I love #hanfu better than kimono because it looks sexier to me. lol #hanfu_challenge #traditionalchinesedress https://www.instagram.com/p/CeaziSIJIOI/?igshid=NGJjMDIxMWI=
[Hanfu · 漢服]Chinese Warring States period(475–221 BC) Chu (state) Hanfu Based On Chu (state) lacquer figure
【Historical Artifact Reference】:
Lacquered wood figurines unearthed from Chu State Tomb in Shayang Tumbun Chu Tombs/沙洋塌冢楚墓出土漆俑
Collar cloth and robe unearthed from china Mashan Chu Tomb N19
【Histoty Note】Warring States Period·Chu (state) Noble Women Fashion
Many people may wonder why this set of clothing and hairstyles are so similar to Japan, but the fact is this kind of clothing and hairstyle existed in China at least 1,000 years earlier than Japan.
During the China Warring States Period, it was popular for aristocratic men and women to wear robes.
Lacquered wood figurines and robe with similar images have been unearthed from the Shayang Tumbun Chu Tombs and the Chu Tombs at Mashan, many of which adopted the "three-dimensional structure" technique.
For example, a roughly rectangular piece is caulked at the intersection of the robe's sides, skirt sides and sleeve armpits. At the same time, the lower edge line of the top and the upper edge line of the lower skirt are incrementally extended, and then sewn into one body. It is called "Ming three-dimensional structure".
Its ingenuity is that while the outer contour of the garment remains unchanged, it effectively expands the inner space of the garment body, making it convenient for people to wrap the garment from the front to the back when wearing it, without damaging the original collar and garment forms.
The attire of aristocratic women from the Chu state in this set was restored based on the lacquered wooden figurines of the Chu tomb in Shayang. Their foreheads and temples hair are fluffy, and they have a hanging bun at the back of their heads. They wear robes that are connected up and down, and are decorated with brocade inlays at the seams.
The wearing method is the "layering method", two robes are stacked together in advance and then worn as a whole. This allows the collar edge of the lining to be show parallel to the collar edge of the outer garment, and a section of the lining to be show behind the lapel.The brocade edge is decorated with a wide belt and fixed with double belt hooks.
This "layered" wearing method shows the layers and details of Chu people's clothing, and can also show the graceful beauty of the body.
In addition, many creative clothing styles and fabric patterns emerged during the Spring and Autumn Period and the Warring States Period, bringing with them the unique atmosphere, mysterious imagination and ultimate romance of that era, becoming our inexhaustible source of art.
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Recreation Work by : @裝束复原
Weibo 🔗:https://weibo.com/1656910125/NhBx1oi5n
[Hanfu · 漢服]Chinese immortal Hanfu <西王母/Queen Mother of the West> Based On Yuan Dynasty Taoist Temple Mural<永乐宫/Yongle Palace>
【Historical Artifacts Reference 】:
▶ China Yuan Dynasty Taoist Temple 永乐宫/Yongle Palace Mural
<西王母/Queen Mother of the West>
The Queen Mother of the West, known by various local names, is a mother goddess in Chinese religion and mythology, also worshipped in neighbouring Asian countries, and attested from ancient times.
The first mentions of the Queen Mother date back to the oracle bone inscriptions of the Shang dynasty (1766 – 1122 BCE).
One inscription reads:
Crack-making on day IX (9th day), we divined. If we make offering to the eastern mother and the western mother, there will be approval.
Western Mother refers to an archaic divinity residing in the west. The exact nature of the Mother divinities in the Shang dynasty is unclear, but they were seen as powerful forces deserving of ritual by the people of the Shang dynasty.
Originally, from the earliest known depictions of her in accounts like the Classic of Mountains and Seas during the Zhou dynasty, she was a ferocious goddess of death with the teeth of a tiger, who rules over wild beasts and sends down heavenly punishments such as pestilences. She was also mentioned as an authority ruling over other divinities such as Jiutian Xuannü, a goddess of war and sex.
Other stories hold that she is a mountain goddess or a divine tigress. She is also popularly thought to have blessed the Eight Immortals with their supernatural abilities.
After her integration into the Taoist pantheon, she gradually took on associations with other aspects, such as immortality, as well.
The Queen Mother of the West is most often depicted holding court within her palace on the mythological Mount Kunlun, usually supposed to be in western China (a modern Mount Kunlun is named after this). Her palace is believed to be a perfect and complete paradise, where it was used as a meeting place for the deities and a cosmic pillar where communications between deities and humans were possible.At her palace she was surrounded by a female retinue of prominent goddesses and spiritual attendants. One of her symbols is the Big Dipper.
Although not definite there are many beliefs that her garden had a special orchard of longevity peaches which would ripen once every three thousand years,others believe though that her court on Mount Kunlun was nearby to the orchard of the Peaches of Immortality. No matter where the peaches were located, the Queen Mother of the West is widely known for serving peaches to her guests, which would then make them immortal. She normally wears a distinctive headdress with the Peaches of Immortality suspended from it.
Flourishing parasols, we reach the chronograms' extremity;
Riding on the mist, I wander to Lofty Whirlwind Peak.
The Lady of the Supreme Primordial descends through jade interior doors;
The Queen Mother opens her Blue-gem Palace.
Celestial people—What a Crowd!
A lofty meeting inside the Cyan Audience Hall.
Arrayed Attendants perform Cloud Songs;
Realized intonations fill the Grand Empty Space.
Every thousand years, her purple crabapple ripens;
Every four kalpas, her numinous melon produces abundantly.
This music differs from that at the feast in the wilderness—
So convivial, and certainly infinite.— Wu Yun (Complete Tang Poems 1967, line 4942)
One of the earliest written references to the Queen Mother comes from the writings of the Taoist writer Zhuangzi (c. 4th century BCE):
The Queen Mother of the West obtained it [the Dao]... ...and took up her seat at Shao kuang. No one knows her beginning; no one knows her end.
Zhuangzi describes the Queen Mother as one of the highest of the deities, meaning she had gained immortality and celestial powers. Zhuangzi also states that Xiwangmu is seated upon a spiritual western mountain range, suggesting she is connected to not only the heavens, but also to the west.
Legendary encounters
In Tu Kuang-ting's text, he includes narrative accounts of the Queen Mother's encounters with legendary Chinese heroes. One such account narrates an encounter between the Queen Mother and Laozi (Lord Lao):
"In the 25th year of King Chao of the Chou dynasty (1028 BCE) …"
"…Lord Lao and the realized person Yin Hsi went traveling…"
"…on their behalf, the Queen Mother of the West explicated the Scripture of Constant Purity and Quiet."
In this account, the Queen Mother plays the role of Laozi's superior and is credited with the ultimate authorship of the Dao De Jing. This dichotomy of the Queen Mother as the superior is a characteristic of Shangqing Taoism, a goddess worshiping sect of Taoism of which Tu Kuang-ting was a master. There is also an account of a meeting between the Queen Mother and Laozi in Tang poetry.[18] This account however, being of traditional Taoist thought, has the Queen Mother taking an inferior role to Laozi, calling him "Primordial Lord" (the title of his highest manifestation) and pays homage to the sage.
<China Han Dynasty stone-relief showing 西王母/Queen Mother of the West from Sichuan,China>
<China Wei and Jin Dynasties Mural showing 西王母/Queen Mother of the West>