Gelbooru hanfu

Cao Wei, Jin and Northern and Southern dynasties. Chinese scholars also classify it as being a type of shenyi. The zaju chuishao fu can be further divided into two categories of clothing style based on its cut and construction: the guipao, and the guichang (or guishu). 62 On the other hand, the guichang follows yichang (or ruqun) system consisting of a ru, an upper garment, and a qun, a long skirt. The popularity of ribbons later fell and the decorative hems were eventually enlarged. The zaju chuishao fu was multi-layered and was decorated with an apron-like decorative cloth at the waist with triangular-strips at the bottom and with pieces of ribbons worn underneath the apron which would hung down from the waist. This form of attire also spread to Goguryeo, where it is depicted in the tomb murals found in the Anak Tomb No.3. The term guiyi was recorded prior to the Han dynasty in the Ode to Goddess written by Song Yu, a Chinese poet from the late Warring States period, which demonstrates that the zaju chuishao fu originated earlier than the Han dynasty. The guipao, which is a form of paofu in the broad sense, appears to have originated from one of the Queen’s ceremonial clothing dating from the Zhou dynasty called sandi (Chinese: 三翟). According to some Chinese scholars, the attire called guiyi in the Han dynasty was in the style of the quju shenyi. 38 However, according In the Han and Wei period, the guipao was one of the common aristocratic costumes. The Chinese character gui《袿》in the term guiyi (袿衣) refers to the shape of its hanging part which is broad at the top region but becomes narrow at the bottom making it look like a daogui, an ancient measuring tool for Chinese medicine, in appearance. In the Han dynasty, the silk decorations were cut into the shapes of arch; these originated from the sandi recorded in the Rites of Zhou. The guipao was popular in the Han dynasty, but its popularity started to fade in the late Eastern Han dynasty. The guiyi which follows the ruqun system also appeared in the Han dynasty, where it was called guichang or guishu. On the whole, the costumes of the Wei and Jin period still followed the patterns of Qin and Han dynasties. However, the clothing of women in this period were generally large and loose. The type of guiyi, which was worn in the Han dynasty, was in the form of a guipao. The carefree lifestyle brought about the development of women’s garments in the direction of extravagant and ornate beauty. The once dominant laws and orders collapsed, so did the once unchallenged power of Confucianism. This carefree lifestyle, which was reflected in the garment and apparel of the people living in this period, can be explained by the historical circumstances which impacted the mood of the people: during the Northern and Southern dynasties was a period of volatility, the barbarians invaded Central Plain, thus, various wars and battles occurred. Buddhist scriptures were translated, Taoism was developed, and Humanitarian ideology emerged among the aristocrats. However, all these posed a threat to the conservative and imperial power, which tried to crush them by force. These policies forced these scholars to seek comfort and relief in life. They were interested in various kinds of philosophy and studied a lot of the “mysterious learning”. At the meantime, the philosophy of Laozi and Zhuangzi became popular. They dressed themselves in free and casual elegance. They preferred a life of truth and freedom. The zaju chuishao fu (or guiyi), which was worn in the Wei, Jin, Northern, and Southern dynasties, was quite different from the style worn in the Han dynasty. 62 worn in the Han dynasty, and had wide sleeves. The guiyi are depicted with in the paintings of Gu Kaizhi. The guichang eventually became more popular than the guipao during this period as the set of attire ruqun itself had become more popular. 62-64 The Shao refers to pieces of silk cloth sewn onto the lower hem of the dress, which were wide at the top and narrow at the bottom, so that triangles were formed overlapping each other. Typically the guiyi was decorated with “xian” (襳) and “shao” (髾). While the wearer was walking, these lengthy ribbons made the sharp corners and the lower hem wave like a flying swallow, hence the Chinese phrase “beautiful ribbons and flying swallowtail” (華帶飛髾). 62-64 There are also two types of guiyi. 62-64 “Xian” refers to some relatively long, silk ribbons which extended from the short-cut skirt. The guiyi which follows the ‘one-piece system’ is called guipao while the other form of guiyi, guichang (or guishu), follows the ‘separate system’, consisting of ruqun which is a set of attire composed of a ru, an upper garment, and a qun as a long skirt. In the guichang, the upper garment was opened at the front and was tied at the waist. The change in the shape and structure of the guiyi reflects the historical trend of the fading popularity of guipao in the late Eastern Han and the increase popularity of the guichang (or guishu) which eventually became the mainstream style in the Wei, Jin, Southern and Northern dynasties. The skirt had spaced coloured stripes and was tied with a white silk band at the waist. There was also an apron between the upper garment and skirt for the purpose of fastening the waist. Apart from wearing a multi-coloured skirt, women also wore other kinds such as the crimson gauze-covered skirt, the red-blue striped gauze double skirt, and the barrel-shaped red gauze skirt. The sleeves were broad and fringed at the cuffs with decorative borders of a different colour. Wei and Jin female appearance. Many of these styles are mentioned in historical records. During the Northern and Southern dynasties, the guiyi underwent further changes in style. 62-64 The long flying ribbons were no longer seen and the swallow-tailed corners became enlarged; as a result, the flying ribbons and swallow-tailed corners were combined into one. Depictions of women wearing guiyi can also be found in Goguryeo tomb murals, as found in the Anak Tomb No.3. The tomb belongs to a male refugee called Dong Shou (died in 357 AD) who fled from Liaotong to Goguryeo according to Chinese scholar Yeh Pai, a conclusion which is also accepted in the formal Korean report issued in 1958 although some Korean scholars believe the tomb to belong to King Mi-chon. San Francisco, CA: China Books & Periodicals. Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history. Jefferson, North Carolina: McFarland & Company. Xun Zhou; Chunming Gao (1987). 5000 years of Chinese costumes. Bian, Xiang Yang; Zhou, Fang (2018). “A Study on the Origin and Evolution of Shape and Structure of ‘Gui-Yi’ in Ancient China”. Hua, Mei; 华梅 (2004). Chinese clothing. 于红. Beijing: China International Press. Hongkong: 商務印書館香港分館 學林出版社. Duong, Nancy (2013). “Evolution of Chinese Clothing and Cheongsam”. Zhou, Xun; Gao, Chunming; Zhou. Chung, Young Yang (2005). Silken threads : a history of embroidery in China, Korea, Japan, and Vietnam. New York: H.N. Abrams. Lee, Junghee. “The Evolution of Koguryo Tomb Murals”. 1988-1999). The Cambridge history of Japan. John Whitney Hall, ed. Cambridge, UK: Cambridge University Press. This page was last edited on 16 November 2024, at 03:37 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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