered valuable documents related to these cultural attires, particularly focusing on the cross-collar garment Below are some essential materials and books that I believe provide significant insights, representing the valuable research conducted by predecessors in this field.
陈光德《 Mũ áo ngàn năm 》，2013 年发表作品，所有人都赞扬这本书对恢复
Traditional clothing culture plays a significant role and has received high praise from enthusiasts, as highlighted in the book "Lucky Salvation," published in 2013.
年出版，厚约 400 页，由世界出版社，是陈光德经过“三年的智力工作”而得出的
成果。关于 1009至 1945 年越南传统服饰的研究书。在其中，作者撰写了有关越南后
黎交领衣的单独部分：“民间服饰不变，主要样式仍为圆领，交领， ”，“进入后
The common styles of cross-collar clothing in the Ly Dynasty, known as "cross-neck" or "flat collar," include variations such as straight-collar and long-collar garments.
The term "衣" literally translates to "long pull," referring to a type of collar that extends beyond the chest, resembling a garment that is still relevant in today's fashion.
The book offers a detailed study of traditional clothing across various stages, focusing on its reconstruction within royal courts and folk traditions.
Vietnamese clothing has a rich history spanning approximately a thousand years, influenced by strict regulations and evolving traditions Throughout the centuries, various styles and headwear have emerged, reflecting the cultural heritage and societal norms of the time.
The article analyzes the reasons behind the regulations of clothing during the Vietnamese dynasties, highlighting the minimal changes in traditional folk costumes over time.
The article discusses the style of men's formal wear, specifically focusing on the design of jackets, while also addressing the historical significance of certain attire It emphasizes the longstanding prohibition against the use of "bottomless pants," highlighting the importance of adhering to traditional dress codes in formal settings.
Facts are remarkable, yet this book delves into the ancient history of the cross-collar garment without promoting its modern iterations.
衣有多么欢迎。
In his 2018 work, "Traditional Costumes of the Ly and Nguyen Dynasties," Nguyen De Huy highlights the widespread familiarity among Vietnamese people with the traditional flowing ao dai, which is not only renowned domestically but also celebrated internationally However, he notes that the so-called traditional ao dai is a modern interpretation of the original style Vietnam boasts a rich history with various types of clothing that remain largely unknown Through this article, he aims to introduce readers to a summary of some of these traditional garments.
On March 25, 2020, Hanfu's "Ming Dynasty Clothing" highlighted the iconic cross-collared pipa sleeve design as a fundamental and classic style of the Ming jacket and skirt However, it also noted that there are various other types of Ming jackets, including the stand-collar narrow-sleeve short jacket and the stand-collar wide-sleeve long jacket.
In his 2019 article "Overview of Hanfu," the author from the Vancouver Hanfu Society discusses two types of collar styles: the "straight collar" and the "round collar." The straight collar descends vertically from the chest without crossing at the front, sometimes featuring ties at the chest or remaining open This style is commonly worn over traditional Hanfu garments, such as jackets and short coats The round collar, more prevalent in men's clothing, is circular and also features a right-side overlap with ties at the shoulder This collar style is found in official Han and Tang dynasty attire as well as in everyday garments.
The article "交领衣" by the Đại Việt Ancient Style Group, published in 2016, describes the cross-collared robe made of six pieces of fabric, often paired with a skirt, which was the most popular clothing during the Lý Dynasty However, the work serves as a general overview of the historical development of the cross-collared robe without a detailed analysis of each style or the patterns and their meanings This piece is a valuable reference for readers interested in the topic, particularly scholars conducting in-depth research on the history of the cross-collared robe.
研究方法
To conduct our research and explore this topic, we have adopted essential scientific research methods.
The historical and logical approach to understanding the evolution of the cross-collar garment in China's Ming Dynasty highlights its significance in Chinese history, as well as its development during the Later Le Dynasty in Vietnam.
分析一合成方法：从两种交领衣的碎片不时，分析其特点和变化。
The knowledge of disciplines such as culture, history, and geography plays a crucial role in shaping the clothing culture of a nation, reflecting a universally accepted and accurate perspective on its development.
The article discusses the methods of comparison and contrast by collecting information from a book and analyzing two types of crossover garments through photographic networks, highlighting their similarities and differences.
研究范围
研究的范围是中国明朝交领衣和越南后黎朝交领衣。
语科来源
根据 wapbaike.baidu.com
根据陈光德《 Mũ áo ngàn năm 》，2013 年发表作品。
阮德辉的《黎朝和阮朝的一些传统服饰》，2018 年发表网报。
汉服十二月发表的《名朝服饰》 2020 年 3 月 25 日在线发布
中国明朝交领衣的简介
交领衣的历史
The cross-collar garment is a common attire in Hanfu, representing a traditional top that has been popular throughout Chinese history It can be categorized into different styles, including Han-style, Song-style, and Ming-style cross-collars Additionally, these garments are divided by gender into male and female versions While the exact origin of the cross-collar clothing remains uncertain, it is speculated to have first appeared during the Xia Dynasty, with its peak popularity and development occurring in the Ming Dynasty.
During the Ming Dynasty, various styles of cross-collar clothing emerged, with the popularity of the aoqun (jacket and skirt) evident in tomb excavations The cross-collar waist ruqun gradually faded in prominence The history of Han men wearing skirts is long-standing; despite the introduction of straight-cut and round-collared robes, the ruqun continued to be worn, with official male ceremonial attire adhering to traditional garment styles until the fall of the Ming Dynasty The male ruqun was predominantly a cross-collar design, alongside other styles such as the overlapping collar ruqun.
The Jiaolingyi, a quintessential representation of China's rich traditional attire, remains a subject of debate regarding its precise definition and origins Nonetheless, it stands as a remarkable achievement in the realm of traditional clothing and has gained global recognition This garment embodies unique meanings, shapes, and decorative beauty, serving as a distinctive product of cultural exchange among China, Japan, Korea, and Vietnam Over thousands of years, the allure of the Jiaolingyi has only intensified, evolving from the Xia Dynasty through the Song and Ming Dynasties to the present day in Taiwan and Hong Kong, as well as worldwide In the 21st century, this shirt has been designed on the foundation of multicultural influences, with talented fashion designers transforming it to reflect contemporary styles while preserving its Eastern elegance and integrating Western cultural elements.
1根据： Wapbaike.baidu.com
图片 1 明代古画
图片 2: 出土明朝交领衣 交领上衣通常搭配襦裙穿叫交领襦裙。交领襦裙也要按照规则
（1)将上衣的领子左右对齐；
(2) 将右襟系结；
2 然后系上下裙：
(1)将裙子置于身前，向身后合围裙
子； (2)裙子两端在身后围合后，并交
(3)将压在里面的一层裙头向外翻折一
下； (4)调节裙子的高度，系结裙带
交领衣的制作
There are two main methods for creating overlapping collars in garment construction Due to the overlap, the front placket requires more fabric, which often leads to the use of two pieces of cloth The first method, known as the back center split, features a seam at the center of the back, commonly seen in historical paintings The second method, called the front placket augmentation, has the seam located on the right front placket, cleverly concealed by the left placket, making it invisible on the garment's surface Additionally, there is a third technique that adjusts the angle of the shoulder sleeve to meet the fabric requirements for the front overlap, allowing for the use of a single piece of cloth without additional cutting.
图片 3：交领衣的结构
中国明朝交领衣的特色
From the perspectives of later dynasties such as the Song, Ming, and Qing, the production of cross-collar garments typically retained features like long sleeves and side slits, with slits often located on the sides During the Tang to Jin dynasties, there were garments with slits at the back, referred to as "back-slit jackets," while those with side slits were known as "hipless jackets." Murals also depict examples with slits at both the sides and back Since the Tang dynasty, cross-collar clothing has undergone significant development, reaching its peak during the Ming dynasty, where numerous styles were designed suitable for both everyday wear and festive occasions These garments come in both long and short variations, with the length typically determined by the ancient classification of "ru," where knee-length is considered a jacket and knee-length or longer is classified as a long jacket However, people often rely on sleeve length to distinguish the styles of cross-collar clothing.
交领衣在中国明朝最基础的有四个风格 3 ，具体一下：
图片 4: 明朝的交领衣 首先，我们不得不提到交领琵琶袖短袄呢！ 4 现在很多年轻人非常喜欢，在明朝 当时 也是最流行的。明代许多著名的历史戏剧都出现了这种风格。比如《女医ã 明妃传》、
The "Minglan" style garment, often referred to as an "ao," features an inner lining that allows for adjustable cuffs, which are sometimes embellished with piping The collar is typically adorned with a protective band, while the cuffs are designed to discreetly hold small items such as change or other personal belongings This functionality acts like a hidden pocket, enabling you to carry essentials without drawing attention Therefore, when wearing a Hanfu with pipa sleeves, you can forgo a bag and conveniently store items like tissues, your phone, and coins right in your sleeves!
3 汉服十二月发表的《名朝服饰》 2020 年 3 月 25 日
4 温哥华汉服学社作者的《汉服的概述》2019
图片 5:交领琵琶袖短袄 其次，除了交领琵琶袖短袄之外，还有交领琵琶袖长袄，这种风格其实比较少见，不过汉服商家也有在做的。和短袄的区别在于衣身比较长，一般为 110cm 左右。袖口里面也可以塞东西。我不得不说，琵琶袖的汉服穿着起来确实是十分方便的。因为在缝制时，人们已经在袖子的袖口上穿了一根线，当我们将东西放入袖子时，我们就拉动了袖子的袖子。所以，大家在日常出街的时候，要是穿上一件琵琶袖的汉服，那就可以不用带包了。
图片 6 交领琵琶袖长袄 再次种是交领广袖长袄。第三种跟第二中差不多，衣身比较长，一般为 110cm 左右。但袖口没有收紧，里面也不能藏东西。与琵琶袖相比，交领广袖长袄的袖口不是封闭的，袖的宽度会更大。 因此，当每个人都穿着交领广袖长袄时，您的袖子里装不了太多东西。 因为嘴不闭，所以里面的东西很容易掉下来。但是，与琵琶袖相比，明制的宽袖长大衣穿起来会更“优雅”！ 因此，有很多喜欢这种汉服的小姐们。
图片 7: 交领广袖长袄 最后的风格是“交领一族”还有一个就是交领窄袖短袄了。除了明制琵琶袖长袄 之外，还有更加小一点的袖子。许多人认为这种风格不受欢迎因为长长的汉服袄子更加适 合搭配宽大的袖子。而跟我认为，我最喜欢就是交领窄袖短袄因为既动态又适合该模型。 它像第一风格差不多，不过袖口是比较窄的，看起来更加日常。这是穿起来最舒适的交领， 完全不用担心袖子掉进锅里。
图片 8: 交领窄袖短袄 明朝是中国最繁荣的时代之一,所以明朝的交领色彩多样，图案丰富。大家喜欢在交领衣上绣复杂的图案。根据每个人的社会地位,而颜色和图案也不同。比如皇帝在上衣可以绣龙、皇后可以绣凤凰，别的人不能绣、官员的交领馆服也不同于普通人的交领衣、等等。
越南后黎朝交领女衣的简介
交领的历史
The交领衣, a traditional Vietnamese garment, has a long history and is characterized by its distinctive crossed collar design This attire is commonly worn as formal wear, ceremonial clothing, or everyday outfits.
图片 9:出土后黎朝的交领衣 自古以来，这种交领衣经常有多种类型的袖子但分为两大类，但分为两大类： 宽松 的袖子和窄袖。这种交领衣服最流行在李-陈-黎朝，直到 1744 年有令改变南河人的穿衣 风格。在北河交领继续流行到西山朝 5 。
5阮德辉的《黎朝和阮朝的一些传统服饰》，2018 年发表网报。
陈朝的 Le Tac《 An Nam Chi》一书在 Uy Vu 寺的记录中记录了这一小细节，这
Linh Nam là câu chuyện về hai Phúc Ba, trong đó nhấn mạnh rằng đối với người dân Linh Nam, ông là một nhân vật có công lớn Đến nay, khu vực này vẫn duy trì truyền thống mặc áo khoác bên trái.
In "Notes on Border Affairs" by Li Guizun, it is recorded that during the spring of the Year of the Tiger, the city of Nha Trang was established in Hue Starting from July, it became evident that the Trịnh Lords had their own governance, transitioning from previous adherence to ethnic customs The border area is now peaceful, with internal and external unity, suggesting that political and customary practices should align The Chinese style emphasizes the importance of adhering to customary regulations, where both men and women are expected to wear short-sleeved shirts with wide and narrow sleeves for casual attire Additionally, garments should be tailored without open plackets or tight waists; men opting for a fitted round-neck shirt for work are required to wear long sleeves or use dark fabric, with white as an optional choice.
In the "Chronicles of Jiading," Zheng Huaide noted that people continued to follow the old customs of Jiaozhi, characterized by loose hair, barefoot walking, and wearing straight-collared garments that cover the armpits.
The cross-collared robe serves as the most formal traditional attire worn during ceremonies Crafted from rare materials, it is commonly donned by both the king and commoners during sacrificial rites Additionally, there is a variant known as restorative attire, which is a solid blue dress worn during regular court proceedings or large ceremonial rehearsals When wearing this universal garment, it is essential to adorn the front and back of the chest with insignias that define the wearer's rank, embroidered on a square cloth.
Outside of Xiangcheng, this garment is commonly referred to as a "cross-collared robe" and is worn during ceremonies and at temples The clothing is designed to be loose-fitting with side slits, typically made from cotton, linen, and various solid-colored silks The sleeves of the shirt taper at the waist and can be as long as the hem of the cross-collared robe During sacrificial rites, the king wears a crown, and it is customary for individuals to don tailcoats during ceremonies, often rooted in folklore This traditional shirt is found in Confucian countries across Asia, including China, Japan, Korea, and Vietnam There is no evidence to suggest that women of the Nguyen Dynasty wore this uniform Today, many Vietnamese men still wear this attire during various ceremonies in rural areas and communes.
Bài viết của Theo Trần Kính Hòa trong "Soạn niên, tài liệu và truyền bản của An Nam chí lược" thuộc Tổng tập dư địa chí Việt Nam (tập 1) do Nhà xuất bản Thanh Niên phát hành năm 2012, cung cấp cái nhìn sâu sắc về nguồn gốc và giá trị của tài liệu An Nam chí lược, đồng thời khẳng định tầm quan trọng của nó trong việc nghiên cứu địa lý và lịch sử Việt Nam.
8 Theo "Mũ áo ngàn năm" của Trần Quang Đức, 2013
越南后黎交领衣的定义
图片 11：越南古代绘画
This article discusses a loose-fitting long garment characteristic of the Vietnamese Le Dynasty, where vests were typically smaller than the body and rarely featured side slits In contrast, during the Nguyen Dynasty, side slits were always cut, making them as wide as the body The clothing featured long, wide sleeves measuring 32-36 cm The cross-collared design extended to the ankles and was stitched from five to six pieces, regardless of gender Historical records indicate that women wore a coat over a breast-wrapped apron, with a skirt secured by a dyed belt, and a decorative outer layer if of noble status, often embroidered with intricate patterns Men wore shirts tucked into trousers or wrapped cloth, with the left lapel crossing the chest and abdomen, tied beneath the right armpit, distinct from the spoon-shaped collar which featured a horizontal knot Numerous artifacts showcasing this cross-collared style have been discovered in sites such as Day Ninh and West Lake.
The traditional long robes were primarily crafted from luxurious materials such as silk, chiffon, and brocade, making them ideal for the hot summer months.
Using chiffon and sand cloth, similar to the weaving of banana stem fibers produced in tropical regions like the Philippines and Okinawa, is essential In winter, satin styles are preferred for added warmth and elegance.
后黎朝交领衣的风格
图片 12：穿交领衣的方式
10 根据大越古风组的《交领衣》在 2016 年发表的文章
During the Later Le Dynasty, cultural exchanges between nations flourished, leading to the development of diverse fashion styles among both the royalty and common people Various types of clothing emerged, including round-neck, straight-neck, and standing-collar designs Notably, the cross-collared garment, featuring a six-part shirt with intersecting collars and often a strapless dress, became the most popular attire of this era, as evidenced by numerous paintings and sculptures Cross-collared clothing primarily came in two lengths: short and long.
The first type is the short cross-collar garment, typically worn by women, with a length that does not exceed the upper body These garments feature wide seams and overlapping collars, creating a deep, draped neckline Depending on the wearer's preference and the occasion, the sleeves can be tailored to be either wide or narrow Short cross-collar garments are usually paired with a similar type of skirt known as a "chang," which is wrapped around the outside of the garment and secured with a string By the late Ly Dynasty, the emergence of short lapels disrupted traditional outerwear, leading to the layering of multiple garments and the creation of a distinctly novel style.
图片 13：越南后黎的短交领衣
9 根据陈光德《 Mũ áo ngàn năm 》，2013 年发表作品
11 根据大越古风组的《交领衣》在 2016 年发表的文章
The second type is the long cross-collar garment, which features a wide design with overlapping collars and a deep, draping neckline Unlike short cross-collar garments, long versions extend beyond the knee and are worn by both men and women When worn, these garments typically cover the skirt Popular in Vietnam, China, South Korea, and Japan, the style has evolved over time, exhibiting various detailed differences across these countries.
别。如下图所示
图片 14：越南后黎的长交领衣
中国明朝交领衣与越南后黎朝交领衣的异同
相同点
交领衣是亚洲最受欢迎的传统衣服 12 ，包括中国，韩国和越南。尽管每个国家的交领 衣都不一样。但是它们基本上具有一些共同的特征。特别是中国明朝交领衣与越南后黎朝 交领衣。我想列出几点 ：
第一点：中国明朝交领衣与越南后黎朝交领衣都有领口相互交叉。
The second point highlights the similarities between the wide-bodied garments of the Ming Dynasty in China and those of the Later Le Dynasty in Vietnam, particularly noting the distinct side openings of their lapels.
第三点：中国明朝交领衣与越南后黎朝交领衣都有袖长超过手腕。
The fourth point highlights that the crossover garment, or "交领衣," is often paired with "裳," a type of bottom garment without a hem In Vietnam during the Later Le Dynasty, this style resembled that of China's Ming Dynasty, featuring short crossover garments with exposed shoulder skirts, similar to Japan's curved crossover attire Long crossover garments are popular across Vietnam, China, Korea, and Japan, showcasing their shared cultural significance.
13 根据大越古风组的《交领衣》在 2016 年发表的文章
不同点
Every country boasts its own unique culture, encompassing various aspects such as education, cuisine, art, communication, and fashion The Ming Dynasty's cross-collar clothing in China and the Later Le Dynasty's cross-collar garments in Vietnam share a name but represent distinctly different styles, each with its own characteristics.
The cuff design of the Ming Dynasty's cross-collared garments resembles a pouch, allowing for the storage of items, while the Vietnamese Le Dynasty's version lacks this functionality Additionally, the Vietnamese cross-collared attire features straight sleeves, in contrast to the curved sleeves of the Ming Dynasty.
The length of the Vietnamese giao linh garment from the Later Le Dynasty is notably longer than that of the Chinese jiao ling attire from the Ming Dynasty In Vietnam, the giao linh is characterized as a long robe, while in China, the jiao ling is typically a shorter robe.
The fourth point highlights the differences in collar styles between Vietnam's Later Le Dynasty and China's Ming Dynasty The Later Le Dynasty featured low-collared, hammock-style necklines, while the Ming Dynasty adopted a higher collar design This hammock neckline was popular during the Song Dynasty and earlier, but by the Ming Dynasty, collars became more upright and the overall dressing style turned more conservative This evolution in fashion influenced not only Vietnam and the Ming Dynasty but also North Korea, which was affected by Ming attire.
The fifth point highlights the distinction between the交领襦裙 of Vietnam's Later Le Dynasty and China's Ming Dynasty In Vietnam, the outer garment is shorter than the inner dress, revealing two layers of skirts underneath Conversely, in China, as well as in Japan and Korea, the outer garment extends to the ground, fully covering the inner dress.
Cultural exchange between countries, including Vietnam and China, involves mutual influences in culture, customs, and language Chinese traditional civilization and clothing culture did not develop in isolation; they were shaped through cultural exchanges and assimilation processes with other nations While Chinese traditional attire has been influenced to some extent by the clothing culture of the Baiyue (Vietnam), it is undeniable that Chinese culture and fashion have significantly impacted Japan, Korea, and Vietnam This report aims to explore the similarities and differences between the Ming Dynasty's cross-collar garments and the Later Le Dynasty's cross-collar clothing in Vietnam, helping readers gain a deeper understanding of these two styles while maintaining an objective perspective It also encourages a tolerant view of the Chinese cultural elements present within Vietnamese attire.
Traditional clothing in every country is shaped by a rich history that adheres to indigenous customs, rituals, and cultural principles These principles, rooted in ethnic identity and unique aesthetic elements, have remained largely unchanged through various dynasties In Vietnam, this legacy dates back to the founders Ding, Le, and Ly, and continued until the Nguyen Dynasty, facing challenges from Western colonial influences Since the late 19th century, Western clothing has gained popularity, yet Japan maintains pride in its traditional garments, which are respected globally without the need for Latin script Vietnam also experienced a significant period of Westernization, as illustrated in Vũ Trọng Phụng's novel "Số đỏ," but this movement faced resistance due to the deep affection for traditional attire Vietnamese clothing differs markedly from French styles, and imposing foreign fashion can lead to resentment Despite efforts to change long-standing traditions, such as the Northern Vietnamese women’s attire, which still includes "no-bottom pants" and four-piece outfits, these attempts often fail The clothing styles in East Asian countries, influenced by ancient Chinese rituals, are categorized based on collar cuts, with Vietnam historically featuring three types: cross-collar, straight-collar, and round-collar garments.
衣 15 。 所有的礼服都统称为宽松礼服，因为它们做得很宽。 超长袖子。
14 VU Trong Phung 《 So Do 》，1936 在河内出版报纸
15 根据 Trinh Bach 的《越南服饰》， 2004 年
Among the three types of clothing, the交领衣 (cross-collared shirt) is the oldest and most unique, with Vietnamese versions standing out more than their Chinese counterparts Throughout centuries of change, the交领衣 maintained its distinct status as a noble robe, especially during the Nguyễn Dynasty, despite the dominance of the ancient five-piece attire This shirt can be considered the quintessential "traditional clothing" of the Vietnamese people.
The Ming Dynasty's cross-collar clothing is widely recognized as one of the most popular traditional Han Chinese garments Its appeal extends beyond ancient times, remaining highly fashionable today This attire features a rich array of innovative styles that adapt to contemporary trends.
The 21st century has seen a significant evolution in fashion styles, with the Chinese cross-collar garment emerging as a key contributor to this growth Influenced by traditional attire from various Asian countries, particularly South Korea, Japan, and Vietnam, the Chinese cross-collar shirt showcases unique characteristics that set it apart While there are notable similarities between the Ming Dynasty's cross-collar garments and Vietnam's Le Dynasty styles, distinct differences also exist, sparking curiosity about their relationship Ultimately, both types of clothing are celebrated for their beauty and distinctive features.
“每国每色 完美无缺”
From a historical perspective, the cross-collar garments of China and Vietnam are ancient and serve as precursors to various shirts like the Vietnamese "ao dai" and the Chinese "qipao." This close relationship highlights their significant historical value, with the Ming Dynasty's cross-collar clothing being particularly important in China and the Later Le Dynasty's version holding great significance in Vietnam These garments are unisex, reflecting a deep cultural interest that dates back to ancient times, often incorporated into rituals They are worn not only in daily life but also during important festivals Over time, cross-collar clothing has evolved into numerous styles, with some designs being both practical and aesthetically pleasing for everyday wear, while others are more elaborate and formal, adorned with gems or floral embroidery, reserved for ceremonial occasions.
As the global economy continues to evolve, fashion is also experiencing significant growth, particularly in emerging markets like Vietnam and China Various styles, from French and British to American and Asian, are shaping the fashion landscape The crossover garment remains a vital element in the fashion industry, reflecting a resurgence among young people who are embracing the cultural aesthetics and values of traditional attire This trend not only holds substantial cultural significance but also exerts a considerable impact on the economy.
The modern Chinese and Vietnamese cross-collared garments represent a precious blend of traditional values and contemporary cultural absorption, showcasing the unique beauty of women from both cultures throughout history Today, these garments inspire young fashion designers, creating a new classic style that merges historical appreciation with modern design, while still retaining a unique place in the fashion market The allure of cross-collared clothing lies in its ability to elegantly highlight the female silhouette, proving that it is timeless and adaptable The design of these garments has reached perfection, celebrating beautiful Eastern culture, while traditional Chinese and Vietnamese attire is experiencing a revival, contributing to cultural tourism The aim of this document is to preserve the cultural identity of the Vietnamese people, with hopes that traditional Vietnamese clothing will flourish and develop like its Chinese counterpart, while maintaining its own unique beauty and cultural characteristics.
［1］ 陈光德 2003《几千年来的服饰》世界出版社
［2］ "Phủ Biên tạp lục" Nguyễn Khắc Thuần dịch, nhà xuất bản Giáo dục xuất bản năm
［3］ 阮德辉 2018《黎朝和阮朝的一些传统服饰》年轻出版
［4］ Trinh Bach 2004 年《越南服饰》出版报纸
［5］ ［5］大越古风 2016《交领衣》 https://daivietcophong.wordpress.com/tag/giao-linh/
［6］ 汉服十二月发表的《名朝服饰》 2020 年 3 月 25 日 https://www.gufenghanfu.com/
Success is rarely achieved in isolation; we all rely on the support of those around us I am particularly grateful to 土龙木大学 for providing an excellent learning environment Since I started my studies there, I have consistently received enthusiastic assistance from my teachers, who are always quick to respond when challenges arise This report would not have been completed without the help of many At one point, I considered giving up due to a lack of data, knowledge, and resources, but my family, teachers, and friends encouraged me to persevere I extend my special thanks to Dr 梅秋 怀博, who, despite a busy schedule, took the time to guide me and reminded us to approach our reports seriously I also appreciate my friends from 越服会 and the 大越古风 group for providing valuable documents and recommending important books Without their support, I might not have finished this report as quickly I feel fortunate to have received such warm assistance throughout this process!
芝 阮氏金芝