旗袍邀请函

Ⅰ 形容旗袍装美的句子

印象中的旗袍总是出现在江南的三月，那江南的女子，穿了丝绸的旗袍，撑着一把油纸伞，行走在白墙青石的小巷里，有雨，丝丝细细地飘散着，朦胧中萦绕而来的是清香的紫丁和未名的暗香……

芊芊淑女，婀娜旗袍着身，曼妙多姿，笑颜如花绽，玉音婉转流，皎皎兮似轻云之蔽月，飘飘兮若回风之流雪。君不见那绫罗绸缎，艳之韵之，芸芸众神赞，飘飘仙子舞。美哉！天之仙子莫过于典雅高贵的中国服饰国粹——旗袍。

旗袍塑身，饱和性强，这是旗袍吸收西式的裁剪和审美方法所遗留下来的。既有着东方传统古典韵味，又有着时尚潮流元素，可谓是中西合璧的精华。纤腰骨感的女人可以穿出纤细动人的韵致，饱满的女人则能穿出盈润的味道，每个女人都会有一件适合自己的旗袍！

Ⅱ 形容“穿旗袍”的美的诗句有哪些

1、一袭青衣，染就一树芳华，两袖月光，诉说绝世风雅。

出自《文学作品》，作者：月色静好。

意思：穿着青色衣衫的人，映衬着满树的碧绿。宽大飘逸的两袖，是绝代的优雅美人啊。形容绝代风华，遗世而独立，不染纤尘。

5、腰瘦衬裙袍，袍裙衬瘦腰。

出自《醉美旗袍美人》，作者：吴雨谦。

意思：腰身很小的人衬得旗袍很美，反过来，旗袍也称的腰身很小。因为旗袍尤其能掩盖掉中国女人腰长、胸部不太丰满等身材缺陷，更能突出中国女性特有的风情与魅力。

Ⅲ 关于旗袍的书有哪些

• 《云裳钗影》

1. 【作者】吴沁江

2. 【书评】

   打开本书，似进入一家小小的民间珍宝馆，里面满是各式各样的旗袍和饰品。当人们在苏杭逛旗袍铺为绚烂缤纷的各式旗袍摸不着头脑的时候，当人们沉迷于淘宝五光十色的珠宝店而犹豫不决分辨不清的时候，这本小书将给予人们最实用的感官指点和相关的入门知识。因为这里有作者作为一个资深玩家的经验总结。与此同时，读者还会被她的深情和执着所打动。在当今快节奏生活的时代，能平心静气，以平民之资，日积月累，搜寻到这些老物件，实属不易。她又将自己对这些旧物的心境细细记下，形诸文字，拍摄成图，更是“真爱”。自清代到民国再到当代，将那些散落在世间的珠宝服饰，一点点地收入囊中，不为别的，只为内心深处那份对过往的深情和畅想。

• 《上海名媛旗袍宝鉴》

1. 【作者】宋路霞

2. 【简介】

   《上海名媛旗袍宝鉴》汇集了六十件上海名媛穿过的、反映她们半个多世纪以来对服饰美学的理解和追求的旗袍。这些旗袍是物质的，珠光宝气，五彩缤纷，典雅华贵，面料和款式各异，反映了纺织、设计、裁剪、缝纫、绣工等技术方向的变化和演进；同时也是精神的，承载了当时美学、礼仪、时尚、社交、中外文化交流等诸多方面的社会信息。这些诞生于上海滩上最美丽的女性服装，尤其是作为礼服的旗袍，是对中国传统旗袍的成功革新，曾经引领了全国时尚女装的新潮流，因而光彩四射，魅力无穷，历久弥新，备受瞩目。
   

Ⅳ 赞美旗袍句子和诗有那些

赞美旗袍句子和诗:

咏旗袍女三首

（一）

锦袍素雅身段娇，春风拂柳展妖娆。

舞步轻盈惊四座，醉眼周郎瞩小乔。

（二）

锦袍华贵淑女娇，玲珑曲折现苗条。

媚态横生销魂处，飘然漫步飞燕骚。

（三）

锦袍炫丽仪态娇，圆臀玉腿细柔腰。

痴迷竟日旗服美，饱览娥眉乐陶陶。

五律 · 旗袍

绿柳风中摆，新荷雨里摇。

亭亭长玉颈，款款小蛮腰。

乍现玲珑态，凭添妩媚娇。

从来民国范，大美数旗袍。

印象中的旗袍总是出现在江南的三月，那江南的女子，穿了丝绸的旗袍，撑着一把油纸伞，行走在白墙青石的小巷里，有雨，丝丝细细地飘散着，朦胧中萦绕而来的是清香的紫丁和未名的暗香……

芊芊淑女，婀娜旗袍着身，曼妙多姿，笑颜如花绽，玉音婉转流，皎皎兮似轻云之蔽月，飘飘兮若回风之流雪。君不见那绫罗绸缎，艳之韵之，芸芸众神赞，飘飘仙子舞。美哉！天之仙子莫过于典雅高贵的中国服饰国粹——旗袍。

旗袍塑身，饱和性强，这是旗袍吸收西式的裁剪和审美方法所遗留下来的。既有着东方传统古典韵味，又有着时尚潮流元素，可谓是中西合璧的精华。纤腰骨感的女人可以穿出纤细动人的韵致，饱满的女人则能穿出盈润的味道，每个女人都会有一件适合自己的旗袍！

Ⅳ 本人大量需要赞美旗袍的词，诗句，句子。对旗袍了解的麻烦下下啊。

锦衣旗袍诗,曼玉花样时

Ⅵ 邀请函关于民族服装展的英语作文

旗袍是从满族古老的服装演变而来的.旗袍,满语称"衣介".古时泛指满洲、蒙古、汉军八旗男女穿的衣袍.
清初（公元1644年-公元1911年）衣袍式样有几大特点：无领、箭袖、左衽、四开衩、束腰.箭袖,是窄袖口,上加一块半圆形袖头,形似马蹄,又称"马蹄袖".马蹄袖平日绾起,出猎作战时则放下,覆盖手背,冬季可御寒.四开衩,即袍下摆前后左右,开衩至膝．左衽和束腰,紧身保暖,腰带一束,行猎时,可将干粮,用具装进前襟.男子的长袍多是蓝,灰、青色,女子的旗装多为白色． 满族旗袍还有一个特点,就是在旗袍外套上坎肩.坎肩有对襟、捻襟、琵琶襟、一字襟等.穿上坎肩骑马驰聘显得十分精干利索.
清世祖入关,迁都北京,旗袍开始在中原流行.清统一中国,也统一全国服饰,男人穿长袍马褂,女人穿旗袍.以后,随着满汉生活的融合,统一,旗袍不仅被汉族妇女吸收,并不断进行革新.特别随着辛亥革命的风云,旗袍迅速在全国普及.
自30年代起,旗袍几乎成了中国妇女的标准服装,民间妇女、学生、工人、达官显贵的太太,无不穿着.旗袍甚至成了交际场合和外交活动的礼服.后来,旗袍还传至国外,为他国女子效仿穿着. 至20世纪30年代,满族男女都穿直统式的宽襟大袖长袍.女性旗袍下摆至（骨干）(小腿),有绣花卉纹饰.男性旗袍下摆及踝,无纹饰.
40年代后,受国内外新式服饰新潮的冲击,满族男性旗袍已废弃,女性旗袍由宽袖变窄袖,直筒变紧身贴腰,臀部略大,下摆回收,长及踝,逐渐形成今日各色各样讲究色彩装饰和人体线条美的旗袍样式.
汉族妇女为啥喜爱穿旗袍?主要旗袍的造型与妇女的体态相适合,线条简便,优美大方,所以,有人认为旗袍是中国女人独有的福音,可起到彩云托月的作用.而且,旗袍是老少宜穿,四季相宜,雅俗共赏. 根据季节的变化和穿着者的不同需要、爱好,可长可短,可做单旗袍、夹旗袍；也可做衬绒短袍、丝棉旗袍.并且,随着选料不同,可展现出不同风格.选用小花、素格、细条丝绸制作,可显示出温和、稳重的风韵；选用织锦类衣料制作,可当迎宾、赴宴的华贵眼饰.
当中国旗袍在日本、法国等地展销时,很受当地妇女人士欢迎,她们不借重金,争购旗袍,特别是黑丝绒夹金花、篓金花的高档旗袍,最为抢手.旗袍正以浓郁的民族风格,体现了中华民族传统的服饰美.它不仅成为中国女装的代表,同时也公认为东方传统女装的象征.

Chinese Cheongsam

The cheongsam, or Qipao in Chinese, is evolved from a kind of ancient clothing of Manchu ethnic minority. In ancient times, it generally referred to long gowns worn by the people of Manchuria, Mongolia and the Eight-Banner.
In the early years of the Qing Dynasty (1644-1911), long gowns featured collarless, narrow cuff in the shape of a horse's hoof, buttons down the left front, four slits and a fitting waist. Wearers usually coiled up their cuff, and put it down when hunting or battling to cover the back of hand. In winter, the cuff could serve to prevent cold. The gown had four slits, with one on the left, right, front and back, which reached the knees. It was fitted to the body and rather warm. Fastened with a waistband, the long gown could hold solid food and utensils when people went out hunting. Men's long gowns were mostly blue, gray or green; and women's, white.
Another feature of Manchu cheongsam was that people generally wore it plus a waistcoat that was either with buttons down the front, a twisted front, or a front in the shape of lute, etc.
When the early Manchu rulers came to China proper, they moved their capital to Beijing and cheongsam began to spread in the Central Plains. The Qing Dynasty unified China, and unified the nationwide costume as well. At that time, men wore a long gown and a mandarin jacket over the gown, while women wore cheongsam. Although the 1911 Revolution toppled the rule of the Qing (Manchu) Dynasty, the female dress survived the political change and, with succeeding improvements, has become the traditional dress for Chinese women.
Till the 1930s, Manchu people, no matter male or female, all wore loose-fitting and straight-bottomed broad-sleeved long gowns with a wide front. The lower hem of women's cheongsam reached the calves with embroidered flower patterns on it, while that of men's cheongsam reached the ankles and had no decorative patterns.
From the 1930s, cheongsam almost became the uniform for women. Folk women, students, workers and highest-tone women all dressed themselves in cheongsam, which even became a formal suit for occasions of social intercourses or diplomatic activities. Later, cheongsam even spread to foreign countries and became the favorite of foreign females.
After the 1940s, influenced by new fashion home and abroad, Manchu men's cheongsam was phased out, while women's cheongsam became narrow-sleeved and fitted to the waist and had a relatively loose hip part, and its lower hem reached the ankles. Then there emerge various forms of cheongsams we see today that emphasize color decoration and set off the beauty of the female shape.
Why do Han people like to wear the cheongsam? The main reason is that it fits well the female Chinese figure, has simple lines and looks elegant. What's more, it is suitable for wearing in all seasons by old and young.
The cheongsam can either be long or short, unlined or interlined, woolen or made of silk floss. Besides, with different materials, the cheongsam presents different styles. Cheongsams made of silk with patterns of flowerlet, plain lattices or thin lines demonstrate charm of femininity and staidness; those made of brocade are eye-catching and magnificent and suitable for occasions of greeting guests and attending banquets.
When Chinese cheongsams were exhibited for sales in countries like Japan and France, they received warm welcome from local women, who did not hesitate to buy Chinese cheongsams especially those top-notch ones made of black velour interlined with or carved with golden flowers. Cheongsam features strong national flavor and embodies beauty of Chinese traditional costume. It not only represents Chinese female costume but also becomes a symbol of the oriental traditional costume.

Ⅶ 赞美“旗袍秀”的诗句有哪些

1、《烟雨江南》

作者：和友

江南古巷雨阶滑，绣伞半遮俏影斜。

极致风情盈画卷，又来梦里忆春花。

2、《烟雨江南》

作者：林岁月

轻寒漠漠滋薄纱，巷口年年丽影斜。

若到江南逢纸伞，便知烟雨念千家。

3、《题旗袍美人图》

作者：佚名

竹林碧绿生紫烟，妆束湘妃晓亭前。

旗袍彩绘真淑女，媚眼传情美婵娟。

明月梦乡因我趣，春风花影为谁妍。

十里闻香招蜂妒，一声莺啭令人怜。

6、旗袍秀(《点绛唇》)

作者：佳纱

温婉矜持，妖娆淑女心脾著。

时光轻渡，云鬓携香素。

立领蛮腰，韵到端庄住。

颦不语，风情知否？锁住娥眉处。