How Popular Is The Tang Dynasty Woman?

The most breakthroughs in the Tang Dynasty dress were "half arm" and "bare chest".

If we want to directly trace the dressing of women in Tang Dynasty, we can go from neighboring Japan.

It has been corroborated.

In the Memoirs of the geisha, the little geisha Lily displayed by Zhang Ziyi is a Japanese style kimono.

Reviewing the history, we can see that the prosperity of the Tang Dynasty was greatly adored by the neighbouring countries such as Japan.

Basically, kimono is a Japanese dress that is modified after the localization of Tang Dynasty costumes.

In the movie, the little lily is wearing a gentle and delicate kimono. Although it has no breast exposure, its high neck is fine and its pearls are tinkling.

This can prove the exquisite luxury of Tang Dynasty costumes.

Women in the Tang Dynasty did dress very much. They wanted different kinds of clothes.

The style and the dress match, the jacket has the small sleeve clothing, the wide sleeve shirt, the under clothing has all kinds of skirts.

The most striking is the "half arm" and the "bare chest" costumes, which is the sexiest female costume at that time.

The half arm, popularly speaking, is the ancient short sleeved shirt, also known as the half sleeve, is changed in the Han and Wei Dynasty "half sleeves" style, at that time is a breakthrough in the dress.

Its shape is a pair of buttons, sleeves do not cover their elbows, and their waist is waist length.

If you dress with your skirt, it is called "half sleeve skirt". Suiti Yang Guang Hakkas women wear this kind of half sleeves.

In the new book of Tang Dynasty, it is recorded that "the half sleeves and skirts are always worn by the women in the eastern palace."

This kind of dress is often found in Archaeology of the Tang Dynasty. The half sleeves of women can be seen in the murals of Princess Tang Yongtai and the tomb of Zhang Huai.

A breakthrough is more than half sleeves.

This is a fashion that carries out bold reforms on the neckline. It changes the traditional openings of round collar, square collar, oblique collar, straight collar and chicken neck collar, enlarges the opening scale, cuts it into "collar", exposes half of the breasts, and conceales the breast.

Zhang Yimou's film "the golden belt of the city" was once dubbed "the golden milk" by netizens.

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The "bare chest" had already been opened as early as the early Tang Dynasty. Ouyang Xun, one of the "four masters" in the early Tang Dynasty, had "28 flower beds, such as snow and face like flowers". If the poet did not see the snowy white bosom, could he have such a realistic description? This wind is still more popular after Li Zhi (Tang Gaozong) became emperor.

Women's bosom too exposed, after all, conflicts with traditional aesthetics.

To this end, Li Zhiceng ordered two times to dress appropriately, so that women at that time were very avant-garde and fashionable.

But at that time, "mother country" and later emperor Wu Zetian liked to catch up with fashion. Although "ban Lu" was effective for a while, "Xuan was still".

In the end, even the female donors were thin, pparent and exposed.

In the Tang Dynasty, the overall dress of women changed greatly with the tolerance of the environment and the more open commerce and trade.

Women in the Tang Dynasty, especially royalty and aristocratic women, mostly wore half sleeves and chest fitting.

In some precious historical documents or murals in the Tang Dynasty, many ancient costumes were recorded.

From the paintings of the ladies in the Tang Dynasty, it can be seen that most of the women's daily dress in Tang Dynasty is very light and elegant. The robes are large and light, which greatly liberates the traditional clothing's bondage to women and makes them full of vitality, and is also in line with the aesthetic standards of "fat for beauty" in the Tang Dynasty.

From the perspective of women's dressing in the Tang Dynasty, the trend that follows basically is: from sheltered to exposed (style), from simple to complex (pattern, adornment), from simple and luxurious (fashion style), from the beautiful to the beautiful (body and body).

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Why do the women in the Tang Dynasty love to dress in the chest?

Why is the Tang Dynasty's dress so bold and open? Why do women in the Tang dynasty like this kind of dress culture that breasts breasts and skirts?

There are mainly three combinations of women's dress images in the Tang Dynasty over the past two hundred years, namely, skirt, beard and menswear.

After the middle and late Tang Dynasty, Hu Feng gradually weakened and restored the Han tradition. After the reform, the big sleeves of the dress became the main dress form of the Tang dynasty women.

From the Sui Dynasty to the Tang Dynasty, the ancient Chinese clothing developed to its heyday, political stability, economic development, production and textile technology progress, and frequent external contacts.

It has brought unprecedented prosperity to dress culture and ancient and modern times, and flourished at home and abroad. Clothing styles, colors, patterns and so on all present an unprecedented new situation. This makes women's costumes the most wonderful chapter in Chinese costumes, and the crowning beauty of their costumes and the complexity of their makeup are all too much to see.

The court dress and the upper class women, the noble women, in addition to the formal dress code, are more characteristic of the times, leading the trend of women's clothing. There is a mysterious overhanging hat, a smart and smart beard, and a lightness.

And so on.

In ancient Chinese society, the majority of women have long been bound by traditional rites, and the so-called "smile not to show their teeth", "do not move skirts", "stand by the door", "go out and not show up" and so on are all regarded as the rules and regulations that women must abide by.

However, in the Tang Dynasty, because of the influence of Hu people's customs, foreign civilizations, religious culture and local traditions in the Sui and Tang Dynasties, the long-term infiltration of multiculturalism formed the unique social mentality of the people of the Tang Dynasty who were all inclusive and equal and open.

This enabled the women in the Tang Dynasty, especially the privileged aristocratic women, to live in a relatively relaxed social environment.

In such an open and relaxed environment, women in the Tang Dynasty were filled with the passion of art and made bold changes in their costumes.

According to historical records, "in the early days of Kaiyuan, the riders of the palace riders were all wearing hats and beautiful faces.

The house of the scholar's family is also emulated, and the system of curtain cap is never used.

The so-called "Hu hat" is actually the muddy hat removed from the western region. It is usually made of thick brocade, and is also made of "black wool". The top of the hat is slightly sharp, with woven patterns and some jewelry.

Influenced by the political situation, Hu Feng weakened after the chaos, and returned to the traditional Chinese dress. Some aristocratic women ride their horses, using a piece of gauze to adorn the forehead, and the whole face is basically revealed.

The bold attempt of the aristocratic women in the Tang Dynasty gradually broke away from the bondage of feudal ethics, and saw their true and beautiful faces.

It is undoubtedly a human nature to show the individual's existence and fight against the rite of religion.

On the basis of "showing off face", women in Tang Dynasty began to impact on the more open culture of "breast exposure".

Li Tang's Royal ancestral family came from the western border and has a strong Hu race lineage.

Li Tang's royal family is relatively weak about the so-called "Hua Yi discrimination".

Emperor Taizong, Xuanzong Li Longji and other Tang emperors lived in the lifetime of Hu man dance, Zizhi dance and Hu Xuan dance, so Li Shimin also created the prosperous era of Hu le.

Hu Le Ben is the music and dance of the western region Hu people. Later, not only the music and dance were introduced into the Central Plains, but also the women artists who often paid tribute to Tang Ting would dance to the dance. When performing, the dancers had to wear a "top woven hat" with a false top, with beads on their caps, shining at all times, wearing a narrow sleeved fine felt sweater, and wearing leather belts with ornaments and soft boots on their waist.

Bai Juyi, a famous poet in the Tang Dynasty, said: "Zilu prostitute" poem cloud: "Purple Luo shirt is moving from the branches of the zigzai to the waist."

And in another zhe Zhi Ci, he said, "embroidered hat beads are thickly decorated, and the sleeves of the fragrant sleeves are narrow."

Such a costume is not only a dance costume, but also a daily costume of ethnic minorities and friendly countries in the western region.

At that time, under the powerful influence of royal culture, the noble women developed from the love of Hu dance to the imitation of exotic clothes, which made the Hu clothes popular rapidly in the Tang Dynasty.

In the Tang Dynasty, another famous poet, Yuan Qu, wrote the poem "Fa Qu": "since Hu Qi began to smoke and dust, Mao Mao's smell was full of City Luo.

Women learn Hu's makeup for Hu women.

Hu Yin Hu and Hu makeup have been in trouble for fifty years.

"New Tang Shu five line Zhi Yi" also said: "at the beginning of Tianbao, the nobility and the people were good for Hu Hu Hu hat, while the woman wore hairpin steps, and the sleeves were narrow."

Later, the lady of the western flower beauty wrote in the Palace poem: "when the official of the Ming Dynasty came to the palace, they had to order the inner wife, the Uighur costume and the Uighur horse, and the middle waist was called the little waist", and pointed out the characteristics of this Hu suit, namely the sleeves, the narrow waist collar, the long gown, the colors were mainly warm colors, especially red, and the materials were mostly thick woven brocade, and the collar and sleeves were all covered with broad Zhijin lace.

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The emergence of feminist consciousness brought about an open dress phenomenon in the Tang Dynasty.

The rise of feminist consciousness brought about an open dress phenomenon in the Tang Dynasty, that is, women's menswear.

According to "New Tang Shu five line Zhi Yi", "Gao Zong tasted the banquet, Taiping Princess purple shirt, jade belt, soap roll folded towel, with seven things, singing and dancing before the emperor.

The emperor and Wu laughed and said, "women can not be military officers, why do they dress up?" "New Tang Shu Li Shi Chuan" also records: "I heard that there are two golden birds in the prohibition."

This kind of custom later spread to the public, and the history was called: "to the Tianbao year, the wife of a gentleman wears a husband's boots, shirt, whip, hat, and inside and outside the body."

Women's men's wear is extremely rare in ancient Chinese society. The book of rites and regulations has long stipulated that "men and women can't wear clothes."

Women's men's clothing is regarded as not keeping women's way and regarded as a demon, but the Tang Dynasty is the rising period of ancient society. The strong national strength and advanced culture have created conditions for people's pursuit of life and enjoyment. Women's rights consciousness has also risen in this special era. The social status of women has been obviously raised. Some noble women have gained considerable political rights with men. In the Tang Dynasty, a series of political events such as Shangguan Wan, empress Wei, Taiping Princess and a series of court women's power to do political affairs were not only appeared in the Tang Dynasty, but also the only female emperor Wu Zetian in Chinese history.

It is precisely in the special circumstances of the rise of feminist consciousness that such an open way of dressing is produced. In turn, this phenomenon reflects the openness and compatibility of the Tang Dynasty from one aspect.

Therefore, the women's men's clothing is just like a red apricot from the garden, which makes the already colorful Tang Dynasty dress more attractive and the whole Tang Dynasty alive.

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The appreciation of the rich and fat posture affected the dressing of women in the Tang Dynasty.

Before the Tang Dynasty, the world had a good evaluation of the beauty of feminine beauty. But the appreciation of the human body by the Tang people paid more attention to realism, and it contained plentiful details in the fine, so that the beauty of women's curves highlighted the characteristics of health and openness. This courage to discover and speak out all the wonderful things in life made the appreciation of the beauty of women become a prevailing trend in the palace market. From the beautiful young ladies in the early Tang Dynasty to the beautiful ladies in the Tang Dynasty to the fullness of the Mid Tang, even the slightly overstaffed ladies, it was the beauty of the Tang Dynasty, and became the aesthetic feature of the Tang people.

The appreciation of the rich and fat body makes the aristocratic women dress in a casual fashion.

Fully absorbed the characteristics of the narrow sleeves and skirts of the early Tang Dynasty, which produced a new style of dress: big sleeves and chest skirts. It was made of big sleeves and high waist skirts. It was a chest neck style, with a very low collar, no underwear, and half breasts. At the same time, in order to give full attention to the beautiful and rich lines, women often used the gauze as a skirt texture. They embroidered clusters of flowers, bare shoulders and bare shoulders, revealing delicate skin from the spun yarn.

Appreciating and praising each other, such as Fang Gan's "giving beauty": "powder chest is half covered with clear snow"; Wen Ting all "female crown": "snow chest Luan mirror"; Zhou Jie's "next to the daughter": "roaming the skirt half exposed to the breast"; Li Qunyu's "song of the geisha": "the snow lamp on the chest is slanting"; Ouyang Xun's "Nanyang country": "28 flowers, such as snow face and flowers" and so on, Tang people in the mural, pottery figurine and sculpture also preserved this costume, passed through the distant historical time and space, still can truly feel the feminine noble elegant beauty. Men are sure of this dress.

In the Tang Dynasty, women also paid much attention to the form of clothing under the opening of their jackets.

The next dress is the next dress, the next dress is skirt, then skirt.

Most of them are silk fabrics, but how many different materials are used, usually more than one.

The skirt is raised on the waist, some can cover the chest, the lower body only wears the chest, and the outer leno shirt, causes the upper body skin to reveal.

Such as Zhou Chai, "flowers and ladies figure", and Zhou Chai "habitual roe half of the bosom" and other poems, paintings depict this dress.

This is the boldest form of ancient Chinese dress, enough to imagine the degree of openness.

In the Tang Dynasty, the material, color and style of skirts were much larger than those of the previous generation.

For example, there are many kinds of skirts in the Tang poetry, such as "the top of the fairies in the early days," the "lotus leaf dress", "the two men lift up the hidden flower skirt", "bamboo leaf skirt", "blue gauze skirt", "new moon dress" and so on.

The color of the Tang Dynasty is colorful. It can be as good as people. It is deep red, apricot yellow, Jiang Zi, green and green.

Especially, the prevalence of pomegranate is the longest.

Li Bai, a famous poet in the Tang Dynasty, has a poem: "eyebrows and willows, leaves and skirts are jealous of pomegranate flowers."

Another poet Wan Chu five also has the phrase "Mei Dai wins the Xuan grass color, the red skirt is jealous to kill pomegranate flowers".

Its popularity is wide. From the "song of Yanjing May", we can see that "pomegranate Blossom Street wants to burn, and the branches and branches are all collapsing clouds. Thousands of households can not buy it, leaving their daughter dyed red skirt."

The biggest feature of the stone skirt is that the skirt is high, and the top is short.

The "Tang suit" of the upper skirt of this coat is the inheritance, development and perfection of the previous generation of garments.

From the overall effect, the jacket is short and the skirt length is dragged to the ground, which makes the body look slender and slender.

The garnet of the "red skin", "the red skirt is jealous of the pomegranate flowers", vividly reflects the aesthetic taste and artistic interest of the Tang people with the charming and luxurious, elegant and elegant style, and the outline of the soft, warm and touching figure.

Women's clothing in the Tang Dynasty was not only for the people at that time, but also for today's people watching the costumes of the Tang Dynasty.

There is no state of being gentle or artificial, nor is it a gesture of reserve.

In front of people, they are full of vitality, inspiring and intoxicated clothes.

Its color is not colorful, and all kinds of bright colors compete with each other. Unwilling to neglect loneliness, plus gold and silver, the more dazzling people are.

Its decorative patterns are all birds and beasts, double flowers, clusters of flowers, bright and radiant, and full of fun.