Looking For The Clothes Of Fashion Elements In Ancient Costumes

Peizi, also known as Peizi, is a kind of silk scarf wrapped around the shoulder for decoration. Gao Cheng of the Song Dynasty quoted the Eryi Record in Shishi Jiyuan as saying, "The Qin Dynasty has draped silk and practiced it, while the Han Dynasty is Luo.". It can be seen from this that Pibo Clothing In the Qin and Han Dynasties, it appeared in the Central Plains, and became very popular in the Tang Dynasty.

The cloth is usually made of thin gauze with various patterns printed on it. Its shape can be roughly divided into two types: one has a wide banner, but a short length, which is draped over the shoulder when used, and looks like a cloak; The other kind of silk towel has a narrow banner, but its length is more than two meters. Women usually wrap it around their arms and walk like two streamers, giving people a sense of ethereal. We can see this kind of silk from Zhou Fang's "The Painting of Beautiful Women with Hairpins", "The Painting of Beautiful Women with Wanshan" and Zhang Xuan's "The Painting of Tamping and Training" in the Tang Dynasty. The women depicted in the picture are more charming under the wide or narrow drapery decoration, which has a unique elegant charm. It can be seen that women at that time, whether they were noble women or female workers at the lower level, all regarded the possession of this shawl as beautiful, and it was a necessary item of clothing in that remote era.

Today, the cloth has been transformed into a cloak and a silk scarf, and it is still a must in women's clothing. When we wear professional clothes, how to show the elegance and gentleness of women? Then choose a silk scarf, and let it properly adorn the neckline, or casually, or handsome, to show the femininity of women. The contribution of silk scarves should not be overlooked. Let's also remember the former of this cloak and silk scarf!

Cloth in Buddhism

Northern and Southern Dynasties

With the spread of Buddhism to the east, there have been female donors wearing silk in Buddhist murals during the Southern and Northern Dynasties. Since the beginning of the Tang Dynasty, the long, short, wide and narrow drapery began to appear on the shoulders of every woman chasing fashionable clothes. In this way, every piece of silk is also the result of internationalization. Confident and open women in the Tang Dynasty

We pursue the luxury and delicacy of clothing. "When you sit down, your clothes will linger on the grass, and when you walk, your skirt will sweep away the plum blossoms." Flowers and plants can also kiss each other. According to the Old Book of the Tang Dynasty? Annals of Public Service, "the customs are extravagant. They are not in accordance with the rules. They are beautiful and beautiful, and they follow the rules. They go up from the palace to the lower part of the palace, and follow each other. There is no difference between high and low." Emperor Xuanzong of the Tang Dynasty once issued an edict: Twenty seven women in the palace, as well as Baolin, imperial daughters, and beloved people, must wear patterned silk when they are in attendance and attend the banquet in the harem. On the Dragon Boat Festival, the palace ladies also wear more luxuriant clothes, called holy scarves or longevity scarves.

Tang Dynasty

The beautiful woman of the Tang Dynasty, standing with silk draped naturally, hangs like a pool of water and is quiet. When walking, she is elegant and relaxed, like the wind blowing willows. The movement and static complement each other. This additional clothing extends the visual effect of the body. Its appearance is not for practical use, but just to create a lively and graceful appearance. However, this is not the illusory aesthetic feeling that was expected but unreachable in the Wei and Jin Dynasties. High buns, silk drapes, half arms, and topless collars rarely combine the sense of ground line and body beauty. It does not rely on traditional ethical norms, nor does it rely on the public society's vigilance against women. It is the product of women's short-term aesthetic imagination under the factor of contingency. The "fashion" of wearing silk drew on the dance clothes of the popular Western region dancers at that time. Women in the Tang Dynasty drew inspiration from stage costumes, and daily wear can also be upgraded to performance costumes. In the later Peking Opera "The Heavenly Maids Scatter Flowers", Mei Lanfang danced a long ribbon, which must also be a symbolic extreme display of silk.

In order to make their clothes more artistic, women in the Tang Dynasty put on "Peizi" on their shoulders and arms when they went out to walk, covering the wind and warming their back. Put on a belt longer than the poncho - "poncho" - indoors or in the palace garden.

Drag the ground around the shoulder, like a fairy. In the Song Dynasty, women's "wearing silk" became more and more popular, ranging from the "rosy cloth" of royal ladies to the "straight cloth" of civilian women. With the development of history, these costumes gradually disappeared. However, long and square scarves similar to Peizi are still popular in modern society due to their practical functions. While "wearing silk", people can only occasionally appreciate the elegant, romantic and flying charm of the rainbow from Dunhuang Flying Painting Wall, unearthed pottery figurines, classical dramas of film and television singing and dancing, or traditional weddings of the Han nationality.

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　　 Looking for the Gothic Style of Fashion Elements in Ancient Costumes

　　 Looking for the Gothic Style of Fashion Elements in Ancient Costumes

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