Documents about Tang Dynasty costumes

From the Sui Dynasty to the Tang Dynasty, ancient Chinese clothing developed into its heyday. Political stability, economic development, progress in production and textile technology, and frequent foreign exchanges led to unprecedented prosperity in clothing styles, colors, and patterns. etc. have presented an unprecedented new situation, and the women's clothing of this period can be said to be the most exciting chapter in Chinese clothing. The rich and gorgeous crowns and costumes, and the bizarre and complicated decorations are all dazzling. The image of women's clothing in the Tang Dynasty for more than 200 years can be mainly divided into three types of supporting clothing: skirt clothing, men's clothing, and Hu clothing. The following is described in detail with the help of ancient books, poems and paintings.

[Edit this paragraph] 1. Ru skirt clothing

Ru skirt clothing refers to women in the Tang Dynasty wearing short jackets or shirts, long skirts, silk shawls, and half arms. (i.e. short-sleeved) traditional attire. Under the influence of foreign clothing, women's skirts in the Tang Dynasty retained their original shape while retaining their own characteristics. As a result, the skirts became the most exciting and touching outfit in the Tang Dynasty and even in the entire Chinese clothing history. The undershirt usually only reaches the waist and is very short, which is a characteristic of women's clothing in the Tang Dynasty. Similar shirts reach to the hips or longer. Tang women's jackets, shirts and other tops were common clothes for all classes. Yuan Zhen's poem "Lotus root silk shirt and lotus root silk skirt", Zhang You's poem "Where the mandarin duck embroidered belt is thrown, the peacock Luo shirt is thrown to that", Ouyang Jiong's poem "The red-sleeved girl attracts each other". Judging from these verses, it is very common for women in the Tang Dynasty to wear undershirts and shirts, and they like red, light red or light ocher, light green and other colors, plus the gold and silver colors of "the leaves of the shirt are heavily embroidered, and there are clusters of golden phoenixes and silver geese" Embroidered as decoration, the appearance is even more beautiful. The collars of undershirts often change. The collar types of undershirts include: round collar, square collar, straight collar and sweetheart collar. In the prosperous Tang Dynasty, bare collars were worn, that is, the collars were opened very low. In the early days, they were only popular among court concubines and kabuki actors. Later, they were also favored by wealthy ladies. Judging from the stone carvings on the gates of Tang tombs and a large number of ceramic female figurines, , the popularity of bare collars may have spread throughout the common people, so there were quite a lot of images of women wearing bare collars in the artistic images at that time. Skirt, a skirt worn by women in the Tang Dynasty. This was a form of lower garment that women at that time attached great importance to. Most skirt fabrics are silk fabrics, but the materials used vary, and usually multiple pieces are better. The waistband of the skirt is raised to a height, and some can cover the breasts. The lower body is only worn with a tube top and a gauze top, so that the skin of the upper body is faintly exposed. Such attire is depicted in poems and paintings such as Zhou Fang's "Picture of a Lady with Hairpin Flowers" and Zhou Xin's "Usually wearing a Luo shirt with half of her breasts exposed". This is the most daring type of women's clothing in ancient China, which is enough to imagine the open-minded people at that time. degree. The materials, colors and styles of skirts in the Tang Dynasty were much better than those of the previous dynasties. They were so beautiful and colorful. For example, many skirt styles mentioned in Tang poems include: "The Immortal first wore a Cuixia skirt", "Lotus leaf skirt cut in one color", "Two people lift up the hidden flower skirt", "Bamboo leaf skirt", "Blue gauze skirt" ", "New neon moonlight skirt", etc. The colors of skirts in the Tang Dynasty can be as varied as one wants, mostly deep red, apricot, purple, moon-green, and turquoise. Among them, pomegranate color has been popular for the longest time. Li Bai has "eyebrows bullying willow leaves, skirts jealous of pomegranate flowers." Wan Chuwu has "eyebrows with black eyebrows capture the color of day lilies, red skirts jealous of pomegranate flowers." Its wide range of popularity can be seen from "Yanjing May Song" , "The pomegranate flowers are blooming in the streets and are about to burn, and the branches and branches are all falling into the clouds. Thousands of households can't buy them all, and the only thing left is to dye the daughter's red skirt." The biggest feature of the pomegranate skirt is that the skirt is high and covered with a short jacket. The width, narrowness and length of the two are in sharp contrast. This kind of "Tang suit" with a top and a skirt is the inheritance, development and improvement of the previous generation's clothing. From the overall effect, the top is short and the skirt is long and touches the floor, making the body look slim and slender.

[Edit this paragraph] 2. Women wearing men’s clothing

Women wearing men’s clothing is a relatively rare phenomenon in China’s long-term feudal society. "Book of Rites, Nei Principles" once stipulated that "men and women should not wear the same clothes." Although in fact it is impossible to be so absolute, women wearing men's clothing are often considered to be unruly women. Before the Tang Dynasty, although there was a small difference in clothing styles between men and women during the Han and Wei dynasties, this did not belong to the category of women wearing men's clothing. Only in the Tang Dynasty, when the atmosphere was very relaxed, could women wearing men's clothing become a common practice. Even so, some of the causes should be considered. Attributed to the influence of nomadic peoples. At that time, most of the foreign costumes that affected the Central Plains were the costumes of the Ma ethnic group. Those rugged bodies, heroic attire, and vigorous horses had a penetrating influence on Tang women's dressing consciousness, and at the same time created an atmosphere suitable for women to wear men's clothing. "Old Book of the Tang Dynasty - Yu Fu Zhi" records that "someone may have her husband's clothes, boots, and shirt, but the dignity and inferiority of the inner and outer are consistent." It has clearly recorded the scene of women wearing men's clothing. "New Tang Book Five Elements Chronicles" records, "Gaozong had an internal banquet. Princess Taiping wore a violet jade belt and Zao Luo folded her scarf. She performed seven different things and sang and danced in front of the emperor.

The emperor and the queen laughed. He said, 'Women cannot be military officers, so why are they dressed like this? '" Although Princess Taiping's behavior was a bit coquettish, it also showed that in the early Tang Dynasty, there was already a tendency for women to dress in men's clothing. The trend of women wearing men's clothing was especially popular during the Kaiyuan and Tianbao years of the Tang Dynasty. "Zhonghua Ancient and Modern Notes" records, "In the Tianbao year, the wife of a scholar wore her husband's boots, shirt, whip and hat, and the inside and outside were integrated." "New Tang Book Li Shizhuan" records, "I heard that there are two golden birds and brocade robes in the ban. In the past, Xuanzong was lucky enough to wear the clothes of Concubine Yang. "It can be seen that it was quite common for women to imitate men's clothes and wear men's clothes at that time.

[Edit this paragraph] 3. Hu Fu

From the early Tang Dynasty to the prosperous Tang Dynasty, the northern nomadic Xiongnu, Khitan, and Uighurs had many contacts with the Central Plains. In addition, camels along the Silk Road The constant flow of caravans had a great influence on the costumes of the Tang Dynasty.

The so-called Hu people are a derogatory term used by the Han people for the northern peoples. When we talk about history here, we have the right to retain the name at that time. The culture that came with the Hu people, especially the Hu clothing, which included elements of many ethnic groups such as India and Persia, was refreshing to women in the Tang Dynasty. As a result, a whirlwind of Hufu fever swept through cities in the Central Plains, especially Chang'an and Luoyang, where the ornaments were the most exotic. Yuan Zhen's poem: "Since the smoke and dust of Hu Qi, the smell of hair and smell has spread all over the land, women have learned from Hu Zhuang from Hu's wife, and their skills have entered Hu Yin and served Hu music... Hu Yin, Hu Qi and Hu Zhuang have been together for fifty years. "Hu dance and Hu music were loved by Emperor Xuanzong of the Tang Dynasty. Yang Guifei and An Lushan were both experts in Hu dance. The "Nancy Clothes and Feather Dress Dance" in Bai Juyi's "Song of Everlasting Sorrow" is a type of Hu dance. There are also Huntuo dance, dry branch dance, Hu Xuan dance, etc., which have a great influence on Han music, dance, costumes and other art categories. It is also conceivable to imagine the exciting scene recorded at that time when "all the concubines and concubines learned how to play in a group". Yao Runeng's "The Deeds of Anlu Mountain" records, "In the early days of Tianbao, the nobles, tourists, and common people were well-dressed in beards and hats, while women wore hairpins and swung their hair when walking, and the clothes were made with narrow sleeves." The image of women wearing Hufu may be seen in stone carvings and other historic sites. . A typical person wears a hat, a narrow-sleeved, tight-fitting lapel robe, trousers, and high-waisted boots. "Yu Fu Zhi" says, "After Zhongzong, there were men wearing clothes and boots like Xi and Khitan clothes" which should be this kind of attire.

[Edit this paragraph] 4. Crown Service System

The Tang Dynasty was an era of highly developed politics and economy in our country, and a prosperous culture and art. It was an era of splendid feudal culture. The Tang Dynasty unified the chaotic and divided states of the Wei, Jin, Southern and Northern Dynasties and the Sui Dynasty, and established a unified and powerful country with developed foreign trade and great development of productivity. The country was peaceful and the people were safe for a long time. Especially when the prosperous Tang Dynasty became the center for economic and cultural exchanges among various ethnic groups in Asia, it was the most glorious page in the cultural history of our country. During this period, Indian and Iranian culture was absorbed and integrated into Chinese culture, which is fully reflected in murals, stone carvings, sculptures, calligraphy, paintings, silk embroidery, pottery figurines and costumes.

By the Sui and Tang Dynasties, the most obvious feature of Chinese clothing was the dual-track system. In large sacrificial scenes, traditional Han clothes are worn. In normal times, the common clothing in the Tang Dynasty was the Hufu (i.e. Xianbei clothing) system.

In the Tang Dynasty, the country was unified, the economy was prosperous, the style was more open, and the costumes became more and more gorgeous. The characteristic of women's clothing in the Tang Dynasty is the unity of skirt, shirt and belt. Among women, the image of bare breasts and arms appeared. On the mural on the east wall of the tomb of Princess Yongtai, there is an image of a Tang Dynasty woman with a high bun, exposed breasts, a red silk draped over her shoulders, a yellow narrow-sleeved blouse, a green floor-length skirt, and a red belt hanging from her waist, thus reflecting the " The pink breasts are half hidden by doubts and snow", and "when I sit, my belt lingers in the grass, when I walk, my skirt sweeps away plum blossoms", which gives me a more vivid understanding.

Not everyone can do it with a slow-skirted skirt and half-revealed breasts. In the Tang Dynasty, only those with status could wear open-breasted shirts. Princess Yongtai could be half-naked, and singers could be half-nude to please the ruling class. However, women from common people were not allowed to be half-nude. At that time, the half-breasted skirts of the Tang Dynasty were somewhat similar to modern Western evening dresses, except that the shoulders and back were not allowed to be exposed.

The collars of women's clothing in the Tang Dynasty include round collars, square collars, oblique collars, straight collars and sweetheart collars. The characteristic of the long skirt is that the waist is tied higher, usually above the waist, and some are even tied under the armpits, giving people a pretty and slender look.

"The leaves of the Luo shirt are heavily embroidered, with a trace of gold, phoenix and silver goose each." "The eyebrows with black eyebrows capture the color of daylilies, and the red skirt kills the pomegranate flowers with jealousy." The skirts of the Tang Dynasty were colorful, with red, purple, yellow and green competing for beauty, with red skirts being the most beautiful ones. The popularity of red skirts on the street is not just for modern people. As early as the prosperous Tang Dynasty, dance skirts were already dyed with pomegranate flowers everywhere.

Perhaps influenced by the theory of yin and yang and the five elements, Concubine Yang likes yellow skirts the most, which is a symbol of status.

"Slowly girdled skirt with half exposed breasts" reflects the degree of open-mindedness of society at that time.

A social ideology formed on a certain economic basis. It is an important factor affecting social fashion and clothing. Clothing is a barometer of the sociopolitical climate. The Tang Dynasty was the heyday of China's feudal society, especially during the Zhenguan and Kaiyuan years, when the political climate was relaxed and people lived and worked in peace and contentment. Chang'an, the capital of the Tang Dynasty, was the center of politics, economy, and culture at that time, and it was also the center of cultural exchanges between the East and the West. In the ancient city of Xi'an, the sounds of the prosperous Tang Dynasty still seem to linger around the morning bells of the Wild Goose Pagoda, the smoke in the thatched cottage, the wind and snow in the Willows, the evening light on the Lishan Mountain, the cactus in the Huayue Mountains, and the stone carvings in the Forest of Steles. There were more than 300 countries that had friendly relations with the Tang government. The splendid Chinese culture has been spread to all over the world through them. To this day, some countries in East Asia still use costumes from the Tang Dynasty as formal dresses, which shows the long-lasting influence. Foreign friendly envoys gathered in Chang'an and spread the seeds of their culture across the eight hundred miles of Qinchuan. The Tang Dynasty's paintings, sculptures, music, dance and other arts all attracted foreign techniques and styles. The eclectic collection of exotic clothes made the costumes of the Tang Dynasty more colorful and dazzling.

Due to the open policy adopted by the Tang Dynasty, the costumes of the Western Regions and Tubo were eclectic, so "Hundred Hats" and "Shishizhuang" became popular. This is the third major change in the history of ancient Chinese clothing. What is different from the previous two major clothing changes is that this time the clothing exchange flows from north to south to east to west.

The system of crowns and uniforms is a symbol of the power hierarchy in feudal society. Confucianism, as the spiritual pillar of the ruling class in feudal society, regards adhering to the laws of the ancestors as the basis of loyalty and filial piety, and emphasizes that the system of uniforms and crowns must follow ancient laws, especially as a The sacrificial robes and court attire of the great ceremonial dress cannot deviate from the legacy of the previous kings, so they are called legal robes; they are very conservative and closed. The daily clothing of the palace is called regular clothes, which have the characteristics of the times. Li Yuan, the emperor of the Tang Dynasty (618 to 636 AD), promulgated a new law in the seventh year of Wude (624 AD), the famous "Wude Order", which included clothing laws and regulations, including fourteen for the emperor's clothing and three for the queen's clothing. , the crown prince's uniform is six, the princess's uniform is three, the ministers' uniform is twenty-two, the life wife's uniform is six. The content basically follows the old system of the Sui Dynasty. The emperor's 14 kinds of clothing are Daqiu Mian, Gun Mian, Yi Mian, Chun Mian, Yong Mian, Xuan Mian, Tongtian Crown, Zhenbu Crown, Wu Bian, Bianfu, Black Jieguo, White Shamao, plain scarf, white Qia. The six types of clothing worn by the crown prince include crown, crown, official uniform, black gauze hat, bean clothing, and plain turban. The 22 types of clothing worn by ministers include Gunmian, Yimian, Chuimian, Jiemian, Xuanmian, Pingmian, Juemian, Wubian, Bianfu, Jinxian crown, Yuanyou crown, Dharma crown (Xiezhi crown), Gaoshan crown (side note crown), Weimao crown (same system as Pi Bian), Qufei crown, plain turban, black Jie turban, Jie turban, plain turban and green turban, Gufu (court clothes), Congshengfu (public clothes) clothing), wedding clothes; the three types of clothing for the queen include coats, bows and hairpins; the three types of clothing for the crown prince include Zhai, bows and hairpins. The six types of clothing worn by married women include Zhai clothes, Dingchai wedding clothes, formal clothes, official clothes, half-sleeved skirts and flower hairpin wedding clothes. The matching methods of the above types of clothing, the wearers and the occasions for wearing them are all explained in detail in "Tangshu·Chefuzhi". The sacrificial attire for sacrificial ceremonies and the court attire for participating in major political activities (also known as formal attire) and the system are basically the same as those of the Sui Dynasty, but the form is more gorgeous and gorgeous than the Sui Dynasty. The official uniforms (also called provincial uniforms) worn on ordinary occasions and the daily attire of Yanju (also called Yanfu) have absorbed the Hu clothing that has been popular in China since the Southern and Northern Dynasties, especially the ethnic costumes of Xianbei in the northwest and Some elements of the national costumes of Central Asia combined with traditional Chinese costumes to create a new form of clothing with Tang Dynasty characteristics. Among them, crotchless robes, crotch, half-arms, blouses, and wide-mouthed trousers are all examples. The robe without the crotch is a straight train with slits on the left and right sides, also known as Si〓 (Yin Zhuan, Yiyuan) shirt. It can be matched with futou, leather belt, and long boots, and became the main form of clothing for men in the Tang Dynasty. The official uniforms of the Tang Dynasty developed the traditional form of ancient deep clothing. Welts were added to the collar, cuffs, and edges of the train. The front and back bodies of the clothes were cut straight, and a whole piece of cloth was connected horizontally to form a horizontal gusset at the lower edges of the front and rear plackets. , the waist is tightly tied with a leather belt, and the sleeves are divided into two types: straight sleeves and wide sleeves. The narrow and straight sleeves are called 〓yi. "Shiming" says that it "sleeves are straight and shaped like a ditch." This style allows for easy movement. The style with wide sleeves and large train can express a chic and luxurious style. It is called a round-neck shirt or robe, and can be worn by everyone from the emperor to the servants. The matching clothing style of futou, round collar, leather belt and long boots has been passed down to the Ming Dynasty.

After the implementation of Wude Ling in the Tang Dynasty, the crown uniform system was constantly modified and improved. It inherited the traditions of Zhou and Han Dynasties and formed a complete series in terms of clothing matching, clothing materials, and decorative colors. It also played a vital role in the crown uniforms of later generations. Had a profound impact.

Before the Tang Dynasty, yellow could be worn both up and down. For example, soldiers in the Sui Dynasty wore yellow. In the Tang Dynasty, red and yellow were believed to be similar to the color of the sun, and the sun was a symbol of the emperor's status. "There are no two suns in the sky, and there are no two kings in the country." Therefore, except for the emperor, subjects of red and yellow (ocher yellow) are not allowed to use it arbitrarily. Specify ocher as the color exclusive for the emperor's uniforms. In the early days of Li Zhi (AD 650-683), Emperor Gaozong of the Tang Dynasty, foreign officials and common people could wear ordinary yellow (such as lemon yellow with a cooler color). If mixed with ocher and yellow, officials and citizens are prohibited from wearing yellow. Yellow has been a symbol of the Emperor ever since.

Emperor Gaozu of the Tang Dynasty once stipulated that the uniforms of ministers should be made of purple Dake (big group flower) silk for princes to the third rank, and their belts should be made of jade belt hooks. The fifth grade and above are made of vermilion Xiaoke (small flower) silk, and the belt is made of grass gold hook. The sixth grade is made of yellow (lemon yellow) double-chain (geometric pattern) damask, and the belt is made of rhinoceros hook. The seventh grade is made of green tortoise shell, double giant, and ten flower (all geometric patterns) damask, and the belt is silver Kua (buckle). The ninth grade is made of cyan silk cloth and mixed damask, and the belt is made of jade stone hook. During the reign of Emperor Taizong Li Shimin of the Tang Dynasty (AD 627-649), the four sides were at peace and the country was prosperous. He proposed to practice martial arts and cultivate literature, advocated civilized governance, awarded ministers the title of virtue, and made more detailed regulations on the colors of official uniforms. According to the "New Book of Tang Dynasty·Cars and Clothes Records", the robes of the third and above grades are purple, tied with gold and jade belts, and thirteen kuai (a hanging belt mounted on the belt, which also serves as a decoration). The fourth grade robe is deep crimson and has an eleven gold belt. The fifth-grade robe is light crimson and has a ten-piece gold belt. The sixth-grade robe is dark green, with nine silver belts. The seventh-grade robe is light green, with nine silver belts. The eighth-grade robe is dark green, the ninth-grade robe is light blue, and the jade belt has eight talons. Foreign officials and common people were allowed to wear yellow, with seven copper and iron belts. (In the first year of the General Chapter, foreign officials and common people were prohibited from wearing yellow, as mentioned above) In the second year of Longshuo, Emperor Gaozong of the Tang Dynasty (AD 662), the robes of the Eighth Grade were changed to green because they were afraid that the robes of the Eighth Grade would be dark green and purple (in ancient times, indigo dyeing was used many times to make the dark green and reddish light, so it was afraid of mixing with purple). Since Duke Huan of Qi (reigned from 685 BC to 643 BC) wore purple robes during the Spring and Autumn Period, the color pattern of clothing with purple as the top grade was determined, and it remained unchanged until the Song and Yuan Dynasties. It was replaced by bright red in the Ming Dynasty.

"New Book of Tang Dynasty·Cars and Clothes" records the styles of civilian official uniforms, including the luan with a long ribbon, the crane with the Ganoderma lucidum, the magpie with the auspicious grass, the wild goose with the majestic ceremony, the handsome falcon with the flower, the rehmannia with the cross branches, etc.

The clothing color system stipulated by the Tang Dynasty government could not be completely implemented in real life. In May of the fifth year of Xianheng, Emperor Gaozong of the Tang Dynasty (i.e., the first year of Shangyuan, AD 674), foreign officials and common people wore short shirts and jackets of red, purple, blue, green and other colors under their robes, or wore these colors in public in the countryside. robes, so a ban was issued.

The uniforms and colors of military attachés in the Tang Dynasty stipulated that the military officers of the third grade or above should wear the left and right martial arts guards facing tigers, the left and right leopards and Tao guards with leopards, the left and right eagles and Yang guards with eagles, the left and right jade guards with falcons, and the left and right jade guards with falcons. Jinwu Wei ornaments. The kings also decorated the dragon and the deer, the prime minister decorated the phoenix pond, and the minister decorated the pair of wild geese. Later, it was stipulated that the Qianniu guard should be decorated with Rui Niu, the left and right guards should be decorated with Ruima, the Xiao guard should be decorated with tiger, the Wu guard should be decorated with eagle, the Wei guard should be decorated with leopard, the leading guard should be decorated with Baize, the Jinwu guard should be decorated with warding off evil spirits, and the prison guard should be decorated with lion. In the sixth year of Taihe in the Tang Dynasty, he was allowed to wear falcons holding auspicious grass, geese holding ribbons, and pairs of peacock silk coats for those with grades above three. These patterns are all embroidered, and according to Tang Dynasty clothing styles, they should generally be embroidered on the chest, back or shoulder sleeves.

In the Tang Dynasty, those who galloped on the battlefield were all light cavalry wearing horse armor and no armor. Infantry armor accounted for 60% of the infantry. "Liu Dian of the Tang Dynasty" records that there were 13 types of Tang armor, namely Mingguang armor, Guangxi armor, and Xijia. Scale armor, mountain armor, black hammer armor, white cloth armor, soap and silk armor, cloth back armor, infantry armor, leather armor, wood armor, chain mail armor, and horse armor.

Chain armor is the chain armor mentioned in Cao Zhi's table. "Book of Jin Lu Guang Biography" records that when Lu Guang of the former Qin Dynasty attacked Kucha City, he saw that the armor of all the armies in the Western Regions were like chains and could not be penetrated. During the Sui and Tang Dynasties, the state of Kang in the Western Regions paid tribute to the Central Plains court with this type of armor. In the Tang Dynasty, this kind of armor was divided into three types: large, medium and small, and they were assigned to warriors according to their body size. The "Tang Liudian" Arsenal Order records the types of bows, knives and armors, and the shield was renamed Peng Pai, with 6 types in total, namely rattan Pai, Tuan Pai, lacquer Pai, wooden Pai, jointed wooden Pai and leather Pai. It is noted that the rattan, Tuan, lacquer and wood are all made in ancient times.

[Edit this paragraph] 5. Big-sleeved shirts in the Tang Dynasty

In the Tang Dynasty, it was also popular for women to wear "Hufu". "Hufu" is the clothing of people from the Western Regions. The form of the belt is also deeply influenced by Hufu. Before this, people's waist ornaments were made of gold, silver, copper and iron. At this time, it was popular to wear a "bucket belt" with gold ornaments and a short and small belt for fastening things. This kind of belt was most popular in the Tang Dynasty and continued to be used until the Northern Song Dynasty.

After the prosperous Tang Dynasty, the influence of Hu clothing gradually weakened, and the styles of women's clothing became increasingly broad. In the middle and late Tang Dynasty, this feature became more obvious. In general women's clothing, the sleeve width was often more than four feet. The aristocratic dresses of the middle and late Tang Dynasty were generally worn on important occasions. When wearing this kind of dress, there were gold and green hairpins in the hair, so it was also called "tin-hairpin dress".

After Emperor Gaozong of the Tang Dynasty, purple was used as the color of the uniforms of third-rank officials; light crimson was the color of the fifth-rank officials, dark green was the color of the sixth-rank officials, light green was the color of the seventh-rank officials, and dark cyan was the color of the uniforms of the seventh-rank officials. The colors for the uniforms of the eighth-rank officials, light cyan for the uniforms of the ninth-rank officials, and yellow for the uniforms of people outside the palace and common people.

Tang suit also has a great influence on neighboring countries. For example, the Japanese kimono has greatly absorbed the essence of the Tang suit in terms of color, and the Korean suit has also inherited the advantages of the Tang suit in form. Tang suit skirts have long and soft lines, are very graceful and free, and are mainly made of silk fabrics. Therefore, its clothes are famous for their "softness" and "rejoice". The Tang suit itself has many categories and is adaptable to change. It boldly absorbs the characteristics of foreign costumes from appearance to decoration. It mostly refers to the costumes of Central Asia, India, Iran, Persia, and the foreign costumes of the northern and western regions. It enriches the costume culture of the Tang Dynasty and makes the costumes of the Tang Dynasty rich and colorful. Magnificent, unique and colorful in style, it has become a wonder among Chinese historical costumes and attracted the attention of the world.

The clothing patterns of the Tang Dynasty changed the past creative thinking based on talent and divine inspiration, and used real flowers, grass, fish, and insects for sketching. However, the traditional dragon and phoenix patterns were not rejected. It is also determined by the influence of the divine right of imperial power. At this time, the design of clothing patterns tended to express free, plump and fat artistic styles.

The clothing patterns in the late Tang Dynasty were more exquisite and beautiful. The flower and bird clothing patterns, edge patterns, and flower patterns on the soft silk clothing are really a cluster of flowers, competing for beauty and beauty. As Wang Jian of the Five Dynasties said: "The leaves of the Luo shirt are heavily embroidered, with a cluster of golden phoenixes and silver geese each dancing in two directions. Among them are the words "Long Live Peace". Today, these luxurious and beautiful clothing patterns we see are the result of painters' work. The Dunhuang Grottoes used hard work to preserve precious image materials for future generations. The development of clothing in the Tang Dynasty was an overall development. At this time, the design of clothing patterns tended to express freedom, fullness, gorgeousness, and roundness. The expressions in shoes, hats, scarves, jade pendants, hairstyles, makeup, and jewelry all illustrate this Features.

The Tang Dynasty inherited the styles of the Zhou, Warring States, and Wei and Jin periods, integrating the rigor of the Zhou Dynasty's clothing pattern design, the stretch of the Warring States period, the brightness of the Han Dynasty, and the elegance of the Wei and Jin Dynasties. On this basis, it became more luxurious, bringing the costumes and costume patterns to a historical peak; the influence of the costumes and costume patterns of the Tang Dynasty on future generations continues to this day. The application of branch-tangled patterns in modern clothing patterns demonstrates the connotation resulting from the combination of traditional patterns and modern aesthetic consciousness.

[Edit this paragraph] 6. Summary

There are many factors that make the costumes of the Tang Dynasty colorful. First of all, the foundation was laid in the Sui Dynasty. The reign of the Sui Dynasty was short, but the silk weaving industry made great progress.

It is recorded in the literature that Emperor Yang of the Sui Dynasty "decorated his traitors with rich crowns and costumes." Not only did he make his ministers and concubines wear gorgeous costumes, but even the ropes of the ships when traveling on the canal were made of silk. The trees on both sides of the bank decorated their willows with green silk. The flowers are tied with colorful silk, which shows the amazing silk production. By the Tang Dynasty, silk fabrics were produced all over the country, and both output and quality exceeded those of previous generations, thus providing a solid material foundation for the novelty and richness of Tang Dynasty clothing. In addition, he has extensive contacts with people of all nationalities in various countries and adopts a broad-minded attitude towards the cultures of various countries, integrating them with his own national costumes, thus being able to introduce countless novel and wonderful crown costumes. The costumes of the Tang Dynasty, especially women's costumes, were not only admired by people at that time, but even today people feel extremely excited when looking at the costumes of the Tang Dynasty. There is no pretense or pretense here. What is displayed in front of people are costumes that are full of vitality, exciting and intoxicating. The colors are not overwhelming, and all kinds of bright colors compete with each other. They are not willing to be sparse and lonely. Coupled with the mixture of gold and silver, it becomes more dazzling to the eyes. Its decorative patterns all include pairs of birds and animals, clusters of flowers, auspicious light and full of life. It can be said to be a grand scene of the Tang Dynasty.