Study On Semiotics Of Hanfu

The ancient Chinese language philosophy has long produced the concept of "symbol".‘The saint set up an image to fulfill his feelings',as in The Book of Changes Xi Ci I,is very similar to the basic concept of western semiology.Zhao Yuanren also proposed "semiology" in his Outline of Semiology in 1926.In the study of Hanfu,almost all literary historians stand on the position of affirming the Han people's criticism,which accuse Hanfu as the representation of the aesthetic literature.This situation has not changed until the emergence of aesthetics in recent years.However,prejudices towards Hanfu are still not uncommon.Those critics tend to focus on criticizing Hanfu's appraisal of the emperors' feats and its emphasis of figures of speech.But they neglect Hanfu's vividly creative ideas,multi-functional literary ideas,and the intentional pursuit of language beauty and form beauty.Neither do they pay attention to the profound implications and cultural origins under the representation.Therefore,we must admit that this is an underestimation of the literary value of Hanfu.This paper starts with the typical work Qi Fa created by Mei Cheng during the prosperous period of the Han Dynasty.Based on the text,the present article aims to construct and analyze the symbolic system of the works in Chinese traditional literature using Western semiology as a tool.It is hoped that we can construct a symbolic generation mechanism and symbolic system of Hanfu modeling on this work.The paper also aims to explore the breeding ground behind this symbolic system,in order to further promote the unique position and great value of Hanfu in the Chinese literature history.However,due to limitations in ability and the article length,this paper can only conduct general research and summary from three aspects,and try to make useful explorations for interpreting traditional Chinese literature with Western literary theory.