(1) The Tang Dynasty was an era of high political and economic development, prosperous culture and art, and splendid feudal culture. Tang Yitong saved the chaos and division of Wei, Jin, Southern and Northern Dynasties and Sui Dynasty, established a unified and powerful country, developed foreign trade transactions, greatly developed productivity, and enjoyed long-term prosperity and national security. Especially when the prosperous Tang Dynasty became the center of economic and cultural exchanges among Asian nations, it was the most brilliant page in China's cultural history. During this period, Indian and Iranian cultures were absorbed and integrated into China culture, which was fully reflected in murals, stone carvings, sculptures, books, paintings, silk embroidery, pottery figurines and costumes.
During the Sui and Tang Dynasties, the most obvious feature of China's clothing was the dual-track system. Wear * * * traditional costumes at large-scale sacrificial ceremonies. In normal times, the official costume of the Tang Dynasty was made of Hufu (Xianbei clothing).
By the Tang dynasty, the country was unified, the economy was prosperous, the shape was more open, and the costumes were more and more gorgeous. The characteristic of women's dress in Tang Dynasty is the unity of skirt, blouse and blouse. Among women, there is an image of topless and bare arms. On the mural on the east wall of Princess Yongtai's tomb, there is an image of a woman in the Tang Dynasty, with a high bun, shirtless, HongLing on her shoulders, a yellow short-sleeved shirt, a long green dress sweeping the floor, and a red belt hanging from her waist, thus giving a more vivid understanding of pink breasts, dark snow, lingering grass when sitting and sweeping plums when walking.
Dressing slowly and revealing a little is not everyone's job. In the Tang Dynasty, only people with status could wear open-chested shirts, Princess Yongtai could be semi-naked, and singers could be semi-naked to please the ruling class, while women in ordinary families were not allowed to be semi-naked. At that time, the semi-topless dress of the Tang Dynasty was somewhat similar to the evening dress of the modern west except that the shoulders and back were not allowed to be exposed.
The collars of women's wear in the Tang Dynasty include round neck, square collar, oblique collar, straight collar and chicken heart collar. Short skirts and long skirts are characterized by high waists, generally above the waist, and some are even tied under the armpits, giving people a very slender feeling.
Luoshan leaves are embroidered again, and Jinfeng Yinyan has its own traces. Mei Dai wins the color of day lily, and the red skirt envies pomegranate flowers. The skirts in the Tang Dynasty are colorful, with red, purple, yellow and green competing for each other, especially the red skirt. The popularity of red skirts in the streets is not the patent of modern people. As early as the prosperous Tang Dynasty, dance skirts were dyed red by pomegranate flowers everywhere.
Perhaps influenced by the theory of Yin-Yang and Five Elements, Yang Guifei likes the yellow skirt best, which is a symbol of status.
The semi-exposed skirt reflected the openness of society at that time.
Social ideology formed on a certain economic basis. It is an important factor affecting social fashion and clothing. Clothing is a barometer of social and political climate. The Tang Dynasty was the heyday of feudal society in China, especially during Zhenguan and Kaiyuan years, when the political climate was relaxed and the people lived and worked in peace and contentment. Chang 'an, the capital of the Tang Dynasty, was the political, economic and cultural center at that time, and also the center of cultural exchanges between the East and the West. The ancient city of An, the morning bell of the Wild Goose Pagoda, the smoke from the thatched cottage, the wind and snow of willows, the sunset of Mount Li, the sacred palm of the mountain and the stone carvings in the forest of steles seem to still haunt the sound of the prosperous Tang Dynasty. More than 300 countries had friendly exchanges with the Tang Dynasty. Through them, splendid China culture spread to all parts of the world. Today, some countries in East Asia still regard the costumes of the Tang Dynasty as formal attire, which shows its lasting influence. Foreign friendly envoys gathered in Chang 'an and also spread the seeds of their culture in Qinchuan, 800 miles away. Painting, sculpture, music, dance and other arts in the Tang Dynasty absorbed foreign skills and styles. The eclecticism of foreign costumes makes the exotic costumes in the Tang Dynasty even more dazzling.
Because of the open policy adopted by the Tang Dynasty and the eclectic costumes of the Western Regions and Tubo, mud hats and fashionable makeup became popular. This is the third great change in the ancient costume history of China. Different from the previous two major changes in clothing, this time the clothing exchange is from north to south and then to east.
(2) The Tang Dynasty was the heyday of China's feudal society, and both people's ideological and material production reached a historical peak. Since the Tang Dynasty, flower patterns have been widely used in craft decoration, with lively and free composition, well-proportioned density, fullness and roundness. In particular, the combination of wavy continuous patterns and flowers and plants is a popular branch-tying pattern in Tang Dynasty.
The costume patterns in the Tang Dynasty changed the creative thinking given by God in the past, using real flowers, grass, fish and insects to sketch, but they did not exclude the traditional dragon and phoenix patterns, which was also determined by the influence of imperial power. At this time, the clothing pattern design tends to express the artistic style of freedom, fullness and fatness.
The dress patterns in the late Tang Dynasty were more exquisite and beautiful. Flower-and-bird clothing patterns, border decoration patterns and group flower clothing patterns are really colorful in the soft clothing of silk and yarn. As Wang Jian of the Five Dynasties said, "Luoshan leaves are embroidered again, and there is a cluster of golden phoenix silver geese, each dancing in two directions, between the words" Long live peace ". "Today we see these luxurious and exquisite costume patterns, which are precious image materials that Dunhuang Grottoes painters have preserved for future generations with hard work. The development of costumes in Tang Dynasty is an overall development. At this time, the clothing pattern design tends to be free, plump, gorgeous and round, which is manifested in shoes, hats, towels, Yu Pei, hairstyle, makeup and jewelry.
As can be seen from the picture, the hair styles are rich and colorful, with Feng Huangwen and peony patterns. Some hairstyles show moire marks, which is the embodiment of moire development and change. Judging from the style of shoes, upturned round toe shoes prevailed in the Tang Dynasty, with exquisite workmanship, and even straw sandals were exquisite in craftsmanship. The silk shoes are embroidered with tiger's head embroidery, which is similar to the tiger's head shoes worn by Shandong children, but the toe of the tiger's head shoes worn by Shandong rural children is not so upturned. There are similarities between men's shoes and modern shoes, which shows that the development of shoes has reached its peak at that time. Looking at the costume patterns in the Tang Dynasty, we can understand it like this:
The Tang Dynasty inherited the styles of Zhou, Warring States and Wei and Jin Dynasties, and integrated the rigor of dress design of Zhou Dynasty, the stretch of Warring States, the lightness of Han Dynasty and the elegance of Wei and Jin Dynasties, and on this basis, it became more luxurious, making the dress and dress patterns reach the peak in history. The influence of costumes and costume patterns in the Tang Dynasty on later generations continues to this day. The application of branch patterns in modern clothing patterns embodies the implication of combining traditional patterns with modern aesthetic consciousness.