One. Colorful, the luxurious beauty of Tang Dynasty costumes
The Tang Dynasty was the flourishing age of ancient society, inclusive, and showed the characteristics of gorgeous grandeur and breadth in clothing. Due to the particularity of the status of women in the court, they were bound by the palace system and wore the dresses stipulated in the Tang Laws at certain times and occasions.
In addition, the clothes they wear every day can reflect the extraordinary atmosphere of that era. In the Tang Dynasty, there have been drapery hats that have gradually become shallow in shape, bearded clothes with exotic characteristics and open and bold revealing clothes. All of this is stunning and at the same time novel, something that has not been seen in any other dynasty. In addition to the dresses stipulated in the Tang system, from the overall point of view, there are three main types of clothing for women in the Tang Dynasty court: narrow waxy skirts, bearded clothes, and some men's clothes that women like.
Due to the Sui system in the Tang Dynasty, court women were still similar in dress to the Sui Dynasty. During the Tang Dynasty, due to the openness of the social atmosphere, clothes became looser than in the early period, and the overall characteristics were fat and gorgeous. During this period, under the influence of the costumes of ethnic minorities, hu costumes became popular and were accepted by the majority of women.
In such a social environment, women wearing men's clothing is also popular. In the late Tang Dynasty, the social atmosphere of the Tang Dynasty gradually shifted from open to conservative, and the custom of wearing beard clothes gradually weakened, gradually restoring the previous traditions.
So let's talk about it in detail, let's start with the empress's costumes: the early Tang Dynasty followed the old system of the Sui Dynasty, and the empress's dresses included four kinds of yiyi, bow, qingyi and Zhuyi. The so-called Yi yi, the explanation in the book is:
"The garment, the jewelry flowers twelve trees, and the two sideburns, its clothes are woven in dark green, and the text is in the shape of a halo. Su Sha Zhongdan, Collar, Luo Yidao, Written. Knee cover, large belt, green coat, leather belt, green socks, island, white jade double pendant, Xuan group double slow. The great things of the ordination, the offering, and the pilgrimage are obeyed. ”
That is to say, this dress is a dress specially used for large formal occasions, wearing twelve branches of flowers, which is to correspond to the emperor's nine crowns (nine pearls are nine beads).
Wear a dark blue coat with a green pattern on it, a plain background, a total of five colors, twelve styles. The collar has this black and white pattern, and the sleeve ends are piped with red Luo Yi (a very delicate fabric). The knee cover is the same color as the dress, embroidered with the pattern of Zhai on it, and there are three types. Large band with trim, the color needs to be the same as the top color.
The bow is the official dress worn by the empress when she is performing a silkworm ceremony. The pro-silkworm ceremony is a ritual for the queen to personally collect mulberry and parallel silkworm affairs. In order to show that he attached great importance to nongsang, the ancient Chinese emperors cultivated it every spring, and the emperor personally cultivated it, and the empress pro-silkworm. This system began in the Zhou Dynasty and was followed by successive dynasties. It has a symbolic meaning to show the world. The bow robe is the official dress of the event, which is generous and beautiful overall, and its formality is second only to the yi yi.
The tungsten dress was worn by the Queen when she met her guests. Twelve gold-encrusted headdresses were worn on the head, which was also intended to be consistent with the Emperor's Twelve.
In terms of color, there are no special regulations, no complicated patterns and accessories. It can be said that it is a kind of daily dress, the so-called "flower commission is not collected, and the jade of the golden sparrow scratches the head" refers to this kind of dress.
Not only the empress, but also the costumes of concubines in general have very clear requirements, and the Old Book of Tang also makes specific provisions for the clothing of jiehao, beauties, talents, etc. From this, we can see that the rules for the dress of the concubine are very complete, and different identities and different ranks determine different dresses. This also reflects the hierarchical hierarchy of the harem. According to the rank, the number of concubines' jewelry flowers decreased sequentially.
However, although the regulations are so, in the actual implementation process, they are "extravagant, there are rules that are not followed, and they are splendid and do as they please." From the upper palace to the pishu, the imitation is imitated, and there is no difference between the noble and the lowly." They can choose their favorite outfit on different occasions according to their personal preferences, and the rules of the system are almost useless.
In addition to dresses, the ladies also had many daily costumes, which could also be worn on non-formal occasions.
This first is the skirt, which, as the main costume of women in the Tang Dynasty, played a very important role in the lives of Tang women. Glutinous, that is, a short top, no longer than the knee.
Wearing a short top with a long skirt, Tang "has changed many times over the centuries, but has always maintained this basic style." Even when hooded costumes were prevalent, this style was not completely abandoned; After the beard became obsolete, it became the main dress for women.
In addition, there are hufu, which have the characteristics of thin and tight body, so Tang people wear more hufu when riding horses, which is convenient and comfortable. For its specific shape, you can refer to the following figure. As can be seen from the figure below, the hat worn by the woman is characterized by a higher perimeter and a hollower middle.
The material is generally thicker brocade, embroidered with exquisite patterns, more exquisite, but also inlaid with a variety of gemstones and other jewelry. The top has a round neck and narrow sleeves. In the late Tang Dynasty, especially after the Anshi Rebellion, due to the influence of political factors, hu wind gradually weakened, Hu costume was no longer popular, and Tang costumes gradually returned to their previous traditions. So after talking about clothing, what about the means of transportation for the ladies?
Two. Each shows its magic, and the noblewomen have a variety of means of transportation
For court women, the difference in travel cars was actually a symbol of different identities. The hierarchical order of the status of women in the Tang court was strict, and there were empresses, internal and external women, and ordinary palace women. If you cross into an ordinary palace girl, then you have a means of transport that you are not eligible to ride in this lifetime.
The empress of the Tang Dynasty had six kinds of carriages, namely heavy Zhai car, tired Zhai car, Zhai car, An car, Siwang car, and Jingen car. The first four were inherited from the Sui system, and the latter two were the new systems of the Tang Dynasty.
In fact, concubines can also ride, but ordinary concubines are different from the queen's car, mainly reflected in the shape and decoration of the car and the number of driving animals. The queen's carriage is not only particularly large, but also has a particularly luxurious interior (BMW level), and the horses driven are also eight horses (super power) The average concubine can not be compared, up to six horses is not bad.
However, under normal circumstances, if the concubines do not go far away, they are carried by human beings, and the Tang Dynasty's Yuan and Public Opinion are all vehicles that have no wheels and rely on human beings to carry, which is a commonly used travel tool for funeral concubines to travel. Regarding the difference between The Dragon and the Public Opinion, we can see one or two from the Book of Sui.
The Book of Sui and the Chronicle of Etiquette records: "In this generation, the image-making is superior, but not the wheel... Useful"
The palace maid who lifted the palanquin hung the shoulder strap of the palanquin bar on her shoulder, and several other palace maids helped. It was not only used by concubines, but also by women of higher status in the court. In the mural on the east wall of the tomb of Princess Chang of Xincheng, although it is blurred, we can see a large man with a house-like closed shape carried by four people. This can be seen in terms of the shape of the princess ride.
In short, for the means of transportation for women in the court, different identity levels, travel tools in the shape, style, decoration, and category are very different.
The author believes that under the influence of the open social atmosphere and the relatively relaxed etiquette and religious constraints in the early Tang Dynasty, coupled with the impetus of Wu Zetian, with the Help of Wu Zetian, the status of women has been greatly improved in the Tang Dynasty, which is unprecedented in the entire feudal society. Their images are also more vivid.
Historical scrolls show us the vivid style of women in the Court of the Tang Dynasty. From the emperor (Wu Zetian) to the ordinary palace women, you can see the heroism and pride of "riding and shooting in hu clothes" when they travel, even ordinary palace women have a moment to go out of the palace door to enjoy a moment of joy, from which you can feel a strong atmosphere of open era.
Wu Zetian's use of the Zhou Dynasty and the Tang Dynasty was an impact on the deep-rooted traditional feudal etiquette, which had a profound impact on the society at that time and even on future generations. It can be said that women in the Tang Dynasty were the luckiest group of women in ancient society, and this luck was given by that era.
The restraints and oppressions they are subjected to are not so heavy, and they retain a certain degree of freedom. As a very special group, court women's travel activities can be said to be a microcosm of an open society.
However, this atmosphere of openness did not always run through the entire Tang Dynasty society, and the atmosphere of openness gradually turned conservative. The Anshi Rebellion, which lasted from 755 AD to 763 AD, can be said to be a watershed in the entire Tang Dynasty society, and the Tang Empire prospered and declined. The participation of women in the palace in politics gradually weakened, the number of people participating in politics decreased compared with the early Tang Dynasty, and the palace disturbance system gradually became stricter.
In the Song Dynasty, due to the prevalence of theory, women's social status underwent epoch-making and bad changes, and women's rights were almost denied, which was mainly manifested in: women in the Song Dynasty were stripped from their household registration by the rulers, or used as private property and collateral at the mercy of others, trampled on, and their economic status was almost deprived;
The right to marry and the right to property are also gradually decreasing; Under the confinement of science, the actions of women in the daily life of the Song Dynasty were even more constrained, which clearly reflected the increasingly low social status of women.
The "strong" beauty of women advocated by Tang Dynasty society has gradually changed into "delicate" beauty, and the aesthetics of women in the whole society have undergone major changes. As the shackles of etiquette gradually strengthened, inhumane foot binding became popular in the Song Dynasty.
Foot binding is ostensibly a manifestation of women's aesthetic needs in order to meet men's aesthetic needs, but in fact, it is the embodiment of the reduction of women's social status and the strengthening of male dependence. But we can see the colorful costumes and various magical means of transportation traveled by the noble ladies of the Tang Dynasty, which are also amazing.
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