What is the development history of Hanfu in the Tang Dynasty?

There are many reasons for the colorful Tang costumes. First of all, it laid the foundation in the Sui Dynasty. The reign of the Sui Dynasty became shorter, but the silk industry made rapid progress. It is recorded in the literature that Emperor Yang Di of Sui Dynasty "crowned the treacherous court official". Not only did he make his ministers wear gorgeous clothes, but even when he went to the canal, the ropes of the big ship were made of silk. Trees on both sides of the river decorate their willows with green silk and tie their flowers with colorful silk, which is enough to see the amazing silk production. In the Tang Dynasty, silk products were produced all over the country, and the output and quality were higher than those of the previous generation, thus providing a solid material foundation for the novelty and richness of costumes in the Tang Dynasty. In addition, we have extensive contacts with people of all nationalities in various countries, and adopted an inclusive attitude towards cultures of all countries, so that they can be integrated with their own costumes, thus being able to launch countless novel and wonderful crown clothes.

There are a lot of paintings depicting the Buddhist world in Dunhuang murals, including many images of flying immortals and heaven and man, which are very wonderful. If we look at the costumes of the Tang Dynasty, the most prosperous culture in China's history, we will find that they are very similar to those of Zhongtian people in murals. In fact, when the ancients respected morality and kept the Tao, worshiped God and believed in Buddhism, some real images in the universe would be intentionally revealed to people by God. Everything beautiful and sacred is the standard that people pursue and imitate. It can be seen that clothing itself is a part of culture, with profound connotation behind it. In fact, the universe will bring all the beautiful things to the person who emphasized virtue and kindness in the dynasty, including culture and beautiful clothes. Here we make a brief introduction to some costumes in the Tang Dynasty, hoping that these truly beautiful costumes can arouse people's thinking. Is the life of the ancients really not as good as ours today? Regular clothing: 1. Dressing with gauze sleeves: it belongs to conventional clothing. Its hair is combed with a unique hairstyle in the Tang Dynasty, with "high walls" and large flowers, decorated with flower pins, swaying when walking, and the beauty of moths is full of dots. It is wearing an open collar, big sleeves and bright clothes, a long skirt, a big ribbon, a knot and a pair of high-top shoes. In the Tang Dynasty, as a foreign costume, it was very popular among nobles and ladies. Second, the Tang Dynasty ladies' half-sleeved shirt system: it is a unique fashion in the Tang Dynasty. It was originally worn as a banquet, and later it was worn as a uniform for court concubines and celebrities. Third, the Tang ladies' banquet dress: the upper body is a tube top, covered with gauze and colorful clothes, and the lower part is a long skirt with a waist and chest, which is narrow at the top and wide at the bottom, with a small band at the end. It is a banquet dress, but the comb is high and flowers are worn, so the dress can also be used as a foreign dress. After reading these costumes, some people may feel that it seems that the costumes at that time were also very open! In fact, in a moral society, people's behaviors are correspondingly very standardized. In the history of China, it has always been said that men and women are different. Men have men's codes of conduct, and women have women's moral codes. It is said that men and women are in charge of the house, usually at home, going out by car, and even family dinners and parties are all men and women seated in the right place. In this way, there is nothing wrong with these clothes as household clothes. It is conceivable that Tang Nv dressed in this way is actually very beautiful, and her life is not as mechanical and stressful as that of modern women. Perhaps many women are worried that they will suffer indignities in the relationship between men and women. In fact, these concerns are not artificially solved. I hope these beautiful costumes can arouse the arrogant and kind nature of modern women, so as to enjoy the beauty, dignity and peace of women. Most of the Tang costumes mentioned now refer to the Chinese costumes of overseas Chinese in Chinatown, which generally evolved from the Qing Dynasty. Since the Sui Dynasty entered the Tang Dynasty, ancient Chinese costumes have reached their peak. Political stability, economic development, progress in production and textile technology, and frequent foreign exchanges have promoted the unprecedented prosperity of clothing, as well as the styles, colors and patterns of clothing. Present an unprecedented new situation. Women's clothing in this period can be described as the most wonderful chapter in China's clothing, with rich and gorgeous crown clothing and strange and complicated makeup, which is dizzying. The image of women's clothing in the Tang Dynasty for more than 200 years can be mainly divided into three kinds of clothing: skirt clothing, men's clothing and Hu clothing. With the help of ancient books, poems and paintings, talk about them respectively. 1. Dress Dress Dress Dress Dress refers to the traditional dress that women in Tang Dynasty wore short skirts or shirts, long skirts, silk and half arms (short sleeves). Under the influence of foreign costumes, Tang Nv's dress retained its original shape, so it became the most exciting and moving accessory costume in the Tang Dynasty and even in the whole history of China. Land, usually only grows to the waist, very short, which is the characteristic of women's wear in Tang Dynasty. Shirts like this one grow to the hips or longer. Tang Nv's coats, shirts, etc. are the uniforms of all classes. Yuan Zhen's poem "Lotus Silk Shirt and Lotus Silk Skirt", Zhang You's poem "Where to Take Yuanyang Embroidery, Who Will Pay for Peacock Sweater", and Ouyang Jiong's poem "Young girls with red sleeves attract each other". Judging from these poems, it is very common for women in the Tang Dynasty to wear clothes and shirts, and they like red, light red or light ochre, light green and other colors, and the appearance is even more beautiful with the gold and silver embroidery of "Luoshan embroidered leaves and Jinfeng embroidered geese". The neckline of a swallow often changes. The neckline types of a swallow shirt include round neck, square collar, straight collar, chicken heart collar and so on. In the prosperous Tang Dynasty, there was a kind of naked collar, that is, the neckline was very low, which was popular only among court concubines and kabuki actors in the early days, and later even rich girls were favored. Judging from the stone carvings at the tomb entrance in the Tang Dynasty and a large number of ceramic female figurines, bare collars became popular and probably spread all over Lebanon, so there were quite a few bare-collar female images in the artistic images at that time. Skirts, women in the Tang Dynasty all wore skirts. This was a form of petticoat that women attached great importance to at that time. Skirt fabrics are mostly silk fabrics, but there are many differences in materials, usually one more piece is better. The waist of the skirt can be raised, and some can cover the chest. The upper body only wore a tube top and a tulle shirt, which made the upper body skin faintly exposed. For example, Zhou Fang's Picture of a Lady, Zhou Juan's poem and painting "A Dress with a Half-revealing Chest" all depict this kind of dress, which is the boldest among the ancient women's dresses in China, enough to imagine the degree of openness at that time.

The material, color and style of skirts in the Tang Dynasty are much higher than the previous generation, which can be described as gorgeous and colorful. For example, there are many skirt styles involved in Tang poetry, such as "Fairy first wears a blue skirt", "Lotus leaf skirt with the same color", "Two-person hidden flower skirt", "Bamboo leaf skirt", "Blue gauze skirt" and "New neon moonlit skirt". The skirts in the Tang Dynasty are colorful and can be compared with people, mostly crimson, apricot, crimson, moon green and turquoise. Among them, pomegranate color has the longest popularity. Li Baiyou "deceives willow leaves with eyebrows and envies pomegranate flowers with skirts." Wan Chu has "Mei Dai wins the color of day lily, and the red skirt envies pomegranate flowers." Its popularity can be seen from the "Yanjing May Song", "Pomegranate flowers are burned all over the street, and the branches are all falling, and thousands of households can't buy them, leaving their daughters in red skirts." The biggest feature of pomegranate skirt is that the skirt is high and the coat is short, and the width and length of the two are in sharp contrast. The "Tang suit" of this dress is the inheritance, development and perfection of the previous generation of clothing. From the overall effect, the coat is short, the skirt is long, and it looks slim and slender. Secondly, it is a rare phenomenon that women wear men's clothes in China's long-term feudal society. The Book of Rites once stipulated that "men and women can't wear clothes." Although it is impossible to be so absolute in fact, it is often considered immoral for women to wear men's clothes. Before the Tang Dynasty, although there was a slight difference between men and women in clothing styles during the Han and Wei Dynasties, it did not belong to women wearing men's clothing. Only in the Tang Dynasty, when the atmosphere was very relaxed, could women wear men's clothes. Even so, part of the reason is due to the influence of nomadic people. At that time, most of the foreign costumes that influenced the Central Plains were the costumes of direct ethnic groups. Those rugged body frames, heroic costumes and vigorous war horses have had a penetrating influence on Tang Nv's dress consciousness, and at the same time created an atmosphere suitable for women to wear men's clothes. According to the Records of the Old Tang Dynasty, "I may have my husband's clothes, boots and shirts, but I always respect the inside and the outside", which has clearly recorded the scene of women wearing men's clothes. "New Tang Book Five Elements" records that "Emperor Gaozong tasted the banquet, Princess Taiping wore a purple shirt and jade belt, and the soap was folded with a towel, holding seven objects and singing and dancing in front of the emperor. The emperor and queen smiled and said,' Women can't be military officers. "Why are you dressed like this?" "Although Princess Taiping acted a little coquettish this time, it also shows that there has been a trend of women wearing men's clothes in the early Tang Dynasty. Especially in the Kaiyuan and Tianbao years of the Tang Dynasty, the fashion of women wearing men's clothes was popular. "China's Notes on Ancient and Modern Times" records that "by the middle of Tianbao, the scholar's wife wore her husband's boots, shirt and whip cap, which were integrated inside and outside." "New Tang Book Li Shichuan" Note: "I heard that there are golden birds in the forbidden area, and Xuanzong is fortunate in hot springs and Yang Guifei's clothes." It can be seen that it was quite common for women to imitate men's wear at that time. Third, from the early Tang Dynasty to the prosperous Tang Dynasty, the northern nomadic tribes Xiongnu, Qidan and Uighur contacted the Central Plains many times, and camel caravans on the Silk Road came in an endless stream, which had a great influence on the costumes of the Tang Dynasty. The so-called conference semifinals are derogatory terms for the northern nationalities by the Han people. We are here to tell the history and keep the title at that time. The culture that came with the Hu people, especially the national costume of Khufu, which contains many national elements such as India and Persia, made women in the Tang Dynasty feel refreshed. As a result, a gust of wind swept the cities in the Central Plains, especially Chang 'an and Luoyang, and their ornaments were the most peculiar. Yuan Zhen's poem: "Since Hu rode the smoke and dust, it has been full of stench. Women have studied Hu makeup and have been engaged in Hu Wei ... Hu Yin Hu rode and Hu makeup for fifty years." Tang Xuanzong loved Hu Dance and Hu Le, and Yang Guifei and An Lushan were experts in Hu Dance. Bai Juyi's Song of Eternal Sorrow is a kind of Hu dance. In addition, Huntuo Dance, Dead Branch Dance and Hu Xuan Dance also have great influence on Han music, dance, costumes and other artistic categories. You can also imagine the exciting scene of "all male and female servants study in one group" at that time. Yao Runeng's "An Lushan Deeds" records that "at the beginning of Tianbao, expensive tourists wore Hu Mao, while women swayed and the clothes were narrow." The image of women wearing khufu can be found in stone carvings, line drawings and other historical sites. A typical example is wearing a mud hat, tight lapel robes with narrow sleeves, trousers and boots. "Yu Fu Zhi" said that "there was a man wearing clothes after Zhongzong, and his boots were like Xi and Qidan's clothes". Fourth, the crown service system 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 the traditional costumes of the Han nationality at the big sacrificial ceremony. 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 east wall of Princess Yongtai's tomb, there is an image of a woman in the Tang Dynasty, with a high bun, shirtless, HongLing shoulders, a yellow short-sleeved blouse, a long green dress sweeping the floor, and a red belt hanging from her waist, which gives a more vivid understanding of "powder chest is half hidden and dark snow is suspected" and "wearing fine grass when sitting, that is, sweeping plum blossoms with a skirt". 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.

Six products adopt yellow (lemon yellow) double-sided (geometric pattern) twill, and the belt adopts rhinoceros hook. Seven products are green tortoiseshell, double giant and ten flowers (all geometric patterns) twill, the belt is mixed with silver ring (ring buckle) and nine products with blue silk twill, and the belt is hooked with jade. During the Li Shimin period of Emperor Taizong (627-649 AD), the four directions were peaceful and the country was prosperous. He put forward the idea of restraining martial arts, advocating civil administration, giving ministers a title of virtue, and making more detailed regulations on the color of official uniforms. According to the New Tang Book, the gowns with more than three items are purple, with gold belts and thirteen pieces (belts with suspenders on them are also used for decoration). Four robes deep and eleven gold belts. Five robes are shallow and ten gold belts. Six robes are dark green with nine silver edges. Seven robes are light blue, and the silver belt is nine. Eight robes are dark blue, nine robes are light blue, and jade has eight rings. Outgoing officials and Shu Ren are all dressed in yellow, with seven belts of copper and iron (in the first year of the General Chapter, outgoing officials and Shu Ren were forbidden to wear yellow, as mentioned above). In the second year of Longshuo in Tang Gaozong (AD 662), it was changed to green for fear of dark blue and purple (indigo was dyed many times in ancient times, so it was afraid of being mixed with purple). From the Spring and Autumn Period (reign from 685 BC to 643 BC) when Qi Huangong wore purple robes, the color pattern of clothes with purple as the top grade was determined, and it remained until the Song and Yuan Dynasties. It was not until the Ming Dynasty that it was changed to big red. The Book of the New Tang Dynasty, Che Fuzhi, records the fancy of the official uniforms of civil servants, including the long ribbon of the phoenix, the ganoderma lucidum of the crane, the Cao Rui of the magpie, the prestige of the goose, the flower of the handsome stork, and the rehmannia. In fact, the clothing color system stipulated by the Tang government cannot be fully implemented in real life. In May of the fifth year of Xianheng (that is, the first year of Shangyuan, AD 674), a ban was issued because officials and outsiders wore robes and jackets of Zhu, Zi, Qing and Green, or publicly wore robes and jackets of these colors in the countryside. According to the design and color of military attache's clothing in Tang Dynasty, there are more than three kinds of martial arts, the left and right martial arts guards are decorated with tigers, the left and right leopard towers are decorated with leopards, the left and right eagles are decorated with eagles, the left and right jade bells are decorated with storks, and the left and right martial arts guards are juxtaposed. Kings are decorated with dragons and deer, prime ministers with phoenix ponds, and ministers with geese. After that, it is stipulated that Wei Wei is a bull, a tiger, an eagle, a leopard, a leader, Bai Ze, an evil ghost, and a doorman, a lion. In the sixth year of Tang Taihe, he promised to wear more than three kinds of clothes, such as Swiss grass stork, ribbon goose and silk-padded peacock. This decoration is embroidered. According to the clothing style of the Tang Dynasty, it should be embroidered on the chest back or rotator cuff. By the Tang Dynasty, all people were riding on the battlefield with vests but no vests. Infantry armored forces account for 60% of the infantry. There are 13 kinds of Tang Jia recorded in Six Classics of Tang Dynasty, which are bright armor, light armor, fine scale, mountain armor, black hammer armor, white cloth armor, soap silk armor, cloth back armor, infantry armor, leather armor, wooden armor and chain mail. Chain mail is the ring chain armor mentioned in Cao Zhi's table. "Biography of Lv Guang in the Book of Jin" records that when Lv Guang attacked Qiuci, the former Qin Dynasty saw the troops of the western regions tied up in chains, which was impenetrable. During the Sui and Tang Dynasties, Guo Kang paid tribute to the Central Plains court. In the Tang Dynasty, this armor was divided into three types: large, medium and small, and distributed to soldiers according to their height. The armory order in the Six Codes of Tang Dynasty recorded the types of bow, knife and armor, while the shield was renamed Peng brand, including rattan brand, regiment brand, lacquer brand, wooden brand, wooden brand and leather brand. I noticed that rattan, ball, lacquer and wood are all ancient. V. Big Sleeves in the Tang Dynasty It was also popular for women to wear "Khufu" in the Tang Dynasty. "Khufu" is the costume of western people. The form of the belt is also deeply influenced by Khufu. Before this, people's waist ornaments were made of gold, silver, copper and iron. At this time, "water belt" with gold ornaments was popular, and the belt for tying things was short and small. This kind of belt was the most popular in the Tang Dynasty and lasted until the Northern Song Dynasty. After the prosperous Tang Dynasty, the influence of Khufu gradually weakened, and the styles of women's clothes became wider and wider. In the middle and late Tang Dynasty, this feature was more obvious. Generally speaking, women's sleeves are often more than four feet wide. In the middle and late Tang Dynasty, aristocratic dresses were usually worn on important occasions. Wearing this kind of clothes, there are golden flowers in the hair, so it is also called "women's gift clothes". After Tang Gaozong, purple is the representative color of military officials; Light scarlet is the color of five official uniforms, dark green is the color of six official uniforms, light green is the color of seven official uniforms, dark blue is the color of eight official uniforms, light blue is the color of nine official uniforms, and yellow is the color of outsiders and ordinary people. Tang suit also has a great influence on neighboring countries. For example, Japan Heshun absorbed the essence of Tang costume to a great extent in color, and Korean costume also inherited the advantages of Tang costume in form. The lines of the Tang suit are long and soft, which is very beautiful and comfortable. The material used is mainly silk, so its clothes are famous for their softness and softness. The Tang costume itself is varied and varied. It boldly absorbs the characteristics of foreign costumes from appearance to decoration, and draws lessons from foreign costumes in Central Asia, India, Iran, Persia, North China and the Western Regions, enriching the costume culture of the Tang Dynasty, making it colorful and unique, and becoming a wonderful work in China's historical costumes, attracting worldwide attention. 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. 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. 6. Summarizing the costumes of the Tang Dynasty, especially women's costumes, was not only admired by people at that time, but even people are excited to see the costumes of the Tang Dynasty today. There is no affectation, no posturing and reserve. What is displayed in front of people is a vibrant, exciting and fascinating dress. Its color is not rich and colorful, all kinds of bright colors compete with each other, unwilling to let go of loneliness, and the mixture of gold and silver is even more dazzling. Its decorative patterns, all birds and animals in pairs, are full of flowers, auspicious light and full of vitality, which is really a great landscape in the prosperous Tang Dynasty.