这个···怎么··· 对中外服饰美学意义的异同的认识如果我们对人类的服饰文化作了浏览,我们不难发现,中外服饰的文化意蕴与审美取向是存在着明显的差异的。总的说来,中国服饰朴素、率真、简洁、含蓄,注重于静态之美,讲究稳重、端庄,产生一种封闭式的视觉效果。另外,中国服饰在形象的表达上还有一个鲜明的特点,那就是寓情于物,借物言志。每一个纹样造型,每一种色彩配置,都寄寓着一定的意念,表达着诸如吉祥、平安、祛邪、纳福的传统意识。这其实也是中华民族传统文化心理的具体表现。和中国服饰相比,外国服饰(主要指欧美)形象华丽、典雅、自然、合体,注重于动态之美,讲究洒脱、奔放,追求一种随意的视觉效果。比较中外服饰,虽形态各异,风格有别,但有一点是相同的,它们都生动地反映了不同民族的政治伦理、文化哲学、审美意趣等人文精神,体现了人类共同的对美的向往和追求。2.对中外服饰美学意境的营造类型的把握从广泛的社会生活到集中. 中西方在服饰文化观上既存在着多方面的差异,也有着相互影响的方面.研究中西方这种服饰文化观念的异同及相互影响,有助于我们对服饰艺术的进一步认识,为设计出既具民族特色又具时代特征的服饰提供理论指导。就经济发展水平看,中国进入封建社会以后,商业、手工业 发展,直到明朝后期,其社会经济的发展在世界上都处于领先地位。此后,中国却无法冲破封建主义的攀篱。8到9世纪,最显著的特征是穿着有宽大的袖口外衣唐代女性,穿“高墙履”的官服之鞋,腰上的装饰品佩玉是中国文化中最爱尊崇的玉石翡翠,身上穿着茼形的袍裙。17到19世纪,在清王朝的支配下,所有的男性都强制留辫发。穿前开型的短上衣也就是马褂,领子就是中式领:就是指中式服装上的束领,英文特别为它起了“Chinese collar”的名字。满族男子戴的一种半圆形的瓜皮帽。可以看出来在当时的社会背景下,清政府对官服都有严格的规定,正因为儒家思想具有的正统地位主宰了中国的思想领域,受到儒家思想的传统观念影响。以儒道为基础而形成的主流哲学和美学思想决定了中国服装造型体现的气韵风格。 总的来说,中外服饰都各有其优缺点。中国传统服装比较宽大,还有几寸高的鞋子,给人感觉人体显得修长。可以祢补东方人较为矮小的身材,给人以视觉美,平顺的外形与中国人脸部较柔和的轮廓线条相称。但是,不方便工作。而欧洲古典华丽的贵族服饰,膨胀的袖型、庞大的裙撑和重叠的花边等,使服装线条产生夸张和向外放射的结果。欧洲服装的外型特点与欧洲人热情奔放的气质,起伏明显的脸部轮廓以及高大的体形相应。 一件服饰可以表现一个时代的特征,更可以呈现出民族文化特色和文明精神。今天我学到的不只是服饰,更多的是历史、政治和经济,这些都 渗透在文化里,样我又享受了一份‘三明治’。不同的国家,不同的历史,不同的服饰,相同的目的。作者: 孙晋芳
Abstract: Dress culture is a cultural phenomenon unique to human beings. As it has different aesthetic ideas, different dressing concepts and different dress etiquette in China and west, it forms Chinese and western dress culture of the different connotation and characteristics. This thesis is divided into four major sections. The first part describes the different features of Chinese and western dress and why people wear clothing. The second part describes cultural differences between Chinese and western clothing. The third part gives an analysis of Chinese and western dress culture. The last part describes Chinese and western dress aesthetic culture and dress concept. Based on the analysis, the thesis finally draws a conclusion. Chinese and western dress culture each has rich connotation and distinct characteristics, which are precious cultural legacy which is left by human ancestors and are the world culture heritage. At the same time, we treasure our own civilization of five thousand years instead of belittling ourselves. It is significant to promote and develop our unique costume culture. We are confident and make contributions to realizing the rejuvenation of our Chinese nation and enriching the clothing culture of the whole world. Key words: Chinese and western clothing; culture;differences;aesthetic culture and clothing concepts 摘要摘要摘要摘要::::服饰文化是人类特有的文化现象。由于中西方各民族的审美观念、着装理念和服饰礼仪的不同,从而形成了不同内涵、不同特色的中西方服饰文化。本文共分为四部分。第一部分主要介绍了中西服饰的不同特征以及为什么人要穿衣服,第二部分写中西方服饰的差异,第三部分写导致中西方服饰文化差异的原因,第四部分则写中西方服饰审美文化和着装理念。通过以上简单的论述,最后得出结论,中西方服饰文化各具有丰富的内涵和鲜明的特色,她们都是人类祖先留下来的宝贵文化遗产 ,是世界文化的瑰宝。与此同时,我们应该珍惜自己五千年的文明而不是贬低自己的文明。促进和发展我们独特的民族服饰文化具有重要的意义。为了实现我们中华民族的文化复兴和丰富整个世界的文化,让我们自信起来吧! 关键词关键词关键词关键词::::中西服饰;文化;差异性;审美文化与着装理念Introduction Costume culture, carried by costume, is a respect of our physical and spiritual life and a mixture of our psychological activities like consciousness, emotion, idea and ideal. The rapid development of advanced technology makes multiculturalism stand out and also makes conflicts between China and the West increase. In that case, it becomes more and more important to recognize the similarities and differences of costume culture between China and the West. Nowadays, the whole world is, to some extent, dominated by the western costume culture, which has wound its way into the daily life of the whole world, together with technology, life style and values from the West. Quite popular in China, it’s nominally called “internationalization” or “globalization”. In recent years, the costume industry of China has developed swiftly. The “international” costume, featured by the western costume culture, has become a pretty important part of our daily life. However, as our economy takes off, international status rises and living standard improves, a wave of national costume culture resurgence is rising. Moreover, people from the West pay more and more attention to the giant dragon in the East——China. Western costume designers constantly introduce Chinese costume cultural elements to their latest designs. Those phenomena arouse a series of thoughts: what distinguishes Chinese costume culture from the western one? Are there any similarities between them? What kind of costume culture will we Chinese hold as the mainstream in the future, the so-called “international” western one, the Chinese one or the fusion of the two? To obtain the answers to these questions, we are supposed to study and contrast carefully the characteristics and developing processes of them, and then draw some regularity. To contrast the costume culture between China and the West, it is necessary for us to master a good knowledge of the Chinese and western costume cultural 1 Chinese and western dress The different features of Chinese and western dress China is known as “Xia” as it’s a land of propriety, and it’s also known as “Hua” with the beauty of its costume. (①《左传》p83) Our national costume is Hanfu. It originated in the Yanhuang era, formed in the Spring and Autumn Period and officially took form in Han Dynasty. That’s the reason why it’s called “Hanfu”. Since then, in spite of historical evolutions of all ages, their basic characteristics have never changed. Hanfu, on the whole, can be divided into four developing stages: Zhou Han Hanfu, Wei Jin Hanfu, Sui Tang Hanfu and Song Ming Hanfu. Zhou Han Hanfu was featured by dignity and simplicity, while Wei Jin Hanfu by chic and elegance, Sui Tang Hanfu by dignified, graceful, elegant and poised style. Hanfu in Song and Ming Dynasties epitomizes the characteristics of the past-simple, dignified, elegant, etc. In Qing Dynasty, Hanfu was forbidden by the government and disappeared from the land of China. The main features of Chinese clothing are focusing on the right collar’s overlap, the band deducted hidden, big sleeves, no buttons and using string binding, giving the impression of free and easy flowing. These characteristics are obviously different from those of other ethnic costumes. Hanfu is divided into uniform and common clothing. With strict standards, uniform is dressed on formal occasions while the common clothing, without long sleeves, is very convenient to people’s daily life. However, the western clothing is different form the Chinese clothing. The West belongs to Marine civilization, it emphasizes the subjective and objective separation and that we should rationally treat clothing, advocate releasing personality, stress dress effect and be good at showing beautiful the posture of the body. Besides, we use various clipping, color collocation means to perfect bodily curve and give a person with visual comfort in the modeling. A suit, also known as a business suit, comprises a collection of matching clothing consisting of: a coat﹙commonly known as a jacket﹚,a waistcoat﹙optional﹚﹙USA vest﹚for men, a pair of trousers﹙USA pants﹚, or for women, a shirt or trousers. A suit is generally accompanied by torment, a shirt and tie or for women, a blouse. Why people wear clothingChinese people are concerned more about its social function of helping to rule a country well than that of keeping warm or decorating. It has a lot to do with ruling a country to regulate the dressing way of the common people. Nevertheless, the westerners pay more attention to its wealth value and function. Therefore, people put on clothing for functional and social reasons. The functional reason The first use of clothing is to resist the cold and cover the body. Functions of clothing include providing the human body protection against extremes of climate (extreme heat, icy winters, and drenching storms) and protection against insects, noxious, chemicals, and contact with abrasive substances. In sum, clothing protects human beings against anything that might injure the naked, unprotected human body. The social reason Clothing also delivers social messages to other humans. Social messages sent by clothing, accessories, and decorations can involve social status, occupation, ethnic and religious belief, marital status, cultural degree and sexual availability, etc. For example, only Roman citizens can wear “Toga” in Rome while dragon robe can only be dressed by the emperor in China.
首先,是在传统结婚仪式上面。中国的传统婚俗有“三书六礼”“三拜九叩”这些繁俗礼节。所谓“三书”,就是指聘书、礼书、迎亲书。(聘书:订亲之书,男女双方正式缔结婚约。纳吉(过文定)时用。 礼书:过礼之书,即礼物清单,详尽列明礼物种类及数量。纳征(过大礼)时用。 迎亲书:迎娶新娘之书。结婚当日(亲迎)接新娘过门时用。)而“六礼”是指纳采、问名、纳吉、纳征、请期、亲迎。(纳采:古时婚礼之首,属意女方时,延请媒人作谋,谓之纳采,今称「提亲」。 问名:男方探问女方之姓名及生日时辰,以卜吉兆,谓之问名,今称「合八字」。 纳吉:问名若属吉兆,遣媒人致赠薄礼,谓之纳吉,今称「过文定」或「小定」。 纳征:奉送礼金、礼饼、礼物及祭品等,即正式送聘礼,谓纳征,今称「过大礼」。 请期:由男家请算命先生择日,谓之请期,又称「乞日」、今称 「择日」。 亲迎:新郎乘礼车,赴女家迎接新娘,谓之亲迎。)而在这之间更有换庚谱、过文定、过大礼、安床等一系列的活动。而在这些活动中有着大量的禁忌和礼俗,比如新娘嫁妆中要有剪刀(蝴蝶双飞)、痰盂(子孙桶)、尺(良田万顷)、片糖(甜甜蜜蜜)、银包皮带(腰缠万贯)、花瓶(花开富贵)、铜盆及鞋(同偕到老)、龙凤被、床单及枕头一对、两双用红绳捆着的筷子及碗(有衣食)、七十二套衣服,用扁柏、莲子、龙眼及利是伴着(丰衣足食)等物,每样物品都有其不同的含义。同时,在婚礼进行时也有一定的顺序,按一般的情况,在整个婚礼过程中有:祭祖(男方在出门迎娶新娘之前,先祭拜祖先。)、出发(迎亲车队以双数为佳。)、燃炮(迎亲礼车行列在途中,应一路燃放鞭炮以示庆贺。)、等待新郎(礼车至女方家时,会有一男童侍持茶盘等候新郎,新郎下车后,应赏男孩红包答礼,再进入女方家。)、讨喜(新郎应持捧花给房中待嫁之新娘,此时,新娘之闺中密友要拦住新郎,不准其见到新娘,女方可提出条件要新郎答应,通过后才得进入。)、拜别(新人上香祭祖,新娘应叩拜父母道别,并由父亲盖上头纱,而新郎仅鞠躬行礼即可。)、出门(新娘应由福高德劭女性长辈持竹筛或黑伞护其走至礼车,因为新娘子在结婚当天的地位比谁都大,因此不得与天争大。)、礼车( 在新娘上礼车后,车开动不久,女方家长应将一碗清水、白米撒在车后,代表女儿已是泼出去的水,以后的一切再也不予过问,并祝女儿事事有成,有吃有穿。)、掷扇(礼车起动后,新娘应将扇子丢到窗外,意谓不将坏性子带到婆家去,扇子由新娘的兄弟拾回,掷扇后必须哭几声,且在礼车之后盖「竹筛」以象征繁荣。)、燃炮(由女方家至男方家的途中,同样要一路燃放礼炮。)、摸橘子(迎新车队到达新郎家时,由一位拿着橘子或苹果的小孩来迎接新人,新娘要轻摸一下橘子,并赠红包答礼。这两个橘子要放到晚上,让新娘亲自剥皮,意谓招来「长寿」。)、牵新娘(新娘由礼车走出时,应由男方一位有福气之长辈持竹筛顶在新娘头上,并扶新娘进入大厅。进门时,新人绝不可踩门槛,而应横跨过去。)、喜宴(时下颇流行中西合壁式的婚礼,大都在晚上宴请客人同时举行观礼仪式,在喜宴上,新娘可褪去新娘礼服,换上晚礼服向各桌一一敬酒。)、送客(喜宴完毕后,新人立于家门口送客,须端着盛香烟、喜糖之茶盘。)、闹洞房(新人被整之灾情大小,端视新人是否曾在其他的婚礼上戏弄别人,或平素待人够不够忠厚等。)、三朝回门(在婚后第三天,新妇由夫婿陪同下,带备烧猪及礼品回娘家 祭祖,甚至小住一段日子,然后再随夫婿回家。)。有此可以见到我国文化的繁琐,但不要以为繁琐是我国婚礼的特有特征,其实,不同国家虽然有不同的婚俗,但从繁复的细节与用品的喻意,都可见对婚姻的尊重和期许无分国界。在西方国家中,婚礼时有旧(Something Old)、新(Something New)、借(Something Borrowed)、蓝(Something Blue)等习俗。旧是指母亲传下来之婚纱,头饰或首饰,代表承受美好的一切;新是指朋友送的礼物如裙子,饰物,象征新的生活;借是指可向任何人借东西回来,据说从富裕亲友借来金或银放在鞋内,象征带来财运;蓝是指新娘的一些小饰物或花束用蓝色,意味着新娘的纯洁及贞洁。而在进行婚礼时,西方亦有大量的习俗。比如,在结婚时新娘总要带着一方手帕,西方人认为白手帕象征好运。根据民俗说法,农夫认为新娘在磨擦婚当天所流下的泪能使天降甘露,滋润家作物。后来,新娘在新婚汉天流泪,就变成她将有幸福婚姻的好兆头。而在婚礼典礼时,新娘总是站在新郎的左边,据说,古时候,盎格鲁撒克逊的新郎必须保护新娘子免得被别人抢走。在结婚典礼时,新郎让新娘站在自己左边,一旦情敌出现,就可以立即挥出配带于右边的剑,吓退敌人。在进行结婚晚宴时,要特别定制结婚蛋糕,根据历史记载,自罗马时代开始,婚礼结束时,人们会在新娘头上折断一条面包的材料----小麦象征生育能力,面包屑则代表着幸运。新人必须以糖霜,就形成今天的结婚蛋糕了。由此可见,西方的婚俗并不比中方简洁。其次是在服装方面。在进行婚礼不只是有仪式习俗需要遵守,在穿着方面也有讲究。中国传统婚礼进行时新郎和新娘具着红色的礼服,象征的吉祥如意,预示在结婚后日子红红火火。而西方的新娘则穿白色的礼服。自罗马时代开始,白色象征欢庆。1850年到1900年之间,白色亦是富贵的象征。到了本世纪初,白色所代表的纯洁意义更远超其他。西方认为白色与童贞有关。古罗马的新娘穿着白色的婚纱,蒙着鲜橙黄色的面纱,象征着激情的火焰。在西方的天主教传统里,白色代表着快乐;其他一些地区,白色在他们的婚礼和葬礼里指示各种各样的通路典礼和意义。例如,在安达曼群岛(Andaman Islanders),白色代表一种地位的变化。“传统”的白色结婚礼服,在早期是贵族的特权。在多利亚女王时代,大多数的新娘只能穿传统的国家服装,只有上层阶级才能穿代表权力和身份的白色婚纱。一直到近代,贵族阶级的特权消失以后,白色的婚纱才成为普通新娘的礼服。而相对于西方白色婚纱的历史,中国婚礼中的大红色的凤袍的历史则较简单。龙凤在中国的神话中有着重要的地位。龙主阳凤主阴,而阳则代表男子,阴就表示女子。因此新娘就用凤表示。所以在红色的礼服上绣着凤也就很容易理解了。中西方在婚俗上面有以上种种的差异,这和中西方人在思想思维的差异有直接的联系。中国人比较保守,喜欢热闹,思维较古板,所以在中国历史几千年的时间里整个婚礼的习俗并没有多大的变化。直到近代西方的文化传入以后,中国的传统文化才开始向西方转化,但在很大的程度上任有中国传统婚俗的礼仪。而中国人爱热闹的性格在中国传统婚礼中可以得到充分的体现。除了中西方都有的结婚晚宴以外,在中国的传统婚俗中,还有一个为新娘饯行的结婚午宴。其次在婚宴结束以后,新人的亲朋好友会去新房中闹洞房。认为在新房中越热闹,新人在婚后的生活越幸福。因此闹新房的成员们无不用所其极,用种种方法刁难新郎新娘。西方人的思想则比较开放,对于婚礼的要求也比较低,他们婚礼的高潮则是在教堂中:随着神圣的《婚礼进行曲》步入鲜红的地毯,娇美的新娘手挽着父亲捧玫瑰慢慢向新郎走去,新娘的父亲将女儿的手放在新郎的手上,将女儿的一生托付给你,所有人的目光注视着这对新人,幸福洋溢在他们的脸上。她是今天最美的新娘。 在神圣的教堂上空,他们的誓言在回荡,带上永结同心的婚戒,只到神父说:“你可以亲吻你的新娘了…… 结婚是一生的盟约,你是要为之坚守一辈子的誓言。 主耶稣说:上帝所配合的人便不可分开。 这一生一世的爱情,因为今天而完美。”然后新郎新娘或是去晚宴地点或是去渡蜜月,并没有中国传统婚俗的种种礼节。另一个造成中西方差异的原因是中西方不同的宗教。中国是以佛教为主,而西方则是基督教为主的。所以西方的婚礼是在教堂中举行而主婚人则是神甫。中方的传统婚俗中的最重要环节就是拜天地,拜了天地以后就算是礼成了。西方的婚礼是属于浪漫型的,整个婚礼从开始到结束到充满了浪漫气息。新娘的礼服一般为白色,新郎是黑色的礼服,使整个婚礼显的庄重严肃.到教堂去举行结婚仪式是整个婚礼最重要的环节.首先,随着婚礼进行曲的节奏,新娘挽她的父亲的手走到新郎面前,由她的父亲将她亲手交到新郎手中.牧师会要求新郎新娘对对方作出一辈子的承诺,这也是整个婚礼的高潮.然后他们会在牧师和众人的祝福下,交换结婚戒指并亲吻对方。而新娘手中的花球也不是一般的装饰用品.在婚礼结束时,新娘就会抛给到场的女宾客,如果谁接到花球,谁就是下一个结婚的人,这就使整个婚礼在欢声笑语中结束了。中国的婚礼就不同于西方,整个婚礼的主色调是红色,这也是中国的传统的代表喜气的颜色。这也就使婚礼变的喜气洋洋.在传统婚礼中,新娘一般穿着红色罗衣,头戴凤冠,上面还有一块红色丝巾.而新郎就穿着红色的长衫马褂,头戴红色大沿帽。新娘乘着大红花轿在后,新郎骑着马在前,随着红娘和迎亲队伍到新郎家中拜堂.双方家长坐在上堂,而新郎新娘在下堂成婚.整个婚礼由司仪主持,在他的指挥下,新郎新娘一拜天地,下拜高堂,然后夫妻对拜,送入洞房.闹洞房是婚礼的高潮,新娘先回洞房等待新郎,而新郎就在外招待客人,酒足饭饱后,新郎在一大堆人的簇拥下来到洞房.众人就开始闹洞房了,新郎新娘在大家的起哄下做各种游戏……这样整个婚礼就在一片笑声中结束了。
中国设计师更像是画家,西方的更像是裁缝。
Abstract: Dress culture is a cultural phenomenon unique to human beings. As it has different aesthetic ideas, different dressing concepts and different dress etiquette in China and west, it forms Chinese and western dress culture of the different connotation and characteristics. This thesis is divided into four major sections. The first part describes the different features of Chinese and western dress and why people wear clothing. The second part describes cultural differences between Chinese and western clothing. The third part gives an analysis of Chinese and western dress culture. The last part describes Chinese and western dress aesthetic culture and dress concept. Based on the analysis, the thesis finally draws a conclusion. Chinese and western dress culture each has rich connotation and distinct characteristics, which are precious cultural legacy which is left by human ancestors and are the world culture heritage. At the same time, we treasure our own civilization of five thousand years instead of belittling ourselves. It is significant to promote and develop our unique costume culture. We are confident and make contributions to realizing the rejuvenation of our Chinese nation and enriching the clothing culture of the whole world. Key words: Chinese and western clothing; culture;differences;aesthetic culture and clothing concepts 摘要摘要摘要摘要::::服饰文化是人类特有的文化现象。由于中西方各民族的审美观念、着装理念和服饰礼仪的不同,从而形成了不同内涵、不同特色的中西方服饰文化。本文共分为四部分。第一部分主要介绍了中西服饰的不同特征以及为什么人要穿衣服,第二部分写中西方服饰的差异,第三部分写导致中西方服饰文化差异的原因,第四部分则写中西方服饰审美文化和着装理念。通过以上简单的论述,最后得出结论,中西方服饰文化各具有丰富的内涵和鲜明的特色,她们都是人类祖先留下来的宝贵文化遗产 ,是世界文化的瑰宝。与此同时,我们应该珍惜自己五千年的文明而不是贬低自己的文明。促进和发展我们独特的民族服饰文化具有重要的意义。为了实现我们中华民族的文化复兴和丰富整个世界的文化,让我们自信起来吧! 关键词关键词关键词关键词::::中西服饰;文化;差异性;审美文化与着装理念Introduction Costume culture, carried by costume, is a respect of our physical and spiritual life and a mixture of our psychological activities like consciousness, emotion, idea and ideal. The rapid development of advanced technology makes multiculturalism stand out and also makes conflicts between China and the West increase. In that case, it becomes more and more important to recognize the similarities and differences of costume culture between China and the West. Nowadays, the whole world is, to some extent, dominated by the western costume culture, which has wound its way into the daily life of the whole world, together with technology, life style and values from the West. Quite popular in China, it’s nominally called “internationalization” or “globalization”. In recent years, the costume industry of China has developed swiftly. The “international” costume, featured by the western costume culture, has become a pretty important part of our daily life. However, as our economy takes off, international status rises and living standard improves, a wave of national costume culture resurgence is rising. Moreover, people from the West pay more and more attention to the giant dragon in the East——China. Western costume designers constantly introduce Chinese costume cultural elements to their latest designs. Those phenomena arouse a series of thoughts: what distinguishes Chinese costume culture from the western one? Are there any similarities between them? What kind of costume culture will we Chinese hold as the mainstream in the future, the so-called “international” western one, the Chinese one or the fusion of the two? To obtain the answers to these questions, we are supposed to study and contrast carefully the characteristics and developing processes of them, and then draw some regularity. To contrast the costume culture between China and the West, it is necessary for us to master a good knowledge of the Chinese and western costume cultural 1 Chinese and western dress The different features of Chinese and western dress China is known as “Xia” as it’s a land of propriety, and it’s also known as “Hua” with the beauty of its costume. (①《左传》p83) Our national costume is Hanfu. It originated in the Yanhuang era, formed in the Spring and Autumn Period and officially took form in Han Dynasty. That’s the reason why it’s called “Hanfu”. Since then, in spite of historical evolutions of all ages, their basic characteristics have never changed. Hanfu, on the whole, can be divided into four developing stages: Zhou Han Hanfu, Wei Jin Hanfu, Sui Tang Hanfu and Song Ming Hanfu. Zhou Han Hanfu was featured by dignity and simplicity, while Wei Jin Hanfu by chic and elegance, Sui Tang Hanfu by dignified, graceful, elegant and poised style. Hanfu in Song and Ming Dynasties epitomizes the characteristics of the past-simple, dignified, elegant, etc. In Qing Dynasty, Hanfu was forbidden by the government and disappeared from the land of China. The main features of Chinese clothing are focusing on the right collar’s overlap, the band deducted hidden, big sleeves, no buttons and using string binding, giving the impression of free and easy flowing. These characteristics are obviously different from those of other ethnic costumes. Hanfu is divided into uniform and common clothing. With strict standards, uniform is dressed on formal occasions while the common clothing, without long sleeves, is very convenient to people’s daily life. However, the western clothing is different form the Chinese clothing. The West belongs to Marine civilization, it emphasizes the subjective and objective separation and that we should rationally treat clothing, advocate releasing personality, stress dress effect and be good at showing beautiful the posture of the body. Besides, we use various clipping, color collocation means to perfect bodily curve and give a person with visual comfort in the modeling. A suit, also known as a business suit, comprises a collection of matching clothing consisting of: a coat﹙commonly known as a jacket﹚,a waistcoat﹙optional﹚﹙USA vest﹚for men, a pair of trousers﹙USA pants﹚, or for women, a shirt or trousers. A suit is generally accompanied by torment, a shirt and tie or for women, a blouse. Why people wear clothingChinese people are concerned more about its social function of helping to rule a country well than that of keeping warm or decorating. It has a lot to do with ruling a country to regulate the dressing way of the common people. Nevertheless, the westerners pay more attention to its wealth value and function. Therefore, people put on clothing for functional and social reasons. The functional reason The first use of clothing is to resist the cold and cover the body. Functions of clothing include providing the human body protection against extremes of climate (extreme heat, icy winters, and drenching storms) and protection against insects, noxious, chemicals, and contact with abrasive substances. In sum, clothing protects human beings against anything that might injure the naked, unprotected human body. The social reason Clothing also delivers social messages to other humans. Social messages sent by clothing, accessories, and decorations can involve social status, occupation, ethnic and religious belief, marital status, cultural degree and sexual availability, etc. For example, only Roman citizens can wear “Toga” in Rome while dragon robe can only be dressed by the emperor in China.
Chinese and Western cultural differences in the performance of every aspect of daily life from the greeting 、 term diet and cultural differences in the way of thinking in the abstract, such as differences everywhere, from the West focus on the following colors to express the difference between Chinese and Western cultural differences in areas such as a wedding set. First, in the West to express the color difference Different colors in different languages is not expressed in the same way. The representative of China in a sense, the West has a meaning that even the "color" to understand the meaning of the contrary. (A) red (red) Whether in China or in the English-speaking countries, often in red and festive celebrations or day-related. Calendar, red font used these days, therefore, red letter day: refers to the "Day" or "happy occasion." It also refers to the red "liabilities" or "loss" because people are always negative in red to register. So there are these phrases: red figure deficit in the red loss In common with the Chinese "red" words, translated into English, may not necessarily use the "red" for example: brown sugar brown sugar red wine red wine (B) yellow Yellow in English and Chinese in the extended meaning of the differences are considerable. In English, yellow can be said that the "timid, cowardly, despicable," meaning, for example: a yellow dog despicable, cowardly people a yellow livered coward Chinese yellow symbol of the term is sometimes vulgar, vulgar and obscene, indecent indecency means, such as yellow film, erotica, yellow CD, and so on. These in the name of "yellow" in English and "yellow" has nothing to do. However, in another English word blue is the color used to indicate the kind of meaning in Chinese, such as the blue jokes (dirty joke), blue films (yellow film). Second, the cultural differences in Western wedding First of all, in Western wedding culture and the first in the West in thinking about the differences: the Chinese people more conservative, like excitement, more old-fashioned thinking, so in the history of China for thousands of years the entire wedding customs did not change much. The thinking in the West is more open to the requirements of the wedding will be lower, they will be the climax of the wedding in the church: the sacred as the "wedding march" into the red carpet, Jiao Mei's father, the bride linked hands Rose walked slowly to the groom, the bride's father, daughter to the groom's hand on hand, her daughter's life will be entrusted to the groom, all eyes followed the couple, filled with well-being in their face. Second, the result of cultural differences wedding in the West because the West in a different religion. China is mainly Buddhist, but the West is mainly Christian. Therefore, the Western wedding is to be held in the church and the priest is Zhuhun Ren. China's traditional customs of the most important part of the Bai Tiandi is, the worship heaven and earth even after the ceremony has become.中西方文化差异表现在方方面面,从日常生活的打招呼用语、饮食文化等差异到思维方式等抽象方面的差异无所不在,下面着重从中西方颜色表达的差异,中西方婚礼文化差异等方面阐述。 一、中西方颜色表达的差异 不同颜色在不同语言中表达的方式并不一样。在中国代表一种意义,在西方又表示一种涵义,甚至对“颜色”的涵义理解恰恰相反。(一)red(红色)无论是在英语国家还是在中国,红色往往与庆祝活动或喜庆日子有关。日历中,这些日子常用红色字体,因此,red letter day:指的是“纪念日”或“喜庆的日子”。红色还指“负债”或“亏损”,因为人们总是用红笔登记负数。于是就有了这些词组:red figure赤字 in the red亏损汉语中常用的带“红”字的词语,翻译成英语,可不一定用“red”例如:红糖brown sugar 红酒red wine (二) yellow黄色在英语和汉语中的引申含义差别比较大。英语中,yellow可以表示“胆小、卑怯、卑鄙”的意思,例如:a yellow dog 可鄙的人,卑鄙的人a yellow livered 胆小鬼汉语中黄色一词有时象征低级趣味、色情庸俗、下流猥亵的意思,如黄色电影、黄色书刊、黄色光碟等等。这些名称中的“黄”与英语中的“yellow”无关。然而,英语中另一个颜色词blue却常用来表示汉语中这类意思,如blue jokes(下流的玩笑), blue films(黄色电影)等。 二、中西方婚礼文化差异 首先,中西方婚礼文化差异首先和中西方人在思维方面的差异有关:中国人比较保守,喜欢热闹,思维较古板,所以在中国历史几千年的时间里整个婚礼的习俗并没有多大的变化。而西方人的思想则比较开放,对于婚礼的要求也比较低,他们婚礼的高潮则是在教堂中:随着神圣的《婚礼进行曲》步入鲜红的地毯,娇美的新娘挽着父亲手捧玫瑰慢慢向新郎走去,新娘的父亲将女儿的手放在新郎的手上,将女儿的一生托付给新郎,所有人的目光注视着这对新人,幸福洋溢在他们的脸上。其次,造成中西方婚礼文化差异的原因是中西方不同的宗教。中国是以佛教为主,而西方则是基督教为主的。所以西方的婚礼是在教堂中举行而主婚人则是神甫。中方的传统婚俗中的最重要环节就是拜天地,拜了天地以后就算是礼成了。
1论文的研究目的和意义服装对于文化的意义,和服和旗袍对于中日两国服装历史的意义,以及二者对于中日两国人民生活和文化意义2国内(外)研究现状文献综述性质的,总结目前国内学者对于服装与文化关系研究的文献内容3主要研究内容和创新点此处略4研究进度和安排某月某日——某月某日做什么(开题、初稿、二稿、定稿、答辩)5参考文献此处略这些都有了就行了,1000——3000字左右 合适记得采纳哈
Western novels in comparison First, Western novels in the history of the development of Western novels are based on myths and legends of its origin. In ancient times, science developed, out of fear of nature, the working people out of the imagination is the key to many of the world "God", describing the personification of God is a myth; who will describe the deified, that is legend. China opened the world's Pan story, the story of San Juan Five Emperors, the West Greek mythology, Roman mythology, Norse mythology, and so on are all typical works. East and West, the original novel, is closely linked with the history, as historical records complement the event. China Pre-Qin prose in the fable, the Han dynasty in the history books, biographies, the Wei and Jin Zhi, Zhi-person novel; the West of ancient Babylon, "the United States and Ji Jia disabilities epic", in ancient Greece, "Homer's epic," "Aesop's Fables "And so on, fall into this category, fiction, novels such novels have been about the characteristics of fiction, it is still not the literary creation, directly from the private collection record, so this type of fiction plot is relatively simple, writing rough comparison. Ban Gu said, "On the Street Lane words, hearsay are made of" is a novel kind of accurate assessment of the image. China's Tang Dynasty, the novel is only from history and literature become a creativity. Tang Dynasty culture has developed, the author's ideas are more open, the legend came into being at this time, Li Zhaowei "Liu Yi Chuan", Po Chu's "Everlasting Regret," Wolf's "Everlasting Regret Chuan" And so on, are made in accordance with the creation of the legend. For the fictional story of the Tang Dynasty more emphasis on imagination and literary talent, not just the history of the nature of things, but as the history of Zhi Zhi who is also the novel did not stop. The Legend of the Song Dynasty to the novel on a gradual decline, which followed the rise of this so that after processing will become a scholar so many novel and Romance novels such as "Romance of the Three Kingdoms", "Outlaws of the Marsh", "Journey to the West." The author of such novels is the use of private creative and re-created to describe the circumstances of the touching scenes of brilliant and vivid active in shaping the character known, there are obvious story-telling style of language. Here by the redevelopment, it will become an independent literary creation rather than things to come together with the civil process, the representative of this type is the "Golden Lotus", it was an open and ordinary life on the road, the reality is that literature has come a long way The development of the latter's "A Dream of Red Mansions" in ancient China Geng Shiba realism to the novels of the summit. "54" after the novelist began to learn from China's western fiction writing practices, and gradually out a new path. Western novels, is the "Renaissance" after the rapid development of mature. The development of the Middle Ages novel near-stagnation in the West, 14, the end of the century "Renaissance" to overthrow the literature of the Church of control, 15, appeared in the western end of the century to promote freedom of thought and the liberation of personality in order to describe the reality of life and portray characters from all walks of life for the content of the Humanist novels, is to tie in with this type of novel anti-feudal Europe at the time of arising at the same time it also set the novel in the West to human describing the tone of the main things. Jiaqiu Italy's "Decameron", Spain's Cervantes "Don Quixote" is the kind of representative works of fiction. The resulting novel is a classical, elegant favor of its national language to standardize the writing of this novel in 17th century France's most well-developed. As a note on behalf of Corneille's "Cid" neoclassical story of the rise of Western novels have been a language substantially improved. The beginning of the 18th century to promote popular science knowledge, enlightenment of the public consciousness for the purpose of the Enlightenment novels, of which there are relatively well-known German Goethe's "Faust", the United Kingdom Defoe's "Robinson Crusoe" and the Swift "Gulliver's Travels" and so on, this type of novel to the emergence of the bourgeois revolution at the time to mold public opinion. In the 19th century, romantic fiction, realistic novels and critical realism novel turn to occupy the leading position in the field of fiction. Romantic novels, such as France Victor Hugo's "Notre Dame de Paris", Goethe's "juvenile Witt of trouble" and so on, imaginative, unusual ideas, language and imaginative, strong feelings. Efforts to reflect the reality of the novel is the essence of life, and depict typical life of a typical phenomenon in the United Kingdom Dickens, France and Germany are of such novels as a representative of the writer. Critical realism novels exposed the efforts of the decadent feudal system and capitalist society, the dark, in-depth criticism of the reality of evil, France Balzac and Maupassant, the United Kingdom of Charlotte, Bronte,. Russia's Tolstoy, Dostoevsky, the United States of a large number of writers such as Mark Twain's works belong to this category. Value today, the three novels in the West is still the most important of the three types of literary fiction. East-West novel on the history of the development of more or less the case. Second, the characteristics of the novel in the West In addition to the basic characteristics of the novel, the story of the West also have their own characteristics are as follows: 1, the traditional Chinese novel attention to the characters, language and the details of the description, in contradiction to the conflict to display the images, but the character of a single, small changes in the absence of the main flu. Western novels are more people pay attention to the psychological description, stressed that mining figure in the subconscious mind, good at writing full, the changes in the strong sense of the main characters. Again, "coach Lin Feng Snow Mountain Temple" in the figure is only through dialogue and action leads to contradictions and conflicts, but Anna Karenina Wogui before a series of conflicts only with his description of the psychological will be able to express their clear; for poetry in Lin In the performance of her literary talent, and Paul with his inner monologue of the ideal; Zhang Zhong-Yong has only the character, but Jane Eyre's character is the brave, strong, warm, kind-hearted, and so many of the character and rubbing and Cheng's. In short, people in the area described in the West has its own unique features. 2, China compared with Western fiction novel plot twists and turns more and more complete story. Plot twists and turns, the story is complete fiction China's unique traditional arts. The Wei and Jin Zhi Zhi people on the novel twists and turns with vivid characteristics. Tang legend in the layout of many of the famous, magnificent anomaly, rigorous and clever, dramatic plot development. The contents of the Ming and Qing Dynasties novels scattered irregular, undulating waves, Cuoluoyouzhi, careful structure, an integral whole. "A Dream of Red Mansions", everywhere She Fu, Hui turning point, the story of Jia's best writing. Western plot in respect of the outstanding works, although there are many, but it can not be compared with the Chinese novel. 3, concise and lively Chinese language novel, rich in content and rich Western novels. Chinese folk artists absorbed the novel language, at the same time inherited the fine traditions of ancient prose, often a few words will be able to outline the incident or the people. Western novels in the author includes a broad range of knowledge, involve the community in many ways, so rich in content and rich people can gain knowledge in many areas. Engels said he was in Balzac's novel about 19th century France's domestic situation than he received any reports are more. Western novels have different characteristics, and also in the West different aesthetic concepts to a certain extent related. 4, Western novels have been the rule of the feudal culture of oppression destroyed. Chinese feudal culture makes the development of the novel is extremely difficult, Ming and Qing Dynasties more people to write stories for shame, so many great writers living, creating the conditions are not covered, many of the great works of authors who do not know. Western novels in the feudal culture makes almost the whole of the Middle Ages in the development of extremely slow, and many talented writers were forced to church services, wrote some of the religious nature of the article dry hole. Third, Western novels in the future prospects for the development of End of the Qing Dynasty, China and the West have begun to understand the other side of the system, the advantages of the novel in the West have been constantly learn from each other. Of course, due to historical reasons, the Chinese side of the draw a little more. To this day, the novelist in the West efforts are still two researchers in the novel's artistic charm, although the different languages of each other's appreciation of the arts to a certain extent, but the United States are interlinked. We have every reason to believe that in the near future, the novel art in the West will ultimately learn from each other and integrate, develop and reach new artistic heights. References: "Foreign Literature" Shanghai Translation Publishing House Zhou Xu Liang "Contemporary Literature election," Zhang Zhong, such as Beijing University Publishing House "Chinese literature history of the development of" Shanghai Ancient Books Publishing House Liu Jie "Literary History of Europe" People's Literature Publishing House Yangzhou Han Wu Da-yuan Zhao Rui radish "Three high school language textbook used by the five dates of the" People's Education Press仅供参考,请自借鉴。希望对您有帮助。
1.色彩差异首先我们最能一目了然的就是中西文化在婚礼上,使用的颜色的差异,在中国结婚是喜庆的代表色的大红色,希望新人能够红红火火、吉祥如意。但是在国外结婚的代表色彩是白色,纯洁的白色,代表了新人纯真的爱情,因为白色代表的是天使,也是祝愿新人婚后像天使一样生活的美好幸福。2.仪式差异其次,就是婚礼上仪式的区别,比如在中式婚礼中父母环节是很重要的,需要新人双方给父母行叩拜礼,敬茶等,这传扬的是中国的孝道,结婚是感谢父母对自己的养育之恩,以及新人互相讲过对方的父母,正式认门,是非常重要的仪式。而西方国家是没有叩拜礼敬茶这些环节的,我们在婚礼上能看到的关于父母的环节其实就一个,而且还只能看到父亲,就是父亲在进场的时候,女儿挽着父亲的手,父亲亲自将女儿待到新郎面前,将女儿交给对方,希望新郎能像自己一样去爱护呵护自己的女儿。3.服饰差异中国与西方结婚,服饰上的差异也是巨大的,例如在中国基本采用的是唐装或者是汉服,女性穿着就是凤冠霞帔、秀禾服、旗袍等等,男士一般都是唐装或者汉服的马褂新郎服。在西方新娘服饰礼服、婚纱,一般情况下都是婚纱,近年来我国也很多穿婚纱结婚的,男士就是西装,在重要场合男士的服装都是西装,是最得体最隆重的服饰。4.总结如果是一一列举的话肯定还有很多很多,但是近年来的中西方文化的融合发展,互相之间的借鉴采纳,形成了很多结合式的婚礼新形势,比如年轻人喜欢西式也喜欢中式的,在迎亲时候采用中式婚礼格调,酒店仪式的时候采用西式婚礼,这也是很好的结合,也充分体现了现代多元化的文化时代。
首先,是在传统结婚仪式上面。中国的传统婚俗有“三书六礼”“三拜九叩”这些繁俗礼节。所谓“三书”,就是指聘书、礼书、迎亲书。(聘书:订亲之书,男女双方正式缔结婚约。纳吉(过文定)时用。 礼书:过礼之书,即礼物清单,详尽列明礼物种类及数量。纳征(过大礼)时用。 迎亲书:迎娶新娘之书。结婚当日(亲迎)接新娘过门时用。)而“六礼”是指纳采、问名、纳吉、纳征、请期、亲迎。(纳采:古时婚礼之首,属意女方时,延请媒人作谋,谓之纳采,今称「提亲」。 问名:男方探问女方之姓名及生日时辰,以卜吉兆,谓之问名,今称「合八字」。 纳吉:问名若属吉兆,遣媒人致赠薄礼,谓之纳吉,今称「过文定」或「小定」。 纳征:奉送礼金、礼饼、礼物及祭品等,即正式送聘礼,谓纳征,今称「过大礼」。 请期:由男家请算命先生择日,谓之请期,又称「乞日」、今称 「择日」。 亲迎:新郎乘礼车,赴女家迎接新娘,谓之亲迎。)而在这之间更有换庚谱、过文定、过大礼、安床等一系列的活动。而在这些活动中有着大量的禁忌和礼俗,比如新娘嫁妆中要有剪刀(蝴蝶双飞)、痰盂(子孙桶)、尺(良田万顷)、片糖(甜甜蜜蜜)、银包皮带(腰缠万贯)、花瓶(花开富贵)、铜盆及鞋(同偕到老)、龙凤被、床单及枕头一对、两双用红绳捆着的筷子及碗(有衣食)、七十二套衣服,用扁柏、莲子、龙眼及利是伴着(丰衣足食)等物,每样物品都有其不同的含义。同时,在婚礼进行时也有一定的顺序,按一般的情况,在整个婚礼过程中有:祭祖(男方在出门迎娶新娘之前,先祭拜祖先。)、出发(迎亲车队以双数为佳。)、燃炮(迎亲礼车行列在途中,应一路燃放鞭炮以示庆贺。)、等待新郎(礼车至女方家时,会有一男童侍持茶盘等候新郎,新郎下车后,应赏男孩红包答礼,再进入女方家。)、讨喜(新郎应持捧花给房中待嫁之新娘,此时,新娘之闺中密友要拦住新郎,不准其见到新娘,女方可提出条件要新郎答应,通过后才得进入。)、拜别(新人上香祭祖,新娘应叩拜父母道别,并由父亲盖上头纱,而新郎仅鞠躬行礼即可。)、出门(新娘应由福高德劭女性长辈持竹筛或黑伞护其走至礼车,因为新娘子在结婚当天的地位比谁都大,因此不得与天争大。)、礼车( 在新娘上礼车后,车开动不久,女方家长应将一碗清水、白米撒在车后,代表女儿已是泼出去的水,以后的一切再也不予过问,并祝女儿事事有成,有吃有穿。)、掷扇(礼车起动后,新娘应将扇子丢到窗外,意谓不将坏性子带到婆家去,扇子由新娘的兄弟拾回,掷扇后必须哭几声,且在礼车之后盖「竹筛」以象征繁荣。)、燃炮(由女方家至男方家的途中,同样要一路燃放礼炮。)、摸橘子(迎新车队到达新郎家时,由一位拿着橘子或苹果的小孩来迎接新人,新娘要轻摸一下橘子,并赠红包答礼。这两个橘子要放到晚上,让新娘亲自剥皮,意谓招来「长寿」。)、牵新娘(新娘由礼车走出时,应由男方一位有福气之长辈持竹筛顶在新娘头上,并扶新娘进入大厅。进门时,新人绝不可踩门槛,而应横跨过去。)、喜宴(时下颇流行中西合壁式的婚礼,大都在晚上宴请客人同时举行观礼仪式,在喜宴上,新娘可褪去新娘礼服,换上晚礼服向各桌一一敬酒。)、送客(喜宴完毕后,新人立于家门口送客,须端着盛香烟、喜糖之茶盘。)、闹洞房(新人被整之灾情大小,端视新人是否曾在其他的婚礼上戏弄别人,或平素待人够不够忠厚等。)、三朝回门(在婚后第三天,新妇由夫婿陪同下,带备烧猪及礼品回娘家 祭祖,甚至小住一段日子,然后再随夫婿回家。)。有此可以见到我国文化的繁琐,但不要以为繁琐是我国婚礼的特有特征,其实,不同国家虽然有不同的婚俗,但从繁复的细节与用品的喻意,都可见对婚姻的尊重和期许无分国界。在西方国家中,婚礼时有旧(Something Old)、新(Something New)、借(Something Borrowed)、蓝(Something Blue)等习俗。旧是指母亲传下来之婚纱,头饰或首饰,代表承受美好的一切;新是指朋友送的礼物如裙子,饰物,象征新的生活;借是指可向任何人借东西回来,据说从富裕亲友借来金或银放在鞋内,象征带来财运;蓝是指新娘的一些小饰物或花束用蓝色,意味着新娘的纯洁及贞洁。而在进行婚礼时,西方亦有大量的习俗。比如,在结婚时新娘总要带着一方手帕,西方人认为白手帕象征好运。根据民俗说法,农夫认为新娘在磨擦婚当天所流下的泪能使天降甘露,滋润家作物。后来,新娘在新婚汉天流泪,就变成她将有幸福婚姻的好兆头。而在婚礼典礼时,新娘总是站在新郎的左边,据说,古时候,盎格鲁撒克逊的新郎必须保护新娘子免得被别人抢走。在结婚典礼时,新郎让新娘站在自己左边,一旦情敌出现,就可以立即挥出配带于右边的剑,吓退敌人。在进行结婚晚宴时,要特别定制结婚蛋糕,根据历史记载,自罗马时代开始,婚礼结束时,人们会在新娘头上折断一条面包的材料----小麦象征生育能力,面包屑则代表着幸运。新人必须以糖霜,就形成今天的结婚蛋糕了。由此可见,西方的婚俗并不比中方简洁。 其次是在服装方面。在进行婚礼不只是有仪式习俗需要遵守,在穿着方面也有讲究。中国传统婚礼进行时新郎和新娘具着红色的礼服,象征的吉祥如意,预示在结婚后日子红红火火。而西方的新娘则穿白色的礼服。自罗马时代开始,白色象征欢庆。1850年到1900年之间,白色亦是富贵的象征。到了本世纪初,白色所代表的纯洁意义更远超其他。西方认为白色与童贞有关。古罗马的新娘穿着白色的婚纱,蒙着鲜橙黄色的面纱,象征着激情的火焰。在西方的天主教传统里,白色代表着快乐;其他一些地区,白色在他们的婚礼和葬礼里指示各种各样的通路典礼和意义。例如,在安达曼群岛(Andaman Islanders),白色代表一种地位的变化。“传统”的白色结婚礼服,在早期是贵族的特权。在多利亚女王时代,大多数的新娘只能穿传统的国家服装,只有上层阶级才能穿代表权力和身份的白色婚纱。一直到近代,贵族阶级的特权消失以后,白色的婚纱才成为普通新娘的礼服。而相对于西方白色婚纱的历史,中国婚礼中的大红色的凤袍的历史则较简单。龙凤在中国的神话中有着重要的地位。龙主阳凤主阴,而阳则代表男子,阴就表示女子。因此新娘就用凤表示。所以在红色的礼服上绣着凤也就很容易理解了。 还有就是在一些小的习惯上面,中西方的婚俗有相似的地方。例如,中国古代有抛绣球迎亲的习俗;而西方的新郎新娘在教堂举行婚礼后,会把手中的鲜花抛向空中,如果有人接到的话就预示着他将很快结婚。 中西方在婚俗上面有以上种种的差异,这和中西方人在思想思维的差异有直接的联系。中国人比较保守,喜欢热闹,思维较古板,所以在中国历史几千年的时间里整个婚礼的习俗并没有多大的变化。直到近代西方的文化传入以后,中国的传统文化才开始向西方转化,但在很大的程度上任有中国传统婚俗的礼仪。而中国人爱热闹的性格在中国传统婚礼中可以得到充分的体现。除了中西方都有的结婚晚宴以外,在中国的传统婚俗中,还有一个为新娘饯行的结婚午宴。其次在婚宴结束以后,新人的亲朋好友会去新房中闹洞房。认为在新房中越热闹,新人在婚后的生活越幸福。因此闹新房的成员们无不用所其极,用种种方法刁难新郎新娘。西方人的思想则比较开放,对于婚礼的要求也比较低,他们婚礼的高潮则是在教堂中:随着神圣的《婚礼进行曲》步入鲜红的地毯,娇美的新娘手挽着父亲捧玫瑰慢慢向新郎走去,新娘的父亲将女儿的手放在新郎的手上,将女儿的一生托付给你,所有人的目光注视着这对新人,幸福洋溢在他们的脸上。她是今天最美的新娘。 在神圣的教堂上空,他们的誓言在回荡,带上永结同心的婚戒,只到神父说:“你可以亲吻你的新娘了…… 结婚是一生的盟约,你是要为之坚守一辈子的誓言。 主耶稣说:上帝所配合的人便不可分开。 这一生一世的爱情,因为今天而完美。”然后新郎新娘或是去晚宴地点或是去渡蜜月,并没有中国传统婚俗的种种礼节。另一个造成中西方差异的原因是中西方不同的宗教。中国是以佛教为主,而西方则是基督教为主的。所以西方的婚礼是在教堂中举行而主婚人则是神甫。中方的传统婚俗中的最重要环节就是拜天地,拜了天地以后就算是礼成了。西方的婚礼是属于浪漫型的,整个婚礼从开始到结束到充满了浪漫气息。新娘的礼服一般为白色,新郎是黑色的礼服,使整个婚礼显的庄重严肃.到教堂去举行结婚仪式是整个婚礼最重要的环节.首先,随着婚礼进行曲的节奏,新娘挽她的父亲的手走到新郎面前,由她的父亲将她亲手交到新郎手中.牧师会要求新郎新娘对对方作出一辈子的承诺,这也是整个婚礼的高潮.然后他们会在牧师和众人的祝福下,交换结婚戒指并亲吻对方。而新娘手中的花球也不是一般的装饰用品.在婚礼结束时,新娘就会抛给到场的女宾客,如果谁接到花球,谁就是下一个结婚的人,这就使整个婚礼在欢声笑语中结束了。 中国的婚礼就不同于西方,整个婚礼的主色调是红色,这也是中国的传统的代表喜气的颜色。这也就使婚礼变的喜气洋洋.在传统婚礼中,新娘一般穿着红色罗衣,头戴凤冠,上面还有一块红色丝巾.而新郎就穿着红色的长衫马褂,头戴红色大沿帽。新娘乘着大红花轿在后,新郎骑着马在前,随着红娘和迎亲队伍到新郎家中拜堂.双方家长坐在上堂,而新郎新娘在下堂成婚.整个婚礼由司仪主持,在他的指挥下,新郎新娘一拜天地,下拜高堂,然后夫妻对拜,送入洞房.闹洞房是婚礼的高潮,新娘先回洞房等待新郎,而新郎就在外招待客人,酒足饭饱后,新郎在一大堆人的簇拥下来到洞房.众人就开始闹洞房了,新郎新娘在大家的起哄下做各种游戏……这样整个婚礼就在一片笑声中结束了。
差异:一、婚礼形式 1.中国式婚礼形式及流程 ①纳采:即男方请媒人提亲后,女方同意议婚,男方备礼去女方家求亲; ②向名:男方在求婚后托媒人问女方的出生年月,准备合婚的仪式; ③纳吉:是把问名后占卜合婚的好消息再通知女方的礼仪,这是订婚阶段的主要礼仪形式。古代的风俗要用大雁作为订婚的信物,说明双方已经订婚。后来就发展成送首饰,绸缎,甚至是羊猪; ④纳征:是纳吉后,男方将聘礼送往女方,是成婚阶段的礼仪,俗称完聘或大聘,过大礼等。聘礼的多少及物品名称多取吉祥如意的含义,数目取双忌单; ⑤请期:送完聘礼后,选择结婚日期,备礼到女方家,征得同意; ⑥亲迎:就是新婿亲往女家迎聚的仪式。这项仪式往往被看作婚礼的主要程序,而前五项则当成议婚、订婚等过渡性礼仪。 2.西方婚礼形式 ①来宾入席; ②奏结婚进行曲,亲友点上蜡烛,牧师领唱诗班进场,宣布婚礼开始,伴郎伴娘和新郎陆续进场,女方家长陪新娘进场全体起立; ③女方家长入席,新娘挽着父亲的手,步入大堂,伴娘和花童一同进入会场,全体来宾起立,父亲郑重的把女儿交给新郎,女方家长就坐,全体来宾就坐; ④牧师证婚,新人进行结婚宣誓,宣告愿意结为夫妻; ⑤新郎新娘互戴婚戒,宣誓; ⑥献诗,来宾在唱诗班的带领下,唱祝福歌; ⑦礼成,奏乐,新郎站右边,新娘站左边,两人一起走出教堂,伴郎伴娘随后,家属以及来宾随后退场; ⑧茶会或晚宴。但是整个婚礼过程却有着让人不可亵渎的神圣与庄重 。二、婚礼服饰 1.中国式服装 中国服饰强调统一而不突出个性,在中国红色象征喜庆、幸福,吉祥如意。在传统的婚礼仪式上,新郎新娘都要穿着红色的礼服,是祝愿夫妻婚后的生活能够红红火火的意思。而且衣服上的龙凤图案也是必不可少的,按照中国传统龙象征男性,风象征女性都预示着吉祥。家里到处贴着红色的喜字,门两边也要贴上红色的对联,新房里的物品也大都是红色为主的。尽管现在受到西方的影响,也会穿婚纱,但在迎娶和婚宴开始后,还是要换上红色的衣服。 2.西方服饰 西方服饰强调浪漫纯洁而有个性,因白色在西方文化中象征着吉利、平安、善意,富贵和童贞。新娘穿着白色的婚纱,代表着对新郎的忠贞和自身的圣洁,新郎则是一声笔挺的西装。新娘的捧花和周围环境的装饰都是以白色为基调的。 三、结婚礼俗 1.中国结婚礼仪 传统新娘嫁妆中要有剪刀象征蝴蝶双飞,痰盂,即子孙桶,是多子多 福的意思,铜盆及鞋意为同携到老,银包 2.西方结婚礼仪 在古代的西方社会,新娘还需准备一些“旧、新、借、蓝”的东西。“旧”是指新娘头上的白纱必须是母亲用过的旧纱,表示不忘父母的养育之恩;“新”指新娘的白色礼服必须是新的,它是纯洁童贞的象征;“借”是指新娘手里拿的手帕必须是从女朋友那借来的,表示不忘朋友的友谊之情;“蓝”是指新娘身上披的缎带必须是蓝色的,表示新娘对爱情的忠贞之情。融合 : 1.中西方婚俗融合的方面 中式的婚礼在世界上越来越受欢迎。一些外国人举行婚礼仪式都按照中国婚礼的风格。虽然婚礼饰物比如说婚车的装饰是西式的,但他们中的一些人表示在他们的婚礼上有很多的中国元素,例如,中国结、大红灯笼、红蜡烛、对联,这样会对整体气氛做到提升,增加喜庆气氛,还有就是婚礼请柬在西方婚礼中的应用。 在中国,现在的新娘通常有两组在婚礼当天的穿的礼服。婚礼仪式上新娘会穿着白色的婚纱,可以给新娘纯洁典雅的形象,更适合神圣的婚礼。当婚宴开始时,新婚夫妇向来宾祝酒时,新娘就会换上红色的旗袍作为婚宴礼服。从此也可以看出,中西方婚礼习俗在婚礼服饰方面的融合。 2.中西方婚俗融合的原因 中国的快速发展。新世纪的中国,经济等方面的快速发展,使得中国在国际上的地位不断提高,中国五千年的传统文化也逐渐成为焦点。中国婚礼文化作为传统文化的重要组成部分,也逐渐受到世界各国人民的喜爱,比如,中式婚礼礼服。因此,许多西方人受到中国文化的影响,婚礼仪式就选择中国婚礼习俗。全球化。随着社会的发展和不断的跨文化交流,人们可以更加轻松方便地了解各国不同的文化。婚礼文化作为文化的重要组成部分,也在不断地进行融合,比如中国的西式婚礼、西方的中式婚礼等。它们丰富了婚礼习俗的形式和婚礼文化。中西方婚礼习俗的融合反映了中西方文化的融合,我们能够更好地了解西方文化,了解文化差异的原因,从而更好地进行跨文化交际。
西方的婚礼是属于浪漫型的,整个婚礼从开始到结束到充满了浪漫气息。新娘的礼服一般为白色,新郎是黑色的礼服,使整个婚礼显的庄重严肃.到教堂去举行结婚仪式是整个婚礼最重要的环节.首先,随着婚礼进行曲的节奏,新娘挽她的父亲的手走到新郎面前,由她的父亲将她亲手交到新郎手中.牧师会要求新郎新娘对对方作出一辈子的承诺,这也是整个婚礼的高潮.然后他们会在牧师和众人的祝福下,交换结婚戒指并亲吻对方。而新娘手中的花球也不是一般的装饰用品.在婚礼结束时,新娘就会抛给到场的女宾客,如果谁接到花球,谁就是下一个结婚的人,这就使整个婚礼在欢声笑语中结束了。二.西方人结婚时的很多习俗都是大家所熟悉的,婚庆场面既欢快热闹,又美丽浪漫。由于中国的不断开放和东西方文化交流,我国的婚俗不少方面也在受其影响,例如穿婚纱、戴钻戒等等已经成为都市婚礼不可或缺的重要内容。然而究其渊源和象征意义,并不是所有人都很清楚的。下面就简要介绍一下一些西方婚礼用品和名词的来历和含义。 三.比如以浪漫著称的法国就被称为白色婚姻,白色是浪漫的法国婚礼的住色调;在菲律宾,观礼的嘉宾会轮流与新郎跳舞,并把金钱钉在他们的衣服上,有时后候双方亲戚朋友还会比赛哪方得到的金钱多。韩国的婚礼服装也挺有特色,值得一提――“两点”,新娘韩国新郎会穿上大礼服,新娘的嫁衣则是七彩的丝织服,配以长袖子和黑丝顶冠,这以阿拉伯的婚礼服装我认为是挺相似的,因为阿拉伯的新娘会穿着华丽的土耳其长袖袍子,不同的是视礼的女士会依习俗为新娘出嫁而恸哭,所以阿拉伯的婚礼又称为“恸哭”,当然这与我所谈论的服装无关。 四.而西方的婚礼风俗则是浪漫式的,婚礼重在礼而不在乎排场。婚前礼节也没那么复杂。一切都爱轻松自在的气氛下进行。而结婚在西方国家也是各国有各国的独特的方式。如:法国的白色为婚礼的主色调。无论是布置用的鲜花,还是新娘的服饰。可以看出法国人眼中的婚姻应该是纯洁无暇的,而新人用的杯子,也有特定的名称,名为“Coupdemarriage”,意思为“婚礼之杯”。而德国人的“疯狂”与德国人一直崇高的理智与冷静不同。他们的婚礼更多呈现出疯狂的一面。德国人在婚礼中会举行party(派队),派对中,新人会被戏弄。这类似于我们中国的“闹洞房”,其中重头节目就是兴高采烈地将碟子掷碎……西方给东方人带来的最亮点大概就是举行教 回答者:anonymous首先,是在传统结婚仪式上面。中国的传统婚俗有三书六礼”三拜九叩”这些繁俗礼节。所谓三书”,就是指聘书、礼书、迎亲书。(聘书订亲之书,男女双方正式缔结婚约。纳吉(过文定)时用。 礼书过礼之书,即礼物清单,详尽列明礼物种类及数量。纳征(过大礼)时用。 迎亲书迎娶新娘之书。结婚当日(亲迎)接新娘过门时用。)而六礼”是指纳采、问名、纳吉、纳征、请期、亲迎。(纳采古时婚礼之首,属意女方时,延请媒人作谋,谓之纳采,今称「提亲」。 问名男方探问女方之姓名及生日时辰,以卜吉兆,谓之问名,今称「合八字」。 纳吉问名若属吉兆,遣媒人致赠薄礼,谓之纳吉,今称「过文定」或「小定」。 纳征奉送礼金、礼饼、礼物及祭品等, 回答者: 缚灵
诊疗模式和主体诊疗模式所谓诊疗模式,是对一种医学在诊断和治疗中主导思想的高度概括,是用精炼的语言对该医学临床思路的扼要表述,并能反映出其学术特色。自古以来,关于中医学的诊疗模式存在多种说法,如治病求本、辨病治疗、辨证论治、察质论治及对症治疗等。在诸诊疗模式中,最重要最常用,且在很大程度上能主导或涵括其它诊疗模式者,称为主体诊疗模式。诊疗模式不同于医学模式,后者是指一种医学认识和处理疾病的基本观点或出发点,比较抽象和理性,如“生物 . 心理 . 社会”,被认为是现代医学模式,而前者则是对一种医学的诊疗规律和临床思路的集中表述,比较具体和实际,如前述的“辨病治疗”之类。 审机定治是《内经》的主体诊疗模式《内经》为中医学理论体系奠定了坚实的基础,其诊疗模式当然也不例外。在《内经》中论述过的众多诊疗原则中,最强调者莫过于“治病必求于本”(《素问 . 阴阳应象大论》)。这里,“治”兼诊断和治疗二义,“本”指疾病的本质、根源,此处具体指阴阳失调的病机。而《素问 . 至真要大论》在论及诊治有假象的病例时指出:“必伏其所主而先其所因。”告诫不要被疾病的假象所迷惑,应首先识别其真正的病因病机,然后针对病机而治。该篇还以“有病热者寒之而热,有病寒者热之而寒”为例,说明若只看到疾病表面的热、寒现象,抓不住其阴虚、阳虚的内在本质,必然误治。正是基于审察病机便是 “求”病之“本”这一认识,该篇才反复强调“审察病机,无失气宜”,“谨守病机,各司其属。”对此,元代名医朱震亨曾断言:“考之《内经》曰‘治病必求其本’,《本草》曰‘欲疗病者,先察病机’,此审病机之意也。”“此求其病机之说,与夫求其本,其理一也。”〔1〕对于中医学来说,病机就是对疾病本质的高度概括。而“审察病机”,则是透过疾病的现象——症状、体征等,去探求疾病的本质——病机。可见,《内经》治病求本的诊疗思想可用“审机定治”一词简明地表述之。由《内经》奠基的中医临床工作可分为五个环节或步骤,即四诊、辨证、识机、立法和处方。在中医的诊断过程中,四诊是为辨证收集必要的临床信息(即以症状、体征为主的证候),辨证则是运用中医理论对证候进行思维加工,最后识别病机及病名。而在中医的诊断结论中,病机为主体,病名是次要的。因为确立治疗法则的主要依据是病机而不是病名,因而识机便成了辨证的目的和归宿。《内经》虽无“辨证”一词,但审察病机(审机)以辨析证候为基本手段, “审机”实已概括了辨证和识机的内涵。中医临证时确定治疗法则的要素虽多,但首要的、根本的依据却是从诊断中获得的病机结论,而处方只不过是落实治则的具体方法和措施。由此观之,中医的诊断主要是对病机的求本诊断,中医的治疗首先是针对病机的求本治疗。而“审机定治”一词则切中肯綮地勾画出了中医学基本诊疗规律和临床思路要领。为此,明代大医张介宾极力推崇《内经》所述的“病机十九条”:“此正先圣心传,精妙所在,最为吃紧纲领……夫病机为入门之道,为跬步之法。”〔2〕《灵枢 . 本神》强调:“五脏不安,必审五脏之病形,以知其气之虚实,谨而调之也。”所谓审“病形”、知“虚实”,就是辨证识机,简称“审机”;“谨而调之”,是谓针对五脏的虚实病机,分别采取相应的补泻调治法则。这是《内经》重视并阐述“审机定治”诊疗模式的一个例证。《内经》也论及其它诊疗模式。例如,《灵枢 . 痈疽》用“菱翘饮”治疗“败疵”,属一病一方,乃“辨病治疗”之例;而《灵枢 . 根结》所谓“刺布衣者深以留之,刺大人者微以徐之,此皆因气剽悍滑疾也,”则是“察质(体质类型)论治”之例。然而,这两种诊疗模式在《内经》中仅处于次要地位,并在一定程度上从属于“审机定治”。可以断言, 把 “审机定治” 看成是《内经》倡导的主体诊疗模式是毋庸置疑的。2 “审机定治”对中医学的深远影响 建立了中医学诊治疾病的主导思想由于《内经》提出并倡导的治病 求本——“审机定治”诊疗模式,概括了中医临床思路的要领,揭示了中医学的基本诊疗规律,能够有效地指导临床实践。两千年来已被历代医家奉为圭臬,成为中医诊治疾病的指导思想和首要原则,即中医学的主体诊疗模式。试举数例为证。东汉医圣张机在《伤寒杂病论 . 自序》中说:“虽未能尽愈诸病,庶可以见病知源。”这里“见病知源”就是辨证识机之意。《伤寒论》126 条:“伤寒有热,少腹满,应小便不利,今反利者,为有血也。当下之,不可余药,宜抵当丸。”前四句属辨证,“有血(瘀血)”为识机,“下之”谓立法,“抵当丸”是处方。全条证、机、法、方一气呵成,充分体现了审机定治的经旨。唐代大医孙思邈指出:“夫欲理病,先察其病源,候其病机。”〔3〕 强调察候病机是医者临证治病的首务。金代名医刘完素亦说:“故察病机之要理,施品味之性用,然后明病之本焉。故治病不求其本,无以去深藏之大患。”〔4〕突出了审机和施治之间的因果联系。明代宿医周子干认为:“见病医病,医家大忌,……若见一证即医一证,必然有失;唯见一证而能求其证之所以然,则本可识矣。”〔5〕从正反两方面阐述了“求其证之所以然”,即审机的极端重要性。当代已故名医岳美中也指出:“见症状要进一步追求疾病的本质,不可仅仅停留在寒热虚实的表面上,……务期细密,才能丝丝入扣,恰合病机。”〔6〕要求医生审察病机必须细致、准确,使之同实际病情完全一致,才能获得满意的疗效。 奠定了中医学的主要学术特点和优势人们谈论得很多的中医学特点是“同病异治”和“异病同治”。然而这正是由审机定治的诊疗原则所决定的。因为同病之所以异治,是因其病机不同,异病之所以同治,是因其病机相同。整体失衡的疾病观和整体调节的治疗观是中医学的另一特点和优势。所谓“整体失衡”,是说人之患病,乃一定病因作用下人体内部及体内外的平衡协调状态遭到破坏,即整体失衡或曰“阴阳失调”的结果。具体可表现为寒热盛衰、邪正虚实、气血津液失常等多种类型,而这些都属于病机的范畴。因此,弄清某一患者现阶段整体失衡的具体内容,就是识别其当前的病机。所谓“整体调节”,就是针对患者的具体病机结论,施以或补或泻,或温或清,或固或通等适宜的治疗法则及相应方药,使患者机体达到新的整体平衡协调,从而恢复健康。可见,中医学整体观念在临床上的落实,亦依赖于审机定治这一诊疗模式的贯彻。人、病兼治而以治人为本是中医学的又一特色和优势,主要体现在两方面。其一,中医不仅辨病治病(包括中医和西医的病种、病名),更要知人治人。每种疾病虽有自己特定的临床表现、病程经过及诊疗规律,然而医生临床上面对的并非抽象或概念的疾病,而是某一患病的个人。每个患者都是具有精、气、神而能自主活动的生物体,因而病人远比疾病复杂而多变。所以治人重于、难于治病。《素问 . 疏五过论》之“从容人事,以明经道”和《灵枢 . 师传》的“便病人”就寓此意。“治人”的重点又在调神。如《素问 . 汤液醪醴论》告诫:“精神不进,志意不治,故病不可愈。”由于病人精、气、神的状态及变化均可集中反映在经诊断得出的病机结论中,审机定治实为人、病兼治的重要途径和良好形式。其二,治人为本的核心是“因人制宜”的治则,它要求治疗时应充分考虑到病人的年龄、性别、体质类型、职业、爱好、饮食及生活习惯等对病情的影响,而这些影响也程度不等地蕴涵其病机结论之中。例如,幼儿易虚易实,老人气血虚弱滞涩,妇女有余于血而不足于气,体质类型不同者对病邪的易感性和对病性的趋同性亦不同等,这些病理因素全都以一定的形式参与了病机的形成。可以断言,审机定治是构建中医学治人为本特色思想必不可少的基石。 为中医学理论的规范化创造了条件鉴于中医学的流传和教育长期沿袭私相授受的方式,中医理论中不少术语、概念的解释和使用存在着混乱和分歧,这对中医学的现代化发展及走向世界极为不利。而审机定治的诊疗模式可为澄清其中一些重要的词语作出贡献。例如,中医常用的“证”或“证候”,即《内经》所说的“病形”、“病状”,皆指疾病的现象,乃中医诊断的凭证。而治病求本的“本”——病机,才是疾病的本质。因此,有些教科书把“证”释为综合病邪、病性、病位等要素的“病理概括”,实即与病机概念等同,这显然混淆了疾病的现象和本质,是不可取的。又如,所谓“辨证论(施)治” 被视为中医学的基本规律和特点而风行一时,然而如前所述,在中医临床过程中,辨证是为识机服务的,病机才是中医诊断的主体和中医治疗的首要依据。而“辨证论治”一词中缺乏关键词“病机”,则诊断既落不到实处,治疗又失去了依据,中医学的基本规律和临床思路便表达不出来。因此,它的文字构成同它所欲表达的内容差距较大,而“审机定治”却能胜任这一任务。 为中医学的现代化发展提示了方向中医学的历史和现状业已证明,审机定治作为中医学的主体诊疗模式,是推动中医学不断进步和发展的强大动力,病机学已成为中医学理论体系中当之无愧的核心。〔7〕目前,中医学正处于现代化及国际化的“前夜”,其发展的突破口便成为中医学界与中西医结合学界关注的焦点。中医学术发展史表明,历代名医成就的取得,各种学术流派的形成,无不来自新的病机观点的创立或原有病机观点的深化。考察中医临床、教学、科研的现状就会看到,病机研究进展缓慢和病机理论的滞后,已成为制约上述诸领域迅速发展的“瓶颈”。用现代科技手段研究中医学的有识之士大多认为,中医学的现代研究应从“证”的实质着手,而这里所谓的“证”是指由某一病机引起并以其命名的证型(证候类型)。如“脾虚证”就是由“脾虚”病机引起的证型,换言之,食少、纳呆、腹胀、泄泻、身倦乏力等一组证候仅是“脾虚证(型)”的外在表现,而“脾虚”这一病机才是其内在实质。因此,从证的实质着手意味着重点研究各种病机的形成、变化机制及其物质基础等。总之,抓住病机研究这个突破口,就能带动整个中医药事业全面、深入的发展。
中医把人体看成一个系统对待。西医“头痛医头,脚痛医脚”。
中医是临床医学,是中医先贤们经过几千年的临床实践,运用朴素的唯物辩证法,创建了‘理’‘法’‘方’‘药’闭合的环形理论,随着科学发展而不断完善。无论社会怎样进步它的理论体系都不会改变,可变的是不断进步和完善。 西医是实验室医学,是从实验室走向临床,它理论的形成是开放的,是不断走向微观的,它随着科学的发展不断走向细化和分支。 中医所使用的药品完全来自自然,每一味药都是一个复方,很多药品都有双向调节作用,而且它的作用不一定是主要成份,是以人为试验个体的,然而有毒药品能治病以成为中医的共识,近几年利用剧毒药品砒霜溶液静脉滴注治疗白血病收到明显的效果,并受到西方国家的青睐和引进。 西医所使用的品药是实验室的产物,它是以化合物的形式存在的,是以鼠为试验个体的,有很多药品有很多毒付反应。中医作为传统文化的东西,本身就存在一些不太科学的 东西,需要继承和发扬,更需要实事求是评价中医,正确认识中医。中医的科学性就在于中医本质中最精粹的东西。现代医学是建立在实验医学的基础上发展起来的,这是时代发展的必然,因为那个时代已经开始了科学技术的进步,这是由人类科技进步带来的必然的医学进步。中医是在她哪个时代的技术基础之上发展起来的医学模式,中医与西医只是认识疾病的两种不同思维方式而已。中医是临床医学,难道西医就不是根于临床的?西医用所谓的毒药,难道中医所用的中药就没有毒,砒霜中医也用,这难道是中医的区别?中医发展的那个时代不可能有技术获得纯单体化合药物,如果能的话,她也必然会利用纯单体化合物。中医与西医的本质区别是她认识的疾病观点与西医不同,是中医的“整体观”和“辨证论治”、“配伍用药”观点造成了两者不同的处方用药不同,这是最根本的区别西医所用的化学药,只要你专心去用,你大可用中医的理论去运用它,如何配 伍运用到临床中,现代医学的对人体的生理病理认识,也可用中医整体观去整合,自可对人体更有具体的整体、全面去认识。中医和西医其实都是针对人体的医学,如果扣除语言表述方面的不一致(中医通常从功能方面对人体进行划分,而西医一般通过解剖结果对人体划分),两者在生理学方面完全相同,比如中医里经络实际上是神经系统、血液循环系统和淋巴系统等功能的综合表述,藏器是静脉血转化为动脉血所涉及的器官的功能的表述,腑器是与外部环境直接接触的部位的功能的表述等等,但两者在病理学上完全不同,西医假定所有疾病都是由于病灶引起的,消除了病灶就可以消除疾病;中医则假定所有的疾病都是由于人体内环境不正常引起的,消除了这种内环境的不正常就可以消除疾病。所以中医和西医在理论上不可能结合到一块儿。中医是国粹,是一门总结、归纳、辨证的科学,如易经一般,一定要继承发扬;西医是现代实验科学,讲究事实与实验结果。殊归同途,都可以治疗疾病,但互有不足,相互结合,有意想不到的收获!
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The Spring Festival of China is as important as western countries' Christmas. So they are indeed some similarities But because of differences in culture and may aspects, there are some differences as are similar in some ways. Firstly, on both festivals, families usually get together and have a good time at home. They often have feasts happily with the family. And they wish everyone happy. Secondly, shops, stores and supermarkets all like this period. They make big money before and during the , there are also different. Chinese parents give money to their children on the Eve, hoping they will do better and be healthier nxet year, while western people choose to give chilren some unexpected presents secretly. Of couse, the decoration are different. We can see Christmas trees in western homes while we can enjoy "chunlian" in China. Also, in China, people visit a lot of people during the festival while westerners often choose to stay with their families anyway, during the festivals, people are all in a good mood and relax themselves.
大学教育差异 第一,学生在大学一年级的时候所有的课程都是公共课,学生的专业也没有分,那么各个专业派最好的老师讲自己专业的经典课,以争取学生。而在国内,学生进校门的时候已经决定了自己的专业,这4年不再改变,不管自己是不是喜欢或者适合。 第二,是一个很重要的特点,北美的学生学习和工作相结合。学生只有大一的前两个学期连续上课(他们一年分3个学期),然后就是一个学期上课,一个学期工作。有专门的老师到各地为学生联系就职的岗位,然后由学生去应聘,还要有工资,工作一个学期后要交技术报告,而那种如果应聘不到职位义务去劳动的还不能算完成了任务。 第三,也是一个在中国没有的特点,就是在每一个学年结束,都有一部分学生被大学辞退,因为他们不适合这个专业或者这个学校。这位老师说,辞退并不是坏事,他们可以换专业,或者换学校,找到自己更适合的学科。这一点,我想在中国还没有这样的事情,除非这个学生有了极为特殊的事情,不然恐怕只要学生进了这个学校,学了这个专业,那么百分之的可能性会正常毕业,我们也没有相应的措施来实现这件事情。 第四,在北美,没有考查课,所有的成绩已分呈现,最后加权平均。所以说如果学生一科落下去,那么就很难补上,北美的大学不好进,更会越来越难。在中国就不是这样了,我们的大学不好进,现在也是越来越好进了,而只要进来,那就容易出去。不光大学,就连硕士也一样,博士现在也已经批量生产。
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圣诞节与春节的差异,英语作文 ::