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Tunic is a kind of clothing, but not an ordinary clothing. Nearly 100 years ago, the Revolution of 1911 overthrew the monarchy and made great changes in the political, economic, social, cultural and daily life of the Chinese people. One of the things that has caused major changes in the lives of millions of men and women in China is the "scissor" associated with men, so some people say that the Revolution of 1911 started from scratch; and the other was related to women Someone said that the 1911 Revolution was "starting from the foot." Whether it is from scratch or from the foot, people usually mention these two things when it comes to the 1911 Revolution. However, for the tunic, most people will not hang with the revolution. In fact, the design, production and promotion of tunic is also a major event of the Revolution of 1911, we can call it "national service uniform." "Cut the braid," "wrap the legs," and then "make the national uniform." We can call the 1911 Revolution "a revolution in the whole body." While "cutting the braid" and "putting the feet together" are certainly the major liberation of the humanity of men and women in China, it seems to me that "making the national service" is a richer and more profound one. More specifically, this feeling can be extended to the "four sexes" implied by the tunic - one is political. Sun Yat-sen embodies a change of political transition between the old and new political and social system, which is already the largest politics; many important parts of the tunic have rich political connotations, which materialized the Three Principles of the People, the country's four-dimensional, the separation of powers. Zhongshan later installed as the Republic of China's statutory national service, its political significance is even more prominent. The second is revolutionary. The birth of the tunic was closely linked with the Revolution of 1911. Under the atmosphere of "cutting the braid and easy service", the tunic became a unique symbol of the revolutionaries. The tunic was installed as a sign of supporting the revolution and breaking the feudalism of the Qing Dynasty. Third, openness. Although the tunic as a clothing is a revolutionary design, but also inherited some of the traditional Chinese clothing elements. Of course, its biggest feature is still open. First of all, it subverted the "tunic" of the Qing dynasty and learned the elements of Western European hunting and Japanese clothing. Combined with the "corporate collar" textual blouse and student style prevailing in the Nanyang Chinese at that time, , The characteristics of a pocket, showing a strong spirit of openness and openness. Fourth, practicality. Compared with the robes and jackets, especially the Qing government's uniform, the tunic is not only economical and more convenient for action. Four bags and a button with a soft bag design, both beautiful and generous, but also practical and safe. In particular, the shirt below the two "tiger bags", with the number of items in the bag up more breathtaking. Instead of using open-minded suits, the tunic has adopted a restrained style that is easy to cut, does not waste cloth, and eliminates the annoying tie. So it seems, the tunic is not just a garment so simple, it is an era of cultural symbols. Today, the political, revolutionary and open nature of the tunic seems to have retreated to the background of history. However, the strong spiritual core embodied in it still gives us a very enlightenment. Its practicality has always been with the Chinese people. It even affects some countries and affects some foreigners. This practicality, I think we will certainly continue. I think more is the cultural implications of the tunic, which is its fifth personality - cultural. The birth of the tunic itself is already a very important cultural phenomenon. It is also a very important cultural product in itself. It was attached to the history by the times too much. After nearly a hundred years of historical precipitation, when the floating clouds are gone and the lead is depleted, the earth is quiet, and the cultural nature of the tunic has been increasingly highlighted. From this perspective, we have always seemed too ignorant of this. Today, we study the tunic, the foothold should be on how to study, explore, promote and make use of the cultural significance of tunic.
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