What is the difference between Chinese historical Tang Dynasty dress and Japanese kimono?

During the Bird and Nara eras in Japan, China's influence on Japan's economic and cultural life was the most significant, and at this time, the wide-sleeved, folded-breasted kimono of the ancient Wu-Yue region of China was spread to Japan, and it became the dress for the formal occasions of the high society, especially the formal uniform of the imperial court. Although the kimono has been improved over the years, the basic elements of the kimono have not changed from the Wu uniform. There is another theory about the introduction of the kimono: in the Nara period, the clothing of the Tang dynasty of China was introduced to Japan, and it was first popular among the nobles, and was called the Tang-style nobleman's clothing. In the Heian period, the Tang-style kimono was modified in a number of ways, such as by making the sleeves and torso longer and the width of the clothes wider. In order to give people a sense of beauty, it was worn tightly against the body, consciously showing the beauty of the human line, and this change was called kokusai-ization by the Japanese. From then on, this kind of clothing was fixed as the Japanese kimono.

Thus, the kimono must have a certain relationship with the ancient Chinese dress: first of all, it is the pattern of the dress, most of the Sui and Tang Dynasty dress patterns are mainly flowers, or flowers as a companion, the pattern is standardized, neat, continuous, symmetrical, part of the image tends to be realistic. ② Liu Feiqi, in his article "Wenxin Diao Long", discusses the subject-object relationship in artistic creation activities, advocates a natural interest, and believes that the natural beauty of the form is more noble than the beauty of the carving. Nature as the object of flowers *** itself is a beautiful pattern, with the beauty of craftsmanship and the beauty of the pattern of the double semantics, but also more ecological in the translation of flowers. The shape of Japanese kimono and patterned fabrics *** and the cherry blossoms that characterize the kimono pattern are so exaggerated and deformed that it is also a figurative tribute to the ecological divinity. ③ Secondly, in ancient times, both in China and Japan, women were forbidden to show their heads. The Rites of Passage (礼记内侧) stipulates that when a woman goes out, she must embrace and close her face. ④From the face clothes of the Wei and Jin dynasties in China, to the curtains of the Sui and Tang dynasties, to the backdrop hats of the Tang Emperor's period, although the form is constantly changing and innovating, the role of all of them is to cover from being seen. In Japan, the woman is basically out of the house, so the screen played a role in covering, which is inherited by Japan and China's feudalism is inseparable from the idea, and almost to the extent of the harshness. Third, from the Tang Dynasty clothing clothing collar to see, from the side on the reflection of the then open-minded, and even the emergence of a frank collar, inside *** underwear, frank breasts in the outside, Tang poetry has a pink chest half cover doubt dark snow sentence.

Although it is said that the Tang people appreciate the focus on the charm of the chest, Japan in the same period of the dress is surprisingly similar, especially the neckline of the concave design, in order to reveal the neck of the skin is delicate, slender, until the later Kabuki costumes still retained such a style. This involved a unique Japanese aesthetic. Fourthly, the costumes of the earlier Nara period still inherited the wide robes and big sleeves of the Tang clothes. Meng Haoran's poem "Spring Feelings" says: "When you sit, your sash haunts the slender grass, and when you walk, your train sweeps down the plums. The ladies in The Hairpin Lady are dressed as depicted in the poem. In addition to Chinese influence, another important reason for being in Japan is religion. The wider the capacity is, the wider the dress then the more abstract the human body is, which hides not only the concrete body but also the character of the person. From the visual recognition of depth, human eyes are concentrated in a smaller area, outside the focus of things look more fuzzy, so wide clothing is more able to attract people's visual focus, is the surrounding image is more fuzzy, the person's image is taller. (See the origin of clothing in "Clothing Aesthetics: Wide Clothes and Big Sleeves") Fifthly, the makeup style of the Tang Dynasty was directly passed down in Japan, which can be intuitively understood from the image of Kabuki, with powdered face, broad eyebrows, small vermilion lips, facial operculum, and slanting red, all of which were all the rage at that time. The difference is the treatment of the hair. Classical Japanese women wore their hair long and combed it so that the long hair dissolved into the decoration. As in nature, the branches of trees have a natural comb. The branches hang like long, combed hair. Japanese women's headdress specific to any of the decorative accessories as well as ornaments, are special requirements, just like the Chinese Peking Opera characters, whether it is the old Dan, Hua Dan and other specific roles, headdresses have specific specific norms and practices, the Japanese mostly flower-based.

It can be seen that the Chinese dress culture on the Japanese dress culture has had a profound impact, and today, the kimono has become a traditional national dress, only in the grand occasions people will wear, no matter how to appreciate now, they have added color and atmosphere to Japan.