2022论文英文加拿大留学essay 简析中国的共产主义力量
简介薇薇安·谭和韩枫都出生于共产主义高度集中下的中国，虽然方式不同，但他们都经受过文化大革命，并深受影响，个人的经历不同塑造了她们风格迥异的设计风格以及对待时尚的态度，也造就了她们成为中国乃至世界都知名的设计师。关于薇薇安·谭和韩枫两人之间的不同点：在中国文化大革命期间薇薇安·谭没有生活在中国，而韩枫生活在中国。薇薇安·谭对于毛泽东理论是一种崇拜的态度，然而韩枫似乎持着完全相反的态度薇薇安·谭在香港短居时仍受中国文化的影响，韩枫离开中国去了美国（似乎完全背离了中国共产党所所代表的一切）共同点就是她们的设计里不仅有时尚的概念同时也就有戏剧和艺术的元素。薇薇安·谭薇薇安·谭于1957年出生在广州，她的父亲是一个地主,因为中华人民共和国曾致力于消除私有制制度，地主也被指控利用他人只为一己私利，因此这一人群也成为了被攻击的目标，指责他们不能为建设社会主义做贡献。谭的家人发现自己处于一个如此不安的境地，据她自己回忆：“这是一段水深火热的岁月”因此她们决定举家逃离至香港，逃离共产主义的威胁。然而谭却被父母留下和她的祖父母一起。CommunistpowerinchinaIntroductionBothVivienneTamandHanFengwerebornattheheightofcommunistpowerinChinaandalbeitindifferentways,theybothlivedthroughandwereinfluencedbytheCulturalRevolution.Theirindividualexperiencesshapedtheirattitudestowardsfashionandtheyarenowprominentdesigners,recognizedwordwideaswellasinChina.DescriptionofHanFengandVivienneTamHowtheirlivesaredifferent:ViviennedoesnotliveinChinaduringtheRevolution;HanFengdoesVivienneexploitsMaocult,imagery,symbolism;HanFengopposesitcompletelyVivienneescapestoHongKong,remainsinChinesespectrum;HanFengleavestoUS(abandonshomecountrycompletelyparalleledintheabandonmentofeverythingCommunistChinarepresented.Incommon:Theatricalandartisticapproach,notonlyfashionapproachVivienneTamVivienneTamwasborninGuangzhouin1957.HerfatherwasalandlordandasthePRCwasstrivingtoeliminateprivateownership,landlordswereaccusedofexploitingpeoplefortheirownprofitandwerethustargetedforbeinginsufficientlydevotedtostatedirectedsocialism.Tam'sfamilyfoundthemselvesinavulnerablepositionandassherecalls“Itwasareallydifficulttime”.TheythereforefledtotheHongKong,escapingthethreateningCommunistdoctrine.Tamwasleftbehindwithhergrandparentsuntilshewasthreeyearsoldwhenshewasfinallyabletojointhemhelpedbyacouplewhotoldauthoritiesshewastheirdaughter.WhilelivinginHongKongshewasabletomaintainaChineselifestylewhilebeingopentotherestoftheworld.HongKongwasathrivingBritishcolonyandtradecenterandwhileshecontinuedtospeakChineseathomeandfollowedBuddhistreligiousritualssheattendedaRomancatholicschoolandbegantolearnEnglishinearnest.Itwasthisopportunityofhavingabi-culturalupbringingandahybridwayoflifewhichnotonlyfueledherfascinationfortheEastmeetsWestnuancebutalsotaughthertobe“moreopenandacceptotherpeopleandothercultures”.Meanwhile,mainlandChinaundertheCulturalRevolutionwasnotonlyshuttingoutWesternculturebutalsoChinesecultureitself,deemingit“bourgeois”andanti-communist.MuchthatwaslosttotherevolutioninChinacontinuedtogrowanddevelopinHongKongandthisofferedTamafreedomofinspiration.AsafashiondesignstudentoftheHongKongPolytechnicUniversity,shewasabletoabsorbtheWesterninfluencepresentinHongKongandatthesametimefreelyinvestigateherChineseculturalandsartorialheritage,anexplorationwhichmeanwhilewasstrictlyforbiddentostudentsinmainlandChina.AsstudentsinChinalivedunderextremerepression,TamexperiencedtheCulturalRevolutionasanobserver,acknowledgingthehardshipsbutnotbeingdirectlyaffectedbythem.ThisfreedomfromrepressionshapedherapproachtoseekinginspirationfromtheCulturalRevolution.Indeed,whenshereturnedtovisitChinainthelate70stoearly80s,sheexperiencedChinaalmostasatouristwould.Shewasfascinatedratherthandismayedbythe“blurofgreenandblue”thatsurroundedherandwasintriguedwith“Maofashion”-oranti-fashion-of“puttingeveryoneinauniformandtryingtomakethemequal-anattempttocoverupveryrealdifferences”.SheevenadmiredtheloosebuttailoredcutoftheMaosuitandit'sunisexappeal;ithighlightedthecommunistprinciplethatmenandwomenwereequalandofferedwomenfreedominphysicalmovement.Shenoticedthatthiselementofpracticalityhadreplacedfashion;“windowdisplayswerefilledwithpracticalthingsinsteadoffashion”,andshethereforeventuredintotheartsandcraftsandhomeandfurnishingsectionsofstoreswhereshefoundinspirationandsourcesforhermaterialsinsuchtextilesasbedroomlinens,bedspreadsandtowels.However,whatstruckhermostfromherexperiencevisitingChinaandultimatelyinspiredhertocreatehermostcontroversialcollectionwastheremarkablepowerofMao'simage.DuringtheCulturalRevolution,portraitsofMaowereubiquitous;theyhungineverylivingroom,classroomandofficeandChinesepeopleallownedMaobadges,mirrors,weavingsandneedlepointworksandfosteredwhatbecameacultofpersonalitythatdidnotimmediatelyendwithhisdeath.PeoplevaluedtheseitemsasgoodluckcharmsandMaowaseffectivelyvenerated“likeaGod,completewithahalo”.TamwasabsorbedbyallthesestyleelementsleftfromtheMaocultandcollectedsuch“vintage”itemsasinspiration.In1994,TamwasintroducedtoartistZhangHongtu,thefirstartisttouseMao'simageinhiswork.Shewasinspiredbyhisbackgroundandtheconceptsbehindhisworkandcollaboratedwithhimtocreateher“MaoCollection”forSpring1995.Itisinterestingtonotetheirindividualapproachestotheproject.ZhangHongtuwasborninGansuprovince,attendedhighschoolinBeijingduringthesixtiesandlatertrainedattheCentralAcademyofArtsandCrafts.HelefttoNewYorkintheearly80sand,havingexperiencedtheintensityofCommunistindoctrinationandtheoverwhelmingpowerofMao'simage,beganpaintingMaoinonlyalightlyhumourousway,separatingtheimagefromitspoliticalundertone.Itwasonlyafterthe1989Tiananmeneventsthat,albeithavingtoovercomeinitialstrongfeelingsofguilt,hedecidedtoexploitMao'simageas“mentaltherapy”andasawayofexpressinghisownpoliticalfeelings.Itwasanironicreversalofthewayhe,asanartist,hadbeenexploitedtocreatepropagandaartforthegovernment.Tamsensedthispoliticalresonanceinhisworkbutinsteadchosetofocusonitshumouroselement,aimingto“loosenitup”byamalgamatingitwithfashion.WhileZhangHongtuwasdirectlyrespondingtoaneedto“getawayfromtheshadow”ofMao'srepression,escapingtheauthorityofhisimageandbeingabletoexpresshimselfpolitically,TamsawthepowerofimageandexploitedithumorouslyasarepresentationofthenewopennessofChina,using“humourandwarmth”asawaytoexpressthegrowingfreedomoftheChinesepeoplefromMao'simage.ThishighlightsherinherentdetachmenttotheemotionalhardshipbehindtheCulturalRevolutionthatartistswhogrewupunderitsrepressionfeel.Tam,perhapsasaresultofthisdetachmentandthusnotquitegraspingtheextentofthepowerthatstilllaybehindMao'simage,wasevensurprisedbythestrongreactionthatthecollectionprovoked.Thecollectioncomprisedof8imagesofMao;6ofwhichincluded“MaoSoYoung”-withpigtails,apeterpancollarandginghamdress,“OwMao”-crosseyedwithabeeperchedonhisnoseagainstablackandyellowstripedbackground,“HolyMao”-withaclericalcollar,“PsychoMao”-withdarkhypnoticglasses,“MissMao”-withlipstickand“NiceDayMao”-asasmileyface.Sheprintedfourcolouredimagesinacheckboardpattern,reflectingMao'schangeablecharacterand,inanotherdesign,expressedhispositiveandnegativeeffects,printingtheimagesinblackandwhite.ShealsoprintedtheimagesonT-shirts,deepeningthetexturewithpatternsandsequinstomakethedesignsalivewithmovementandlight.ThestrikingjuxtapositionofcoloursandtextureswithMao'spoliticalimageryandtheresultingstronglyhumorouselementinthedesignswashighlycontroversial,somerespondingtoitasalmostblasphemouswhileothersdeemedit“tasteless”.TheimageswerecomparedtoWarhol'sdepictionofMao,but,whileWarholhadusedtheimageofMaoasmerelyanothermassiconlikeMarilynMonroe,TamandHongtuhadexploiteditasapoliticalfigurewhichthuspromptedthereaction“IfMaowasadictatorlikeHitlerorStalin,howcanitbeokaytousehisimageaspopart?Isn'tittastelesstomakefunofthesufferingtheycaused?”TamandHongtucontendedthatitwasaformofcritisicmtothecontinuinguseofMao'sideology,imageandflaginChinaandawaytofurtherunderminetheauthorityofMao'simage;“anyuseofMao'simagewhichmakeshimlessgodlike,isaformofcriticism.Andit'snecessary”.YetTamadmittedthatshe“hadnoideatherewouldbeastrongreactiontothedesigns”anditwasobservingtheattitudetowardsthecollectionthatenabledherto“gainalotofinsightintoMaoandhispower”.HanFengHanFengwasborninNanJingin1962.“IgrewupduringtheCulturalRevolutionanditwasdifficult”sheexplainsandwhenshewas1yearold,authoritiessentherfathertoanothercityandherparentswereforcedtoseparate.HerfatherhunghimselfandlateranothermanshewasclosetoalsocommitedsuicideduringtheCulturalRevolution.ShegrewupinHangZhou,China'sartisticcenter,and,pursuingherchildhoodflairforcreativity,sheattendedtheChinaAcademyofFineArts,trainingingraphicdesignastherewerenofashiondesignprograms.“Istartedoutpaintinghowmyteacherswantedmeto”sherecalls,“butthenIbecamethiscrazypersonwhowantedtobedifferent”.ItwasnodoubthavingtoenduretheimposedMaoistdresscodeandhowitstiflednon-conformitywhichfueledHan'sdeterminationtodistinguishherself;“IgotaT-shirtandjeansandgrewmyhairlongsoIwouldstandout”andshegainedareputationintheacademyasbeing“abitofablacksheep”duetoherdesireforexperimentationandrefusaltomerelycopywhathadbeendonebefore;“Iwantedtolearn,notcopy.Myteachersdidn'tunderstandthat”.Communistindoctrinationwassuchthatexpandingcreativehorizonswasvirtuallyimpossible.ShewasoneofmanywhowishedtoescapethestiflingrepressionofthetightgripmaintainedbytheCommunistPartyoncreativeexpression;“WeallwantedtoleaveChinainthe1980sbecausetherewastoomuchpain.”ShemetherhusbandwhowasanEnglishteacheroftheartacademy,and,seekingfreedomandalargerstageforherinterests,shemovedtoNewYorkwithhimin1985.LeavingChinawassymbolicinassertingtheapproachshewouldtaketowardsdesigningabroad;“Ithought,God,theChinese—whocares?IamfromChina.IwanttoforgetwhereI'mcoming,forgetmypast.It'sjusttoopainfultoremember.”ThepainandstrugglethatcharacterizedHan'sexperienceoftheCulturalRevolutionnotonlydeterminedhertoleaveChina,butalsoinspiredhertocreatedesignsthat(whetherintentionallyorsubconsciously)completelyopposedalltheelementsofMaoiststyle,perhapsasapersonalprovocationandrebellionagainsteverythingithadtriedtoimpose.“WhenIleftChina”sheexplains,“everyonewaswearingexactlythesamething.Anditwasgrey”.Itisnocoincidencethatherdesignsarenowwidelyrecognizedfortheirrichandinnovativeuseofcolourandthatsheiscredited“oneofthemostbrilliantcoloristsintheNewYorkfashionworld”.Afterhavingbeenlimitedtoblue,blackandreddyeswhichweretheonlyonesavailableindyeingshopsinChinaduringtheCulturalRevolution(AntoniaFinanne,237),Hannowembracesthefreedomofusingvibrantcolours;“Ilovedesigningwithpure,brightcolorsbecauseIdidn'texperiencethemasachild”shesays.Redisparticularlyprominentinherpallet,varyingin“geranium”to“cerise”shades,asaregreenandblueshadesof“chartreuseandlimetolapisandturquoise”.Hercollectionscombinecolorsinsubtlewayshighlightedinitemsmixingburgundywithfuschiaorpairingthedifferentshadesofgreenorblue,oftenplacingpalercoloursalongsidemoreintenseonesforartisticeffect.Inadditiontoheruseofcolours,HanFengisalsoknownforhercreativetreatmentoffabricsandherdesignsareequallycharacterizedbytheirmaterials.EscapingthedrabconformityimposedbyCommunistDoctrine,HanFengreversedthechangesthattheCulturalRevolutionhadforcedupontheuseoffabricsinChina.ChinesepeoplehadbeenobligedtoabandontraditionalChinesefabricssuchassilkandsatinwhich,accordingtotheDoctrine,carriedastrongfeudalisticconnotation,andwererequiredtoadoptrevolutionarycottonor“patrioticwool”.(HuaMei,98)Instead,HanFengabandonedtheblandcottonandcrudewoolthatcharacterizedMaoiststyleandzealouslyexploredtherealmoffabricsandmaterialsthatwasnewlyavailabletoher.PerhapsasaresultofgrowingupinHangZhou,acitywhichhadbeenreputedforitssilktrade,shedevelopedakeenappreciationforsilk,wistfullyrevivingitasthefabricofherheritage.Thispassionateexplorationandrevivaloffabricsandmaterialsisclearlyexpressedinhercollections.Sheworkswithadiversearrayofmaterialsincludingsilk(occasionallyblendedwithwool),organza,velvet,satin,stretchchiffonandfinepolyester.Theselight,pliantanddiaphanousfabricswhichcharacterizehercollectionscertainlycontrastwiththecoarsethicknessofthecottonandcrudewoolwhichshehadnochoicebuttowearwhenlivinginChina.Yetherendeavorwentfurtherthenjustexploringfabrics.Whatsparkedherinterestwerethewaysinwhichshecouldtreatandmanipulatethefabricscreatingdifferenttexturesandstyles,onceagaindelvingintoacreativerealmwhichhadbeenrestrictedduringtheCulturalRevolution.TheuniformityoftheMaosuitwasconstrainedtostraightironedcotton,occasionallypaddedorpatched,anddidnotallowforrufflesoranysuchtouchesoforiginality.Itwasshapeless,definedonlybythesquare,linearattributeofthetypicaluniform.ThedescriptionofHan'scollectionof1993intheNewYorktimes,bestsignaledherapproachtoinvestigatingmaterials;“Shepleatsfabricsintognat-sizedaccordions:thetinyfoldsinthefabricsgivedramatoeventheplainestpolyestergeorgette.HerchiffonAlinedresseswerecutinspirals,likeorangepeels.Velvetwascrinkledandpleatedtomakeasimpletankdressfitfortheweddingofabarefootcontessa.”Indeed,thetransformationsheunderwentassheexploredanddiscoverednewwaysofusingmaterialsisclearinthedevelopmentofherdesigns,inparticularthatofhersignaturescarves.Whileshehadinitiallylaunchedhercareerinsellingpleatedscarves,hercollectionofscarvesarenowpaisley,plaid,fringed,crinkled,embroideredandfeaturingcolorfulwovenribboninserts;techniquesthatshethenappliedtootherclothingdesigns.HerSpring/Summer2001collectionhighlightedheraccordion-pleatedskirtsandcrinkledsilkblousesprintedwithimpressionisticfloralpatterns.Hanalsostylesfabricsinadistinctlyoriginalway,rejectingconventionaltailoringand,perhapsparallelingherappreciationoftheenvelopingqualityofscarves,shefocusesoncreatingclotheswhichwrapandveil,“assemblingthegarmentasalightsculptureonthebody”.Thisqualityhasbeenadmiredandherclothinghasbeendescribedto“wrapthebodyasthecloudsencloseamountain”.Hercollectionshaveoftenbeendefinedbythewayshedrapessoftjerseysandchiffonsandfoldsbackthefabricaswellasbytheuntailoredloosepanelsoffabricfloatingfromthebacksofdresses,unevenhemsandasymmetriccuts.Whatemergesasaresultoftheblendingofdiaphanousfabrics,texturesandcolours,untailoredandwrappedaroundthebodyisalight,weightlessand“dreamily”feminineappeal.ThisqualityisperhapswhatmostmanifestlycontradictsMaoistuniformanditsfundamentalprincipleofdefeminizingwomen.WhilethesquarelytailoredMaosuitwasspecificallydesignedandimposedonwomentoconcealtheircurvesandnaturalmovements,Hanstrivestocreateclotheswhichaccommodateandembracethem.Shemaintainsthat“womenshouldenjoytheirbodiesmoreandnottrytohidethem…thebodyisbeautiful”.Shethustakespleasurein“playingwithshape”and“makingwomenlookmorefeminineinasubtleway”.Her1995fallcollection,forinstance,wasbasedoncurves;“curvedseamsthatbringthejacketsclosetothebody,curvedcollarsthatframetheneck,curvedbacksthatgiveacocoon-likeshapetopleatedsilkeveningjacketsorvelvetcoats”.Emphasizingthereassertionoffeminityinherstyle,shecomplementsheroutfitswithaccessoriesincludingscarves,glovesandhairornaments.WhileaccessoriesduringtheCulturalRevolutionwerelimitedtoRedGuardarmbands,armycaps,Maobadgesandhislittleredbook,Han'scollectionsfeaturetrimmediridescentshawlswithgildedtassels,blackwoolglovesweavedwithrowsofpinkbowsandpolytailholderslinkedwithvelvetbuttons.Sheevenmakesthistwistliteralinher1999collection;oneitemisahigh-collaredChairmanMaojacketaccentedwithachinchillascarf,asubtlycontroversialpairingofthestrictsuitwiththeeleganttouch.Withtherevivaloffeminineallurecomestheemotionalfeelingofherclothes.Althoughherdesignsremainsimpleandpractical,theirunparalledinventivenessandoriginalityholdahintof“haikulike”poetry,highlightingherromanticvision.Infactherfall/winter1998collectionwasinspiredbythestoryofaloveaffairbetweenafabrictraderandayoungwomanalongthesilkroadtoChina.Nodoubtshewasenthusedbythecontroversialappealofthestory,exploringitsromanticismandcreatingamoreemotionalcollection;emotionbeinganelementwhichwaswholynon-existentinthecold,militaryallureoftheMaosuit.Shelaterskillfullyaccentuatedtheemotionalanddramaticaspectofherdesignstotheheightof“theatricalflair”,leadingtoherdebutasacostumedesignerandultimatelyhersuccessindesigningcostumesfordirectorAnthonyMinghella'sEnglishNationalOperaproductionof"MadameButterfly."1980sonwardsMaoZedong'sdeathin1976broughtanendtotheCulturalRevolution.Laterthatyear,thedownfalloftheGangofFour,includingMao'swidowJiangQingwhohadimplementedthemostextremepolicies,ledtoaslowlooseningoflawsrelatedtodressandsocialconstraints.In1984,underDengXiaoping'sleadershipandtheopendoorpolicyofreform,certaincitiesweredesignated“open”aspartofanewstrategyinvitingforeigninvestment.InOctober21,1984,HuYaobang,theGeneralSecretaryoftheCommunistParty,appearedontelevisionatameetingoftheCentralCommitteewearingadark-bluewesternstylesuit.AlthoughhismovewaspossiblebecauseofthemorerelaxedatmospherefollowingtheascendancytopowerofDengXiaoping,hewasstillmakingaboldsartorialstatement.WhilebothVivienneTamandHanFengwereabletoescapetheconfinesofCommunistindoctrinationandestablishthemselvesasdesignersinNewYork,theyleftaChinathatwasstrugglingtoreassertitselfwithintheinternationalpoliticalstageandtheglobaleconomy.Thisstrugglewas(andstillis)reflectedintheclumsyapproachpeoplebegantotaketonewfashionsandWesternstylesenteringChina;Tamherselfcommentedthattheirstylewas“borderlinebadtasteandhipbecausetheywereborderlineCulturalRevolutionandWesternmodernity”.UnavoidablythenewdangertoChina'ssartorialidentityistheinfluxofWesternbrandswhicharethreateningtocreateyetanothertypeconformityandasTamrightlyobserves“AmericaninfluenceisdilutingthedistinctiveflavorofChina'sfashionindustry”.BothTamandHanFengarenowchallengingthedominanceofmassproducedWesternbrandsinChina.HavingexperiencedtheCulturalRevolution,theydonotwanttoseetheuniformityoftheMaoerasimplytransgressintoanewWesternuniformity.Whattheythereforewanttohighlightistheimportanceofmaintaining“imaginationandindividuality”;“Everythingwedoshouldexpressfeelingsandexperiences.Weshouldcreatenotjustfollowfashion.Eachfashiondesignershouldhavehisorhersignaturestyle”.WhileacknowledgingtheneedforrecoveringindividualityinChina,theyarebothoptimisticinChina'spotential;“itisgrowing,fashionherewillsoonhaveit'sownpersonality”;“Wehadgreatfashionforthousandsofyears,thennofashionatall.Nowwearefindingourcontemporarydesignvoice.””
