Ethnic Minority She Clothing

The industrious and simple She women are not only capable of production, but also skilled craftsmen in weaving and embroidery. Their handicrafts are rich in variety, colorful and unique in style. Such as the weaving of the colorful belt, also known as the hand towel belt, that is, the flower belt, the case of a variety of patterns, color matching beautiful and generous. The woven bucket hats, with delicate patterns and exquisite craftsmanship, are matched with water-red silk ribbons, white ribbons and beads of various colors, which are even more rich in national characteristics and are the favorite decorations of the She women. The embroidered handkerchiefs or colorful ribbons carefully woven and embroidered by She girls are the best love gifts for their beloved lovers. After the liberation, this kind of craft technology has been carried forward and become a sought-after tourist product and export product.

The most highly praised weaving crafts of the She ethnic group are colorful ribbons and bamboo weaving. The colorful belt is the flower belt, also known as the Hop Handkerchief Belt. From the age of five or six, She girls learn to weave ribbons with their mothers, and the delicacy of the ribbons is an important measure of the girls' dexterity. The She region is rich in bamboos such as gypsophila, bamboos, golden bamboos, and Leigong bamboos, which provide abundant raw materials for the production of bamboo weaving crafts. She women's clothing varies slightly from place to place, but it is characterized by embroidery. In particular, the women's blouses of Fuding and Xiapu in Fujian Province have various colors of embroidered flower patterns and bird, dragon and phoenix motifs on their collars, lapels, buckets and even cuffs. The most important attire for She women is the "phoenix dress".

The national costume is famous for the "phoenix crown" and "cow horn hat" on the head, and the colors of the costume are mainly black and blue. The shoes and socks you see now are made of blue cloth, with black cloth in front of the upper and white dots as decoration, and dark red hard cloth embroidered with twining plum blossoms, which is beautiful and keeps the shoes and socks from deforming. The soles of the shoes are also made of blue cloth with white threads, forming a fish scale pattern, and the periphery of the shoes is decorated with a serrated pattern.

The costumes of the Hakka people, which differed greatly from those of the central plains people during the Tang and Song dynasties, were similar to those of the She people, apparently because they were influenced by the She people and absorbed the beneficial nutrients of the She dress culture during their longstanding interactions with the She people.

The Hakka people's costumes were made of blue cloth, which was used to create the fishscale pattern.

Historical documents describe the She people, as they do other barbarians, as "men and women with buns and feet, dressed in green and blue. Men's short shirts, no scarf, no hat; women's high buns hanging tassels, head wearing bamboo crowns and cloth, decorated with a road-like". This kind of decoration and dress, and decades ago the Hakka people's decoration and dress is almost the same. To women's hair buns: "In the past, many Hakka women's braided hair is coiled into a high bun, like a canoe, called 'boat bun', tied with a red rope, inserted with silver, bun on the set of cool hats, bun end of the exposed before the warping, hats along the edge of the colorful cloth around the hanging down about five inches long, the breeze blowing, colorful strips fluttering, is really a different style. When the breeze blows, the colorful strips flutter, which is indeed a unique style." (Wang Zengneng, "The Relationship between the Hakka and the She People") The braided hair is coiled into a high bun and tied with a red headband, like a canoe, which is called a "chignon"; "a cool hat can be set on the bun", and colorful strips of cloth are hung along the hat, which is also called a "bamboo crown on the head". "Bamboo crown and cloth on the head, decorated with the shape of the road". The consistency between the two is really clear at a glance. Then take the women's clothing, the past "Hakka women wear is the right side of the placket blouse, the right placket along the shirt tail and around, decorated with lace, wide pattern of one inch. It can be seen before the mid- to early-Qing Dynasty, southern Fujian, Chaozhou lower-class women are not like we imagine the traditional set of rules and regulations of the "lady" image.

"Wen Gong Pa" is the ancient dress of the women of Chaoshan, the Qing dynasty Liang Shaoren's "two general autumn rain an essay" recorded: "Guangdong Teochew women travel, the soapy cloth more than ten feet over the head, from the head down, double hanging to the knee. Sometimes or both hands open and close its cloth to see people, the shape is very horrible, the name is Wengong Pa, Changli legacy also." Fujian's Quan, Zhangzhou two states also have this custom, but called "Wengong Duo", thought to be the legacy of Zhu Zi.

However, the custom of covering the face with a bun is not a Han Chinese characteristic, and Confucianism is even more irrelevant. The cited "Sanyang Zhi" first emphasized its custom "and the Central States," and then said: "Jia Ding, Zeng Hou Yi order Oracle, the old custom for a change, there is no longer a barbaric makeup carry on." Clearly pointed out that this makeup belongs to the "barbarian makeup". Just this custom has a long history, not as the text said because of the persuasion of the magistrate and extinct, because until the late Qing Republic of China, Chao women are still characterized by a high bun knot, such as the "Chinese National Customs Journal", "only its bun hair, it is particularly strange. Such as Huilai is more hair in the back of the head end into a small knife shape, and spinning its end at the top, through a red-dyed bamboo tube; tube length of two inches, round diameter size such as silver dollars, hair protruding from the tube outside inches, it is knotted with a warp rope, across the needle about five inches long, firmly inserted under the following, surrounded by beads decorated with beads, lending a spectacular view of the line when it is shaking, such as the heron's prostration of the cranium, is a strange spectacle."

Professor Rao Zongyi, in his article, "Why should we establish "Chaozhou studies" --- the importance of Chaozhou studies in China's cultural history," solemnly pointed out that "the Chaozhou humanistic phenomenon and the cultural history of the country as a whole is the most important part of China's cultural history. The phenomenon of Chaozhou is inseparable from the cultural history of the whole nation. First of all, in terms of ethnicity, the indigenous She tribe of Chaozhou has been famous in the history books since the Tang Dynasty. When Chen Yuan Guang opened Zhangzhou, he started the mountain forests with his wickerwork, and he was inseparably connected with the She people. The distribution of the She people in South China, according to the expert survey, Anhui, Zhejiang, Gan, Guangdong, Fujian five provinces, the She people have preserved a lot of ancestral charts and genealogies, all of which record the legend of their ancestor, Pan Gou, and the location of the ancestral tomb of Pan Wang are all in Rao Ping's Phoenix Hill, in other words, the Phoenix Hill is the ancestral origins of the tribe." From this, we can see that the relationship between the She culture and the Chaoshan culture has been extremely close historically. If we apply the viewpoint of "multi-level theory of the source of culture" to the cultural complex of "Chaoshan culture", we will have a "blood consultation" and "source and flow" examination, then we can see that the She culture is very close to the Chaoshan culture. "Then, people will immediately realize that the culture created by the ancestors of the She people in the eastern part of Guangdong is undoubtedly an ancient source of Chaoshan culture, which is also an important foundation for the formation of Chaoshan culture. In this paper, we first start from the language, music, drama, folklore and other elements of cultural science, to make a brief record, is considered the opening gongs and drums, expect a more enthusiastic and wonderful symphony.