"When I sit, my belt lingers in the grass, and when I walk, my skirt sweeps away plum blossoms." "My skirt drags six pictures of the water of the Xiangjiang River, and a section of Wushan clouds towers over my temples."...
These beautiful poems cannot describe the softness and beauty of Chinese daughters. Among them, the skirts they wear perfectly set off their elegant and quiet temperament.
So, what kind of charm does Chinese clothing, the skirt in the Hanfu system, have that can last through thousands of years and become a classic style in our Chinese history?
This article counts the underskirts of each dynasty, trying to sort out the relatively stable shapes among them, and see what the traditional "tong" is in our Hanfu system, and what the "zong" is that never changes away from its origin.
1. Pre-Qin Period
"Ruqun" and "clothes" are relatively similar, but there are still differences between them and need to be discussed separately. Of course, this difference does not mean that they correspond to "women's clothing" and "men's clothing" respectively, but refers to the differences in tailoring and cultural connotation.
To make a simple analogy, "skirt" and "clothes" are like two branches of a tree.
In the literature handed down from ancient times, "yi" refers to all clothes in general, is used as a verb, and sometimes appears side by side with Ru in some contexts.
"Lu's Spring and Autumn Annals" Chapter 6: "Zi Chan was in charge of Zheng, and Deng was in charge of the task. He made an agreement with the people who were in prison: a large prison with a robe, a small prison with a sarong. The people offered garb and sarong to learn how to litigate. Countless. Take what is not as right and what is right as wrong. There is no limit to right and wrong, but what is possible and what is not can change day by day." In this document, "clothes" and "襦袴" are juxtaposed.
This illustrates a problem, that is, "襦" must have different cuts, functions, and properties from "clothes", so that there is a need to distinguish the reference. Ruqun is a kind of "suit". The basic style consists of two parts: a top and a bottom skirt.
Among the unearthed figures, the bronze bell-ringed figure from the tomb of Zeng Hou Yi in the early Warring States period was wearing a half-sleeved skirt, covering the skirt and wearing a belt. The top is an upper and lower jacket, and the lower part is a pleated skirt with fine pleats.
The line drawing is quoted from Shen Congwen's "Research on Ancient Chinese Clothing"
The cutout diagram of the top is as follows, for reference only:
The picture is drawn by the modern Hanfu study group
The shape characteristics of the upper jacket are: crossed collar and right hem, flat fold, no broken shoulder line, wide sleeve sleeves (half-sleeves do not need sleeve sleeves), edge edge, middle seam on the back, no continued hem on the front, upper and lower parts connected; overlapping It is closed, the belt is tied and fixed, it can be dynamically adjusted, the inner placket is not missing, the inner placket is connected to the left side, the stress points of the closed structure are distributed symmetrically and balanced, and the overall yarn direction is followed.
What is more characteristic of the times is the shape of the front placket. According to the research on the actual objects from the Warring States Period, this detail may be a depiction of the regular cut and diagonal stitching of the xiashang (lower structure) to which the front placket is connected.
The picture is quoted from He Qingyi's "Research and Innovative Design of the Chu Tomb Robes at Mashan No. 1"
In later generations, the practice of linking subordinates up and down was generally formal, so this kind of detail no longer appears. This practice with the characteristics of the times does not belong to the general characteristics and can exist as an important branch of the Chinese dress and Hanfu system.
The skirt is a pleated skirt with very fine pleats. It is speculated that the shape is a one-piece skirt that is first spliced and then finely pleated and then enclosed.
The actual Ruqun was unearthed from Chu Tomb No. 1 in Mashan during the middle and late Warring States Period. The female tomb owner wears a dark yellow silk jacket (No. N23) and a dark brown silk skirt (No. N24), covering the skirt. According to the appraisal by the Institute of Archeology of the Chinese Academy of Social Sciences, the deceased was approximately160 cm, female, lived in the middle to late Warring States period, died at the age of 40 to 45 years old. This set of Ru skirt is also the earliest actual Ru skirt discovered in China so far.
Liu Li recorded in "Introduction to Clothing on Qin Bamboo Slips from the Peking University Collection": "A jacket was unearthed from Tomb No. 1 in Mashan, Jiangling, numbered N23. This jacket was seriously damaged. It was made of dark yellow silk for the outer cover and outer sleeves. In the clothes. The collar is turned to the right, and the skirt is straight. The collar edge is grouped, the sleeve edges are decorated with large diamond-shaped brocade, and the skirt and hem are all covered with embroidered edges. This jacket is 101 cm long and reaches the knee."
From the description, we can infer that its shape features are: crossed collar and right hem, flat fold, no broken shoulder line, wide collared sleeves, edge edge, middle seam on the back, upper and lower joints; overlapping closure, fastening, and can be Dynamically adjusted, the inner placket is not missing, the inner placket is connected to the left side, the stress points of the closed structure are distributed symmetrically and balanced, and the overall yarn direction is followed. Compared with the upper part of the bronze lining of the tomb of Marquis Yi of Zeng, the basic structure of the main body is consistent.
According to the information in the excavation report, it can be seen that the skirt in Chu Tomb No. 1 in Mashan is a spliced skirt.
The picture is quoted from Wang Yiwen and Luo Ronnglei's "Study on the Shape and Structure of the Ru Skirt in Chu Tomb No. 1, Mashan, Jiangling"
The shape characteristics of this skirt are: Jiao (Shangxun Xiayu) cutting method, no pleats after vertical splicing, a skirt waist (albeit relatively narrow), fixed with a skirt belt, and worn in one piece. What is more distinctive is that the skirt has edges.
2. Qin Dynasty
The Qin bamboo slips of Shuihudi record that "clothes and clothing are one each, one for each one." The word "clothes" here is a verb, and "clothing" and "one for one" appear together.
In the pre-Qin period, men also wore "skirts", just like "shirts", both for men and women. However, women in later generations wore more clothes, and it gradually became the name of women's clothing.
Director Yuan Zhongyi's "Archaeological Discovery and Research of Qin Terracotta Warriors and Horses" narrates:
It shows that "襦" is often paired with "袴".
The "Ru" here is just like what is said in the Qin Slips "Making Clothes" in the Peking University Collection: There are "big jacket with quilt", "big jacket without quilt", "small jacket with quilt", "small jacket without quilt" and other types. The translation is "a top with a lower structure" and "a top without a lower structure".
According to the records in the Qin Slips "Making Clothes", the shape characteristics of the jacket can be inferred as follows: crossed collar and right fold, folded in half on a flat surface, unbroken shoulder line, wide jacket sleeves, edge edge, middle seam on the back, upper and lower joints (it can also be (not connected to the lower structure); overlapping closure, tied and fixed, dynamically adjustable, the inner placket is not missing, the inner placket is connected to the left side, the stress points of the closed structure are distributed symmetrically and balanced, and the overall yarn direction is followed.
"Clothing" records that the shape characteristics of the skirt are: Jiao (Shangxunxiashu) cutting method, vertical splicing, skirt waist (presumed), fixed with skirt belt (presumed), and one-piece enclosure.
What is worth mentioning is that it specifically states that "short-term and long-term depends on the person", that is to say, the length of the skirt is determined according to the body size and must be tailored to suit the body.
A schematic diagram of "big tie" cutting based on the records of "Clothing".
The picture is quoted from Peng Hao and Zhang Ling's "The "skirt" and "hakama" of the Qin Dynasty bamboo slips "Clothing" collected by Peking University"
3. Han and Jin Dynasties
The Western Han Dynasty also continued to inherit the skirt. The policy unearthed from Tomb No. 3 in Mawangdui records various types of "Ru", and the types juxtaposed with clothes, Ru, etc. are "Shang" and "Gui".
A skirt unearthed from Mawangdui No. 1.
The picture is quoted from Weibo@Planet Research Institute
Purple silk skirt 329-1 unearthed from Mawangdui Tomb No. 1
Line drawing of skirt unearthed from Mawangdui Tomb No. 1, drawn by the Modern Hanfu Research Group
From the policy of Mawangdui, we can know that people in the Western Han Dynasty often wore skirts and jackets on the inside, and robes on the outside.
Therefore, the pottery figurines of the Western Han Dynasty often show the image of curved robes and straight robes. It is not that they do not wear underskirts, but wear them underneath. The shape of the skirt in the Western Han Dynasty is basically the same as that in the Pre-Qin Dynasty.
In the Eastern Han Dynasty, the underskirt was worn outside, forming a new attire image. It's not that the shape has changed, but the level of dressing has changed.
For example, the description in "Mo Shang Sang" "Xianqi is the lower skirt and purple qi is the upper jacket", such as "The Peacock Flying Southeast": "Wear my embroidered skirt, everything will be done."
The picture is quoted from the murals in the Han Dynasty Tomb of Dahuting in the Eastern Han Dynasty
We can see from the murals that the underskirts at this time were relatively fat, and the shape of the tops was characterized by crossed collars and right folds, flat folds, no broken shoulder lines, wide sleeves, belly-hand sleeves, edge edges, and middle seam on the back. ; Overlapping closure, skirt tie and fixed, dynamically adjustable.
According to other cultural relics unearthed from Eastern Han Dynasty tombs, it can be inferred that the inner placket is not missing, the inner placket is connected to the left side, and the stress points of the closed structure are distributed symmetrically and evenly.Balance and overall yarn direction. What is more characteristic of the times is the matching of women. Since it is worn with a skirt covering the top, I am not sure whether the lower part of the jacket is connected to the lower part of the structure.
However, according to the records of various ru in the pre-Qin and Han Dynasty documents, it can be seen that there are two situations: the structure with the lower half and the structure without the lower half.
The shape of the skirt is characterized by the Jiao (Shangxunxiashu) cutting method, which is vertically spliced and then made with relatively sparse pleats.
There is a skirt waist (albeit relatively narrow), which is fixed with skirt straps, worn in one piece, and a long belt hangs down in front of the waist.
Ruqun excavated from Bijiatan, Qianlianghuahai during the Wei and Jin Dynasties.
Picture quoted from China Silk Museum
Modern Hanfu study group drawing
The shape and characteristics of the top are basically the same as before, and the undershirt with waistband is clearly displayed.
The top shape features include: crossed collar and right hem, flat fold, no broken shoulder line, wide collared sleeves, abdominal hand-closed sleeves, collar edge, middle back seam, front hem, hem hem, no slits on both sides; Stacked closure, lace fixation, dynamic adjustment, no missing placket on the inner placket, the inner placket is connected to the left side, and the stress points of the closed structure are distributed symmetrically and balanced.
A more distinctive feature of the era is the panels on the shoulders. This was a style feature at the time. According to research, it was influenced by the costumes of other ethnic groups in the Western Regions and was an integrated element..
Because unlike the traditional sleeve sleeves, the panels on this structure are rarely seen in later generations. It is an overlapping part of the exchange and integration of the Chinese clothing and Hanfu system and other ethnic groups. It should be regarded as a branch form of the system with the characteristics of the times. , is not a common feature.
It can be confirmed that a new way of connecting the waistband appeared at this time, which was different from the situation of connecting the lower half of the structure in the pre-Qin and Han Dynasties.
According to the Qin Jian "Clothes Making", the lower part of the rut is connected to the "嬬" cut by Jiao (Shangxun Xiashu), and the entire rut is in the direction of the yarn; according to the rut skirt unearthed in Qianliang, it can be seen that the rut-joining part appears The method of reversing the yarn direction.
The stitching is cut horizontally, which has high utilization rate and reduces sewing labor. It is different from the previous Jiao (Shangxunxiashu) cutting. The effect and silhouette displayed are also different, and they belong to different shapes.
Both of these cutting methods are possible, and the choice should be based on the final effect you want to achieve.
Picture quoted from China Silk Museum
The shape of the skirt is characterized by the Jiao (Shangxunxiashu) cutting method, which is spliced vertically and then pleated as needed. There is a skirt waist, which is fixed with skirt straps and can be worn in one piece.
4. Sui, Tang and Five Dynasties periods
During the Sui and Tang Dynasties, the meaning of "Ruqun" changed to a certain extent, and it was written as "Ruqun" in the literature. At this time, "rug" included mezzanine layer and cotton layer.The meaning is opposite to the light "shirt", while "ruqun" mainly refers to the large-sleeved undershirt (still in line with the traditional shape characteristics).
Tops with large sleeves: crossed collar and right hem (or crossed right hem), flat fold, no broken shoulder line, wide sleeve sleeves, hand-joined sleeves, edge edge, middle seam on the back; overlapping closure, fastening, Dynamically adjusted, the inner placket is not missing, the inner placket is connected to the left side, and the stress points of the closed structure are distributed symmetrically and balanced. What is more characteristic of the times is that although the sleeve collar is not narrow, the proportion is enlarged relative to the width of the cuffs.
The skirt covers the clothes, and it is not clear whether the top has slits. The possibility of having sex without slits is the greatest.
From the perspective of cultural relics, there are two types of upper garments: those with gussets (the structure of the lower half) and those without ruts (the structure of the lower half), so the two types coexisted in the Tang Dynasty.
The picture is quoted from Yangmeijianwu's "How many clothes do I need to prepare when returning to the Tang Dynasty 2"
The most common and common Tang Dynasty women's clothing is generally called "shirt skirt", which is a three-piece suit. The basic style consists of a shirt, a skirt and a belt.
Most of the tops are thin cardigans with narrow sleeves, and the skirt waist is raised very high, even to the chest. Since the skirt covers the top and less of the top is exposed, it is generally considered a cardigan, but there are also tops with cross-over collars and shallow cross-collars.
The picture is quoted from "Complete Collection of Murals Unearthed in China 7"
The picture is quoted from Yangmeijianwu's "How many clothes do I need to prepare when returning to the Tang Dynasty 2"
Top: cross collar and right hem (or cross), flat fold, no broken shoulder line, wide collared sleeves, abdominal hand-joined sleeves, edge edge, middle back seam; overlapping closure, fastening, dynamic adjustment, inner The placket is not missing, the inner placket is connected to the left side, the stress points of the closed structure are distributed symmetrically and balanced, and the overall yarn direction is followed.
There are two types of matching long skirts. The first is a multi-color skirt.
Its shape characteristics are: Jiao (Shangxunxiashu) cutting method, no pleats after vertical splicing, a skirt waist, fixed with skirt belt, and one-piece encirclement wear. The more distinctive characteristics of the times are the large number of cuts, which is labor-intensive and time-consuming, and the splicing of secondary colors.
The picture is drawn by the modern Hanfu study group
Its shape characteristics are: the front panel is spliced vertically and then pleated in the direction or in half, with a skirt waist, fixed with a skirt belt, and worn in one piece.
In other words, what we refer to today as "Ruqun" is a category of clothing, including shirts and skirts. In addition to some noun changes in historical documents, the difference between a jacket and a shirt is generally the thickness of the fabric, whether there is a jacket, and some subtle differences in clothing matching. From the perspective of shape and tailoring, they are homologous and belong to the same system.
Wang Chuzhi of the Five Dynasties painted a relief painting of actors and actresses. Generally speaking, this is a chest-length shirt and skirt, which is consistent with the costume shape of the Tang Dynasty. What is more characteristic of the times is its petal-shaped special-shaped skirt.
Women in the Northern Song Dynasty mainly wore jackets, but they also wore skirts. This does not mean that the Northern Song Dynasty only had huzi, and other styles wereDisappeared.
Murals unearthed from Northern Song Dynasty tombs in Dongshizoutou Village, Jiyuan City, Henan Province, the picture is quoted from "The Complete Collection of Chinese Murals"
The story of Ding Lan’s wood carvings has been circulating since the Western Han Dynasty, but the costumes here are obviously the secular social costumes of the Northern Song Dynasty. Therefore, we can learn from it that women in the Northern Song Dynasty wore undercoats as well as undershirts.
Brick carvings unearthed from Song Dynasty tombs in Jingyuan and Jingheyuan, Ningxia. It can be seen from this that ordinary people wear underskirts with trousers underneath, which they lift up and tie around their waists when working.
From solemn and graceful aristocratic women to ragged common people, although their status levels are different, the basic structure of the skirt is the same.
The main change in the skirt during the Northern Song Dynasty was that the skirt waist was lowered to high waist or waist level.
Compared with the costume styles of the Tang Dynasty, the colors and fabric styles have changed significantly, but the shape has not fundamentally changed, and it still develops within the original structure.
To sum up, the shape characteristics of the top are: crossed collar and right hem (or cross-over), flat fold, no broken shoulder line, wide collared sleeves, belly-hand sleeves, collar edge, middle back seam; overlapping closure, tie It is tied and fixed, dynamically adjusted, the inner placket is not missing, the inner placket is connected to the left side, the stress points of the closed structure are distributed symmetrically and balanced, and the overall yarn direction is followed.
This is a skirt unearthed from Zhao Boyuan's tomb in the Northern Song Dynasty. Although we cannot directly say that the women's skirts in the Northern Song Dynasty are like this, we can infer from it that the shape characteristics of the skirts in the Northern Song Dynasty are: vertical splicing in the front and pleats in the direction or inversion, a skirt waist, and a skirt belt. Fixed, one-piece closure.
Liao Xu Congyun's tomb of Liao Dynasty was unearthed in Xintianbao Village, southern suburb of Datong City, Shanxi Province
According to the "Historical Service Records of the Liao Dynasty", the Liao regime was divided into two clothing systems: "national clothing" and "Han clothing", and it was clearly stated that "Han clothing" came from "the remnants of cultural relics of the Zhou, Qin, Han, Sui and Tang Dynasties" .
It can be seen from the murals that the shape characteristics of the top are: crossed collar and right fold (or crossed right fold), folded in half on a flat surface, unbroken shoulder line, wide collared sleeves, closed sleeves with hands on the abdomen, edges of the clothes, middle seam on the back; overlapping closure and tying Fixed, long skirt decoration, dynamic adjustment, no missing placket on the inner placket, the inner placket is connected to the left side, the stress points of the closed structure are distributed symmetrically and balanced, and the overall yarn direction is followed.
The lower skirt is similar to the skirt of the Northern Song Dynasty, and is also a one-piece skirt.
The shape characteristics of the jacket of the Southern Song Dynasty's underskirt are: crossed collar and right fold (or crossed right fold), folded in half on a flat surface, unbroken shoulder line, wide collared sleeves, closed sleeves with abdominal hands, edge edges, middle seam on the back; overlapping closure and tying Fixed and dynamically adjusted, the inner placket is not missing, the inner placket is connected to the left side, the stress points of the closed structure are distributed symmetrically and balanced, and the overall yarn direction is followed.
According to the actual skirts unearthed from Huang Sheng's tomb and Zhou's tomb in De'an during the Southern Song Dynasty, we know that the skirt's shape characteristics are: straight or cross (Shangxunxiayu) cutting method, vertical splicing and pleats in the direction or inversion, and a skirt waist. , fixed with skirt straps and worn in one piece.
goldDuring the regime, although the Hanfu system was destroyed, it was still partially preserved.
Characteristics of the shape of tops during the Jin and Yuan Dynasties include crossed collars and right lapels (or cross-over collars), flat folds, unbroken shoulder lines, wide collared sleeves, belly-hand sleeves, collar edges, and middle seams on the back; overlapping closures, and fastening with ties. , dynamic adjustment, the inner placket is not missing, the inner placket is connected to the left side, and the stress points of the closed structure are distributed symmetrically and balanced.
What is more characteristic of the times is the way of wearing clothes covered with skirts, and the top may have slits on both sides.
The shape characteristics of the skirt are as follows: From the silhouette, it is estimated that the skirt is vertically spliced and then pleated in the direction or in half. It has a skirt waist, is fixed with a skirt belt, and is worn in one piece.
6. Ming Dynasty
The main attire of women in the Ming Dynasty was coats and skirts. In other words, what we refer to today as "skirts" is a category of clothing, including skirts and coats, in addition to shirts and skirts.
A major feature of the jacket skirt is the way it is worn under the skirt. This is because the fabrics and colors of the clothes are more gorgeous and they are often worn outside.
From the line drawing, it can be seen that the shape characteristics of the top are: crossed collar and right hem (or cross-cut), folded in half on a flat surface, unbroken shoulder line, wide collared sleeves, closed sleeves with hands on the abdomen, edges of the clothes, and middle seam on the back; overlapping closure, fastening The belt is fixed, dynamically adjusted, the inner placket is not missing, the inner placket is connected to the left side, and the stress points of the closed structure are distributed symmetrically and balanced. What is more characteristic of the times is the sleeve shape and cuff collection.
The "horse-face skirt" of the Ming Dynasty should be called a skirt (shang) with a horse-face pleated spiral skirt structure. The key structural features are: horse pleats, spiral skirt structure, and enclosed bottoms.
In the Ming Dynasty, skirts of this shape (structure) were not only worn by women, but also by men. Just like shirts, they were divided into men's and women's styles.
Judging from the production method of this horse pleated skirt, it can be simply and roughly understood as two skirts staggered and stacked, and the skirts are sewn together to form a new skirt.
The picture is quoted from Qi Ziyu's essay "History often rises and falls, and things are often passed down - the beginning and end, deconstruction and reconstruction of the horse-faced skirt"
As can be seen from the picture above, it is more like a direct combination of skirts with characteristics of the Tang and Song Dynasties. The cutting of the horse-faced skirt is made in the same way as the skirt.
The mainstream styles in the Ming Dynasty were horse-face pleated skirts and full-pleated skirts. However, in some portraits, there is a one-piece skirt shape, which may be a skirt style for specific purposes in the Ming Dynasty.
There are different styles of clothes in this picture, which is different from the completely stylized pictures of ladies. It reflects the real life at that time to a certain extent.
Women should wear music and dance costumes with a performance nature. Judging from the picture, the skirt should be a one-piece skirt, not a pleated skirt.
In addition, in some paintings and sculptures, you can sometimes see images of ordinary people wearing cross-collar tops and skirts. It is possible that the common people in the Ming Dynasty also wore skirts to cover their clothes.
"Fishing and Joy" by Ding Yuchuan of the Ming Dynasty
Some of the women in the picture are wearing long gowns with vertical collars, some are wearing double-breasted jackets, and some are wearing cross-collar skirts. This shows that they are not entirely antique pictures of ladies, but rather reflect the dress of specific groups of people in the Ming Dynasty to a certain extent.
Clothes covering skirts and skirts covering clothes are ways of dressing. The mainstream in the Ming Dynasty was clothes covering skirts, but it is not ruled out that there is also a way of wearing skirts covering clothes. This estimate is related to the fabric and color of the top. It cannot be said with certainty that there is absolutely no way to wear a skirt to cover up the clothes in modern secular social life.
Thus, from thousands of years of historical development and evolution, we have discovered such a line and a relatively stable form.
The top is a long-sleeved "ru" (shirt, coat) with a cross-collar and right hem, including variations on cross-over.
The shape features include: crossed collar and right hem, flat fold, no broken shoulder line, wide collared sleeves, abdominal hand-closed sleeves, edge edge, middle back seam, front placket can be connected with hem, hem can be connected with gusset (lower structure), both sides Generally, there are no slits; they are overlapping and closed, mainly lacing, dynamically adjusted, the inner placket is not missing, the inner placket is connected to the left side, the stress points of the closed structure are distributed symmetrically and balanced, and the overall yarn direction is followed.
Art artist of this picture: Shan Guo Xin Hua
The shape characteristics of the skirt: the lower skirt is a one-piece enclosed long skirt that is simply spliced without pleats, pleated at intervals after splicing, fully pleated after splicing, and pleated on both sides after splicing, and is fixed with ties.
The picture is drawn by the modern Hanfu study group
The skirts of the Hanfu system are extremely rich and have many variations. The above are just examples and do not represent all.
We can see several common points in the shapes, which are derived from repeated changes between splicing and pleating. Splicing is a regular cut or a Jiao (Shangxunxiashu) cut, while pleating is a real pleat, whether it is a live pleat. It’s still pleated. In addition to being fixed, the skirt also has a decorative function:
1. For a skirt that is simply pieced together without pleats, use the Jiao (upper point and lower shu) cutting method to save as much fabric as possible and expand the hem;
2. Splicing and pleating, using live pleats and dead pleats flexibly, but the fabric of the pleats will not be cut off;
3. The pleats must be vertical, and there are no horizontal pleats or horizontally and vertically staggered pleats;
4. The pieces of the horse-face skirt (horse-face pleated skirt) are stitched together from the whole piece, and the pleats are real and movable folds or pleats. The fabric of the pleats cannot be cut or cut;
5. The skirt head (skirt waist) is generally in the shape of a long strip, but there are also highly decorative styles that are wide in the middle and narrow on both sides and are in the shape of a mountain;
6. One-piece enclosure, fixed with laces, the skirt plays an important decorative role and cannot be omitted.
These are the physical characteristics and basic structures that have been passed down for thousands of years and have not changed. They are the "unity" of the "tradition" of Chinese clothing and Hanfu system, and the "zong" that never changes away from its origin.
7. Modern Society
What is the use of sorting out the unchanging structural characteristics inherited from past dynasties?
Deliver it todayThe underskirt can be designed and produced on the basis of conforming to the traditional shape.
Picture quoted from Return to the Han and Tang Dynasties
For example, this one blurs the specific characteristics of the dynasty, retains the typical characteristics of the skirts of the past dynasties, and combines today's aesthetics to design and produce the finished product.
Let’s compare the morphological characteristics summarized above:
The top is divided into a long-sleeved cross-neck shirt on the inside and a half-sleeved cross-neck shirt on the outside, which fully conforms to the cross-collar and right hem, flat folds, no broken shoulder line, wide collared sleeves, belly-hand sleeves, hem edges, and middle seam on the back. Structural features such as overlapping closure, lace fixation, dynamic adjustment, inner placket without missing placket, inner placket connected to the left side, symmetrical and balanced stress point distribution of the closed structure, and overall yarn direction;
The skirt is an ordinary pleated skirt that is spliced and pleated. The pleats are relatively sparse, which fully conforms to the structural characteristics of Jiao (Shangxuexiashu) cutting method, splicing and pleating, vertical pleats, one-piece enclosure, and fixed lacing.
This is the modern Hanfu we advocate.
The form sorted out from history is the basic framework and paradigm. All design and innovation must be carried out around this framework. If it deviates from this framework, it will be something else, and it cannot be said to belong to the Hanfu system.
The "modern Hanfu" we insist on is not based on imagination or just a simulation of the appearance of ancient costumes. On the contrary, it is after sorting out and sorting out the 5,000-year history of Chinese costumes to find a "unity" that has been inherited for thousands of years and remains unchanged. The "zong".
We talk about "keeping integrity and innovating" every day, and we talk about "traditional clothing" every day. This "righteousness" and this "unity" should be sorted out from the 5,000-year history of development and evolution, and the rules can be found. Grasping the main line of development and the essence of the form is like drawing a genetic map. On this basis, we can re-continue and build the Chinese clothing-Hanfu system based on the spirit and needs of our times today.
The typical structural feature of ethnic women's clothing is the "factory" lapel. Comparing it with the shape of the skirts of previous dynasties, we can see that "qualitative changes" have occurred in ethnic women's clothing.
The inner placket of the factory-style top is disconnected from the left waist, and the inner placket is degenerated and fixed with buckles. It cannot be dynamically adjusted. The force-bearing points of the closed structure are distributed on one side; the length-to-width ratio of the sleeves has changed, and the sleeves can no longer be closed with the hands. Change the edges of the clothes to rolled sleeves and rolling inlays; the cross-breasted type of Hanfu cannot have slits on the front, while some ethnic women's clothing has slits on the front; the Hanfu tops are pleated on both sides, and some do not have slits, while the ethnic women's clothing has slits on the front. Women's clothing basically has slits; the upper garment of Hanfu can be connected to the waistband (lower structure), but ethnic women's clothing does not have this option.
It’s not that it’s beautiful or not, but it’s that women’s clothing from the Qing Dynasty has a problem of “deterioration” compared with the shape and characteristics of thousands of years. Just like discussing whether bonsai can be regarded as the normal development and natural evolution of the forest, women's clothing from the Qing Dynasty does not have the "traditional nature of the Han nation."
The sale, collection, and research of women's clothing from the Qing Dynasty have many meanings and values such as history, art, aesthetics, and craftsmanship. They are unique among world historical clothing. Whether you like it or not is up to you. private matters.
The only problem is that ethnic women's clothing is clothing with "other attributes" and does not have the "ethnicity" of Hanfu; it is not the "normal and natural development" of "Han traditional clothing" and does not have the "traditionality" of Hanfu.
Therefore, please call it "minority women's clothing", or "Qingmin women" for short. It has no "Han traditional" relationship with Ru skirts (shirt skirts, jacket skirts).
To sum up, today when we advocate "cultural consciousness" and "cultural self-confidence", we must deeply understand the meaning of "creative transformation and innovative development".
Comprehensively sort out the clues of the Chinese nation's clothing system over the past 5,000 years and find the essential characteristics of the same form. Figure out what is the "unchanged" foundation and what is the branch that can "change" with the times, and establish a scientific methodology and action path for us to inherit and develop Chinese clothing culture today.
