Fashion magazine (vol 3)

Vol. 03

GRACE IS THE HAN CLOTHING THE PAST AND PRESENT OF HAN CLOTHING DESIGNS OF HAN CLOTHING IN QING DYNASTY DESIGNS OF HAN PEOPLE ACCESSORIES TRICKS AND TIPS ON CHOOSING FABRIC FOR HAN CLOTHING

PATTERNS ON HAN CLOTHING THE DRESS ESTHETICS IN RARE TREASURE–PAINTING EARLY SPRING IN HAN PALACE CONTEMPORARY CHINESE FASHION Englisgh / Issue 2, 2017 国内统一刊号 CN32-0110 国外发行代号 WT0110T 邮发代号 27-119

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GRACE IS THE HAN CLOTHING, AN INDULGENCE FOR THOUSANDS OF YEARS

As the ancients said, “The beauty of Han clothing is magnificent.�

Such magnificence is a grace that reflects the national temperament and spirit. Since ancient times the Han people had been relatively introverted and their pursuit of beauty was either in ultimate delicacy or understated extravagance. Topping with that was the comparative advance in textile industry, which gave birth to different materials such as various silks, satin and brocade.

The varieties of fabrics from different times created breath-taking beauty in their own ways.

A one-piece long gown speaks of an unfailing faith.

The indulgence in Han clothing endures for thousands of years.

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THE PAST AND PRESENT OF HAN CLOTHING

Han clothing refers to the type of clothes

people as part of his ruling policy. The toddler

that Han people in China used to wear. Its

period of the clothing system started when

history dates back to the legendary ancient

more standardization was formed in Zhou

times (with stories about three supernatural

dynasty, which laid down the foundation of

rulers and five kings), and all the way to Ming

its maturity in Han dynasty when the clothing

dynasty. For over thousands of years, the

became comprehensively sophisticated and

basic characteristics of Han people’s clothes had remained unchanged and the style during that specific time period is called Han clothing. The Han clothing was born in the cradle during the times of Emperor Yan and

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popularized. This is how Han clothing gained its name. Although the few dynasties following Han had made partial changes in the style, the main character was still based on the essence of Han clothing.

Emperor Huang, when the latter introduced

As one of the most important and outstanding

a hierarchical system of attire among the

dynasties in China, Han dynasty also witnessed

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the most complex, advanced and powerful government under which the centralization of authority was born for the very first time. Since then the history of Han people unfolded.

Inheriting from a tradition thousands of years old, Han clothing speaks the most of the character of Han people, just as other kinds of clothes do to their respective peoples. Developing from the ancient times to Ming dynasty with a long time span, the Han nationality created a rich Han clothing culture based on their own wisdom, and developed the unique attire system –Han clothing system.

With a history that is so extensive and profound, and a system so sophisticated, the Han costumes contribute a great share to China’s national treasure, which, as descents of the Chinese people, all should be proud of. It’s noted that some types of clothes that the Han people wore during transitional period in history, however, could not be regarded as Han clothing by any means, such as Han style Manchu attire, Cheongsam and mandarin jacket. This is because there was no normal developing process between such attire and the authentic Han clothing. The life of Han clothes has still remained strong. In recent days the Taoists, Buddhists and mountaineers from remote areas still stick to the traditional Han style, which also can be seen during some important sacrificial ceremonies, commemorations and folk festivals. The influence is so outstanding that it travelled and inspired numerous

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nations in Asia, including Japan, North Korea, Vietnam, Mongolia and Bhutan.

Characters of Han Clothing The main characters of Han clothing are the cross collar, right lapel and belted waist which is usually tied by a sash (some comes with a belt hook too). The combined factors give a flowing and graceful impression, which is distinctively different from other ethical groups’ attire.

There are two types of outfits in Han clothing –formal costume and daily dress. In terms of designs it mainly falls into three kinds: the “upper garment with under skirt”, the “one-piece gown” (with upper garment and under skirt sewed together), and the “blouse with long skirt”.

To further elaborate, the formal costume combined by an upper garment and a long skirt was the most formal costume worn by emperors and officials. The one-piece gown was daily clothing worn by officials and scholars, while women liked to wear a blouse with a long skirt underneath. For common working people, the attire would be a plain top with a pair of long trousers. Head ornaments also played an important role in the dressing styles. Back then the Han people, male and female, would have their hair done into a bun with hairpins after

they came out of age.

Male quite often would wear official hat, kerchief or normal hat, while female could comb their hair buns into various shapes and decorate them with bead flowers or pendulous ornaments. The hair on the temples was also decorated beautifully, and some people would also use curtain hat and veil.

The use of jade ornaments and jade pendants is another outstanding characteristics of Han clothing.

The Style of Han Clothing In general, the style of Han clothing over thousands of years to a great extent is plain and down-to-earth.

Among them the ancient gown dress is the best representative. Being loose in the body with big cuffs and a wide girdle, the dress is highly flexible although it is a simple design. This is because the same piece of cloth can allow different people to wear, suiting each one nicely in their own ways. Though the varieties of these original clothing cannot be seen now, but we can still see a tip of an iceberg through the silk paintings from Han dynasty and paintings of people left from Wei, Jing, Sui and Tang dynasties.

The simplicity of Han gown brings life to different body shapes, with an elegance that’s so gentle and overflowing that it causes attraction naturally. Grace is not missed in the humble style, instead it radiates from within and out. The gown also speaks loudly of a nation whose personality is quiet, graceful and calm, who also has a spectacular taste of beauty that is tactful, classic and fresh.

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The materials used in Han clothing were mainly linen, silk, cotton, wool and leather. Han people have a long history working in dyeing and weaving using advanced technology and produce pieces marvelous in every detail. When the army of Qing dynasty broke into the border in 1644, Han clothing started to disappear slowly in Han people’s everyday life, and gradually was replaced by Manchu attire. During the period of Qing dynasty, the long gown/robe became popular among Han people and the styles continued to develop into the end of Qing times and start of the Republic of China. Usually men would wear a double-breasted jacket and a pair of long trousers, with another long garment on the outside that has buttons on the right side front, or sometimes a mandarin jacket instead (which together is called the long gown outfit). Women would normally wear tops such as short coats with lining, unlined shirts/ jackets, or robes, with different designs including double-breasted, buttons down from the right front, and buttons down from right armpit. Their lower garments were usually either trousers or skirts such like phoenix-tail skirts and pleated skirts. After the 30’s Cheongsam (a close-fitting female dress with high slit skirt) and Chinese tunic suit became the new fashion. By the 21st century, Han clothing has embraced itself into the international fashion world and western style suits start to be seen as the norm. However, the traditional elements in Han clothing are not forgotten by the world, in fact a lot have been used in contemporary designs and shine radiantly like a superstar on the global stage.

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DESIGNS OF HAN CLOTHING IN QING DYNASTY Ladies’ green satin garment with cuffs, decorated with gourdshaped design and vertical lines Period: Qing Dynasty Type: Jacket Size: 89cm x 165cm

Pinky purple jacquard satin jacket, decorated with patterns and borders symbolizing good fortune and wealth Period: Qing Dynasty Type: Jacket Size: 58.8cm x 127.8cm

Men’s black jacquard satin jacket lined with marten fur Period: End of Qing Dynasty and Start of the Republic of China Type: Jacket Size: 64cm x 195.5cm

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Ladies’ light green jacquard silk shirt, embroidered with bead flowers Period: End of Qing Dynasty and Start of the Republic of China Type: Shirt Size: 90.8cm x 146.8cm

Ladies’ green satin double breasted jacket with cuffs, decorated with colourful pattern of waters, flowers and butterflies Period: End of Qing Dynasty and Start of the Republic of China Type: Jacket Size: 107.5cm x 135.5cm

Ladies’ blue stain vast buttoned down from right armpit, decorated with butterflies and flowers pattern and elaborative edge design Period: End of Qing Dynasty and Start of the Republic of China Type: Vest Size: 48cm x 57cm

Ladies’ colourful satin coat with narrow sleeves, decorative with embroidery along the edge Period: End of Qing Dynasty and Start of the Republic of China Type: Coat Size: 103cm x 142cm

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Ladies’ green satin double-breasted jacket, decorated with water locus pattern Period: End of Qing Dynasty and Start of the Republic of China Type: Jacket Size: 85cm x 137cm

Girls’ salmon colour cotton coat and Chinese style bib (black satin) set, decorated with pattern of tiger with five poisonous insects Period: Qing Dynasty Type: Coat

Ladies’ red jacquard silk shirt, decorated with flowers and vases pattern Period: End of Qing Dynasty and Start of the Republic of China Type: Shirt Size: 101cm x 164cm

Ladies’ dark green stain wedding gown with double breasts and narrow sleeves, elaborated with silver and gold colour embroidery of dragons and phoenixes Period: End of Qing Dynasty and Start of the Republic of China Type: Jacket Size: 69cm x 129cm

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Children’s red satin double-breasted coat, decorated with birds, flowers and people pattern Period: The Republic of China Type: Coat Size: 42cm x 89.5cm

Ladies’ silver green satin coat with reflective pattern Period: End of Qing Dynasty and Start of the Republic of China Type: Coat Size: 88cm x 131cm

Priests’ orange satin working gown embroidered with gold colour lines Period: Qing Dynasty Type: Jacket Size: 210cm x 145cm

Apricot pink sleeveless cheongsam in pure silk with pattern Period: The Republic of China Type: Garment Size: 101.5cm x 40cm

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Ladies’ teal blue brocade short coat, with round and wide sleeves Period: The Republic of China Type: Coat Size: 49.5cm x 103cm

Ladies’ green double-breasted jacket with cuffs Period: Qing Dynasty Type: Jacket Size: 108.5cm x 142cm

Camel grey printed silk cheongsam with short sleeves Period: The Republic of China Type: Gown Size: 117.5cm x 46cm

Iron grey satin cheongsam with long sleeves and raised round neck Period: The Republic of China Type: Gown Size: 157cm x 122cm

Black brocaded velvet cheongsam with long sleeves Period: The Republic of China Type: Gown Size: 109cm x 125cm

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Colourful jacquard silk skirt with bleats Period: End of Qing Dynasty and Start of the Republic of China Type: Skirt Size: 100cm x113.5cm

Blue jacquard satin skirt with cotton, decorated with black satin edge Period: Qing Dynasty Type: Skirt Size: 100.8cm x 118.2cm

Red jacquard gauze skirt with black satin edge and green edge Period: Qing Dynasty Type: Skirt Size: 102cm x 120cm

Pink silk skirt with decorative pattern symbolizing happiness and long life Period: Qing Dynasty Type: Skirt Size: 97cm x 114.5cm

White satin skirt with flowers embroidery Period: End of Qing Dynasty and Start of the Republic of China Type: Skirt Size: 97cm x 114.5cm

Green jacquard silk pleated skirt, decorated with black stain edge and embroidery along the vertical line Period: End of Qing Dynasty and Start of the Republic of China Type: Skirt Size: 95cm x 132cm

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Ladies’ turquoise blue jacquard satin trousers with geometric pattern Period: End of Qing Dynasty and Start of the Republic of China Type: Trousers Size: 100cm x 101.6cm

Blue woven satin trousers, embroidered with phoenix and flowers pattern Period: The Republic of China Type: Trousers Size: 72.5cm x 20.5cm

Children’s reed woven shoes Period: Contemporary Type: Shoes Size: 15cm x 7.5cm

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DESIGNS OF HAN PEOPLE ACCESSORIES IN QING DYNASTY Han people tended to use the patterns of animals, plants and geometry on their accessories accompanying the clothing. The expression of such patterns had go through a few stages, first being abstract, then standardized and in the end it was more life-like. Before the days of Shang and Zhou dynasty, the pattern, same as the original Chinese characters, were very precise and brief with a strong sense of abstractness. After Zhou dynasty and during the Tang and Song period, the pattern became cleaner and cleaner and the layout was very careful, with symmetry and balance given from top to the bottom, from left to the right. When the times of Ming and Qing dynasty arrived, the emphasis shifted to realism. Patterns of different kinds of animals and plants were created with such fine detail that it almost seemed like they could jump out to life. The fact that these pieces were not processed in any additional way flatly shows the diligence and wisdom that are possessed by the Han people.

Fan-shaped Chinese style bib made from apricot yellow satin, with embroidered pattern symbolizing safety and prosperity Period: Qing Dynasty Type: Accessory Size: 38.5cm x 40cm

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Diamond-shaped Chinese style bib made from green satin, with embroidered characters and pattern symbolizing happiness and long life Period: Qing Dynasty Type: Accessory Size: 60cm x 66cm

Colourful satin Chinese style bib, made by patched pieces with patterns of flowers and people Period: Type: Accessory Size: 45cm x 49.5cm

Diamond-shaped Chinese style bib made with red and blue cotton, with embroidery symbolizing success and wealth Period: Type: Accessory Size: 48cm x 50cm

Detachable earthy blue satin collar embroidered with rare and precious animals Period: End of Qing Dynasty and Start of the Republic of China Type: Accessory Size: 74cm x 13cm

Detachable collar with each decorative strip embroidered with different characters Period: End of Qing Dynasty and Start of the Republic of China Type: Accessory Size: 82.5cm x 23cm

Detachable red satin collar with embroidery of people Period: Contemporary Type: Accessory Size: 65cm x 67cm

Business card with dark green leather cover, lined with embroidery describing plants from four seasons Period: End of Qing Dynasty and Start of the Republic of China Type: Accessory Size: 34.7cm x 21.7cm

White satin wallet with embroidery of cranes symbolizing long life Period: End of Qing Dynasty and Start of the Republic of China Type: Accessory Size: 38cm x 9.8cm

Heart-shaped ear warmers made from silvery green satin, with embroidery symbolizing long life Period: Qing Dynasty Type: Accessory Size: 8.9cm x 8.7cm

Yellow satin square shaped purse with embroidery of flowers Period: Qing Dynasty Type: Accessory Size: 11.3cm x 11cm

Nickel silver mustache comb and comb cover Period: Qing Dynasty Type: Accessory Size: comb 7.1cm x 2.1cm , comb cover 6.8cm x 5.2cm

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Heart-shaped ear warmers made from grey blue satin, with embroidery describing a legend told from ancient times Period: End of Qing Dynasty and Start of the Republic of China Type: Accessory Size: 8.5cm x 8.6cm

Black satin waist belt wallet with embroidery symbolizing supernatural power Period: End of Qing Dynasty and Start of the Republic of China Type: Accessory Size: 8.4cm x 13.8cm

Dual colours satin purse in the shape of ancient coin, with embroidery symbolizing happiness, money and long life Period: End of Qing Dynasty and Start of the Republic of China Type: Accessory Size: 11cm x 7.8cm

Rattan and nickel silver bracelet with decorative flowers pattern Period: Contemporary Type: Accessory Size: diameter 7.5cm

Nickel bracelet with decorative dragon heads Period: Contemporary Type: Accessory Size: diameter 9.5cm

Silver hairpin designed in the shape of a peacock blue butterfly Period: Type: Accessory Size: 5.5cm x 4.5 (4.7)cm

Silver hairpin designed in the shape of a peacock blue butterfly Period: Qing Dynasty Type: Accessory Size: 4.5cm x 2.5 (5.2)cm

Orange waist belt wallet with embroidered with flower pattern Period: Qing Dynasty Type: Accessory Size: 25.8cm x 14.4cm

Children’s detachable collar in six colours Period: Qing Dynasty Type: Accessory Size: 27.7cm long

Embroidery of colourful flower vases Period: End of Qing Dynasty and Start of the Republic of China Type: Accessory Size: 57cm x 48.5cm

Blue oilcloth cuff with colour printing Period: End of Qing Dynasty and Start of the Republic of China Type: Accessory Size: 48cm x 20cm

Gourd-shaped wallet made from blue and white satin, with embroidery of flowers Period: The Republic of China Type: Accessory Size: 13.5cm x 11.5cm

White satin wallet with embroidery Period: The Republic of China Type: Accessory Size: 20cm x 13.4cm

Nickel chain with decorative flower pattern Period: Qing Dynasty Type: Accessory Size: 84.4cm x 1.3cm

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TRICKS AND TIPS ON CHOOSING FABRIC FOR HAN CLOTHING

In the ancient times, unlike nowadays, since there were no petroleum derivatives or called as chemical fibre, the Han clothing was mainly made using natural fibre such as cotton, linen and silk. As the industry developed further, the choices of fabrics available became a much longer list. Fabric with good drapability and light weight can, in general, be used for Han clothing or revised Han style clothing.

Proximately Han clothing includes underdress, middle garment, garment on top, overall, accessory, head ornament and footwear.

Different types of garments require various fabric accordingly.

Fabric for Undergarment Undergarment, similar to what ladies today wear for underdress, prefer material like pure cotton, artificial cotton or pure silk.

Artificial cotton is made manually, also known as viscose, which is artificial fibre. It has a similar touch as cotton does, yet cheaper comparing to the latter.

Viscose fibre is regenerated cellulose fibre

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created using natural cellulose. After being alkalized, aged and etiolated, the natural cellulose is made into soluble cellulose xanthate, then dissolved in sig water to form into viscose, and finally viscose fibre is produced from wet spinning. Based on the types of material and spinning technology, different results can be achieved including regular viscose fibre, high wet-modulus viscose fibre, and high tenacity viscose fibre.

The silk family is also a big one. Silk for underdress cannot be too light or heavy. Silk crepe will be a suitable choice.

Silk Crepe: molded under high temperature with reliable wrinkle resistance, this fabric is stable, with high dyeing saturation and bright colour. The advantage of heavy crepe is that it has better drapability and stronger wrinkle resistance. Further more, since it’s a more densely woven silk, it’s less prone to get caught and will last longer. Taking a close look of the fabric, one can see that it has a natural brightness although not as sharp as that of satin. Ideal for underdress and pajamas.

Fabric for Going-out Garment Han clothing has robe, top garment and lower garment as three main parts. The robe, for example, can be a foldedfront robe, straight-front robe, jacket shirt or round next shirt. The top garment can be either a shirt or coat, while the lower garment is usually a skirt or a pair of trousers.

Fabric with high density is suitable for making shirt and coat, such as jacquard cotton, polyester taffeta and silk jacquard satin. The lining for coat should also use fabric that’s highly densified with a soft feel, for instance polyester or nylon taffeta. Skirt prefers flowing and drapable material, including doupion silk and pearl satin.

The weaving technology of making silk jacquard satin is very similar to that of jacquard cotton, both using different weaving between the warp and the weft to create uneven pattern. The nature of silk gives a shinier look on the silk jacquard satin.

Nylon taffeta is a weaving product made from polyamide yarns. Smooth, highly densified with a soft touch and glossy top, this fabric is very light and enduring, bright in colour, easy to wash and quick to dry. It’s mainly used for making male and female dresses.

Doupion silk, also known as Thai silk, is made from silkworm cocoon. A certain ratio between higher quality cocoon and

lower quality ones can be mixed together in the process.

The characteristic of doupion silk is that it has thick threads with many knots, which create a knobbly surface with irregular patterns, and its thick and solid texture gives a unique style. Because of its glossy surface and knobbly character, doupion silk is also called knobbly silk. Unlike satin’s outspoken shininess, doupion silk’s radiance is more reserved and looks higher class, topping with its firm texture, the fabric is usually used for ball gowns (more for Autumn season than Summer). In fact, because of its higher quality, this specific silk is a lot more expensive than regular silk.

Fabric for Overall Garment There is a vast variety of overall in Han clothing, including cloak, cape and coat with three-quarter-length sleeves. The chosen fabric should have excellent drapability and wrinkle resistance. Cotton lace, silk jacquard satin and chiffon are good options.

Chiffon, with its Chinese name given based on its English pronounciation, means a light-weighted and transparent textile product. The fabric is thin and light, transparent, soft and flowing. As a result of the rapid development in chemical fibre technology, the chemical fibre has taken place of pure silk, with a extremely similar style and touch. This is why we often refer to Chiffon as silk chiffon or chemical chiffon.

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PATTERNS ON HAN CLOTHING How much do you understand the patterns on Han clothing, and the meanings behind?

Nowadays, the mostly applied element in Han clothing for modern clothes is the patterns that represent Chinese culture. The traditional patterns of flowers and different creatures are not only pleasant to look at, but also represent people’s good wishes.

Patterns of Plants The Lotus from six dynasties, peony in Tang dynasty, pine tree, bamboo and plum blossom from Yuan dynasty, and crossbred lotus from Ming dynasty all imply good messages.

(1) The continuous growth of melon Melon symbolize harvest and good life, also a vast breeding of male and female, children and grandchildren.

There are big melons and small sized melons in the family. Very often female’s clothes will have embroidered pattern of melons, wishing for prolific breeding and prosperous future for the children.

(2) Grape with many seeds

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Because of its plentiful fruits grown in bunches and numerous seeds, grape is usually used as a pattern on clothes symbolizing plenty of children and grandchildren.

(3) Gourd –“tens of thousands of generations” The pattern of gourd is commonly used on wedding dress, delivering a good wish for a happy marriage. Also because gourd grows in bunches and has many seeds, it represents the ever lasting generations.

(4) Lotus –“keep the heirs coming” Lotus is an auspicious pattern frequently used among people.

Because the pronounciation of lotus

is same as another character meaning “non stopping”, and also due to its multi-seeded characteristic, the pattern speaks of a wish for many sons.

(5) Peony of Wealth The pattern of peony is commonly used in Tang dynasty. Because of its noble and graceful look, the peony earned names such as “King of Flowers” and “Flower of Wealth”.

(6) The Incorruptible Lotus Lotus is usually used as a metaphor for honesty and uprightness, a symbol of gentleman.

(7) Three types of fruit, plenty of Happiness and Long Life Citrus chirocarpus, symbolizes happiness due to its similar pronounciation with the character.

Peach symbolizes long life.

Pomegranate symbolizes plenty of male because of its numerous seeds.

These three kinds of fruit together deliver a wish for plenty of happiness, long life and male descendants.

Patterns of Creatures (1) Dragon Dragon is regarded as the king, head of all supernatural beasts. Common people are not allowed to use the pattern of dragon, even on the dress worn in performances, the dragon has to be changed into a python, with one claw taken off.

(2) Phoenix Legend says phoenix originally was a plain looking bird, that saved tirelessly many dying birds suffering from drought. Grateful for what phoenix had done, each bird offered one of its most beautiful feathers to phoenix, which made the latter the most stunning, noble and saintly bird. The pattern of phoenix is often used to symbolize celebration and safety.

(3) Lion Lion originally was an animal from the western nations, and imported to

China in Han dynasty. As king among the beasts, it’s said that when a lion gives a roar, even the tiger and leopard will bow in awe. Therefore lion is also considered as a lucky beast in China.

(4) Tiger The tale said Emperor Qinshihuang once conferred the title of “King of the Mountain” on tiger because it’s believed that tiger drives away the evil.

Among the folk tiger is a symbol of power and strength.

(5) Horse This traditional pattern is formed with horse, bee and monkey, with an indirect metaphor of the immediate opportunity of becoming a person with power.

(6) Three Goats This pattern means a change from Winter to Spring, darkness to sunlight, a start of a new year when everything is in peace. Because goat pronounces same as sun, three goats symbolize the start of a new growing season.

(7) Tiger with Five Poisonous Insects Five poisonous insects include centipede, lizard, spider, scorpion and snake. The tiger is put among them to frighten the creatures, meaning the wish for good health and avoidance of plague.

(8) Bat Since part of the pronounciation of bat is same as the character of happiness, the folk often uses bat as a token of fortune. Meanwhile, the copper coin (a kind of ancient money) will be used together with the bat to symbolize the very immediate arrival of happiness, because the former has an implied meaning of “right in front of the eyes” due to its design.

(9) Cat and Butterfly The pronounciation of cat and butterfly together is similar to another word referring to elders in their 80s or 90s.

Therefor this pattern is a token of long life.

(10) Magpie and Blossom

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The combination of magpie and blossom is a popular symbol for good news that cheer people up.

the similar message, such as phoenix and peony, fish and water lotus.

Patterns of Objects (1) Cloud in Shape of Ruyi (a Chinese S-shaped ornament signifying good luck)

(11) Butterfly and Flowers Butterfly is regarded as an auspicious creature, and when it’s put together with the flowers it means sweet love and happy marriage, a wish of good life upheld by the people. Alternatively there are other patterns that deliver

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Han dynasty is an important period that witnesses the birth of the

cloud pattern in shape of ruyi. The overlapping, inter winding and seemingly forever extending cloud is an extremely romantic picture.

(2) Gathering of Four Talents The four talents, meaning talents in playing musical instrument, chess, calligraphy and painting, are usually expressed by the following four respective items: an ancient Chinese style piano, chessboard, ancient tree and painted scroll.

(3) Six Cranes in Spring In ancient times people summarized the four directions (the north, south, east and west), and the earth and sky as “six seals”. Since the character of “crane” pronounces similar to the word

“seal�, the six cranes signify the whole universe is enjoying a hopeful Spring and perfect peace.

(4) Eight pieces of Treasure The eight pieces of treasure refer to eight symbolic items, which are believed to have power, used in Buddhism: a wheel, trumpet, umbrella, cover, flower, bottle, fish and braided knot.

Wheel: the ever-spinning wheel symbolizes the never-ending circle between life and death.

Trumpet: the sound of peace that cleanses souls and relieves worries.

Cover: the blanket covering over the world and take over all worries.

Flower: the pure and incorruptible coming untouchable by the deepest pit of corruption.

Bottle: the completeness of happiness and wisdom without any flaw.

Fish: strong and unbound from the earthly world with eternal life.

Knot: the existence with no beginning or ending.

These eight items are frequently used among the folk as token for peace and celebration.

Umbrella: the powerful shield that protects the world from all evils.

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THE DRESS ESTHETICS IN RARE TREASURE – PAINTING EARLY SPRING IN HAN PALACE

The painting Early Spring in Han Palace, created by artist Chou Ying, is regarded as one of the ten China’s famous paintings handed down from the ancient times. In the form of a hand scroll, this painting describes the daily trifles happening in the palace at the break of Spring: putting on makeup, watering plantings, breaking off branches, arranging flowers, feeding, dancing and singing, playing musical instruments, gathering around the fire place, playing chess, reading, playing grass stem fight, checking oneself on the mirror, looking at pictures, playing with the baby,

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delivering food and waving the fan. There are altogether 115 people in the painting, including the Emperor’s wives, maids, princes, eunuch and the painter, all wearing bright and colourful clothes in different postures. The fact that the characters all seem to be at loose ends yet still busy in the middle of doing something, showcases the artist’s excellent observation and skillful drawing technique in realism. The style of clothing in the painting is post Tang dynasty and the name “Han Palace” is a general term for palaces back then.

Although this painting was set to describe palace scenery in Han dynasty, the ladies’ clothing and hair bun style suggest otherwise. Furthermore, the silk paintings dug out from one tomb in Han times and the female terracotta warriors buried from Han period confirm the conclusion that Han clothing and hair bun style is different from what’s shown in this panting. In Ming dynasty, young girls were usually seen to have a high hair bun, which is decorated with a gold hairpin in shape of a phoenix with beads in its beak, and a small amount of hair left from behind. The clothing in Ming

is featured with a top garment (either a coat or a shirt) and a skirt underneath. Also a piece of detachable collar would be covering around the shoulder and back area, and the garment would come with a collar that has buttons on. Since the garments in Song dynasty had no collar or buttons, and based on the clothing and hair bun design recorded above in Ming dynasty, it can be concluded that Chou’s painting, though named for palace in Han period, is actually more a reflection of Tang, Song and Ming dynasty, most importantly a daily scenery of palace in Ming period. This is a common

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finding in many of Chou’s paintings, that are set in an ancient period yet in reality describe stories happened in Ming dynasty.

Chou has put a great deal of thoughts and effort in the painting’s layout, which seems to be extremely spacious as a result. The ladies, some are lying in the room reading, or playing the instrument, some standing outside in the courtyard enjoying the view and chatting with others. They walk from within the room to the outside, from one room to the other, from one courtyard to another courtyard, from the outside of the palace to the inside. The vertical space unfolds according to the characters’ movement, and the viewers are drawn to the dynamics created through the

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artist’s touch in every detail of activity. Not only enlarging the horizontal and vertical space of the painting, the artist also thrives to enrich the sense of rhythm through tactful arrangement of the characters—some sitting, some standing, each group of people fit in with each other harmoniously and well-balanced. Not many artist can achieve what Chou has done here—painting on a 5.7 metres long scroll with such an ease and filling with characters in such a wellthought and balanced manner. There’s no doubt that Chou’s outstanding artistic talent and technique in arranging a harmonious picture between characters and background, deserves a big thumbs-up.

It’s very difficult to find sad and negative element in Chou’s

paintings, instead they always deliver a lively and cheerful atmosphere, which is greatly to do with the artist’s choice of colours. Chou paints with exact delineation and enriched colours, which create an air full of vigor and vitality. In the painting, the colour of red has been applied in a very clever way. Almost every female’s skirt, head ornament, top garment, girdle, seams of the dress, or the desk, chair, banister, and other daily objects have a different touch of red. The well-placed red colour lights up the panting with a sense of happiness. In combination, the typical landscape painting of Chou’s using blue and green colours as the background also gives a fresh and gracious appeal. The marriage between red and dark green with the backdrop of the warm red–toned palace, works wonderfully on producing

this youthful and delightful picture. Overall the painting Early Spring in Han Palace can be regarded as the best advocate of Chou’s humanistic thinking, which expresses human being’s positivity and passion for life.

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CONTEMPORARY CHINESE FASHION

A new fashion look is given to the original ramie linen through use of exquisite silk and jacquard brocade. In the mean time, the technique of hand painting, embroidery and paper folding also creates an air of nature on traditional linen, with a wide selection of plants and flowers patterns, ever changing colours and clay impression. The bold creativity marries the well-planned three-dimensional space, a perfect match between simplicity and luxury, the rich culture emphasized in form of futurism.

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When the extensive and profound traditional culture is taken into everyday life, beauty is found in the harmony, with practicability being the principal. Extravagance coexists with simplicity, peace with vitality. The series of high class tailor-made dresses and read-to-wear collection speak of a life style that advocates elegance, modesty, peace and tranquility. The Chinese style of elegance and ease is delivered through the high quality fabric, fine craftwork and enriched colours, with re-creation of traditional technique

in Chinese clothing. The experiment of vegetable dyeing onto clothes design, an environmentally friendly concept, is a breath of fresh air with its uncomplicated and calming quality against today’s fast-moving and luxury-orientated society.

The present, memory and re-creation of Winter Palace are expressed in a reverse order to interpret the eastern aesthetic culture from three levels. At the rise of an early sun

and among the endless rows of buildings, the females walk along the palace which, from the far end, looks like a mirage, an unreachable dream. The reproduction of China’s glorious history is a reminder for people to remember and have an accurate view of the past.

With peace, grace and beauty, soft and mysterious with a hint of sadness and helplessness, the traditional beauty of China is shown through realism. This fashion show works its magic in using the western technique without loosing the

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Chinese spirit, allowing each piece of eastern clothing to shine in a poetic way, with traces of the eastern aesthetics.

In the old days the gentlemen regarded incense as one of the four kinds of elegance. Incense accompanies them during their reading hours and private time, adding fragrance to their clothes and bedding. The ancient courts used incense to emphasize its seriousness, the resting

pavilion had incense to add to its grace. Incense was present where the musical instruments were played, tea tasted, discussion taking place, and friends brought together under social events such as calligraphy or painting exercise. The scent of incense takes us back to the past. Tradition and modern fashion mingle well on the style, the dull watered gauze is lightened up through popular colour and fabric.

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CONTEMPORARY CHINESE FASHION 34