Biography of the Sages in Runan records that "Dai Liang married five women, and none of them had the opportunity to wear skirts", and The History of the Later Han Dynasty Mingde Ma Huanghou said: "(Later) often practiced clothes, and skirts were not attached." This is the kind of skirt.
After the Wei and Jin Dynasties, the styles and colors of skirts have been increasing, and the decorations on skirts have become more and more exquisite. In addition to ordinary long skirts, there are also names such as crimson yarn double skirt, single yarn double skirt, purple blue yarn double skirt and Dan yarn cup Tam skirt. During the Sixteen States of Jin Dynasty, a kind of skirt called "intermittent skirt" was popular among women, which was made of more than two colors of cloth strips. The whole skirt is cut into several ways when it is made, and the colors alternate with each other, which is very interesting. The colors of the cloth with the start time color are red, green, red and yellow. Later, the whole skirt was cut more and more, and the fabric in the middle color became narrower and narrower, and the colors became richer and richer.
The woman on the mural of Dingjiazha's tomb in Jiuquan, Gansu, is wearing this style of skirt. Skirts in the Northern and Southern Dynasties are also very distinctive. The most obvious feature is the obvious increase in decorative patterns on skirts. The article "Ji Jin Skirt" written by Lu Guimeng in the Tang Dynasty praised a brocade skirt he saw in the Northern and Southern Dynasties, which was vividly described in detail: "Li Jun is an ancient brocade skirt: four feet long, narrow at the bottom, six inches wide at the bottom and three and a half inches at the top." There are parrots on the right, shrugging their shoulders and loosening their tails, and the number is equal to that of cranes. Second, birds vary in size, but there is no room for flowers to be evenly distributed. The road is four-way, colorful and tired. Wei Yun is intertwined, with lingering rainbows, smoke and fog, spring grass, distant mountains and broken walls. Moss, stone, autumn water, yin Dan leakage, core powder rubbing, hanging around, clouds hidden on the shore, thick and thin, foggy and dense, initially unclear. "Let's take a closer look: every part has been cut off, and every painting has its place. Neither embroidery nor painting, it's really feminine. It is neither shapeless nor neat, nor will it be less than three hundred years. " Such a delicate skirt is simply a masterpiece of appreciation.
The style of women's skirts in the Sui Dynasty basically inherited the style of the Southern and Northern Dynasties. Long-bottomed skirts were particularly popular with women in the Sui Dynasty, while middle-colored skirts were still adopted by women during this period. However, the number of intermediate color channels is increasing and getting narrower. The whole skirt is often divided into 65,438+02 lanes, which means "twelve broken" or "broken". It is said that this kind of skirt. Tang Liucun's "The Beginning of Things" records that "Emperor Yang made a long skirt, which was twelve broken and named' fairy skirt'". Compared with the previous generation, the length of women's skirts in Tang Dynasty increased obviously, and it was a common phenomenon that skirts mopped the floor at that time. In order to show the slender skirt, women often tie the waist of the skirt to the chest, sometimes even to the armpit, and the hem of the skirt covers the foot surface, sometimes dragging it underground. This situation is often mentioned in Tang poetry, such as Wang Jian's "Gong Ci", which says: "A little woman with fine eyes and a long skirt"; William Wang's poem "Looking at Man Tong as Ci" says: "Long skirts and brocade belts still leave guests"; Meng Haoran's poem "Chun Qing": "When sitting, clothes are wrapped in grass, while walking, skirts sweep plum blossoms" and so on. There are also many reflections in the image data, such as "The Picture of a Lady with a Pin Flower" and "The Picture of a Lady with a Fan", which all depict the image of a woman wearing a long mop. In order not to interfere with activities, when women wear this kind of long skirt to work, they lift it up and tie it around their waist. In this way, the skirt won't drag to the ground. The "Walking Map" drawn by the painter Yan in the Tang Dynasty and the pottery figurines unearthed from the Tang tomb in Wuchang, Hubei Province also reflect the female images in this costume.
The width of women's skirts in the Tang Dynasty is generally wide, and most of them are composed of six pieces, so there is a saying that "six-Luo skirts" and "skirts drag six pieces of Xiangjiang River water". According to the cloth patterns recorded in the Book of the Old Tang Dynasty, the "six pieces" in the Tang Dynasty are equivalent to more than 3 meters today, and the width of their skirts can be imagined. In addition to six paintings, women in the Tang Dynasty also used seven or eight paintings. For example, Cao Tang's Poems of Wandering Immortals said that "books break the eight skirts of Mingxia". This kind of skirt not only affected the activities of the wearer, but also caused a great waste of materials and caused the interference of the court.
For example, "The Book of the New Tang Dynasty Che Fuzhi" records: "Literati acceded to the throne, arrogating luxury to all directions, and decreed rules. There are only five skirts for women, and the floor is no more than three inches. " Women's skirts in the Tang Dynasty are also very gorgeous, and young women like a bright red skirt best.
Young women in Tang Dynasty novels, such as Li Wa and Huo Xiaoyu, always wear this kind of skirt. This point has also been mentioned in many Tang poems, such as Yuan Zhen's poem "Cherry Blossom": "Flowers (earth+specialty) once set up flower pickers, and their skirts were as red as fire"; At the beginning of the year, the poem "Five Days of Watching Prostitutes" said: "The eyebrow platform wins the color of day lily, and the red skirt envies pomegranate flowers"; Du Fu's poem "Accompany nobles, Zhang Ba dogs and prostitutes to enjoy the cool night and welcome the rain": "The wetter the red dress, the sadder Yan Ji Cui Dai" and so on. At that time, the pigment of the dyed red skirt was mainly extracted from pomegranate flowers, so people also called the red skirt "pomegranate skirt". Wu Zetian's poem "Ruyi Niang" said: "If you don't believe that you will cry, open the box and take the pomegranate skirt." Later, "pomegranate skirt" was regarded as synonymous with women. Today, we can still hear the metaphor of "falling at the feet of pomegranate skirt".
Madder is also the dye of the red skirt, so the red skirt is also called "madder skirt", such as Li Qunyu's poem "Huangling Temple": "In front of Huangling Temple, the grass is like spring, and Huangling's daughter's madder skirt is new"; Jong Li wrote in the poem "Singing by the Creek": "The sissy went to pick lotus on the 28th and ran to the blue boat with a smile in the light rain." Besides red skirts, women in Tang Dynasty also wore white skirts, such as "Liu Hua skirt" and "Jade skirt". Although the red skirt and the emerald skirt are bright, they are all monochrome. In addition, women's skirts in the Tang Dynasty are often dyed with halo, that is, two or more colors are dyed alternately. There is no obvious boundary between the two colors, and the transition is natural, showing a halo effect, so it is called "halo skirt". The murals in Dunhuang Mogao Grottoes contain images of women wearing such skirts. The skirts in this period are also various, each with its own flavor: some people paint on the skirts, which is called "painting skirts"; Some skirts are inlaid with pearls, which are called "pearl skirts" and so on. The most exquisite dress is a hundred birds' hair dress created by Princess Anle, Tang Zhongzong's daughter.
According to "The Five Elements of the New Tang Dynasty", "Princess Anle ordered the party to wear a hundred birds' hair skirt, with the same color on the face and the same color on the side; "Japan and China are the same color, and the shadow is also the same color. All kinds of birds can see it." This kind of skirt woven from hundreds of bird feathers was particularly popular among women at that time, which led to the killing of rare birds in the mountains and was later banned because of the intervention of the court.
The color of women's skirts in Song Dynasty is mainly simple and elegant, and the skirt is still very wide. Usually there are more than six skirts, which are also 12 pieces of cloth. With the increase of skirt width, the wrinkles on the skirt increase obviously. The custom of folding skirts has a long history. According to legend, Emperor Wu of the Han Dynasty and Empress Zhao swam together in Taiye Pool, and Emperor Wu of the Han Dynasty made swallows dance. When the swallow was dancing, the wind suddenly blew. The emperor was worried that she would be blown away by the wind, so he called his attendants to grab her clothes. After the wind stopped, Yan Fei left many pancakes on her skirt. Other ladies-in-waiting felt very strange after seeing it, so they folded it and named it "Lingxian skirt". Of course, this is just a beautiful legend. In fact, the skirt is mainly for practicality, because it can increase the skirt width and increase the skirt circumference after folding, which is beneficial to the wearer's squatting and walking. Judging from a lot of data, dressing up is a custom after the Eastern Han Dynasty. Before this, there were no traces of broken skirts, and the women's skirts unearthed from Mawangdui Han Tomb were an obvious example. After the Eastern Han Dynasty, clothing has become a common custom.
There is a saying that "skirts should be simple" in the poem "Drama is beautiful" by Emperor Liang Jianwen of the Southern Dynasties. On this basis, it was carried forward in the Song Dynasty. The more skirts, the thinner the folds, so it was described as "pleated" and "thousand skirts". Poems of Song people often describe it, such as the words in Lu's Millennium: "The gold bars on the wrists are thin, and the skirts are as thin as eyebrows." Colorful plumage's Six-character Poems by the Lady in Red: "A hundred folds of water wrinkle, and six baht is light." In the Song Dynasty, ordinary women liked riding donkeys. The Riverside Scene at Qingming Festival depicts women riding donkeys. For the convenience of riding, women often wear "rotating skirts" with slits at the front and back. This kind of rotating skirt was originally used for prostitutes, and later it gradually spread and became a kind of clothing for ordinary women. As for the court concubines, they wore long skirts that covered the front and back and began to sweep the floor with skirts, which were called "catch-the-feet skirts". Because it can be opened and closed back and forth, it is different from the ordinary skirt with a round circumference, so it is displayed as "serving the demon". The gold-plated skirts and pearl skirts popular in the Tang Dynasty still exist, but they are mostly used for maiko. There are a lot of descriptions in the poems of the Song Dynasty. For example, Ouyang Xiu wrote in "The Drum Flute is Slow": "The golden skirt covers the curtain, and Redjade is really cute"; Zhang Xian's poem "Walking on the Sand" says: "Flowers reflect the moon, and the beaded skirt is lightly folded.
"Rich people also dye skirts with tulip grass. Dyed skirts are mostly yellow, which can give off bursts of fragrance on the body, commonly known as "Yujin skirt". Liao, Jin and Yuan Dynasties were the times when ethnic minorities were in power, and the skirts used by Han women in this period basically followed the legacy of the Song Dynasty. As for the skirts of ethnic minorities, they have largely retained their own characteristics. For example, women of Khitan and Jurchen nationality in Liao and Jin Dynasties often wore a skirt with dark colors and embroidered flowers and trees, which was folded into 60%, usually under the group shirt.
In the Ming Dynasty, the customs of the Han nationality were restored, and the shape of women's skirts still retained the characteristics of the Tang and Song Dynasties. The red skirt, which was popular in the Tang Dynasty, became popular again in the Ming Dynasty. The white lady in Feng Menglong's Warning the World: The White Lady's Yongzheng Leifeng Pagoda is dressed like this: "Wearing a blue brocade shirt and a red gauze skirt." At that time, Jiang Yikui's Chang 'an Hakka Folk Songs, which was circulated in Yanjing at that time, also involved this situation. For example, as the folk song says, "Flowers burn in the street, and the branches are broken." "If thousands of families can't buy enough, they will dye their children's skirts red." The pleated skirt popular in Song Dynasty was not ignored at this time. As for the length and quantity of skirts, it is easy at any time. In the early Ming Dynasty, women's dresses were light and had no obvious ornamentation. At the end of the period, I changed the simple and frivolous fashion and pursued gorgeous style. The most obvious thing is that satin is cut into strips, each of which is embroidered and inlaid with gold thread on both sides. Because it looks like a phoenix tail, it is called a phoenix tail skirt.
There is also a kind of painted skirt, which is folded into dozens of fine pleats, each with a color. It is light and elegant, and the wind is like moonlight. Named "Yuehua skirt", there is also a kind called "Hundred Flowers skirt". Skirts are embroidered with flowers of different sizes and shapes, which are deeply loved by young women and have become a dress style in the Ming Dynasty. These skirts are not recorded much in official history, but there are many descriptions in literary works. In the early Qing Dynasty, women's dresses still retained the customs of the Ming Dynasty, including phoenix-tailed skirts and yuet skirts. Later, with the passage of time, many new skirts were produced.
Playing with Ink Skirt is one of them. It is based on light-colored satin and printed with black flowers by elastic ink technology. Because of its elegant color and unique pattern, it is deeply loved by women, especially ordinary women. In the future, there are more and more styles of skirts, which change at any time, and some are filled with various ribbons; There are countless little bells under the skirt to make it jingle; There is also a waterline embroidered under the skirt, which is extremely beautiful with the movement of the human body. At this time, the traditional pleated skirt has also been reformed: several pieces of cloth are folded into fine pleats, and the pleats are connected in series with silk thread. Because it looks like carp scales when unfolded, it is called "fish scale pleated skirt". This kind of skirt was popular in Tongzhi period in the late Qing Dynasty, as evidenced by a poem: "Why haven't Feng Wei heard for a long time?" Now, whenever there is a holiday, I wear a fish-scale skirt.
"As for the Empress Dowager, Empress Dowager, Empress, and prostitutes at home and abroad, in case of royal greetings, sacrifices and other major etiquette, they should wear royal dresses. Skirts are usually worn under jackets. Korean skirts are divided into winter and summer styles according to seasons, with satin as the main material and animal skin as the edge; The summer skirt is mainly made of yarn, and the edge is brocade. The production is divided into two parts, the upper part is red or green, the lower part is stone blue, and the whole body is stacked with fine pleats. The patterns used are strictly different: the upper concubine can use dragon patterns, and the lower one can use python patterns.