Tang clothing itself more categories, good changes, from the shape to the decoration are boldly absorbed foreign dress characteristics, more to Central Asia, India, Iran, Persia and the north and west of the foreign dress for reference, enriching the Tang dress culture, making the Tang dress colorful, magnificent, unique style, strange and colorful.
The textile industry, which had laid a solid foundation in the Sui Dynasty, made great progress in the Tang Dynasty, and the technology of reeling and dyeing also reached a fairly high level, with many varieties of clothing materials, and the output and quality reached an unprecedented height.
The most eye-catching of the Tang Dynasty clothing should be women's clothing. The Tang Dynasty women were in pursuit of matching attire, each set is a unique overall image. People are not a whim, but based on the social background, the beauty of the art of dress to the extreme. As a result, each match has a distinctive personality and interesting cultural heritage.
Tang women's matching clothes can be summarized into three kinds, 襦襦裙装, breaking the Confucian etiquette norms bravely wear a full set of men's clothing, as well as by the influence of Western culture and the introduction of hu clothing.
R襦裙装
Traditional 襦裙装，上为短襦、长衫，下为裙，这也许算不上新颖，但唐女将它穿出新样。 Tang 襦襦襦 lines long and soft, very beautiful and comfortable, the material is mainly silk fabrics, so its clothing to "soft" and "soft" known. At that time, the short jacket or long shirt, in the round neck, square neck, oblique collar, straight collar and chicken heart collar in the alternating popularity, and even simply open it into a bare neck, which is in the previous dynasty has not appeared in the innovative move. Initially also mainly for the palace concubines, Kabuki and other wear, but soon caused the noblewomen of the courtiers and eunuchs, which shows that the Tang Dynasty is very open-minded.
Confucian classics clearly stipulate the use of clothing to wrap the body very tightly, women in particular to comply with, like the Tang women such as collar low enough to see the upper side of the breasts to reveal the cleavage of the style, in the strict rituals and laws of ancient Chinese society is unprecedented. The Tang artists Zhang Xuan (b. and d. unknown) and Zhou Fang (b. and d. unknown) were accustomed to painting voluptuous women in the palace. In Zhou Fang's The Hairpin Lady, the beauty wears an ankle-length skirt and a large-sleeved gauze shirt that lightly covers her breasts. Because of the artist's realistic approach, he depicts both the delicate and transparent clothing of the Tang Dynasty and the woman's supple shoulders and arms realistically.
The Hairpin Lady (partial)
The Tang Dynasty advocated the beauty of plumpness and colorfulness, and enjoyed peonies as flowers, men without shoulders and women without necks, and horses with small necks and large hips. It is not difficult to see in the Tang Dynasty paintings, Tang women in order to show their fullness, deliberately made the skirt into six, eight, twelve, is not enough, so there will be the waist of the skirt will be raised until the armpit of the style, so that you can not see the woman's waist, but only to see a rounded shape.
For the depiction of the Tang skirt, the poets have almost come up with brilliant verses, in addition to the style, there are many references to the skirt color. As can be seen from the poem, the skirt color of that year is quite rich, and less official constraints, and thus can be as good as anyone. Only the color has deep red, apricot yellow, deep purple, moon green, grass green, tulip gold, etc., of which the pomegranate red skirt is the most popular for the longest time. Li Bai, Du Fu, Bai Juyi poems have descriptions of pomegranate skirts. The May Song of Yanjing describes the popularity of pomegranate skirts, saying that when the pomegranate blossoms bloomed, they were filled with heavy and colorful pomegranate red, and thousands of families bought pomegranate flowers to dye red skirts for the women in their families. You can imagine how spectacular it was. Tulip dresses were also dyed in plant colors, but the plant was different from the tulips native to Asia Minor, and was a perennial herb in the ginger family, whose sap from its plump rhizomes and fusiform tubers was able to dye cloth, and emit a fragrant scent.
A princess in the middle of the Tang Dynasty, a bird skirt, but also in the history of Chinese embroidery masterpieces, the skirt to a hundred bird feathers woven, daytime look is a color, look at the light is a color, look at a color, look backward a color, and the skirt shows the form of a hundred birds, can be described as skillful workmanship. The women's 襦裙装 is not just a top and bottom garment, there are other styles to complement or decorate, such as the half-arm, which is a short-sleeved shirt. The half-arm is a short-sleeved shirt, which is worn in summer, but in the Tang Dynasty it was often worn over a long-sleeved 襦衫, and its function was somewhat similar to that of a kangshi (shoulder). Only because the length of the sleeve in the center of the shoulder and long-sleeved, so called half-arm. Wear up gracefully, the body is wonderful and pleasant.
Tang women love a cape, or two arms with a silk. The look of these two decorations, the difference is cape broad and short, generally draped over one shoulder, from the unearthed female figurines of the Tang Dynasty can be seen on the effect of realism. Legend has it that there was an open-air banquet in the palace where Emperor Minghuang of the Tang Dynasty feasted his ministers. A gust of wind picked up and blew Yang Guifei's cape onto He Huaizhi's turban (a hat wrapped in a black silk scarf). From this, it seems that cape may be very light, of course, does not rule out the possibility of heavy woolen cape to protect from the cold. The cape is what we usually call "belt", long, generally narrow, from the back forward, on the small arm, the two ends of the natural sagging, later generations painted nymphs and ancient ladies, how can not forget this wonderful cape.
The footwear that goes with the 襦裙装, there are phoenix-head and high-curved brocade shoes, and there are also shoes woven with hemp thread or cattail grass shoes, soft and soft, but very delicate and lightweight. In addition to the paintings provide us with image information, in Xinjiang and other places in the excavated artifacts can be seen in kind.
Tang women wear 襦襦裙装时，头上一般不戴帽子，当然也有花冠等是属于装饰性的，出门时则戴一圈垂纱的帷帽。 This hat from the beginning of the Tang Dynasty began to popularize, to the full Tang Dynasty, the women do not even bother to wear a hat, simply exposed bun horseback riding. Hair bun filled with gold hairpin jade ornaments, flowers and cool like the real flowers of Juanhua. Today, in the excavated artifacts can also be seen in a variety of exquisite gold and silver jewelry and silk flowers in kind.
A full set of men's clothes
Madame Guo Guo's Spring Tour
Wearing a full set of men's clothes on the body is a different story compared with a flamboyant 襦気襦裙suit. The typical male costume of the Tang Dynasty was a turban, a round-necked robe, a belt around the waist, and ebony leather six-legged boots. This dress makes the man wear capable, dashing and not lose the elegance, the woman wear and have a kind of washed out but add handsome, playful demeanor. Although the Confucian classics have long stipulated: "men and women do not pass through the clothes". The Old Book of Tang? The Old Tang Book?" and "Chinese Ancient and Modern Note" recorded that women in the Tang Dynasty wore men's clothing, including leather boots, robes, whips, hats, regardless of status, and even whether at home or out of the house, all dressed up like this. This shows that the Tang society was open and there were few restrictions on women.
The Book of Tang? The "public opinion and clothing" has said: "the beginning of the Kaiyuan, from driving the Palace people on horseback, are wearing Hu cap beautiful make-up show face no longer blocked, the common people's homes and follow suit, the system of the curtain hat is never used. Russia and bun galloping, or with husband clothes boots and shirts, and the inferiority and superiority inside and outside of the consistent carry." The new Tang book? The car clothing Zhi" also said: "After the Emperor Zhongzong ...... Palace people from the driving are all HuYao (hat) ride horses, the sea effect, to dew bun gallop, and the curtain hat is also abolished, there are clothes men's clothes and boots such as Xi Qi Dan's clothes." This fashion of masculinization of women's clothing is due to foreign influence. Luoyang Galanji five said that ütepe country "the custom of the woman hakama shirt and belt riding horses, and the husband is no different." The "General Knowledge of Literature" (《文献通考》). The ninth book on the Four Descendants tells of the customs of Zhancheng: "Women also wear buns on the back of their heads, without a hairbrush, and their clothes and bows are the same as those of men."
This kind of women wearing men's attire, in the Tang Yongtai Princess stone coffin line painting, Tang Desmond's tomb stone coffin line painting, Tang Li Xian tomb frescoes, Tang Zhang Xuan, "waving fans of the ladies", "Lady Guo Guo spring", Dunhuang Mogao Caves, the Late Tang No. 17 Cave [i.e., the Qing dynasty Guangxu twenty-sixth year (A.D. 1900)] found in the cave of the Tibetan scripture cave, the left wall behind the monks painted on the left wall of the woman with a staff to provide for the woman, there are also specific images.
Hu clothes
Tang Dynasty aristocratic ladies dress preference for hu clothes, wearing a tight waist hu clothes are fashionable dress." Hu clothing" is the clothing of the West. Cultural relics and archaeological excavations wearing hu clothing of the Tang Dynasty figurines and wearing turban hu figurines abound, Qianling burial tomb unearthed in the burial objects, hu figurines up to more than 50 pieces. The excavation of these Hu figurines shows that the culture of the western regions influenced the social life of the Tang Dynasty and had a profound impact on the costumes, music and dance and other cultures of the Han people. At that time, the Tang Dynasty policy towards foreigners is more open, people "Hu customs, Hu make-up, wearing Hu clothing, with Hu equipment, into Hu food, good Hu music, like Hu dance, fascinated by Hu theater, Hu popularity of the dynasty and the field, pervading the world.
Kaewon and Tianbao years, most women wore narrow-sleeved shirts, long skirts, shoulders in silk, long belts, feet wearing high shoes. The Old Tang Book? The Old Book of the Tang Dynasty (旧唐书?舆服志) reads, "At the end of the Kaiyuan period, the Taishang Le Shang huqu, the noblemen's food, all for hu food, and the women were all dressed in hu clothes." Shen Kuo "Dream Stream Brush Tales" (Volume 1): "China's clothing, since the Northern Dynasties, all with Hu clothing. Narrow sleeves, scarlet and green, short clothes, long boots." In Tang poetry, Liu Yanshi's "Watching the Dancing Huteng", "The thinly folded Hu shirt with small sleeves", Li He's "Qin Gong Lyrics", "Showing the lapel with small sleeves and tuning the parrot", and Bai Juyi's "Cudgel Lyrics", "Fragrant shirt with narrow sleeves", all describe the trend of the time. The first time I saw this, it was a very good time for me to go back to the old days.
The form of the belt is also y influenced by the Hu clothing. Before this, people's waist is decorated with gold, silver, copper and iron, this time the popular tie "mincing belt", with gold ornaments on the belt, and buckle with a short and small small belt to tie things. This belt to take the most prevalent in the Tang Dynasty, and then extended until the Northern Song Dynasty. After the Tang Dynasty, the influence of Hu clothing gradually weakened, the style of women's clothing is becoming wider and wider. To the late Tang period, this feature is more obvious, general women's clothing, sleeve width is often more than four feet.
Hu Clothing
Dance Costumes in the Tang Dynasty
Dance costumes are the sublimation of life costumes, and at the same time is the aesthetic precursor of life costumes. In the Han Dynasty, dancers were generally dressed in high buns with big sleeves. Maliau biography" recorded a section of the Chang'an proverbs at the time: "the city is good high bun, four sides of a foot high; the city is good wide eyebrow, four sides and half a forehead; the city is good big sleeves, four sides of the whole silk." Visible city dance costumes on the great influence of society.
Chinese dance has two different functions, one is from the political and ceremonial nature of the dance, which is the continuation of the original dance in China, the beginning of the combination of primitive sorcery with the color of myth. Later, it was combined with the political and ethical concepts of class society and became an indispensable part of the rituals of the ruling class. The other is more of a recreational nature, and its lower forms are the various dances of the folk; the higher forms belong to the spiritual and cultural enjoyment of the upper class.
With the increase in foreign economic and cultural exchanges, the art of dance has become more and more frequent. Later Han Xin Yannian's "Yu Lin Lang": "Hu Ji is fifteen years old, and she is alone as a shopkeeper in spring, with a long skirt and a wide-sleeved Heping 襦." It shows that the dances of the Western regions have flowed into the Central Plains along with the smooth flow of the Silk Road, and have been praised by the Chinese upper class. South Liang Jane Wendi "small hanging hands" poem: "dancers out of the West Qin, hesitation shadow dance Yangchun, and small hanging hands, wide sleeve brush red dust, folding waist should be two sleeves, toned feet to turn the double scarf,......," indicating that the Southern dance in the North and South Dynasties is also close to the western border of the Heshi dancers for the Shang.
The Tang Dynasty dance music unprecedented prosperity, according to "Tang six canon" and "Documentary General" and other books, the Tang Dynasty dance up to dozens of kinds of more. Tang Taizong Hongwen Pavilion straight bachelor Xie Fu wrote the "dance fugue", describing the dancers "trailing silk skirt Ruoxi drag Yao Pei, hairpin feather hairpin Ruoyu bright danno, string no difference sleeve, the voice should be the foot, the incense scattered flying scarf, light flow jade." From this, we can see that at that time pay much attention to the comprehensive effect of singing and dancing, music and clothing.
Tang Dynasty various dances, more than a stereotypical dance clothes, such as, "seven virtues dance" Phi armor halberd. Jiu Gong Dance" wearing Jin De Crown (Jin De Crown is the form between Jin Xian Crown and Tong Tian Crown a very luxurious crown), purple pants jacket. The "Shangyuan Dance" is dressed in five-colored clothes with painted clouds. The "Dading Dance" is clad in five-colored armor and holds a long lance. The Shengshou Dance has a gold and copper crown and a five-colored painted coat. The light saint dance" crowned, five-color painting clothes. The Dance of Banquet and Music has scarlet damask as the robe and silk cloth as the clothes. The Longevity Dance has painted garments and crowns. Hail Dance" with big scarlet sleeves and painted parrot pigeons and crowns like birds. The Dragon Pond Dance" is dressed in five-color gauze and clouds, with a hibiscus crown and carefree shoes. Lion Dance" two people holding a rope by the whisk, dress for the Kunlun shape. The "Jingyun Dance" has a robe made of flower brocade, a hakama made of five damasks (five pieces of diagonally striped damask), and a crown of green clouds.
The Dance of the Pouring Cups features musicians with yellow shirts and jade ribbons. For the "Dance of the Civilization", the musicians were given a crown, large sleeves of white silk cloth, a white collar, a white sheet of gauze, a hakama with a large mouth of green silk cloth with a reddish-red collar, leather straps with ubiquitous shoes, and socks of white cloth. For the "Martial Dance", the costume features a flat scarf and hat, gold-braced scarlet silk cloth sleeves, scarlet silk cloth waistcoat (the waistcoat is a short-sleeved jacket worn over the outside of the large-sleeved garment and does not cover the large sleeves), a gold-decorated white training crotch, brocade tengshe (the tengshe is made of brocade with a length of eight feet, and the center is solidly made of cotton, resembling the shape of a serpent) with a rising belt, panther-written hakama with a large mouth, and oubliette boots. The "Sitting Dance" is performed by five dancers dressed in embroidered clothes, each holding a golden lotus flower. The "Eight Row Dance" is performed in a painted costume, with the civilian clothes growing larger and the military clothes shorter and smaller. The "Nei-shang Dance" is characterized by a rainbow dress and a cape with a shaking crown, and a pearl necklace.
These dances belong to the traditional Chinese style of ceremonial dances. Another category belongs to the popular dance imported from the West, wearing dance costumes with a strong foreign style. Such as widely recited by poets in the Tang Dynasty eulogy of the "Tsuge Dance" and "Hu Xuan Dance", "Huteng Dance" are. Bai Juyi's "Cudgel Brothel" says, "The purple shirt moves from the cudgel branch, and the flower waist is heavy with a pendant tin crotch." And "Cudgel Branch Lyrics," "The embroidered hat is thickly embellished with beads, and the perfumed shirt is narrowly cut." In Zhang Hu's "Viewing the Cudgel Branch in the Seat of Mr. Zhou," "The red shirt is thin with gold threads of wrinkled mist, and the purple belt is long with silver vines of hanging flowers." Zhang Hu's "Viewing Yangwon's Cudgel Branch" says, "The curled eaves of the hat are hanging down, the purple shirt is squatting, and the red brocade boots are softly stepping on the festival." And in "The View of Hangzhou Cudgel Branch", "The red fomentation shirt is wrapped around the wrist, the blue square crotch comes from the back and waist, and the golden bells are swung by the side, but the sound of the brocade is destroying the sound of the footsteps." And "The Li Family's Cudgel Branch": "Red lead brushes the face of a thin-waisted person, and a gold-embroidered robe softly embraces her body." And in "Sensation for the Death of General Wang Tsuzhi's Prostitute," "Where are the mandarin ducks' inlaid ribbons thrown, and to whom are the peacock's robes paid?" Narrow-sleeved robes embroidered or hand-painted in red or purple, bejeweled and embroidered hats with rolled brims, red brocade boots, and decorative ribbons are the basic costumes of the Tsuge Dance.
The Hu Xuan Dance and Hu Teng Dance are characterized by a rotating dance in time with the beat of the stringed drums, sometimes standing on a small cone and turning the cone, with both feet never leaving the cone. Dance costumes are also pointed top hat, small-sleeved Hu shirt, treasure belt, brocade boots.
Tang Dynasty dance costume design, the pursuit of novelty, thinking is very careful. According to the Record of the Teaching House, the costumes for the Sacred Life Music were embroidered with a large flower on the lapel, and then a short Aman shirt of the same color as the embroidered garment was put on the outside of this embroidered garment. When the dancers appear, the audience sees that they are wearing only a single color. When the dance reaches the second layer, "the dancers meet in the middle of the stage, and immediately take off their shirts from their collars and put them into their arms. The audience was amazed to see the women's embroidery." Costume designers combine the costumes with the dance process to consider the time and space effects, so that the audience get a hallucinatory fresh feeling, this design concept is very outstanding.
Tang Dynasty dance costumes in many forms, in the Tang Dynasty cave murals, sculpture, terracotta figurines and paintings preserved a wealth of image data.