Chinese Fashions, Tygodniki, prasa, magazyny, Tygodniki, prasa, magazyny, ebook, pdf

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CH1NESE
FASH10NS
Mig-Ju Sun
DOVER PUBL1CAT10NS, lNC.
Mineola, New York
Copyright
Copyright © 2002 by Ming-Ju Sun
All rights reserved under Pan American and International Copyright Conventions.
Published in Canada by General Publishing Company, Ltd., 895 Don Mills Road, 400-2
Park Centre, Toronto, Ontario M3C lW3.
Published in the United Kingdom by David & Charles, Brunei House, Forde Close,
Newton Abbot, Devon TQ12 4PU.
Bibliographical Note
Chinese Fashions is a new work, first published by Dover Publications, Inc., in 2002.
Pilorial .rchive
SERIES
This book belongs to the Dover Pictorial Archive Series. You may use the designs and
illustrations for graphics and crafts applications, free and without special permission, pro
.
vided that you include no more than four in the same publication or project. (For permis
sion for additional use, please write to Permissions Department, Dover Publications, Inc.,
31 East 2nd Street, Mineola, N.. 11501.)
However, republication or reproduction of any illustration by any other graphic service,
whether it be in a book or in any other design resource, is strictly prohibited.
DOVER
International Standard Book Number: 0-486-42053-1
Manufactured in the United States of America
Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y. 11501
Publisher's Note
The People's Republic of China has a recorded history of over
4,000
years. This book cov
ers approximately
1,400
years, depicting men's and women's costumes of six distinct peri
ods-five dynasties: the Tang
(618-907),
the Song
(960-1279),
the Yuan
(1279-1368),
the
Ming
(1368-1644),
and the Qing (pronounced
Ching;
1644-1911),
and the Republic
Period
(1911-1949).
The
Tang Dynasty
was characterized by a curiosity about other cultures, such as Persia.
Women wore high-waisted, low-necked, full-cut gowns, some with flowing sleeves; Persian
style slippers can be seen on pages
1
and
7.
During the
Song Dynasty,
necklines generally
were higher and gowns less voluminous. Costume of the
Yuan Dynasty
was influenced by
the Mongols-rulers of China for nearly a century-in the
del,
a simply cut wrap-style gar
ment that closed on the wearer's right. The
Ming Dynasty,
lasting almost three hundred
years, saw some further changes in costume, including the shoulder cape (page
24)
and long
tunic (pages
25
and
27).
The
Qing Dynasty
marked the beginning of the influence of the
Manchu-nomadic warriors who dominated the country from
1644
until 1911-on the
Han people, the major Chinese ethnic group. Manchu garments were designed for ease and
comfort in horseback riding. The Manchu influence can be seen in the "horsehoof" cuff,
shown on pages
37
and
39.
In addition, Manchu-style loops and toggle fasteners permeat
ed Han Chinese costume. Similarly, the Manchu adopted Han-style garment borders.
Whereas female workers and young women of the Han group wore trousers, Manchu
women did not. Finally, simplicity and practicality were the dominant themes of dress dur
ing the Republic
Period-a
radical departure from the elaborate designs of traditional
Chinese costume. Sources of information about Chinese costume include actual garments
in museums and private collections; representations of garments in watercolor paintings,
and, more recently, photos; and literary descriptions.
Chinese costume is known for its stunning embroidery depicting symbols of Chinese cul
ture. In fact, the designs and patterns acted as a sort of code, enabling the wearer to trans
mit information. For example, the "Twelve Symbols" served as insignia for the reigning
emperor and empress and their immediate family. These symbols included the sun, moon,
and stars, as well as dragons. Embroidered symbols eventually lost their significance and
became purely ornamental. (Interestingly, contemporary Western clothing has adopted
Chinese symbols in fashion items such as T-shirts and body tattoos.) The familiar "drag
on" robe-known in the West as the mandarin robe-generally was worn by men but could
be worn by women as well. These formal robes were the privilege of those who had an ele
vated place in Chinese society. Silks such as damask and brocade were favored by the
wealthy and ruling classes; cotton was the rule for the rest of the population.
Like the sari, the draped garment traditionally worn by women in India, the Chinese robe
indicated the wearer's position in society. For example, the use of embroidered dragons, one
of the most popular traditional motifs, reflected the wearer's status: the more dragons on
an imperial court official's robe, the higher his rank. Another indication of status was the
square insignia, or rank, badge (see pages
33
and
39).
In use by the Qing rulers, rank
badges were codified by Emperor Ch'ien Lung in
1759
in his work
The Illustrated
Catalogue of Ritual Paraphernalia of the Qing Dynasty.
This guide specified exactly who
could wear a particular emblem. Civil officials displayed emblems of birds, which ranked
them higher than military officers, who were restricted to emblems of animals.
The costumes in this book display a number of significant motifs and patterns, some of
them from traditional groupings such as the Twelve Symbols of Sovereignty, the Eight
Buddhist Symbols of Good Fortune, and the Eight Precious Objects. The dragon, one of the
Twelve Symbols of Sovereignty, evoked the divine power, authority, and wisdom of the
emperor. The Tang Dynasty emperor shown on page
8
wears a robe that is embroidered
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