Copywriter|Aquatic smoker
Editor|Aquatic Smoker
preface
As an important combination of crafts and arts in the Yuan Dynasty, clothing has a variety of historical materials and values, and the concept of clothing can reflect the core design spirit of the Yuan Dynasty.
The study of ancient clothing, exploring the aesthetic concepts, creative ideas, hierarchies, and even the integration of various characters of various classes in the Yuan Dynasty has certain significance.
Historical data is a kind of historical relic of human thought and behavior, which is a reflection of ancient human thought and behavior.
From the historical data of clothing design in the Yuan Dynasty, we can glimpse the aesthetic concept of clothing design by the court aristocracy, merchants and tycoons, literati and elegant people, and even ordinary people.
1. The thesis on "old national customs and rituals"
According to a large number of documents, the costume of the Yuan Dynasty was Bogu Tongjin, guided by snobbery, in preparation for etiquette.
From this point of view, the Yuan Dynasty costume is a continuation of the tradition of Han costumes on the basis of retaining the Mongolian clothing style.
Mongolian style and Han style coexist, and the "national custom" of the Mongols is the core of the Mongols.
The so-called "national custom" is the dress system formulated by the Mongols in the Mongol era, that is, the customs and habits of the Mongols themselves.
According to historical data, the costumes of the Yuan Dynasty not only had cultural differences between Mongolia and Han, but also stylistic differences between the north and the south.
For example, in the murals of the treasure Ning Temple in Youjiang, Shanxi, there are craftsmen of the Yuan Dynasty, who wear robes, cloaks and other clothing, and wear Tang dynasty turbans, hats and so on their heads.
Volume 78 of the Yuan Shi Public Opinion Zhi records that:
"When Dayuan founded the country, the grass creation and the crown of the car were all according to the customs of ancient times."
In the Yingzong period, according to the "Yuan Shi Public Opinion":
"Since Yingzong sacrificed the temple, there is still salt."
Judging from the current situation, the emperor's crown clothes and grandchildren, as well as the quality grandchildren of hundreds of officials, as well as the clothes of Yu Shishu people, are all in order, the big deal is to refer to ancient and modern times, because of the situation, for the purpose of etiquette.
Before the Mongols entered the Central Plains, especially in the era of Genghis Khan, they had a relatively stable system of etiquette and customs.
He made it very clear that after the Mongols entered the Central Plains, the five constants were in accordance with the original customs and habits of the Mongols, but some upward ceremonies were added to the important sacrificial ceremonies.
Therefore, in the sacrifice, they retained many of their own characteristics, which were different from other Han Chinese, which to some extent reflected the ruler's need for special badges.
Another example is recorded in the "Yuan Shi Lile":
"On the fifth day of March in the second year of Emperor Xianzong, he ordered Yan Zhongji, the governor of Pingdu in the east, to set up a hall to prepare crowns, laws, bells, bamboos and other artifacts, and on August 8 of the autumn of the second year of his accession to the throne, a festival was held to sacrifice the sun and the moon."
Although this sentence was made before the founding of the Yuan Dynasty, Xianzong Meng Ge personally requested a tailor-made crown for the emperor, but in the historical record, there is a sentence:
"Abide by the laws of the ancestors and do not follow the style of other countries", but it proves that the Yuan people follow the "national customs" in tailoring.
From the previous discussion, we can see that the public opinion costume of the Yuan Dynasty was not only formed in the late period, but also showed different characteristics from other dynasties.
This particular color contrasts sharply with the costumes of the Yuan Dynasty.
On the other hand, the regularity of retaining "national customs" in Yuan dynasty clothing is stronger than the regularity of its people, and it is also more in line with the regularity of "style".
The latter, on the other hand, concerns the management of political thought by the Mongol rulers.
Judging from these historical sources, the Mongols are more inclined to retain their traditional customs than accept the traditional customs of the Han people.
Although the Mongol and Yuan dynasties preserved a lot of "national customs" in their uniforms, they still borrowed the practice of the Han people and divided the costumes into different classes.
It is worth mentioning that the formation of clothing in the Yuan Dynasty, in addition to the factors mentioned above, was largely affected by economic development and management systems.
Second, the combination of Chinese and Western
Judging from the historical materials of Yuan Dynasty costumes in his hands, the design and production of Yuan Dynasty costumes show an inclusive atmosphere.
Clothing customs not only include the content of Han national clothing, but more importantly, integrate it with the clothing culture of Han and East and West.
The unification of the Yuan Dynasty accelerated the cultural integration inside and outside the territory, further increasing the connection and influence between different races and regions.
According to relevant historical data and research results, during the Yuan Dynasty, many merchants, travelers, craftsmen, and missionaries came to China from Haiti, including many people from Europe and Central Asia.
Some of them have been living in China for a long time, and some have even become officials.
The historical materials for cultural and economic exchanges between China and other countries outside the region mainly include "Island Yi Zhiluo", "Journey to the West", "Records of Western Envoys", "Records of Foreign Lands" and so on.
At the same time, the Yuan era also presented a multicultural brilliant color.
In this case, the costumes of the Yuan Dynasty, because of their different arts and crafts, show different characteristics from the previous dynasties, which can be said to be the interplay of culture and art.
Yuan Dynasty costumes are heavily influenced by Central, West and European cultures, with a strong Western style.
Yuan Dynasty clothing, influenced by the combination of East and West, has the following characteristics:
The first step is the combination of clothing patterns and clothing fabrics, and in silk clothing, the term "Nashi loss" most highlights the fusion of Eastern and Western cultures. Also known as "Najin Stone".
According to the unearthed clothing materials of the Yuan Dynasty, it can be seen from the unearthed soil that there are two main patterns of the Yuan Dynasty Najin, one is mainly animal and human heads, symmetrical left and right, mostly looking back.
One is a plumage animal, mostly sideways and winged.
This pattern of birds and animals combined should come from Sogdian and other countries in the central and eastern regions, because from the discovery of Sogdian and other silks, there are a large number of winged horses, winged sheep and winged cattle in this pattern.
For example, in the soil unearthed from the Mingshui tomb in Dasuji in Damao Banner, Inner Mongolia, there is a long golden brocade dress woven from "Fang Shengzhu" and "Tuanchao Flower", and a long skirt woven with tangled flowers, and a winged lion is painted on the fabric.
In addition to these, the "Najin" stone that appeared in the Yuan Dynasty also appeared a large number of "Is" art grids, and Persian patterns, Arabic patterns and other patterns often appeared in surface materials, and a large number of ancient Han decorative materials also appeared.
For example, in the Baling National Museum, there is a parrot-patterned stone that resembles a piece of Syrian silk from the third century from the Kingdom of St. Peter, Elmi Tash.
The second is to combine the colors of the garment. The clothing of the Yuan dynasty was rich in color, including purple, red, yellow, blue, green, brown, white, black.
However, the main color is related to the Mongol bloodline.
For example, in the Yuan Dynasty, white was already popular, because the Mongols have always liked white.
When Marco Polo traveled in China, he once saw the white clothes at a Yuan Dynasty ceremony: "It is the custom of the day."
The Great Khan and his subordinates wore white robes, men, women, and children, all dressed in white, because they thought it was auspicious, so they all wore white clothes and prayed for blessings in the coming year.
In addition to white, the Yuan dynasty also had blue and red, blue representing shamanic beliefs and red representing Mongol bloodlines.
From the perspective of historical data, the colors of clothing in the Yuan Dynasty are mainly cyan, and Western shadows are mainly reflected.
During the Yuan Dynasty, the "Islamic style" influenced the clothing and clothing of the Mongols and Mongols.
As far as we know, Islamists advocate green, especially those Shi'a who come to China, wear green clothes, which greatly influenced the color of clothing in the Yuan Dynasty.
Among the bans of Yuanzhen in this year, there are "bright willow green, red and white, frost red, chicken crown purple, mast red, carmine, six colors, no use, no weaving." ”
Not only that, the Yuan Dynasty also stipulated that from the emperor to the hundred official uniforms, all proton uniforms must be green in color, and the hundred official uniforms are "eight-product and nine-grade green Luo, without patterns".
"Landscape Figures" unearthed two murals in a Yuan Dynasty mural in Wuhua Village, Wengniuteqi, Chifeng County, Inner Mongolia, one of which is a mural on the Zhongnan wall, and the second figure in the mural is a Qing Yi.
Similar situations are true of the "Buyan Tu" found in Desert Mountain No. 2 tomb in Ningjia Yingzi, Yuanbao Mountain District, Chifeng, or the image of Mongol sacrifice found in Dunhuang murals.
This fully illustrates the prevalence of cyan in Yuan dynasty clothing.
The third is the fusion of things on the clothing wearing, and the decoration of the Yuan Dynasty is more complex than before, more gorgeous, more vivid, and more beautiful.
The same is true of clothes, sparkling gold, silver, beads, jade, coral, all favorite ornaments of that era. Pearlstone and coral reefs are mainly produced in Central Asia.
During the Dade period, there was a large local trading house, and there was a red jade (赤玉, meaning red jade), weighing one or two or three letters, estimated at fourteen yuan, and set on a hat.
From then on, every noon and celebration, the emperor would give you it.
The so-called "return stone" actually refers to various gemstones imported from Central Asia.
These gemstones were imported from Central Asia and were very popular in the Yuan Dynasty, often used to decorate hats, or to celebrate festivals, which shows that gemstones from Central and Western Asia were very popular in the Yuan Dynasty.
Third, the idea of "bionics"
The design of Yuan Dynasty clothing has the meaning of "bionic". The most common are various accessories and costumes. In the square headdress, it is mainly manifested as the crown of the word "Gugu".
The crown shape of the "old aunt" is like a swan with a long neck, and Li Zhizi wrote in "Changchun Real Journey to the West":
"The woman wrapped the skin of a birch two feet high in brown soap. The rich wear red satin, which is like goose feathers, so they are called 'aunt'. ”
The Black Tartar Story says:
"My aunt's crown was birch and covered with a layer of red satin. The top is made of wicker or iron branches four or five inches long, wrapped in green cloth, decorated with jade or multicolored satin on the top, and decorated with pheasant feathers below. ”
From historical records, it is not difficult to see that the crown is indeed a typical animal shape.
"Bionic thoughts" also appear on the body of jewelry such as crowns and cloud shoulders.
In the imitation effect of the cloud shoulder, it is mainly manifested as a cloud-like form.
According to a large number of historical records, the Mongols' love for "cloud shoulders" is recorded in a paragraph in the "Yuan History Public Opinion":
"Cloud shoulder, in the shape of four clouds, with blue edges, yellow luo on the edges, and gold edges in five colors."
In addition to this, it is the so-called "horseshoe sleeve".
The sleeve is designed to imitate the shape of a horse's hooves, and his sleeves look like a thin hoof, and the cuffs look like a pair of horse legs.
The Shanxi Museum houses the Yuan Dynasty Horse Terracotta Army, in which figures wear standing felt hats, horse gowns and a short horsewhip tied around their sleeves.
epilogue
In addition to the bionics mentioned above, there are also many bionic phenomena in the pattern of clothing, and to a certain extent, this bionic is the most direct expression of clothing design in the Yuan Dynasty.
For example, hats, wrestling clothes, boots, shoulders, shoes and other ornaments with bionic patterns, decorative materials, mainly animals and plants, and some landscape materials.
These patterns are all according to natural shapes, or religious worship objects, through various techniques and techniques to imitate, and finally present different artistic effects.
[References]
1. Wang Ermin. Guilin:Guangxi Normal University Press, 2005: 123.
2. [Ming] Song Lian. Yuan Shi [M].Beijing:Zhonghua Book Co.,I976:1930.
3. Xia Hexiu. Silk fabrics unearthed from the Mingshui cemetery in Damaoqi Dasuji Township[J]. Inner Mongolia Antiquities,1992,(Z1):113-120.]