Text/Neil
Editor/Neil
preface
Most of the crowns of the Qing Dynasty were delicate and varied. Pearls are one of the most distinctive types of jewelry of the Manchu people. At this stage, there is little systematic discussion of the ring, and more focused on the entire hat ring.
On this basis, the author combined relevant documents and photos, summarized them, and classified them to grasp the pattern characteristics of each category, in order to have a more complete understanding of the Qing Dynasty's patterns.
Hanging ornaments of the Qing Dynasty
With the beginning of the entry of the Manchurians, the world was stable, people's material living standards continued to improve, and headdresses changed from the original to more ornaments, and satin came into being.
With the gradual improvement of the clothing system by the monarchs of the Qing Dynasty, the tortoiseshell gradually acquired its own characteristics and aesthetic meaning.
1. The characteristics of Qing dynasty silk
This is a colorful crown inlaid with pearls, usually worn when wearing colorful clothes, the front of the crown resembles the phoenix crown, the back is dustpan-shaped, wide at the top and narrow at the bottom, made of steel wire or vine, covered with black silk, mesh thread and black feathers. When worn, the tip of the bead is tilted back.
There are two major categories of Qing dynasty dianzi, one is phoenix dian, the other is regular service dian, of which phoenix has nine patterns, full dan has seven patterns, and half dan has five patterns, most of which are made of pearl jadeite, seasonal flowers, silk flowers, etc. as ornaments.
It is a simple dense pattern inlaid with an ornament called a tou. According to the different parts of the dun made on the dianzi, it can be called a face hairpin, a knot, a dun mouth, a dun tail, a head face, a green strip, etc., or it can be removed as a hairpin.
The pattern is a fixed pattern, each with 5 to 10 materials, the pattern is usually a simple brush stroke to outline a general shape, and then filled with patterns, combining the patterns of various animals.
On the whole, this pattern also has a clear primary and secondary relationship.
The aesthetic meaning of Qing dynasty hangings
The imperial power and humility represented by the Chinese "Five Colors" represented by yellow, red, blue, black and white played a certain role in promoting the overall structure of Qing Dynasty clothing.
From the collected data photos, in the Qing Dynasty, the color of the garland is mainly black, blue, red, yellow, white, orange, etc., they have certain changes in brightness, saturation, purity, etc., and most of them are relatively cold colors, although the color has changed, but are closely related to Chinese color, color and pattern combination, making the garland more subtle, solemn and calm temperament.
For example, "Dotted Cui Lotus Peng", the colors are bright and coordinated, the red glass in the center chooses crimson, and the part of the lotus peng chooses dark blue, the design of the whole pattern is exquisite and complex, but it is very elegant, the golden lines of the lotus peng, dotted with turquoise feathers, the subtle change of color, people feel a hidden and solemn beauty.
The decoration of each Qing dynasty flower image has a common main body, and in the entire form, there are both intricate details and certain priorities.
In the design and shape of the pike, it is very strict, from flowers to grass, from form to texture, from the inside to the outside, each place has exquisite and elegant decoration.
"Silver gold-plated auspicious hair", this hair is composed of three parts, an auspicious main body, in the middle is a dotted green false bead, auspicious on both sides is an auspicious cloud, below is a small bat, surrounded by crisscrossing clouds, plus a yellow jade pendant and a pearl, making the whole style of the hair is very harmonious.
Each golden line has layers of grain, smooth lines, rigorous structure, all of which highlight a supreme luxury.
Qing dynasty hanging style
In the Qing Dynasty, the pattern form of mussels was mainly based on combining themes as the main content, which combined a variety of auspicious patterns to form a theme, including: two dragons playing pearls, flower butterflies, flower bats, phoenixes, ruyi cloud heads and so on.
The whole pattern not only pays attention to the beauty of the external form, but also attaches importance to the beauty of the internal meaning, thus constituting the characteristic of "the picture must be intentional, and the intention must be auspicious".
full of joy
Most of the auspicious patterns have the meaning of wealth, peace, love, and smoothness, expressed in "blessing, longevity, happiness", etc., they express people's desire for a better life, and the expression methods usually have three types: pattern, homophony, and text.
The "囍" pattern symbolizes "double happiness", "auspiciousness" and "joy", and is mostly seen in wedding ceremonies, printing the "囍" on the gate, or making it into a pattern and hanging it on your body, expressing the hope and expectation of a happy life in the future.
The "Silver and Gold Point Jade Double Happiness Bat Jade" hidden in the Forbidden City of the Qing Dynasty is the hair bun used at the royal wedding, a set of three jade buns, the middle is double happiness, below is a silk disk and a bat lifelike, tie the knot, and the bats below form a large chorus of "many children and many blessings", surrounded by a circle of auspicious clouds, connecting the entire bun together, forming a complete cycle.
The pattern of the character "bat" can often be seen on the imperial jewelry of the Qing Dynasty. It is a small wing with the word "luck", five fingers, representing the five kinds of luck. The combination of bats and waves symbolizes longevity and is often combined with auspicious words.
Taipei National Palace Museum has a "Fushou Ruyi", the whole body consists of two parts, namely a bat and a "Shou", one open wings, the wings are layered, the pattern is emerald, the color is bright, a "Shou" is connected with the tail of a bat, representing the companionship of Fu Shou, the combination of two "Shou".
Between the two parts, there is a lotus pendant, representing the company of good life, and the pearl on it is a gorgeous pearl rather than simple. This embroidery is exquisite and structurally rigorous, making it of great aesthetic significance.
Floral pattern
Among the traditional Chinese patterns, the plant pattern is the most used and the oldest, and the pattern of the Qing dynasty qizi depicts a variety of different plants to life, including various flowers, corals, gourds, lingzhi and so on. Lotuses, peonies and diamonds are the most. The lotus flower represents purity, the reishi represents auspiciousness, and the peach represents a long life and a hundred years old.
The Qing Dynasty Forbidden City houses the "Silver Lotus Leaf Hair Bulb", the center of which is a blooming lotus flower, and below the lotus is a lotus leaf, and the lotus leaf surrounds the lotus flower, highlighting its main body.
The petals of the lotus flower are scattered and embellished with pearls of various colors, which can make people feel both refreshing and beautiful, it represents truth, goodness, beauty, purity, elegance.
In the middle of this "silver gold-dotted emerald jewelry flower decoration hair" is a persimmon and a pomegranate seed, symbolizing many children and wealth, and on both sides of the hair, there are circles of flowers, which are also set with gemstones of various colors. It expresses the good wishes of prosperity and all the best for the royal family.
Dragon and phoenix in the painting
The dragon and phoenix pattern is a symbol of the authority of ancient emperors, and it is also the most imperial pattern, which has been widely used in the courts of various dynasties. The dragon and phoenix patterns of the Qing Dynasty, inheriting the style of the Ming Dynasty, are widely used and have a good auspicious meaning.
The Palace Museum has the Qing Dynasty "silver beaded two dragon dotted jade strips", this jade strip has only a cyan dragon on it, a flame-like coral in the center, and a flame dragon passed through by rice on both sides, the two dragons face each other, the jade dragon is lifelike, the posture is vivid, and embellished with beads, and the dragon is made of rice as the line, the overall look is lifelike, like soaring clouds driving the fog, noble.
The other piece of "gold silk inlaid five phoenixes" is a very representative phoenix, the body is 30 cm long and 14 cm high, the body is made of a piece of paper, in the shape of a comb, the texture of the face is covered with a little emerald, and there are fourteen golden phoenixes on the head.
The head of the crested head was raised, the tail was stretched, and below were nine phoenixes encrusted with gold and silver, each phoenix was made of precious diamonds, and the overall look was majestic, delicate and luxurious, and at a glance, you could tell that the identity of the person wearing it was extraordinary.
Bogu style
Many hairpins are handed down from ancient times, and during the Ming Dynasty, this kind of hairpins were rare, but during the Qing Dynasty, this kind of hairpins appeared on the empress's headdress.
The ornaments contained in Bogu ornaments, including bonsai, calligraphy and painting, porcelain vases, dings, zuns, etc., are usually combined to form a whole, with a sense of elegance and nobility.
For example, the "silver gold-plated pearl pot type", the shape of this face is much larger than other face plates, and its pattern is more complex and gorgeous.
The lotus leaf in the middle is a small curly lotus leaf, and on both sides are two fluttering butterflies, which intersect with the lotus flowers above, which looks fresh and vivid, very lifelike.
On the body of the butterfly, the bottom pot and the middle lotus leaf are all inlaid with luxurious stones, and the position of the pot and lotus is inlaid with luxurious stones, and the face also uses a lot of emerald craftsmanship, making its color more vivid and luxurious to the extreme.
The development prospects of silver jewelry in the Qing Dynasty
(1) Symbolism
It is a symbol of civilization, is the essence of civilization, but also an important carrier of civilization, when we talk about the crown of the Qing Dynasty Imperial Palace, we often think of the name "Big Wings", and the crown of the Qing Dynasty Palace is rarely mentioned, which shows that our historical understanding of the Manchus is not comprehensive, coupled with commoditized exaggeration and distortion, so that our interpretation is more and more deviated from our language, which is not a good image for our national culture, but a bad image.
For example, in the Qing Dynasty TV series, the clothing of the Manchus is mainly the flag head and cheongsam, but it ignores the evolution and development of the Manchu clothing in various eras, and also ignores the changes in the clothing system of various layers in various eras, thus causing a bias in the transmission of information and further deepening this misleading symbolic effect.
What needs to be done now is to make up for the shortcomings, and at the same time to spread Manchu clothing, so that they can better understand the clothing culture, so as to better promote the development of the Qing Dynasty, and better understand the cultural meaning and aesthetic meaning behind it.
(2) Commercialization
At present, we advocate in-depth excavation of the cultural industry, which provides more ways for the dissemination of ethnic minorities, and also makes their culture breed, grow, and expand at present, and the form of dissemination and existence is richer.
In the past, Manchu clothing was more complicated, and now, as long as it is a tourist attraction related to the Manchus, there will be some simple Manchu clothing, these simple clothing, maintain the basis of Manchu clothing, but very common, at the earliest, these simple clothing is used to make up, or shoot some scenic spots, later, many Manchu women will wear simple clothing in some formal activities, such clothing, it increases the spread of the Manchus, It also increased the possibility of the spread and development of the Manchus.
Commoditized advertising should not only be based on one-sided interests, but should be based on China's excellent traditional culture, especially in line with history, so as to better help customers and make better decisions in the complex products.
(3) Incorporating ancient elements in contemporary art
In the course of past development, mussel images have produced exquisite craftsmanship and exquisite auspicious patterns.
At present, in women's headdress design, if it completely replicates the classic shape of the past, it will look very solemn and complicated, and wearing it on your body will also give people a very sudden feeling.
Therefore, we can make the headwear more vivid and interesting, using a variety of modern materials, such as heat shrinkable sheets, plexiglass, fibers, etc., which can not only replace the expensive jewelry in the hammer, but also produce different textures, give people a different fashion visual feeling, and make them more beautiful.
Secondly, it is necessary to consider the needs of the public, not only to have the right price, but also to have good practicality, so that the public can experience its charm in daily work.
(4) Create independent national trademarks
Manchu women's avatar modeling, the most important thing is to show the history, culture, traditional aesthetic ideas of the Manchus, now the avatar modeling and publicity are relatively closed, without their own brand and story, so when customers buy this avatar, they do not notice its existence, so in order to create an image of their own country, you must integrate this image into your own plan. Such as museums, research institutes and so on.
Produce a series of programs with a variety of different perspectives to promote the headwear and enhance their cultural value; It is also possible to show how to wear the headscarf through multimedia, so that customers can better understand the Manchu culture.
epilogue
The author believes that Manchu women's hats can be integrated with cultural and creative designs, and representative patterns and shapes can be applied to various cultural and creative designs.
For example, daily necessities, stationery, toys, etc., truly integrate Chinese traditional culture with modern design, broaden the user's vision, and let more users know more about China's history and culture from many aspects.
Bibliography:
1. "Gold for Silver Treasure Hunt"
2. "The Creative Use of Women's Crown Elements in the Qing Dynasty Palace"
3. "Qing Dynasty Manchu Women's Crown Probe"
4. "On the Classical Style of Contemporary Women's Crowns"