A brief discussion of the tomb of The Ming Ningjing King's wife Wu was unearthed and woven with gold phoenix pattern cloud shoulder through the sleeve jacket

Abstract: This paper takes the tomb of Wu Shi, the wife of Ningjing Wang, in the Ming Dynasty of Nanchang, Jiangxi Province, excavated from the tomb of the Eight Treasure Tuan Phoenix Dark Flower Satin Ground Woven Gold Phoenix Pattern Cloud Shoulder Sleeve Jacket as the main research object, starting from the perspective of physical objects, images and literature, combined with experimental archaeological research methods, the jacket shape system, the use of woven materials, the fabric cutting method, the pattern layout regulation, design and weaving and other aspects of the research and analysis. Combined with the excavation of Ming Dynasty tombs and the physical objects of costumes passed down from generation to generation, the law of weaving clothing materials in this period is discussed.

First, the background of the excavation

In December 2001, under the auspices of the Jiangxi Provincial Institute of Cultural Relics and Archaeology, a Ming Dynasty tomb was excavated on the campus of East China Jiaotong University in Xinjian County, Nanchang, Jiangxi Province, and the tomb was presided over by the wife of Zhu Dianpei, the king of Ningjing. According to the excavated epitaphs, The Wu family jizhou, its father Jing Qi followed the Ningxian king Zhu Quan to Jiangxi, Wu was born in the fourth year of orthodoxy (1439), and then married Zhu Quan's grandson Ningjing Wang Dian Pei, and was enthroned, Hongzhi fifteen years old (1502), Hongzhi seventeen years (1504) buried, at the age of 65. Due to the good burial environment and the protection of the excavation site, the tomb owner in the coffin and the costumes of the funeral have basically preserved a relatively complete shape, and more than 40 sets of textiles have been unearthed. Wu wears a phoenix crown and 5 sets of 12 Ming Dynasty royal family dresses, which basically coincides with the Ming Dynasty women's clothing system recorded in the Ming classics, and is the earliest discovered time, the best preserved state, and the most complete series of Ming Dynasty women's dresses.

According to the "Briefing on the Excavation of Wu's Tomb", the Eight Treasure Tuan Phoenix Dark Flower Satin Woven Gold Phoenix Pattern Cloud Shoulder Sleeve Jacket (hereinafter referred to as "Weaving Gold Phoenix Pattern Cloud Shoulder Sleeve Jacket") was worn on the tomb owner when it was excavated, located in the plain satin coat, the gold color embroidered Yunxia Zhai Pattern XiaXia Shuai, the makeup gold tuan phoenix pattern supplementary bow coat, and the lower part was woven with the Golden Cloud Phoenix Knee Pleated Skirt (Figures 1 and 2). The jacket was badly damaged when it was excavated, and was sent to the Textile Archaeology Department of the Institute of Archaeology of the Chinese Academy of Social Sciences for the second professional cleaning and restoration protection in 2013 (Figure 3).

Second, the jacket shape system overview

The fabric of the woven gold phoenix pattern cloud shoulder through the sleeve jacket is the eight treasure group phoenix pattern dark flower satin woven into the material, plain silk lining. Length 60 cm, cross collar, right side, neck width 9 cm, front neck width 15 cm; pipa sleeves, through sleeve length 211 cm, sleeve root width 26.2 cm, sleeve width 37 cm, cuff width 16.5 cm, sleeve base edge is curved; the armpit width of 49 cm, the back hem width of 59 cm, the width of the back hem 15.2 cm, the outer placket has 3 ties, and 3 ties under the right armpit. There is a tie at the end of the placket collar, which is tied to a tie on the inside of the left armpit, and the ties are made of plain silk (Figures 4 and 5).

The collar is the most traditional collar style in China, but the shape of the collar placket is not the traditional women's clothing system of the Han people. Before the Liao Dynasty, Han women's clothing was mostly based on long clothes, the Song Dynasty fashion clothes were long to the knee of the straight collar cardigan, to the Liao Jin Yuan period, nomadic women popular to wear short jackets. For example, the female figures in the murals of Zhang Kuangzheng's tomb in the Xuanhua Liao Dynasty in Hebei (Figure 6), the female figures of the Yuan Tombs of Changzhi In Shanxi Changzhi, the murals of the Yuan Tombs of Shazishan in Chifeng, Inner Mongolia, and the couple sitting together in the murals of the Yuan Tombs in Desheng Village (Figure 7), the female figures in these murals are wearing short tops with cross-collared or straight-necked tops, with clothes long to the hips, sleeves with half sleeves and long sleeves, long sleeves worn inside, half sleeves outside, and pleated skirts underneath. A number of short tunics (Figure 8) were excavated from the tomb of the King of Qi in the Jin Dynasty in Harbin, the brown Luohua bird embroidered jacket of the Yuan Dynasty (Figure 9) stored in the ancient city cellar of Jining Road in Inner Mongolia, and the two-color brocade cardigan jacket of the Yuan Dynasty in The Longhua Pigeon Cave in Hebei Province were also about 60 to 70 centimeters long.

At the beginning of the Ming Dynasty, Zhu Yuanzhang issued an edict to restore the crown of clothing such as the Tang system: "The ancestors of the Yuan Dynasty have changed the Chinese system from Shuo Desert to the world, and the Shishu salty braided hair is vertebrate, deep eaves, and the Hu custom clothes are pants with narrow sleeves and braided waist pleats, women's clothes with narrow sleeves, skirts, and no old Chinese crowns." Even his surname is changed to Hu name, he learns Hu language, and he has been vulgarized for a long time, and he does not know strange. "Trouser pleats, narrow sleeves, braided jackets and women's narrow-sleeved short clothes and other clothing with obvious characteristics of beards are prohibited, and the purpose of this kind of "strict Yixia defense" in the costume system is to draw a clear line between Hanfu and Hufu, Hua and Yi, and to minimize the impact of Mongolian Yuan costumes. But in fact, due to the long period of ethnic integration since the Song and Yuan dynasties, it is inevitable that the official costumes, military uniforms, and common people's costumes of the Ming Dynasty will inevitably absorb reasonable parts of the Mongolian yuan costumes, and then directly inherit the style. During the Yongle period, the Tomb of the Zhou Family of the Qian Family in Wuxi, Jiangsu Province, unearthed a tangled branch flower miscellaneous treasure pattern luo cross-neck top, with a Swastika pattern short jacket, and the length of both clothes was more than 62 cm (Figure 10). In the eighth year of Hongzhi (1495), the tombs of Zhang Fu and his wife in Fengtai, Beijing, and the tombs of Xia Ru and his wife in Nanyuan Reed Pit in Beijing during the Zhengde to Jiajing years unearthed a number of short jackets, and their lengths were also about 70 centimeters. The Japanese monk Xuezhou traveled in China from 1467 to 1469, and later painted the Chinese women he saw wearing at that time, and preserved it in the museum in Dazaifu, Japan. The Chronicle of Taikang County, Rizhilu records: "During the Reign of Hongzhi, women's clothes only covered the waist of their skirts, and the rich woven gold color with grosgrain silk. Sleeved skirt with gold knees. The bun is more than inches high. Between Zhengde, the clothes are getting bigger and bigger, the skirts are more and more pleated, the shirts are only made of gold color, and the bun is getting higher and higher. ”。 It can be seen that the shape of the short top in the early Ming Dynasty was retained because of its advantages such as suitability and convenience, and was used as a typical match for women's casual clothes in the Ming Dynasty in addition to the gowns in other categories of kimonos and casual clothes.

In the Ming Dynasty, the top style of the right collar was very popular, and the clothing samples were excavated in tombs across the country in various periods of the Ming Dynasty, and the identity of the tomb owner covered all levels of society, and the scope of use was very extensive. This fully reflects the profound influence of the clothing style of the Liaojin and Yuan Dynasties on the dress of the Ming dynasty, as well as the long-term mutual influence, mutual absorption and integration of the development process of clothing between Hanfu and Hufu. In the development of history, Huaxia Yiguan itself is also a symbol system that is constantly being constructed, and has been in the process of flow and change.

Third, the jacket fabric weaving technology examination

The woven gold phoenix pattern cloud shoulder sleeve jacket fabric is made of eight treasure group phoenix pattern dark flower satin woven material, the shoulder sleeve is woven with gold flower phoenix pattern cloud shoulder pattern ornament, and the sleeve is woven with gold flower phoenix sleeve garnish decoration (Figure 12).

1. Examination of the taking status of woven materials in the Ming Dynasty

"Weaving" is not a new fabric organization, but a way of fabric typesetting and weaving. The "Explanation of Words and Letters and Departments" has: "Woven things, not to be cut." In layman's terms, weaving fabric is a kind of fabric that can just do a piece of clothing, before the fabric is woven, it is necessary to first design the specific details of the garment process such as the shape, size, pattern, clothing and other garment processes, and the structure of the tailoring piece, the layout of the ornament, etc. will be woven synchronously when the fabric is woven, and the fabric will be cut, sewn and worn according to the woven stitches after the machine is sewn. The woven material pays great attention to the matching relationship between the body size of the wearer, the shape of the garment, and the design of the cloth pattern, and the designer of the weave pattern "must fully understand the structure and production process of the cut, but also have the accessible weaving technology, in order to reasonably decompose the 'garment' on the limited 'material', and reflect the shape of 'garment' on the 'material'"

The Book of the Later Han Dynasty and the Chronicle of Public Opinion have: "Clothing and jade pendants are prepared for zhangcai, embroidered by public opinion, woven below the Duke Jiuqing, and Chen Liu Xiangyi is dedicated to the clouds." During the Wei and Jin dynasties, there were various specific shapes of weaving clothing supplies such as "weaving into boots and socks", "weaving into acacia pants", "weaving into tasseled martial tents", and "weaving into mattresses". In the Second Year of Emperor Jinglong of Tang Dynasty, emperor Jinglong of The Zizhi Tongjian records that Princess Anle "has woven a skirt and is worth 100 million", which shows the preciousness of the woven material and is very enjoyable. In the Song Dynasty's "Taiping Imperial Cloth Department", "weaving" fabrics have been set up in a different category. Judging from the gold, Yuan, and Ming Dynasty images and textile materials found in archaeology, the most obvious feature of the woven material lies in the shape and design layout of the fabric decorative pattern, which has been roughly divided into four categories: cloud shoulder type weaving, tuanqi type weaving, chest and back type weaving, and cross-reel type weaving:

The decorative pattern woven by the cloud shoulder type is to connect the four Ruyi clouds head up and down, left and right, and decorate the front chest, back and rotator cuffs of the garment with the neck as the center, forming a decorative area with the four Ruyi as the skeleton;

The decorative pattern outline woven by the tuanqiao type is round or oval, and the number of tuanqiao varies according to the clothing level and actual needs, and there are two groups, four groups, eight groups, twelve groups, etc.;

The decorative pattern woven from the back of the chest is square in outline, and the front chest and back are decorated only on one side;

The decorative pattern woven by the cross-shaped type is a long strip, which is called "shoulder sock" applied to the shoulder part of the jacket, called "sleeve sock" for both sleeves, extended from the side of the shoulder neck to the sleeve is called "through the sleeve", if it is a robe or skirt, the long strip decoration decorated at the knee is called "knee sock", which is called "bottom placket" at the bottom hem of the dress.

When used at the same time as the cloud shoulder pattern and the sleeve placket, it is also called "cloud shoulder sleeve style", and this decorative method should have originated from Central Asia as early as. The earliest physical samples of domestic clothing decorated with crosshairs are found in the gold brocade cotton robe excavated from the tomb of King Jinqi in Acheng District, Heilongjiang, with sleeves on the shoulders and knees decorated with Islamic Kufa font woven gold cross-bridle patterns (Fig. 13). The aristocratic figures in works such as Liu Guandao of the National Palace Museum in Taipei painting "The Hunting Map of the Ancestors of the Yuan Dynasty", Qiu Ying's painting "Linxiao Zhao Zhongxing Ruiying Tu", and the American Metropolitan Museum of Art's Tibetan Yuan Dynasty Silk "Dawei De VajraMandala" (Figure 14) are all dressed in robes made of woven materials, which can be seen that the weaving decoration of woven gold cloud shoulders, sleeves, and knees has become very common in the costumes of the Yuan Dynasty nobles, and the forms of application are diverse, and can be used alone to weave gold cloud shoulders, and can also be equipped with sleeves and knees. The Yuandian Zhang, Volume 58, records: "On a certain day in a certain month of the tenth year of the Yuan Dynasty, Yuan Zhou Lu Shenfeng went to Jiangxi Province to create a payment and sat down to the machine Zhang Comprehensive Line to combine silk thread materials. If there is no recurrence of income and expenditure according to the routine, the cooked machine uses 12 panzi per sheet, and each piece uses 12 or 7 yuan and 5 cents of cooked line,...... Cloud shoulder rail sleeve machine a piece of cooked line seven three two two dollars. Among them, the "cloud shoulder rail sleeve machine" should be a loom that specializes in weaving cloud shoulders, cuffs, knees and other woven fabrics, and these loom weaving needs to use materials such as "cooked thread" and "panzi".

The original costumes of the Ming Dynasty decorated with four cloud shoulder patterns were first seen in the tomb of Zhu Tan, the king of Luhuang in Shandong Province, excavated in the 22nd year of Hongwu (1389), the makeup of the gold persimmon tidi pan dragon pattern shoulder through sleeves dragon satin braided robe (Fig. 15). The "Ming Xianzong Lantern Walk" shows the happy scenes of the women of the court during the Lantern Festival in the middle of the Ming Dynasty, and most of the women in the painting wear short blouses decorated with woven gold cloud shoulders and sleeves, with pleated skirts underneath (Fig. 16). During the Zhengde to Jiajing period, the tombs of Xia Ru and his wife (fig. 17) and the tomb of Princess Sun of Yixuan in Jiangxi In the tenth year of the Wanli Dynasty (1582) also unearthed a number of robes and robes decorated with cloud shoulder sleeves. Among the silk fabrics unearthed from the Ming Ding Tombs, 55 horses were woven into materials, of which 53 were woven into dragon robes, and 7 horses were woven into dragon robes with cloud shoulder sleeves. Unlike the case when the color of the costumes unearthed from the tombs faded, the colors of the heirloom fabrics were better preserved. Most of the costumes in the old Collection of Confucius houses are cut using woven materials, and the clothing that has been disclosed has been woven with robes and short tunics, which are mostly given by the Yan Sheng Gong and his wife, and the materials are makeup yarn, luo, crepe, satin and so on.

The "Records of Tianshui Icebergs" records a large number of woven materials. Under the project of "one weaving gold makeup flower satin silk silk transformation machine velvet brocade triflage kudzu cloth and other horses" and "one color weaving gold makeup flower men's and women's clothes" of the Household Department, a large number of satin, silk, silk, luo, yarn, silk, transformation machine, velvet, brocade, kudzu, cloth and other woven materials, as well as round necks, clothes, robes, cloaks, women's skirts, etc. woven into garments, with a total of 2678 horses, accounting for more than half of the total, and the number of ready-to-wear pieces was as high as 590. The main shapes woven into patterns are "sleeves", "shoulders", "patches", or skirts decorated with a pattern. Its pattern content includes dragons, pythons, pythons, flying fish, bullfighting, phoenixes, cranes, golden pheasants, cloud herons, unicorns, lions, cloud patterns and so on. For example, "one piece of red yoke phoenix cloud silk women's clothing", "one piece of big red yoke bull velvet women's clothes", "one piece of purple silk unicorn supplement women's clothes", "three pieces of green silk python supplement women's clothes", "one piece of big red cloud satin yoke unicorn women's robe", etc., the decorative pattern has obvious hierarchical meaning.

In the "Great Ming Order" issued by Hongwu in the first year (1368), specific provisions were made on the principle of clothing and crowns, houses, etc. in accordance with the principle of hierarchy, requiring all officials and civilians to wear color crowns with houses and kuramas, and the nobles and lowly people had their own ranks, and detailed the prohibitions on clothing and crowns of each class. Among them, "the clothes of men and women of the common people shall not be usurped with gold embroidery, and silk, silk, silk, silk, and plain yarn shall be used." ...... In addition to the official application of the house, Xu Ling weaving, in addition to the private and non-application of the house maker, the craftsman according to the law to punish the crime."

The MingHui Canon records that the Ming Dynasty fixed the crown dress system for empresses, concubines, and concubines:

"Hongwu five years of determination, all women in round shirts, red Luo for it." ...... Twenty-four years of determination, the order of the woman crown dress, the prince and the same product. Big-sleeved shirt, with real red. One to five pins, silk aya luo with use. Six to nine products, Ayara silk is used. Kasumi gowns are made of dark green strips. ”

"Hongwu three years fixed, Shi Shu wife ... Serve light-colored tuan shirts, allowed to use silk silk silk. ...... For ten years, officials and people were forbidden to use gold clothes and gemstone jewelry. In the first year of Zhengde, military and civilian women were not allowed to use gold clothes curtains, jewelry bracelets, and prostitutes, and gold jewelry and silver bracelets. The offender himself is a mastermind and a man, and each is punished with a felony. ”

The Ming Law decreed that the dress and regular clothing fabric of the women in the ming dynasty were "used with silk" silk, while the materials used by the women of the scholar were various "not allowed", and the materials used in different classes of clothing were subject to strict etiquette levels, which could be combined with the lower and lower could not be arrogant, which was closely related to the fiber properties of the material itself and the complexity of the weaving art, which determined the noble sequence in the hierarchy. From the existing samples and information of woven materials and clothing, it can be seen that the woven materials are mostly used on the dresses and gowns of the emperors and generals, the official wives, and the weaving process is more common in makeup flowers and gold weaving, and the decorative patterns are mostly dragon patterns, python patterns, bullfighting, flying fish, unicorns, phoenix patterns, etc. With hierarchical chapters, their weaving process is complicated, the cost is expensive, and it is very popular. This jacket excavated from wu's tomb is decorated with cloud shoulders and sleeves with a flower phoenix pattern, indicating that the tomb owner Wu Shi, as the wife of the king of the clan, has a special and noble status.

2. Jacket fabric measurement and analysis

(1) Eight treasures of phoenix pattern dark flower satin weaving into material pattern, fabric microstructure analysis

The woven gold phoenix pattern cloud shoulder through the sleeve jacket fabric is made of eight treasures of the phoenix pattern dark flower satin woven into material, the main pattern is the double phoenix happy to meet the tuan, and the auxiliary pattern is the eight treasure patterns such as the falun, the fa lid, the treasure vase, the pan length, the fa building, the conch, the double fish, the lotus flower and so on. Adopt a layout with two rows of unit patterns adjacent to each other, completely staggered, with two rows and one cycle. The length of the unit pattern is 10 cm, and there are six patterns in the width of the unit (Fig. 18, Fig. 19).

The fabric is organized into five three-piece three-flying satin and ten pieces of 1/3 twill. Ground longitude density 125 roots / cm, single warp projection width 0.006 ~ 0.010 cm, Z twist; ground latitude density 36 roots / cm, single weft projection width of 0.015 cm, no twist. The ornamentation is made of two different fabric tissue structures to weave two different color blocks to present the pattern: one is the interweaving of the warp and weft yarn with the organizational structure of five three-fly warp satin patterns, the warp line is twisted, the warp density is greater than the weft density, and the interweaving presents a plain satin with good luster; one is the dark pattern organization is ten pieces of 1/2 weft satin, because the warp density is greater than the weft density, so the appearance of the interweaving place is shorter than the weft floating length, and the gloss is slightly darker than the warp satin tissue, and the dark flower is dark. After restoration, the fabric is delicate, dense and glossy (Fig. 20, Fig. 21).

(2) Cloud shoulder, sleeve weaving gold pattern, fabric microstructure analysis

Weaving gold phoenix pattern cloud shoulder through sleeve jacket in the front chest, back and shoulders using the weaving gold weaving flower phoenix cloud shoulder, the four Ruyi cloud head up and down left and right directional connection combination, each group of vertical clouds to double phoenix happy encounter pattern as the main pattern, surrounded by folded branches lotus, folded branches peony and other flowers, hanging cloud corner decoration Shoushi Fuhai ornament. The edges of the cloud shoulder ornament are enclosed by two sides, one thick and one thin, in a ruyi curled shape. The overall width of the pattern is 86 cm in width and 71 cm in length (Fig. 22, Fig. 23).

Clip the shoulders to the two sleeves of the woven gold sleeves, for the phoenix to wear peony pattern, phoenix for a single phoenix, the phoenix head in the bottom, the phoenix tail on the top, the upper body wearing the phoenix head in front of the rotator sleeves, the phoenix tail floating on the back of the shoulder sleeves, the left and right sleeves of the phoenix head are facing the neckline to do the shape of the fly. The flowers are folded branches of peonies, one phoenix and one flower are arranged in two directions continuously, and there are three lines of different thicknesses and thicknesses on the upper and lower sides from the inside to the outside. After the combination of the phoenix pattern and the pleated line, the unit pattern size is 13 cm in width and 13 cm in length, and there are five complete patterns in the width of the fabric. The shape and style of the ornaments are consistent with the phoenix ornaments in the shoulders of the clouds (Fig. 24, Fig. 25).

The gold veined tissue of the shoulder of the jacket is 1/3 twill, and the woven round gold thread shows flowers. Woven gold grain warp density 12 roots / cm (10 silk threads between consolidation warp, 12 consolidated warp within 1 cm range), single warp projection width 0.010 cm, Z twist; weft density 18 / cm, single sandwich weft line projection width 0.020 cm, no twist; single round gold line projection width 0.030 cm, Z twist. The gold weave pattern is made of one warp and two kinds of weft (twisted silk thread ground weft, round gold thread weft). The ratio of ground latitude to gold latitude (round gold line) is 2:1. Before the Yuan Dynasty, most of the gold weaving fabrics were woven in the form of a ratio of 1:1 between ground and gold weft, and in the Ming Dynasty, it was 1:1 and 2:1. It can be seen under the microscope that the appearance of the round gold thread weft yarn shows good coverage, and the gold thread has a fairly good gold thread flowering effect when it forms the pattern. Due to its age, the gold thread has shown serious wear and fall off, but the residue of gold leaf can still be seen (Fig. 26, Fig. 27).

The Ming Dynasty crown dress system after a process of repeated revision and continuous improvement, and finally formed a complete and strict system of ceremonial ornamentation, the emperor with dragons, the empress with phoenix, civilian officials with birds, military officers with beasts, gonghou gongbo with qilin, bai ze, etc., the application of these ornaments in textile fabrics is not only a combination of technology and aesthetic application, but also a symbol and symbol of identity, status, power, honor, is the manifestation of the legalization of feudal hierarchical order. Ming Dynasty costumes are decorated with various chest and back complements, robes with woven cloud shoulder sleeves and knees, or cloud shoulder sleeve skirts, etc., and the colors are mainly to highlight the visual effect of auspicious and festive, and the ornamentation is richer and more gorgeous than the dress. Because it was not included in the Ming Dynasty crown costume system, and was mostly used for auspicious festivals, the imperial court did not strictly restrict the ornamentation of the women's dress, and the high-grade ornaments such as the luan, phoenix, and zhai pattern in the dress, and the python and qilin in the dress were often borrowed on top of the jifu to show the dignity of the status. Wu's tomb clips its cloud shoulders, sleeves on the phoenix image prominent and large size, woven with gold weaving technology, layout in the most obvious position of the costume, with the role of emphasizing identity, highlighting the hierarchy, containing a strong political and ceremonial significance.

Fourth, under the influence of the cross-shaped plane structure, the cutting method and ornament layout characteristics of the jacket body are affected

Western clothing modeling techniques emphasize the manifestation and shaping of the human body, decomposing the clothing into several irregular pieces of cloth according to the complex human body structure, and shaping the ideal clothing shape through the combination of cloth pieces. China is completely different from the West, for thousands of years, the traditional Chinese clothing modeling method has been adhering to the "integrity" of the principle of thinking, the clothing pieces are mostly folded with square materials, stitched, in addition to the placket, neckline need to be cut, only in the side of the seam for cutting and sewing, the sleeves and body when the pieces are flattened, the sleeves and body present a "cross-shaped" form, so it is called "cross-shaped flat structure". This clothing feature continued from the Shang and Zhou Dynasties to the late Qing Dynasty and the beginning of the People's Republic, and is the basic form of the traditional costume structure of the Chinese nation, emphasizing the concept of clothing that naturally adapts to the human body and conforms to the human body.

1. The influence of fabric weaving on the way the body is cut

Weaving gold phoenix pattern cloud shoulder sleeve jacket follows the traditional cross plane structure modeling, the cutting method of the body is affected by factors such as fabric width, weaving process, ornament layout, etc., using the left and right body parting method: 62 cm width of the weaving fabric, with 2 pieces of material in the shoulder folded in half to do the left and right body and sleeves, in the back of the middle seam stitched to form the back body. The front body is stitched with the outer placket on the left front of the front and the inner placket in the front and middle parts of the front body, forming a trend of intersection of left and right clothing pieces. The part of the sleeve length that is insufficient is connected to a single piece of material to make a sleeve (Figure 28). This left and right body segmentation method uses a total of 4 wide fabrics, and the seams of the body and sleeves are at the elbow position, ensuring that the shoulder four-in-one ruyi cloud shoulder pattern is more completely displayed within the two fabric widths of the body, so as to avoid the stitching line destroying the overall effect of the cloud shoulder. The old Tibetan middle of the Ming Dynasty dark green area woven gold yarn persimmon-shaped Xiangfeng short shirt (Fig. 29), the big red four beasts towards the unicorn pattern makeup and flower gauze women's robe, etc. also use the cutting method of this type of clothing.

In contrast, Wu's tomb unearthed four Ruyi dark flower cloud pattern cloud cloth blouse, its shape and jacket are basically the same, the fabric width is about 54 cm, the cloth cutting method is used in the whole cut, that is: the body cut piece is the left and right body share 1 piece of material, after the shoulder is folded in half as the front and back body, the back body is the whole piece, and the false seam is pinched at the back midline; the front piece is cut longitudinally in the front and middle to make the left and right bodies, which are sewn with the single cut outer placket and the inner placket, forming a trend of intersection. The sleeves are cut from the whole fabric, and the cuffs of the less than the length are single-cut. Through the body fabric cutting, the nesting can be seen, the body is tailored so that the seam between the body and the sleeve is close to the armpit, and the width of the fabric can be fully utilized during the cutting process, and there will not be too much rag head left under the armpit (Figure 30, Figure 31).

Through combing through the clothing information excavated from the Tombs of the Ming Dynasty, it is found that the body cutting method is closely related to the width of the fabric, the weaving method and the layout of the ornament: for the case of the rotator sleeves with cloud shoulders, tuanqiao and other woven patterns, more use of the left and right clothing body cutting methods can ensure the integrity of the weaving pattern to the greatest extent; and for ordinary horses or plain fabrics, because there is no need to consider the problem of the pattern part, the use of the way of the whole body cutting, in the fabric width can maximize the use of fabric, less cutting, less waste, simplify the sewing process, These are the embodiment of the ingenuity, ingenuity and ingenuity of the ancients.

2. Layout regulation of cloud shoulder and sleeve pattern

Under the regulation of the cross-shaped flat structure of traditional Chinese clothing, the cross-shaped coordinates are used as the criterion for horizontal and longitudinal stability and standardized layout operation: the four-in-one cloud shoulder pattern is centered on the intersection of the cross structure - the neckline, covering the two shoulders horizontally and vertically, and the double phoenix xi encounter pattern in the cloud shoulder is also distributed in four directions of front, back, left and right, forming a stable cross-shaped skeleton The sleeve pattern is laid out on the horizontal line of the cross structure, the shoulder line, and the front and back center lines are axes, showing a symmetrical distribution of left and right, and together with the cloud shoulders, they form a stable and standardized layout form (Figure 32). This layout makes the pattern of the jacket focus on the most conspicuous position such as the collar, shoulders, and the outside of the sleeves of the human body, so as to maximize the decorativeness of the pattern. At the same time, the pattern elements are limitedly changed within the modeling constraints of the four Ruyi cloud heads and the crosshairs, which follow the law of symmetrical beauty and also reflect the chapter system of the Ming Dynasty ornament layout.

It is visible through the trial of the jacket restoration sample, and the cloud shoulder and sleeve pattern of the regular layout based on the cross-shaped structure are recombined according to the dress posture of the character: when the model maintains the state of the sleeve boudoir, the four-fold cloud shoulder pattern on the front of the body is covered with the front chest, and the sleeves are connected in the middle of the front body, forming a stable positive triangle layout; the four-fold cloud shoulder pattern on the back of the body forms an inverted triangle layout with heavy weight and light weight. The patterns on the front, side and back of the body are decorated around the human face, which perfectly sets off the luxurious temperament of the wearer (Fig. 33). This distribution law is inextricably linked to the garment-making ideas of rules, rules, rules, rules, ropes, rights, and balances recorded in the pre-Qin literature, and is a heraldic system formed by following the ancient ritual system.

Kongfu old Hidden Green Woven Gold Yarn Persimmon Shaped Xiangfeng Short Shirt, its shoulder sleeves are also decorated with cloud shoulder sleeves patterns: the four cloud heads of the cloud shoulder are woven with four groups of Zhai patterns, the blank area is filled with folded branches, four Ruyi clouds, and the edge of the cloud shoulder is also surrounded by two sides of a thick and a thin one; the sleeves are woven with golden phoenixes wearing floral ornaments, with four phoenixes on each side, three frinder lines on the upper and lower sides of the sleeves, and the clothing fabric is woven with a dark pattern of tangled branches and lotuses. The ornamentation of its clothing shape, cloud shoulders, and sleeves is very similar to the Wu tomb jacket (Fig. 29). It can be seen that as the pattern of the chapter dress in the imperial dress, its specific weaving system should have certain norms, with a mature and stylized fixed mode unique to the Ming Dynasty.

3. Pragmatic thinking of pattern design and weaving

In order to pursue a balanced and beautiful dress effect, the pattern decoration of traditional clothing generally pays attention to the symmetry of the left and right bodies. However, the eight treasures of the dark flower pattern on the woven gold phoenix pattern cloud shoulder through the sleeve jacket fabric have the situation that the left and right body cuff ornaments are completely opposite: as shown in Figure 34 and Figure 35, the ground pattern on the right body, right sleeve and inner placket of the clothes is upwards, while the direction of the ground pattern on the left body, left sleeve and placket of the clothes is downward (the pisces pattern in the Eight Treasure Pattern is an example). In the case of the design of the cloud shoulder and sleeve woven into the pattern is correct, why is the design of the left and right body fabric dark patterns completely opposite? And this situation is not an isolated case, similar clothing samples can also be seen in the eighth year of Hongzhi (1495) Beijing Fengtai British Gongzhang Fu couple tomb unearthed camel dark flower satin woven gold tuan Fengfang to supplement the female blouse, the left and right body patterns are also in the opposite direction (Figure 36). Judging from Wu's status at that time, the design and weaving of such gown fabrics were mostly supervised and executed by the government, and the possibility of weaving errors was extremely small, so such a design should be intentional. Analyze the reasons for its existence, or consider from the following aspects:

From the visual point of view of the image: First of all, the "TuanFeng" pattern in the Eight Treasures Tuanfengdi pattern has no obvious directionality because of its rotational design when the two phoenixes meet. The size of the single element of the Eight Treasure Pattern around the Tuanfeng is small, and it is filled in the blank space around the Tuanfeng pattern in a scattered form, and the unit pattern is arranged in a staggered arrangement, so that the directionality of the pattern of the fabric is not obvious when viewed from a distance; secondly, the Eight Treasures Of the Phoenix pattern as the fabric pattern, itself is an auxiliary dark pattern, compared with the cloud shoulder and sleeve woven gold pattern, its decorative effect is not attracting attention, and the details of the ornament are easy to be ignored.

From the perspective of weaving technology: through physical observation, it is found that the overall layout of the cloud shoulder pattern is a four-in-one centripetal design, and the cloud shoulder pattern of the right half of the body is rotated 180 degrees to the left, which can form the left half of the cloud shoulder pattern, and the details of the left and right half of the body pattern can be completely docked, so that the cloud shoulder pattern only needs to be prepared half when drawing the artisan drawing. Through the nesting simulation of the current jacket of the actual cloth, it was found that when the fabric was woven, the flower book of the Eight Treasure Dark Flower Pattern could be applied to the weaving of the whole woven material (Figure 37). This treatment method can save a lot of manpower and time in the pattern drawing, flower picking, loom flower loading and weaving process, and is a pragmatic and efficient method.

Through the combing of the physical information of the known tomb excavations and heirloom costumes (Table 1), the clothing is cut using cloud shoulder sleeves, and its fabric is plain or dark flower. Dark flower pattern to tangle flowers, hooked cloud pattern mainly, there are scattered folded branch flowers, miscellaneous treasures, tuanqiao pattern, these patterns are mostly designed in a positive and reverse staggered manner, so that the overall layout of the pattern does not have obvious directionality, more convenient for tailoring and use in clothing, reflecting the Ming people in the process of clothing design layout, fabric weaving, fabric cutting between the ingenuity and magic.

5. Summary

China has the greatness of etiquette, so it is called xia, and there is the beauty of chapters and costumes, which is called Hua. The economic prosperity of the Ming Dynasty and the progress of science and technology have made the level of clothing weaving and production technology of the Ming Dynasty a great achievement of the past generations, and have a profound impact on the development of costume art in later generations. Wu's tomb is the middle of the Ming Dynasty clan chamber of the tomb of the woman, its burial time is the Ming Dynasty clothing style from simple to luxurious transition period, Wu as the Ming Dynasty emperor of the princess, although its grade is not the highest level of the woman, but the weaving process of the fabric unearthed in the tomb has represented the high level of silk weaving technology in the middle of the Ming Dynasty, and has a certain typicality, for the investigation of the Ming Dynasty public opinion system, textile weaving, the evolution of clothing culture and social funerary customs have high research value. The uniqueness and complexity it presents from multiple perspectives provides us with a valuable reference for our in-depth understanding of the Ming Dynasty women's costume system and costume art, and for rescuing, inheriting and carrying forward the traditional costume culture.