Characteristics And Development Of Ancient Undergarments

Ancient women's underwear was first called " underwear " Waist, chest, shoulder and other tie ups are designed to achieve different shaping effects in flow. Pocket mouth The splicing place must be embroidered with small patterns to hide the nodes of the line and keep the picture intact. This is the so-called "touching the scenery", and brings together dozens of embroidery, sewing, sticking, filling, binding, rolling, rolling and so on. Technology It is used to express different themes.

Underwear interpretation

"The book of rites Tan Xia Xia": "the mother of Ji Kang son dies, Chen Qi Yi. Jing Jiang said, "women do not dress up, they dare not see their aunt. There will be guests from all quarters, and why should they be Chen Yu? Han Sima Xiangru's "beauty Fu": "women are relaxed on their clothes, showing their jockey clothes, beautiful body exposed, weak bone abundant muscle." Ming Shen De Fu "wild capture, cabinet three. Harm of the second phase of the birth": "when the woman came down from the house of Mrs. Zhao, when the house was opened, the supervisor searched to the bottom of the belly." Mao Dun, "Midnight" Three: "all of her undergarments of India red silk are all exposed."

Explain dirty clothes

"Yili Li Xi Li": "thorough underwear, plus new clothes." Zheng Xuan notes: "clothes are dirty and dirty." Jia Gongyan said, "the clothes are worn by the dead." The "naked clothes" mean that the Xuan end has already been dirty. The addition of new clothes means more new suits. "Mourning great memory" is also like: "thorough underwear, plus new clothes." Zheng Zhuyun: "the naked clothes, the new clothes and the words."

Interpretation of private clothes

Jin Ge Hong, "Bao Pu Zi Ji Mo": "the end of Han Dynasty is different from the others: Peng hair, temples, horizontal or not, or the chic clothes to pick up people, or to play naked." Ming Shen De Fu "wild collection, lucky luck, scholar and rascal": "Wang Qiong, head of the Ministry of military affairs, wears the rascal, the clothes, sneak into the leopard room, and drink all night." An appendix to Fufeng's biography "Hui Hui Xian Ji": "Liu's clothes are slowly erect, they want to salute, the hatred is in the words of obscene clothes, and the willow also draws back their clothes."

"The dream of Red Mansions" wrote sixty-five times, especially the third sister, "loose and loose hair, half of the red coat, half open and half open, revealing the green and green breast, and a trace of snow preserved", and Jia Zhen, Jia Lian, two yellow wine dogs, drinking flowers and wine, free and unrestrained, laughing and killing, and playing two enough men with no sense of shame. But when Liu Xianglian's cold face appeared for five years when she was thinking about it for a long time, she cried like tears, but he could not even say a word of defense. Only a death showed his heart, and he felt miserable. "Rubbing the peach blossom red everywhere, it was hard for Yushan to collapse."

Unique style

In ancient Chinese women's underwear, in the concept of modeling, emphasis was placed on the cultivation of self-cultivation through the ingenious division of underwear. In the management of style and structure, we should pay attention to the different division and layout of the plane form, and reflect the unique creative idea in the ingenious partition of the square. The ancient Chinese women's underwear system has the natural attributes of human body clothing and corresponds to the social attributes of customs and etiquette. It contains a series of characteristics of "custom-made", "qualitative questions" and "custom custom", which fully reflects the profound and wide range of Chinese ancient women's underwear culture.

From the exterior design to the specific details, it clearly reflects the social culture and performance at that time. It has both the length and width of the art of creation, and the change of thickness and movement. The style structure of ancient Chinese women's underwear includes two types: "front and rear" and "front chest". From the current research, the styles are rectangular, square, diamond, Ruyi, fan, triangle, imitation plant form and so on.

Gorgeous colors

Chinese ancient women's lingerie art has an extremely rich imagination in the creation of colors, which is reflected in the diversity of colors, regional distinctiveness, and the ingenious use of gold and silver. Li Yu, the great poet of Ming Dynasty, vividly reveals the different relationship between human, color and inner clothing in his "leisure and occasional mail". "Riches and family, where there are Jinxiu embroidered clothes, can be served with the inside, five colors are wonderful, so that a garment is better than a coat."

The color management of ancient Chinese women's underwear is characterized by "strong provocative contrast method" and "tender and implicit blending method". The contrast between strong and provocative contrast methods, such as red and green, blue and yellow, creates a contrast strength, and then inserts the black and white, gold and silver intervals to achieve a rich effect. In terms of color arrangement, they also have different positions, such as Chinese, corner, scatter, and full floor. The warm and implicit blending method arranges arrangement of different color areas and azimuth in similar, approximate and identical colors to produce tender, subtle, elegant and elegant decorative effects, such as: using a different gradation of colors to form the warm effect of halo dyeing.

Material exquisite

In the history of China, it is commonly known as the "Silk kingdom". In addition to cloth clothing, some dignitaries are all dressed in silk garments. Silk is loved by women because of its inherent soft and comfortable characteristics, and becomes the first choice for underwear fabrics. There are many silk varieties as underwear, mainly brocade, flower silk, yarn, Luo, silk, silk and so on.

Rich techniques

Chinese ancient women's underwear is also very artistic and creative in the creation of clothing. There are various techniques for embroidery, embroidery, inlay, paste, patch, and so on. Single handiwork needles are not wrinkled, loose, tight, or cracked. The pursuit of appearance is plain, straight, Bo Song, light and soft. In the underwear production, emphasize the charm of local decoration, for example, the connection between the suspenders and the clothing piece of the breast, and decorate with different patterns of flowers and plates, making it smart and moving. Some of the buttons are also lined with gold and silver thread.

In the embroidery of underwear, it emphasizes the artistic principles of energy, ingenuity, beauty and spirit. Needlework includes needle embroidery, needle embroidery and needlework embroidery. In particular, the needlework is bold on the pattern with two pins, such as nails, pins, objects, piles, beads, patches, and so on, which greatly enriches the decorative vocabulary of ancient Chinese women's underwear. Chinese ancient women's underwear is a cultural history of love. It reaches the reflection of body and social expression, body and life value in the different geometric shapes of "only breast covering breast". Through this platform, it can convey the values of women's different times and cultures and reveal their inner feelings.