Describe cheongsam words

From: Cao Xueqin's A Dream of Red Mansions (红楼梦), the third installment of the book: there are several girls in red and green sitting on the steps.

Translation: On the steps sat a few girls in bright and colorful clothes.

V. Hua Guan Li Suit [ huá guān lì fú ]

Explanation: Crown: hat. It describes the splendor of the clothes.

From: Qing. Cao Xueqin's Dream of the Red Chamber (红楼梦)第三回："After traveling for another half a day, I suddenly saw two big stone lions squatting on the north side of the street, and three animal-head gates, with ten or so people sitting in front of the gates, and the front door was not open, but only the east and west two corner gates had people coming in and out."

翻译：又走了半天，忽然看到街北蹲着两个全大的石狮，三间兽头大门，门前坐着10来的华冠华丽衣服的人，正门不开，只有东西两角门有人出入。

A green coat, dyed on a tree,

Two sleeves of moonlight, to tell the world elegance .

Walking in the years of the fragrance,

The woman in cheongsam,

is always a beautiful scenery.

Qian Qian lady, graceful cheongsam body, delicate and graceful, smile like a flower bloom, the sound of the flow of jade, bright bright like a light cloud of the moon, floating as if the wind of the flow of snow. You do not see that silk, colorful rhyme, the gods praise, floating fairy dance. Beautiful! Fairy of the sky than the elegant and noble Chinese dress national essence - cheongsam. It is not too much to say that the cheongsam is a poem, it is its flowing melody and rich poetic expression of the woman's virtue, elegance and gentleness, it is a Chinese woman's complex, a dream, is engraved in the bones of the Chinese woman's beauty. No matter where, as long as there is a Chinese woman's place, there is a beautiful cheongsam shadow.

Like this picture: the spring of Jiangnan, misty rain, holding an umbrella with a graceful woman, with a plain cheongsam, high neck, slightly sad eyes, indistinctly as if thinking, so walking in the rain ...... I have always been fascinated by the cheongsam, like it fit, it's elegant.

cheongsam qí páo

1. Life is like wearing a cheongsam, with the flavor of wearing, without the figure of wearing

2. I have a Browning pistol, do you have an indigo cheongsam?

3. The woman who wears a cheongsam and plays with an oil-paper umbrella is the most beautiful she has a nice name called Lady.

4. You are the woman playing the lute in the teahouse, wearing a cheongsam and exuding rosemary.

5. Curvaceous cheongsam

6. Showy cheongsam

7. Exquisite cheongsam

8. Elegant cheongsam

9. Gorgeous cheongsam

10. Wisteria flower閞, I wish to wish you years of yearning in a plain cheongsam.

The cheongsam, as the world's most influential and widely spread Chinese traditional clothing, is one of the masterpieces of China's splendid traditional dress, although its definition and the time of its emergence are still controversial, but it is still one of the most splendid phenomena and forms of China's long history of dress culture. The cheongsam is the most common women's clothing after the 1920s of the Republic of China, and was determined as one of the national dresses by the Republic of China *** in 1929. After 1949, the cheongsam was gradually neglected on the mainland, and was destroyed in large quantities especially during the Cultural Revolution when it was regarded as a symbol of feudalism and cultivation, and it was revived on the mainland after the 80s with the renewed emphasis on the traditional culture, as well as the influences of the film and television beauty pageants, etc., and its influence spreads to all over the world.

Baidu some, you see:

Republic of China women's dresses from literature

When Shanghai became the fastest, nostalgia but also became a kind of fashion. Photographer Ma Yuanhao is a man of heart, and in the course of his travels around the city, he collected a lot of women's costumes from the late Qing Dynasty and the early Republic of China. This book, "The Passing Skirts" (by Ma Yuanhao and Dai Yunyun, Shanghai Pictorial Publishing House, July 2002 edition), is a collection of his collections and photographs. Dai Yunyun's text, on the other hand, provides a more comprehensive description of the development of Chinese women's dress. However, the models in the photographs, dressed in old-fashioned costumes, always give one a vague sense of out-of-place awkwardness. Ma Yuanhao himself has this feeling: "Contemporary women are living in a time of equality between men and women, they are lively and cheerful, and they cannot express the sorrow, vicissitudes, and subtlety of the women of one or two centuries ago. After all, the times are different, and so is the ambience."

How exactly did the women of the Republic dress? Of course, yellowed and brittle old photos and clothes with a musty smell that exist in the lower layers of boxes can provide some reference. In addition, there is another way, that is, the depiction of clothing in literature can also tell us a lot of real information.

In The Riptide Trilogy, Bazin wrote about the lives, sufferings, and struggles of young Chinese people in feudal and authoritarian families after the May Fourth Movement. In the book, he did not write much about the dress of each woman, but it is very representative: Hui "wore a short jacket of piped jade-colored lake crepe, tied with a pink skirt". This was the attire of the great ladies after the May Fourth Movement. Wan Er "wore a jade-colored lake-crepe short jacket with short sleeves and large cuffs, tied with a pleated skirt of pink lake-crepe". Feng Leshan gave Wan Er a fashionable short jacket with bell sleeves, originally to give himself face. This outfit shows Wan Er's status as a concubine.

After May 4, the Han Chinese town women were still used to wearing jackets and skirts underneath, and the narrow-sleeved long jacket gradually transitioned to the short jacket with flared sleeves. At this time, only the cheongsams wore cheongsams. In Home, Spring, and Autumn, it is impossible to find women wearing cheongsams.

Eileen Chang was famous for her attention to clothing, and she naturally made elaborate designs for the costumes of the heroines in her works. Cao Qiqiao in The Book of Golden Locks was originally the daughter of a hemp oil store, and after marrying into a large family, she followed the trend in her clothing in order not to be despised.

She was "wearing a silver and red shirt, white threads and rolls, snow green and blue Ruyi small pants".

After the 1911 Revolution, there was a feminist movement. Influenced by the idea of "equality between men and women", the top and bottom pants became the fashionable attire for women. Only in the formal occasions, good women still have to tie the skirt.

More than twenty years later, Cao Qixiao's daughter, Chang'an, has grown into a big girl, but she is still in the boudoir. When someone introduced her to someone, she "changed into an apple-green georgette cheongsam with a high collar, ruffled sleeves, and a semi-western pleated skirt below the waist.

The cheongsam on top and the pleated skirt on the bottom are the result of the fusion of Manchu and Chinese women's clothing styles. And high collars and ruffled sleeves were the fashion of the day.

Mrs. Tao in Zhang Henshui's The Marriage of Cries and Laughter is a modern Republican woman. She "wore a silver-gray silk tunic, had to flush the knees, along the tunic around the edges of the wide peach-colored braids, braids, there are picking the blue flowers, and shiny rhinestones, she bare a neck, hung with a pair of beads ring, in the pure nature of the rich and beautiful to show.

The above description of the clothing of these literary characters gives us a general understanding of the Republic of China women's clothing.

A woman's dress, from a broad perspective, reflects the political situation, economic climate, moral concepts and customs of life, and from a small perspective, it reflects "her" identity, status, temperament and taste. This is the same for any era.

This post also showchina/zgwhxl/zgctfs/200703/t109532 quite a few:

Minimum 0.27 yuan / day to open the Baidu library members, you can view the full content of the library & gt; Original publisher: Dumi library describes the beauty of the woman's cheongsam poem a: describe women's The cheongsam beauty of the verse impression of the cheongsam always appeared in the March of Jiangnan, the woman of Jiangnan, wearing a silk cheongsam, holding an oil-paper umbrella, walking in the whitewashed alleys, there is a rain, silk thinly scattered, hazy lingering in the fragrance of zidane and the unnamed dark fragrance ...... has always loved the cheongsam text; the ancient city Xinya Reverie in the paved green stone plate Jiangnan alleys, dark gray sky, fine rain, women holding silk bamboo poles of broken umbrellas, with a high collar green and white bottom, from the shoulder to the hem diagonally spread a string of pink roses cheongsam swaying ...... step is a touch of lilac-colored poetic sadness, and even the surrounding air, also filled with the fragile year-old The air around them is filled with the fragility of youth.

But I know, not just any kind of woman, are able to wear a cheongsam style, not all places are suitable for the appearance of cheongsam, that paragraph noble from us is very close, and seems to be very far. So, for many years only in the imagination to caress the cold fragrance of the cheongsam, separated from the distance taste and fascinated by the cheongsam to talk about the charming.

In the spring of this year, due to watch Yu Dan's talk show on TV, listening to Yu Dan talk about the cheongsam, suddenly had the impulse to dream, and sought Yu Dan design and handmade cheongsam masters for me to tailor a modified cheongsam, and began to dream of becoming a glimpse of the past image of the very best people. Spring to summer, a few fittings.

Fat, thin, long front pendulum, after the body folded, it is difficult to break the master's craftsmanship, the kind of gorgeous, leisurely, classical, gentle rhyme all over the search for me through the body is not permeable to the flavor of the sheer ...... just, the cheongsam original her unique and lonely character, and she is also picking people! Cooking crane burning qin, let that Jiangnan rain, with a smoky purple tone, complex flower-colored cheongsam, wrist wear a string of newly picked jasmine, fragrance in the gait gently, all the way to idle far away from the woman, in the history of the incense, to dream of.

Brocade cheongsam poetry, Man Yu when the flower.

Bajin wrote about the life, pain and struggle of Chinese youth in a feudal and authoritarian family after the May Fourth Movement in his Riptide Trilogy. In the book, he did not write much about the clothing of the women, but it is very representative: Hui "wore a short jacket of jade-colored lake crepe with piping, tied with a pink skirt".

This was the attire of the great ladies after May 4th. Wan Er "wore a jade-colored lake crepe rolled wide edge short sleeves, cuffs large short jacket, tied a pink lake crepe pleated skirt".

Feng Leshan to Wan Er trumpet sleeve fashionable short jacket, the original is to give himself face. The dress indicated Wan Er's status as a concubine.

After the May 4th, Han Chinese townspeople were still used to wearing jackets and skirts, and the narrow-sleeved long jacket gradually transitioned to the short jacket with flared sleeves. At this time, only the flag people wear cheongsam.

In Home, Spring, and Autumn, there are no women wearing cheongsams. Eileen Chang was famous for her attention to clothing, and she naturally made elaborate designs for the costumes of the heroines in her works.

Cao Qixiao in The Book of Golden Locks was originally the daughter of a hemp oil store, and after marrying into a large family, she followed the fashion trend in her clothing so as not to be looked down upon. She "was wearing a silver and red shirt, onion and white line rolled, snow green and blue Ruyi small foot pants".

After the 1911 Revolution, there was a feminist movement. Influenced by the idea of "equality between men and women", the top and bottom of the pants became the fashionable attire for women.

It was only on formal occasions that women had to wear skirts. More than twenty years later, Cao Qixiao's daughter, Chang'an, has grown into a big girl, but she is still in the boudoir.

When she was introduced to someone, she "changed into an apple-green georgette cheongsam with a high collar, ruffled sleeves, and a semi-western pleated skirt below the waist". Above the cheongsam, below the pleated skirt, which is the result of the intermingling of Manchu and Chinese women's clothing styles.

And the high collar and ruffled sleeves were the fashion of the time. Mrs. Tao in Zhang Henshui's The Marriage of Cries and Laughter is a modern Republican woman.

She "wore a silver-gray silk tunic, had to flatten the knee, along the tunic around the edges of the wide peach-colored braids, braids in the middle of the pick of the blue flowers, and bright rhinestones, she bare a neck, hanging a pair of beads ring, in the pure nature of the rich and beautiful to show.