A woman is teasing a parrot in her hand. The parrot is smart and clever, and the woman can't help but be handsome. The past turns into historical dust, and small moments solidify into eternity.
The woman wears a hooded head, wears a lapel beard men's clothing, the hairstyle is no different from that of a man, and a pair of women's wire shoes under the robe reveals a female identity.
In China's thousands of years of dynasty, perhaps only Tang dynasty women have truly achieved "freedom of dressing". High-waisted chest-length skirt, long skirt on the floor, brocade soft and transparent, textured skirt flowing flowing. The outfit of "boyfriend style" takes a cool and handsome route.
"Many women in Shengtang would wear men's clothing, which was quite popular at the time. Women's horseback riding and hunting are also social customs. ”
Chen Jie, deputy director of the Ceramics Department and deputy research librarian of the Shanghai Museum, introduced that the seven common hoofs of Hufu, the pen bag, knife and syringe tied around the waist are also common accessories on men's clothing. "From the terracotta figurines, we can see the open and inclusive pluralistic society at that time and the improvement of women's social status."
During the Tianbao period of the beginning of the century, the national strength of the Tang Dynasty was unprecedentedly strong, and the open and inclusive cultural atmosphere was the first to be the custom of previous generations. The hat of the previous dynasty was replaced, and the woman "appeared with beautiful makeup and no obstacles". The elevation of women's status reached its peak during Wu Zetian's reign as emperor. The female face we can see presents a sense of "relaxation" that is stable and calm.
During the same period, women's hair buns, makeup, and clothes all had different changes. Chen Jie said, "From the portrait sculptures at that time, we can see that these female figures have relatively plump and slender bodies, so the Tang Dynasty had a very diverse aesthetic, showing a very confident and open image." ”
The aesthetics of Datang are magnificent, and the colorful colors have reached the extreme. Tang Sancai has left a strong mark in the history of Chinese ceramics. Several color glazes are juxtaposed and blended, and the color blocks are clear and contrasting, blending and colliding, and blooming dazzling brilliance.
The most typical are green, yellow, white, and some will add different colors such as purple and blue. Chen Jie introduced that the Tang Dynasty was aesthetically biased towards brilliant colors, which should also be influenced by Hu Feng and West Asia at that time.
The maid figurines of the Tang Dynasty are made modularly, and different color combinations produce different aesthetic tastes. The figurine tire is the carrier of painting, and painting is the finishing touch. The eyebrows, vermilion lips, the undulations and folds of the clothing lines, and the use of lines to shape it, give it a new soul.
The terracotta figurines, which have been honed over the years, have lost their facial color, but they are still carved and lifelike. She looked calm and heroic. Gentle and dignified, confident and calm, just like before.
Looking back, it has been a thousand years. An era of fresh clothes and raging horses and blazing flowers seems to be coming to us.
Episode 20 of the second season
Click to watch the 20th episode of the second season of "Great Treasure Hunter"
A review of the first season classics
The sign language version of the first season of "Great Treasure • Treasure Hunting" has been launched on the Shanghai Museum Video Channel on May 11, and 1 episode is updated daily.
·Shanghai Museum·
SMG reporter and editor|Wang Linlin, Xing Wei
Preliminary review丨Shi Weichen
Final judgment丨Tang Shifen
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