Manchu became the ruler after entering the customs, and forced the Han people to shave their hair and change clothes, but the compulsory clothing assimilation policy not only failed to achieve the expected goal. On the contrary, it aroused the strong resistance of the Han people. In order to ease the contradiction, the Qing government had to adopt the "Ten Disobedience" of Jin Zhijun, a legacy of the Ming Dynasty. Among them, "Men do not obey women", "Life does not obey women", "Advocating from actresses", "Being an official and thus not obeying marriage" and so on, so that Han women can continue to wear costumes that show their national integrity, and they can dress up and get married. There are three main points to distinguish the dress of flag women from that of Han women.
First, look at the bun. Flag women comb the flag bun, that is, two heads, fork heads or a prefix, which is also called "shelf head" because it is inserted into the shelf to make it flat with two corners. This kind of bun is even more exaggerated and towering after Xianfeng. I like to wear a black velvet hat and eyebrow covering, and my hair style is low and fitted, which shows the subtle temperament of my eyes.
Second, I look at skirts or gowns. Women in the Eight Banners wear gowns, which is their most important and most common dress. They wear pants under gowns, and the gowns also have horseshoe sleeves and complicated decorations and accessories. Women in the Eight Banners never wear skirts, and even if the dress in the ladies' court dress is counted as a skirt, they rarely have the opportunity to wear them. Including court clothes, auspicious clothes and traveling clothes, but everyday wear casual robes, including the original body of cheongsam-shirts and mourning clothes. Shirts have a round neck and a right slit, twisted lapels are straight and flat sleeves, and there are five buttons without lapels. Sleeves are divided into two types: sleeveless ends and sleeveless ends. The fabrics are embroidered and woven, and Ping Jin is the most, and the whole body is trimmed. The top of the opening is decorated with clouds, and the decoration is gorgeous and elegant. The edge inlay and ornamentation are complicated and fine, and it is also decorated with lace, flower tapestry and dog teeth. The funeral clothes are often worn on formal occasions. In the Biography of Heroes of Children written by Wen Kang in Qing Dynasty, there are many descriptions about the dress of the flag girl, such as: "I saw that lady wearing a fish-white shirt with a hundred butterflies and a tapestry. The whole body is by no means the wide woven edge and embroidered edge, but also the pig's tooth tapestry, dog's tooth tapestry, and the Hu inlay is rolled. All of them use the narrow edge of azurite piece with a width of three points to expand a thirteen-strand tapestry with gold thread inside and outside, which is wrapped with two-fold sleeves; With two short heads on their heads ...... "
Contrary to the flag girls, Chinese women wear skirts and never wear robes. They still follow the old system of top and bottom. Wearing skirts is a major feature of Han women, such as pleated skirts, phoenix-tailed skirts, yuet skirts and horse faces. There are also prostitutes or those who only wear pants without skirts when they are alone at home. The Legend of Heroes of Children wrote: "Suddenly, a young kannika nimtragol came by, wearing a half-padded jacket of Puxian silk with a shoulder-to-back, a pink lining and a West Lake color, without a skirt, revealing a pair of pants with legs scattered by green crepe; At the foot of a pair of big red satin shoes crossing the bridge with high bottom; ..... "Han women wear red wedding dresses with azurite or scarlet embroidered jackets and crested robes, following the old system.
Third, look at shoes. Because flag women have no bad habit of foot-binding, they wear wide high-heeled flag shoes. The wooden high-heeled shoes are located in the middle of the sole, and are also called" flowerpot bottom "and" horseshoe bottom "because they are shaped like flowerpots and horseshoes. The cheongsam is tight and narrow, revealing the waist, but the upper coat and lower skirt are unusually wide and fat, trying to hide the female curve under take off your coat's big sleeves, which reflects the neo-Confucianism of Song and Ming Dynasties. Cheongsam is more likely to make the wearer look slim. Secondly, the aesthetic interest center of cheongsam is above, while the interest of tunic skirt is obviously below. Wearing high-heeled shoes and robe reaching the ground will raise the waist line of the flag girl, lengthen the lower limbs and shift the center of gravity. However, the knee-length coat and shirt lowers the waistline of the Han women, elongates the upper body, and shifts the center of gravity. Based on the differences of national cultures, the flag bearer is heavy-headed and light-footed, while the fake bun is exaggerated and towering, but the feet are hidden under the robe. On the contrary, the Chinese culture is obsessed with "making small steps", but there is no question about how to show the skirt. A simple bun and a fat and straight dress are easier to This is the Han people's emphasis on the feet and neglect the head.
There are also many differences in the specific shape between the cheongsam and the coat skirt. For example, the cheongsam has a straight front and a lack of front, and there are horseshoe sleeves on the dress, but the coat skirt is mostly double-breasted; Wearing a collar wipe on the coat and unlined upper garment, and using the collar of the family, while the cheongsam was initially collarless, only wearing a scarf. It was not until the late Qing Dynasty that the cheongsam stood on the collar, and it was not a collar. In terms of decorative compatibility, the cheongsam was originally quite simple, and it gradually developed in a complicated direction after entering the customs, even far exceeding the Chinese women's coat and skirt, inlay, rolling, embedding, embroidery, swinging, pasting, plate and nailing (everything) The whole sleeve is divided into several sections, and the pattern style, color and fabric of each section are completely different, which is not found in Chinese costumes.
The differences between the dresses of flag women and Han women reflect the differences between different cultures in the final analysis. The introverted Chinese culture has created the upper coat and the lower skirt, while the extroverted Eight Banners culture has produced the cheongsam. In the period when the two kinds of costumes are completely opposite, it is also the annual ratio of the two cultures' impact. However, the Chinese culture has made it difficult for the Chinese to understand the Chinese culture. The differences between the clothes and ornaments of the Qi and Han dynasties are not irreconcilable. After the Qing dynasty was firmly ruled, the society tended to be stable and prosperous, and ethnic integration was unconsciously carried out. Even if it was banned, the cheongsam could not help but become wide-sleeved and long-sleeved, similar to a robe. In the middle of the Qing dynasty, the boundaries between the clothes of the Qi and Han women were no longer so clear, but they were borrowed and used each other in the later period. The cheongsam adopted the auspicious patterns and embroidery techniques of the Han nationality. Dark decoration similar to a half-arm appears on the sleeves. There are Han women who wear long waistcoats and flag women who wear robes with short feet exposed. The clothing of Qi Han in the same period will also reflect the same fashionable practices and decorative means. In short, the clothing of Qi Han women and Han women has moved from initial opposition to integration.
Head.
The cheongsam before the Republic of China did not split, compared with our impression of elegance, < p Let's call it an old-fashioned cheongsam. What's more, at that time, the collar
of the cheongsam was very strange, and it stood high to the side of the cheeks, like an unruly hero. The old-fashioned cheongsam
was still shackled in an ideology and seemed to be only the
patent of city people and upper-class people. Now it can be recognized that these clothes. It makes women look more dignified and virtuous.
At the beginning of the 2th century, the Han people were relatively civilized under the influence of European style and beautiful rain, and the collar of cheongsam was lowered
. What is particularly creative is that the bottom was opened with a fork, which can be called improved cheongsam.
The revolution of this kind of clothing won the general applause of men. The improvement of cheongsam began in the 192s, when the trumpet cuffs were narrowed and the sleeves were changed from long. Draw out the outline curve of the human body, and the robe is spread to the thigh, revealing trousers of the same material.
Later, I don't even wear trousers. Mr. Lu Xun has seen prostitutes waiting by the door at night, and the cheongsam she wears is spread to the waist. It is best for a dusty woman to be "beautiful", that is to say, the "amorous feelings" at that time are proportional to the height of the cheongsam, and the cheongsam is spread to the waist. Then the amorous feelings will be "grasped". Most people think that cheongsam should be matched with a rugged figure. More people think that cheongsam is dignified but not fashionable. Most people think that cheongsam is too formal and too restrained to wear. The most important thing is that many people think that cheongsam does not follow the popular route, which is a misunderstanding of the traditional clothing, making cheongsam not popular with young women.
The Qing Dynasty is an era with the greatest change in the history of Chinese clothing, and the Qing Dynasty is an era of the integration of Manchu and Han cultures. Clothing culture, in particular, is also a non-Han dynasty that has retained the most original clothing traditions after entering China. Emperor Qianlong is also a king who is eager for success and fame, but he can clearly realize that it is a theory of political involvement that has been contained in the clothing system, not a form of appearance, that can spread to the country for a long time. The Qianlong dynasty formulated a detailed crown clothing system and illustrated it, and future generations can also "keep it forever and never win." It used to be a dress worn by wealthy people, but it became common in the whole country. The casual hat worn on weekdays was a small hat with melon skin, and the color was black outside and red inside. The cheongsam worn by Manchu women was wide and big in the early days, and then it became a waistline, and a "vest" was added outside the cheongsam. Their shoes were also very special, which was a flowerpot-style high-soled shoes. As for the Han nationality, It's similar to that of Ming Dynasty.
Robes and mandarin jackets are the clothes that men often wear in Qing Dynasty.
Mandarin jackets are short jackets worn outside robes, which are only waist-length.
They were originally worn by northerners when riding horses. After the Manchu unified China,
people who don't ride horses also wore mandarin jackets, which gradually became popular.
China is a multi-ethnic country with 56 nationalities. It was created by all ethnic groups. For thousands of years, all ethnic groups in China have learned from each other and blended with each other to create many exquisite costumes. China ethnic costumes are famous for their bright colors, exquisite skills and unique styles. The costumes, styles and styles of all ethnic groups are very different, reflecting the aesthetic taste of all ethnic groups, which can be shown from people's daily wear and customs taboos. In a word, the costumes of the Han nationality embody traditional ethics and ethics in detail. The costumes of the northern ethnic minorities are rich and simple, powerful and rough; Northwest ethnic minorities are bold and unrestrained, dignified and simple; Ethnic minorities in southwest China are beautiful and colorful. The geographical environment, customs, production methods and artistic traditions of each ethnic group are all reflected in their clothes and costumes. Throughout the 5,-year history of China's costumes, despite the ever-changing, they have all integrated the national humanistic spirit in terms of styles, patterns, colors and fabrics. Dressing and costumes are a glorious chapter in recording Chinese national culture.
China's clothing history can be divided into three parts. The formulation of Zhou rites, and even the late Qing Dynasty, belonged to the era of political representation; After the end of the monarchy, the new cultural characteristics of clothing are vague. The general principle of China's clothing system is that "the upper part can be combined with the lower part, and the lower part can not be arrogated", so the lower the social class, the smaller the choice of clothing colors. Therefore, the governments of successive dynasties have listed the colors that are not allowed to be used, and people of every class can play within the scope of their use. Although there are praises of forbidden colors in every dynasty, with the clothing, Government regulations often follow the fashion, so sometimes banning colors means that colors are popular. The reason why an era chooses a certain color as a popular costume color actually implies the political orientation of that era. Traditionally, clothing is a part of politics, so intellectuals attach importance to their likes and dislikes, which has always influenced the cultural orientation of the era. In fact, clothing culture, like other cultures, has accumulated countless treasures in the long river of tradition. When we abandon it to forbearance but regain it, we must explore its significance, figure out the real spirit, and distinguish whether we should discard the bad and why we should not follow it, so as to establish our modern China culture.