Ancient China enjoyed the reputation of "the state of etiquette" and the "kingdom of clothing". When commenting on the Zuo Zhuan in the Tang Dynasty, Kong Yingda once explained the name of the Chinese nation "Huaxia" in this way: "China has the great righteousness of etiquette, so it is called Xia, and the beauty of the clothing chapter is called Hua. It can be seen that clothing and etiquette were inseparable in ancient times.
During the Shang and Zhou Dynasties, rulers promoted the "ceremonial system" and systematized the hierarchical distinction of clothing. On this basis, the Qin and Han dynasties established a complete set of costume systems, which became the symbol of the hierarchical etiquette system of the great unified dynasty. The crown system has been used successively by later generations and has undergone many changes.
During the Spring and Autumn Period and the Warring States Period, deep clothes with upper and lower bodies connected to each other appeared. The famous King Wuling of Zhao promoted the "Hufu Riding Archery" and learned the costumes of the nomadic and semi-nomadic peoples in the northwest, which was the first major change in costume in Chinese history. From the Southern and Northern Dynasties to the Tang Dynasty, Chinese costumes changed from a single system in the Han and Wei dynasties to a composite system of two sources, Huaxia and Xianbei, from a monorail system to a dual-track system, which was the second major change in the history of clothing. By the Qing Dynasty, men changed into Manchu costumes, and the traditional Chinese clothing system was broken, which was the third major change in the history of clothing.
Different weaving methods of silk fabrics in ancient China have formed many varieties, such as multi-colored brocade, satin with smooth surfaces, aya with a texture like ice, thin and perforated luo, light yarn, twill and silk woven from raw silk, in addition to silk through warp and weft. In addition to the jacquard process, the beautification of silk fabrics includes dyeing, printing, embroidery and painting. In the needle and thread, colorful Costumes are cut, and posterity finds the code of dialogue with predecessors, completing the tight seam of cultural inheritance.
The "Exhibition of Ancient Chinese Costume Culture" sponsored by the National Museum of China is the first general history exhibition of costumes of the National Museum of China. The exhibition is divided into six parts according to historical periods, and nearly 130 cultural relics (sets) are exhibited.
01
Ancient costumes
--- The emergence of costumes ---
The origin of Chinese clothing can be traced back to the late Neolithic period of primitive society, when the ancestors had begun to wear clothing accessories, the concept of clothing had emerged, and the Chinese costume culture began.
In the Paleolithic Age, there were already bone needles, and during the Yellow Emperor's time, "treated its silk and hemp as a cloth", and the thread also appeared at this time. Since then, Chinese clothes with hemp and kudzu fabrics (ancient named cloth) and silk fabrics (ancient names as drapery and brocade) as the main materials have appeared on the stage of history.
45,000 years ago, at the Site of Xiaogushan in Haicheng, Liaoning Province, perforated bone needles were excavated, which is the earliest bone needle found in China so far. Paleolithic ancestors were able to use bone needles to sew natural materials such as animal skins into simple clothes, and to decorate them with animal teeth, bone tubes, stone beads, etc.
Neolithic bone needles. National Museum
By the Neolithic Age, spinning wheels of twisted threads appeared in large numbers at many sites around the world. At this time, it was possible to weave kudzu, hemp and silk fabrics, make clothes, skirts, crotch trousers and shoes, boots, hats, etc., and the number of costume cultural relics unearthed increased.
Neolithic pottery spinning wheel. National Museum
The faience boots have a rounded inner and a concave upper connection to the sole. The shoe face is black painted with symmetrical double-line loops, bands and triangles. This 3,000-year-old faience boot style is almost identical to modern boots.
Neolithic faience boots. Qinghai Provincial Museum
--- Pre-Qin costume ---
During the Shang and Zhou Dynasties, the rulers promoted the "etiquette system", which systematized the hierarchical distinction of clothing, which was successively used by later generations. During the Spring and Autumn Period and the Warring States Period, there were years of war and chaos, and the ideological and cultural "hundred schools of thought contended" had a greater impact on clothing. At this time, deep clothes with upper and lower bodies connected to each other appeared, and beard clothes were introduced.
Warring States wooden figurines in deep clothes (a pair). National Museum
During the Western Zhou Dynasty, not only did he tie a wider city (pronounced "Fu") in front of his waist, but he also tied a jade pendant in front of his body and draped it to his abdomen. The jade pendant in the group is the embodiment of the aristocratic status, the higher the status, the longer the group jade pendant, the slower the walk. The role of the jade pendant is "step by step": the identity is different, the pace is different, in order to reflect the "dignity and humility of the monarch, the speed is slow and the knot".
Warring States Group Jade Pendant. National Museum
In the pre-Qin period, when the nobles wore tops and bottoms, they would wear large belts and leather belts around their waists. The large belt is made of silk fabric, although it is more gorgeous, but it is not suitable for hanging heavy objects. Both the city and the pendant should be tied to leather belts. The use of the belt hook greatly improved the shape of the leather belt. According to the Mozi and Zuo Zhuan records, the hook was originally called "hook", and the earliest known hook is now in the late Western Zhou Dynasty to the early Spring and Autumn Period.
In the Warring States period, the martial artists often wore knee-length tunics and hakama, and only a leather belt with a hook was tied around the waist, so the shape of the leather belt began to be valued, and the production became more and more exquisite. The materials are gold, silver, copper, iron, jade, agate, etc., and the processing of copper and iron belt hooks is also wrong gold, gilded, inlaid glass, inlaid jade or turquoise.
Warring States inlaid with gold and jade dragon pattern iron belt hook. National Museum
Since the Western Han Dynasty, China's silk has been shipped abroad in large quantities, becoming a world-famous product, opening the first large-scale trade exchange between the East and the West in the history of the world, known as the "Silk Road".
This piece is gilded with a hook in silver, cast in relief at both ends of the hook, and flanked by a long-tailed bird. The front of the hook body is inlaid with 3 white jade, the center of the jade is embedded with a hemispherical dragonfly eye glass bead, the hook head is inlaid with white jade into a goose head shape, the whole hook combines the metal casting process and the jade craft, which is very exquisite, and can be called the most gorgeous hook in ancient China.
Western Han Dynasty Dragon Double Turtle Pattern Gilded Bronze Lead. Museum of the Nanyue King of the Western Han Dynasty
--- Qin, Han, Wei, Jin, and Northern Dynasties ---
During the Qin and Han dynasties, on the basis of inheriting the Shang and Zhou costume system, a complete set of costume systems were established, which became the symbol of the hierarchical etiquette system of the Great Unification Dynasty. The crown system is subordinate to the uniform system, which is a symbol of status, rank and even official position.
Western Han Dynasty Samurai figurines. National Museum
Women in the Han Dynasty usually wore long clothes, some straight and some curved. The one with the quilt is a deep coat, and the one with the deep coat is a jacket. The "Interpretation of The Name and Interpretation of Clothes" records: "The woman is dressed in the garment. "Dress" refers to the garment of the highest class, i.e. the dress. The jacket is developed on the basis of deep clothing, which is characterized by the fact that there are two kinds of clothes on the clothes: one is made of streamers, named 襳; the other is made of knife gui, named 髾. In the Han Dynasty, the jackets were not yet complete, and by the time of the Southern and Northern Dynasties, the "flying jackets" were very richly decorated.
The Wei and Jin Dynasties were a period of great change in the history of the mainland, and the integration of nationalities was accompanied by the innovation of clothing. The etiquette system of clothing and crown preserved by the Southern Dynasty continued to influence the ethnic minorities in the north, and the reasonable elements in the latter's clothing were gradually absorbed by the Han costumes, and the Chinese costume culture achieved new development.
Adult women in the Han Dynasty often combed their vertebrae. A bun is a single bun that drags like a hammer to the back of the head to the back of the shoulder. Meng Guang, who is famous for the story of "raising a case and raising eyebrows", is recorded in the history books as "for the bun and wearing a cloth dress". In addition to the vertebral buns, there are also round buns with long hair tied behind the head.
During the Southern and Northern Dynasties, women's hairstyles were more diverse. The most eye-catching thing in the north is the bun that is combed into a cross shape, and in the south is the fan-shaped bun with a scarf.
Han Painted wood carved female dancing figurines. National Museum
Southern and Northern Dynasties Painted cross-haired female figurines. National Museum
--- Sui and Tang Dynasties ---
The Sui and Tang dynasties were an important period in the development of ancient clothing on the mainland. The Restoration of the Han and Wei Crown Ceremony system in the Sui Dynasty laid the foundation for the improvement of the Tang Dynasty's uniform system. The territory of the Tang Dynasty was vast, and the political stability, economic development, progress of textile technology, and frequent foreign exchanges all contributed to the unprecedented prosperity of clothing development.
At that time, Chang'an and other cities were inhabited by a large number of foreigners, and some of the characteristics of Hufu were absorbed in the costumes, and tang dynasty costumes with novel styles, beautiful colors and rich patterns were developed.
In the Tang Dynasty, women's facial makeup was rich, and books such as "Makeup Table" recorded a variety of makeup such as "peach blossom makeup" and "wine smudge makeup". In addition to applying general powder, gloss, lipstick, etc. on the face, it is also necessary to apply green eyebrows, yellow powder, appliqué tin, dot makeup, and smear oblique red. To the Fifth Dynasty and the Northern Song Dynasty, this wind is still blazing.
During the Sui and Tang dynasties, the north and south were unified, but men's clothing was divided into two categories: one was the Han-style crown that inherited the reform of the Northern Wei Dynasty and was used as a dress. The other type is to inherit the round collar robes of the Northern Qi and Northern Zhou Dynasties, and transform the Xianbei turban into a head and use it as a regular dress. Since then, the mainland men's wear has changed from a single system in the Han and Wei dynasties to a dual-track system in which two systems coexist, and the two systems are parallel and complementary, and combined into a whole.
Tang Sancai figurines. National Museum
--- Song Liao Jin Xixia yuan ---
The Song Dynasty ended the turmoil of the five dynasties and ten kingdoms, and the social economy developed to a certain extent. "Cheng Zhu Lixue" occupied the ideological dominance of the Song Dynasty, influenced the lifestyle and aesthetic standards of the Song Dynasty, and expressed a simple and restrained tendency in clothing.
Song Dynasty men's clothing inherited the Tang system, there are traditional styles of sacrifice clothes, court clothes, while advocating the ceremonial system, so the Song Dynasty revised the crown clothing, the crown dress, the imperial dress system is similar to the previous generation, but the public dress is similar to the Sui and Tang dynasty regular clothes, which makes the Song Dynasty's court clothes and public clothes have a big difference. The costumes of the scholars, on the other hand, present a style of elegant introspection, and the common people also have certain norms in their dress.
Song Dynasty women's clothing tops have plackets, jackets, shirts, backs, half arms, vests and other shapes, the bottoms are mainly skirts, the overall style tends to be slender, fluttering, appearing rich and elegant, and the late Tang Dynasty five generations of wide clothing style is different.
Song Yi Warriors. National Museum
At the same time, the Liao, Jin, Western Xia and other ethnic minority regimes, which coexisted with the two Song Dynasties, had a social, economic and cultural fusion with the Han nationalities in the Central Plains, and the Hanfu Huhua and Hufu Sinicization were the most obvious embodiments of ethnic integration in clothing. The costumes of the Yuan Dynasty retained more of the characteristics of the nomadic peoples of the northern grasslands, and were influenced by the Han people and established a crown system.
In the Yuan Dynasty, the Mongols shaved "Po Jiao", that is, shaved off a circle of hair around the top of the head, the current hair cut short and loose, and the hair on both sides was twisted into a hair beard, hanging on both shoulders, named "no wolf", or synthetic braid, dragged on the back. The head is worn with a "winter hat and a summer hat", the winter hat is a warm hat, the hat is a cymbal hat, a mantle, and the nobles can hold a gold, jade or jewel-encrusted hat.
The narrow-sleeved robes worn by men in the Yuan Dynasty were often pleated at the waist, and the red and purple drapes were twisted into a line of horizontal room seams, so that the waist was tightly bound, so that the bow horse, called the braided jacket. There is also a square pattern on the upper part of the dress, named "chest back", which is actually the predecessor of the Ming Dynasty official uniform complement.
Portrait of Ming Yuan Dynasty Ancestors. National Museum
Portrait of Emperor Wuzong of the Ming Dynasty. National Museum
Mongolian aristocratic women with status wore poppy crowns, officially known as "Bohei Pagoda". At the bottom is a small hood, tucked into a bun, with a tassel tied under the jaw. The underside of the hood is smeared with forehead, and the name is "Su Xia Zhen". Above the hood is a hollow cylinder, but the top is square, and then press the plume on it to insert a flower.
Mongolian aristocratic women often wear traditional wide robes, also known as "big-sleeved clothes", with narrowed cuffs and long trails. Folk wear more regimental shirts, and Han women mostly follow the old system of central plains tunics.
--- Ming Dynasty ---
At the beginning of the Ming Dynasty, the Han and Tang traditions were restored, inheriting the Tang and Song dynasties, round-necked robes, and jade belts, laying the basic style of the official uniforms of the Ming Dynasty, and formulating a clear and meticulous clothing system to distinguish the grades of officials by complements, patterns, wearing silk, clothing colors, and tooth plates. Because the Ming Dynasty government attached importance to agriculture and promoted cotton planting, cotton cloth was popularized, and the clothing of ordinary people was also improved.
At the beginning of the Ming Dynasty, the Han and Tang traditions were restored, and various sacrifices, court dresses, and public clothes were formulated. But Ming Taizu said: "This ceremony is too complicated. Sacrifice heaven and earth, zongmiao temples to wear crowns, sheji and other ritual costumes through the heavenly crown, silk robes, yu do not use. And the Ming people said: "The crown dress is not often served" "The suburban heavens and ancestors wear the heavenly crown", and the sacrificial heavens and the earth and the ancestors do not wear the crown, but wear the heavenly crown and the silk robe.
"Portrait of Li Zhen, King Gongxian of Longxi" is a more realistic depiction of Li Zhen, the first king of Longxi Gongxian, wearing a crown dress. Li Zhen was the husband of Princess Cao Guochang, Zhu Yuanzhang's sister, and was posthumously honored by Zhu Yuanzhang as the King of Longxi, so the portrait reflects the crown dress system of the early Ming Dynasty.
Ming Longxi presented the statue of Li Zhen the King. National Museum
In the Ming Dynasty, all important ceremonies such as canonization, offerings, and pilgrimages had to wear solemn dresses in accordance with state regulations. The empress's dress includes the Kowloon Four Phoenix Crown, Zhai Yi, etc., and princesses such as Princess Peng of Yiduan, as well as princesses, princesses of Shizi, and princesses of the county are required to wear Zhai crowns, coats, and xiashuai.
According to the "Great Ming Huidian", the princess's coat is red, with a straight collar, placket, and large sleeves, and the materials are silk, yarn, and luo. Xia Shuai is two side-by-side, dark blue, decorated with gold clouds and phoenix patterns, or embroidery, or paving, circle gold, and decorated with beads, silk, yarn, luo with use. The end of the drapery is made of gold pendants, and the vanadium phoenix pattern.
Portrait of Princess Ming of the State of Cao. National Museum
The figure depicted in this Portrait of Princess Cao Guochang of filial piety is Zhu Fo, the sister of Zhu Yuanzhang, the ming emperor, and the wife of Li Zhen, the prince of Longxi. In the picture, the eldest princess wears a pearl crown and a red dragon-patterned robe, draped in a xia drape, and the golden pendant under the drapery is clearly visible.
· Ming "Jiajing 26 years" gold drapery fall (a pair). National Museum
The official uniforms of Ming officials were two kinds: public uniforms and regular clothes. The official dress is worn during major pilgrimages, except for wearing a foot-spreading head, other aspects are not much different from regular clothes. Regular wear is a daily wear, consisting of a black gauze hat, a round neck robe, a leather belt, etc.
The black gauze hat resembles the Song Dynasty's head, but the Ming Dynasty head is painted with black paint on the outside, and the feet are short and wide. In addition to the color of clothing according to the grade regulations, the Ming Dynasty regular clothes are also embellished with complements on the chest and back, and the patterns on the complements are birds for civilian officials, and the birds and beasts used by each grade are different to show the difference, so the regular clothes are also known as supplementary clothes.
The word bun has already appeared in the Yuan Dynasty. Originally referred to a certain style of bun, it was later influenced by the custom of women wearing crowns and buns, and developed into a hair cover added to the bun. After the middle of the Ming Dynasty, with the development of the economy and the extravagance of decorative customs, the bun originally braided with hair rose to a fashion of weaving with gold and silver wire. Married women in the Ming Dynasty could wear buns at home, when going out or meeting relatives and friends, but they were not worn alone to insert various hairpins around it, such as front and back distractions, picks, top hairpins, headbands, etc., forming a complete set of headdresses with buns as the main body.
Bright gold silk bun. Wuxi Museum
The crown was the main symbol of the Ming Dynasty to distinguish the rank of women. The crown worn by the empress and the crown princess is called the phoenix crown, customized as the four phoenixes of the Kowloon, each with beads and drops, decorated with baodian flowers, dotted with green land, and three sideburns on the left and right, still inheriting the shape of the Song Dynasty shoulder crown. The crown worn by women of other grades is called zhai crown, which is simpler than the phoenix crown, and the headdress of each grade is different.
A total of four phoenix crowns were unearthed from the Ming Ding Mausoleum, and the four hexagonal vermilion lacquer sac boxes containing the phoenix crowns were decayed when they were unearthed, and the phoenix crown beads were scattered. Archaeologists have restored one phoenix crown each from the original into three dragons and two phoenixes, twelve dragons and nine phoenixes, nine dragons and nine phoenixes, and six dragons and three phoenixes. This phoenix crown is embedded with more than 100 unprocessed natural rubies and more than 5,000 pearls, with a solemn shape and exquisite production, using techniques such as filigree, dot green, inlay, and wear.
--- Qing Dynasty ---
The Qing Dynasty promoted shaving and changing clothes, unified men's clothing according to Manchu customs, and abolished the traditional Han crown system. Rulers have obvious Manchu cultural characteristics in the formulation and implementation of national policies, especially in clothing. Under the premise of retaining the basic characteristics of the ethnic group that is easy to ride and shoot, its costumes integrate the etiquette ideas contained in the Han ethnic costumes into them with auspicious patterns, colors and other elements, forming a unique Qing Dynasty costume culture.
The emperor wore auspicious clothes during major auspicious festivals, feasts and some ceremonial occasions. Yoshifu includes yoshitomo gowns and yoshi robes. Among them, the jifu robe is embroidered with dragon patterns, commonly known as the dragon robe. The emperor's dragon robe is shaped like a round neck, a large placket, horseshoe sleeves, a straight body, and a slit on all sides, without a collar.
The Qing Dynasty women's dress consisted of a court robe, a court coat and a court skirt. Among them, the imperial empress dowager and the empress dowager's imperial robes have three forms, all of which are bright yellow, decorated with dragon patterns, and there are winter and summer points; some have folds, some have no folds, arrow sleeves, left and right slits, and the style of the emperor's imperial clothes is generally similar. When wearing the imperial robe, the inner skirt is worn, the outer cover is stone blue, round neck, and the sleeveless gown, and the beads are hung, and the queen concubine hangs three plates in the middle, left and right when wearing the imperial dress, and one plate when wearing the auspicious dress. In addition, there are ornaments such as collars and colored veils.
Schematic diagram of the ceremonial vessels of the Qing Dynasty. National Museum
The official crown hats of the Qing Dynasty mainly include the imperial crown, the jifu crown, the regular clothing crown, the walking crown and the rain clothing crown. Qing Dynasty officials had a plume system on the crown of the imperial dress and the crown of the quizzical dress. It is divided into flower plumes, blue plumes, and dyed blue plumes, and the flower plumes are respected. Hua Ling is divided into one eye, two eyes, and three eyes, and the three eyes are respected. The plume is inserted into the pipe, tied under the pedestal, and embellished after the crown. In the early Qing Dynasty, most of the people who wore hualing were relatives or military ministers among the full staff, and Han officials and foreign civilian officials rarely appreciated them, and they were gradually abused in the late Qing Dynasty. Wearing a flower plume on top became a symbol of high-ranking officials and prominent figures.
The flag head of the flag person's female comb is to divide the real hair into two pairs, twist it into a flat bun on the top of the head, and then pin it with a flat square, and the name of the two pairs is a word. In the late Guangxu period, it was made into a hard fan-shaped wig, fixed on the hair seat, appearing taller and larger, and the name was large.
Qing Dynasty flag women do not wrap their feet, and the flag shoes worn by women of the eight ethnic groups can be roughly divided into three categories according to the thin heel, thick bottom and high bottom. Among them, the flat sole is a normal thin thickness commonly known as "embroidered shoes"; the sole of the thick sole is usually made of wood, the thickness is increased by one to two times on the basis of the flat shoe, and the style has both the normal sole shape, and the toe is upturned and turned up, which is equal to the upper. It is called "flat-toe shoes"; and high-soled women's flag shoes, according to the shape of the sole, can be divided into flower pot bottom, yuanbao bottom, horseshoe bottom and other styles.
Manchu women in the Qing Dynasty wore pipa plackets and shoulders on the outside of their shirts, and wore large pulled wings on their heads, all of which belonged to the late Qing Dynasty. The Han women's clothing follows the Ming system, women still wear jackets and skirts, popular with complex trims, and the custom of foot binding has continued unchanged.
Qing Azure yarn multiple inlaid roller blouse. National Museum
In the early Qing Dynasty, the folk proverb called "men do not descend to women", which means that men are easy to wear full clothes and women wear Han clothes, so they follow the Ming system, and women still wear jackets and skirts. At the end of the Qing Dynasty, the more fashionable Han women, and popular in the clothing, pants on the trim, there are more than ten Inlaid Dao, commonly known as "big inlay edge".
Snow blue silk embroidered lady floral dry skirt. National Museum
02
Important exhibits
There are dozens of first-class items in the collection, including rarely exhibited Song Dynasty "Four Generals of Zhongxing", Ming Yizhuang Princess Jewelry, Dingling Excavated Jewelry, Qing Dynasty "Imperial Ceremonial Instrument Map", Kangxi Emperor Imperial Dress and so on. Among them, 5 cultural relics of the Qiyang Wang family in the Ming Dynasty ("Statue of Li Zhen of The Prince of Longxi Gongxian", "Portrait of Princess Cao Guochang of Filial Piety", "Portrait of Li You, Commander of the Jinyi Guard in Nanjing", "Statue of Li Yangong of the Marquis of Linhuai" and "Statue of Lady Shi of the Marquis of Linhuai") have a high reputation in the field of ancient costume history research, and are all exhibited for the first time.
--- ZTE Four Generals ---
The "Four Generals of Zhongxing" refers to the four generals who have made outstanding military achievements in the southern crossing of the Song Dynasty, and the specific characters are still different, according to the existing list titles, the four generals are "Liu Yu Wang Guangshi", "Han Xi Wang Shizhong", "Zhang Xun Wang Jun" and "Yue E Wang Fei". The four generals in the painting wear round-necked robes, or wear scarves, or heads, or flat hats, or military hats, and boots, all of which are civilian attire. Each of the four generals had a military attaché attendant, dressed in civilian clothes, civilian clothes plus colorful embroidered waist, this costume is mostly seen in the Khitan and Jurchen Hu riding, which is less common in the regular uniforms of the Central Plains military generals, and should be the costume of the Southern Song Dynasty loyal rebels at that time.
According to legend, this picture was painted by Liu Songnian during the Southern Song Dynasty Shaoxi Painting Academy. The generals depicted in the picture are accurately proportioned, their postures are natural, their looks are different, and their lines are strong and flowing. The waiters vary in age and appearance, but they are all quite healthy, with respectful and agile expressions, quite a military style, and are indeed a masterpiece in the portrait paintings of southern Song Dynasty figures. This figure and the trail have More than ten seals of Xiang Yuanbian and Xiang Dexin's father and son, the eight seals of Qianlong, and the seals of Jiaqing and Xuantong. This volume has been recorded in many books and is an orderly painting.
--- Portrait of the Qiyang Wang Family in the Ming Dynasty ---
The "Portrait of Lady Shi of Linhuai" displayed in the exhibition hall has a high reputation in the field of ancient costume history research, and this is the first exhibition. The portrait completely restores the Ming Dynasty's crown ornaments and Xia Shuai.
The Ming Dynasty Xia Shuai is a narrow embroidered scarf. Wrap the hem from the back of the body through the shoulders to the front of the body, droop to the knees, and merge at the bottom end, embellished with a pendant. In the dresses of the concubines and concubines of the Ming Dynasty, shi xia, the pattern of the xia, the material of the pendant, and the types of birds decorated have clear hierarchical regulations, which is a symbol of the wearer's status. Crown ornaments are the main symbol of the Ming Dynasty to distinguish the rank of women. The crown worn by the empress and the crown princess is called the phoenix crown, which is customized as the four phoenixes of the Kowloon, each with beads and drops, decorated with baodian flowers, dotting the green ground, and three sideburns on the left and right. The crown worn by women of other grades is called zhai crown, which is simpler than the phoenix crown, and the headdress of each grade is different.
The Flying Fish Suit is not the exclusive uniform of the Jinyi Guard. In the Ming Dynasty, there were costumes, that is, clothing other than the official uniforms of the true color as a special reward. In the Ming Dynasty, the solemn costumes were pythons, flying fish, bullfighting and other costumes, and these patterns were close to the dragon pattern. The python is four-clawed, flying fish python, with fins and tails, and bullfighting adds a pair of horns to the python's head. Some officials also license official uniforms that exceed their grades before they reach a high grade, also known as gifts. The exhibit "Taibao Raiding the Statue of Li Yangong, Marquis of Linhuai" is exactly the bullfighting costume.
--- Princess Ming Yizhuang Jewelry ---
This pavilion figure golden hairpin was excavated from the tomb of Zhu Houye in the southwest city of Jiangxi, and the head of the hairpin is three pavilions connected side by side and arranged in an arc and curved arrangement, with a filigree back. The pavilion has two floors, with a heavy eaves and a nine-ridge roof, and the lower floor has three wide fronts and one on each side, with a step in the middle and a fence around both sides. There is a female statue in each room, the center of the hand holding a gui-shaped object, the left and right sides of a cover sleeve arch, a two-handed holding object, the outline of the object is not clear. One on the upper floor, with a checkbox in front. This kind of pavilion-style golden hairpin, with a peculiar shape, is really rare.
Ming Lou Ge character Golden Hairpin. National Museum
The golden hairpins of the pavilion characters are horizontal clouds facing each other, and the back of the filigree is at the bottom. The pavilion has two floors, with a heavy eaves and nine ridges, three wide rooms on the front of the lower floor, one on each side, and a step in the middle, surrounded by a hook fence on both sides, and there is a statue in each room. One of the statues sits on the right side in the center, with a pen in his right hand and a circle on his right knee. On its right, a boy bends forward, and on the right side, the outline of the statue is unclear; the left one holds up with both hands, and the left one is blurred. In the center of the other hairpin is a statue of a sitting woman on the right, with the maid holding the box on the right, and the maid holding the object on the right is unclear; on the left is the waiter holding the tuan fan, and then the left maid stands with her hand. The upper floor space is low and there are no beams and columns.
This pair of golden hairpins, except for the crests formed with gold sheets, the whole body is made of the reeling method, exquisite and transparent. The golden phoenix spreads its wings and straightens its chest, its feet are auspicious, and the appearance of its neck, chest, abdomen, legs and other parts is made of long feathers made of gold thread as thin as a hair, and it is neatly arranged. The huge and beautiful five tail feathers are rolled upwards from the back of the body, so that the phoenix's elegant and beautiful tail has a sense of rhythm and rhythmic beauty. The toes grip vigorously on the cloud body woven with gold wire.
Ming "Yongle 22nd Year" Li Feng Golden Hairpin. National Museum
--- Kangxi Emperor's Imperial Dress ---
At the beginning of the Qing Dynasty, it issued a shaving and easy service order, and changed the Ming Dynasty's system of using traditional tiara as a sacrificial dress, and began to use Qing-style gongfu. The emperor's robes, which were only worn on occasions such as offering sacrifices to the dome, praying for the valley, and praying for rain, were actually a coat worn over the imperial robe. Stone blue, round neck, placket, flat cuffs, embroidered five-clawed front golden dragon four clusters, left and right shoulders are decorated with two chapters of the sun and the moon. The one worn by the crown prince does not have a sun and moon pattern, and the rest is exactly the same, called "dragon coat".
In addition to the gong costume, there are also court clothes in the Qing Dynasty dress. The basic structure of the imperial dress adopts the shape of the top and the bottom of the coat, with a placket at the waist and a pleat at the bottom, which is close to the Ming Dynasty's trolling, the difference is that the shawl is added. This piece of the Kangxi Emperor's imperial robe has a round neck, right side, and can be seen with a pronounced collar. The stone blue yarn is woven with gold thread and various colors of silk thread to weave patterns such as golden dragons, four-in-one ruyi clouds, and seawater river cliffs.
Qing Kangxi imperial stone blue field yarn piece gold-rimmed single dynasty dress. National Museum
From the time before Nurhaci entered the customs until the Qianlong period, the Qing Dynasty has been constantly revising and improving the crown system, so the imperial robes of the early Qing Dynasty have great differences in shape and ornamentation. It was not until the Qianlong Dynasty, after the crown costume system was fully established, that the shape of the imperial dress was fixed, for example, before Qianlong, the twelve chapters were occasionally displayed on the imperial dress, and after Qianlong, the embroidery of ten chapters before and after the imperial dress became customized.
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Exhibition information
The "Exhibition of Ancient Chinese Costume Culture" of the National Museum of China is based on the academic research achievements of Mr. Sun Ji and other national polymaths for decades, and is divided into six parts according to the historical period: "Pre-Qin Costumes", "Qin, Han, Wei, Jin, Southern and Northern Dynasties Costumes", "Sui and Tang Dynasty Costumes", "Song liao, Jinxi Xiayuan Costumes", "Ming Dynasty Costumes" and "Qing Dynasty Costumes".
The exhibition exhibits nearly 130 pieces (sets) of cultural relics, covering jade, bone, clay figurines, clothing, gold and silver accessories and calligraphy and painting works, etc., with more than 40 pieces (sets) of auxiliary exhibits, about 170 pictures and multimedia facilities.
In addition to a large number of objects that directly express the shape of ancient costumes, the exhibition also draws a large number of line drawings and produces 15 costume restoration portraits of different eras, striving to fully present the overall image of ancient Chinese clothing accessories and fully displaying the brilliant achievements of Ancient Chinese material civilization and spiritual civilization.