| Zaju chuishao fu | |||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
 Female figures dressed in the Zaju chuishao fu along with cross hairstyle and golden headpiece, early Northern Wei period: guichang (left) and guipao (middle and right) | |||||||||||
| Traditional Chinese | 雜裾垂髾服 | ||||||||||
| Simplified Chinese | 杂裾垂髾服 | ||||||||||
| |||||||||||
| Guiyi | |||||||||||
| Chinese | 袿衣 | ||||||||||
| |||||||||||
Zaju chuishao fu (traditional Chinese:雜裾垂髾服;simplified Chinese:杂裾垂髾服;pinyin:zájū chuíshāo fú), also calledGuiyi (Chinese:袿衣),[1] and sometimes referred as "Swallow-tailed Hems and Flying Ribbons clothing" or "swallow tail" clothing for short in English,[2]: 62–64 [3] is a form of set of attire inhanfu which was worn by Chinese women. Thezaju chuishao fu can be traced back to the pre-Han period and appears to have originated thesandi (Chinese:三翟) of theZhou dynasty;[4] it then became popular during theHan,[4]Cao Wei,Jin andNorthern and Southern dynasties.[5] It was a common form of aristocratic costumes in the Han and Wei dynasties[4] and was also a style of formal attire for elite women.[3] Thezaju chuishao fu can be further divided into two categories of clothing style based on its cut and construction: theguipao, and theguichang (orguishu).[1][4]
Theguipao falls in the category ofpaofu (longrobe);[1][4] however, some Chinese scholars also classify it as being a type ofshenyi.[6]: 62 On the other hand, theguichang followsyichang (orruqun) system consisting of aru, an upper garment, and aqun, a longskirt.[1][4]
Thezaju chuishao fu was multi-layered. It was decorated with an apron-like decorative cloth at the waist, with triangular-strips at the bottom, and with pieces of ribbons worn underneath the apron, which would hung down from the waist.[3] The popularity of ribbons later fell and the decorative hems were eventually enlarged.[3]
This form of attire also spread toGoguryeo, where it is depicted in the tomb murals found in theAnak Tomb No.3.
The Chinese charactergui (袿) in the termguiyi (袿衣) refers to the shape of its hanging part, which is broad at the top but becomes narrow at the bottom, making it look like adaogui, an ancient measuring tool forChinese medicine.[2]: 38
The termguiyi was recorded prior to theHan dynasty in theOde to Goddess written bySong Yu, a Chinese poet from the lateWarring States period.[4] Theguipao, which is a form ofpaofu in the broad sense, appears to have originated from one of the Queen'ssandi (三翟), a form of ceremonial clothing dating from theZhou dynasty.[1][4] According to some Chinese scholars, the attire calledguiyi in the Han dynasty was in the style of thequju shenyi.[2]: 38 However, in the Han and Wei period, theguipao was one of the common aristocratic costumes.[4]
TheHan dynasty type ofguiyi was aguipao.[1][4] The garment's silk decorations were cut into arch shapes; these originated from thesandi recorded in theRites of Zhou.[4] Theguipao's popularity started to fade in the late Eastern Han dynasty.[4] Aguiyi which follows theruqun system also appeared in the Han dynasty, where it was calledguichang orguishu.[4]
_(Zaju_chuishao_fu).jpg)
On the whole, the costumes of theWei andJin period still followed the patterns ofQin andHan dynasties. However, the clothing of women in this period was generally large and loose, reflecting a focus on beauty and extravagant expense in buying or weaving cloth.[7][5] This carefree lifestyle reflected in the apparel can be explained by the historical circumstances which impacted the mood of the people. TheNorthern and Southern dynasties was a period of volatility, when the northern non-Han peoples collectively known as theFive Barbarians invadedCentral Plain, triggering the wars of theSixteen Kingdoms andSix Dynasties period. As the Han hold on the region collapsed, so did the once unchallenged power ofConfucianism.[5] In the meantime, the philosophy ofLaozi andZhuangzi became popular,Buddhist scriptures were translated,Taoism was developed, andHumanitarian ideology emerged among the aristocrats.[5] However, these all posed a threat to conservative and imperial power, which tried to crush them by force.[citation needed] These policies forced these scholars to seek comfort and relief in life.[7] They were interested in various kinds ofphilosophy and sought to reconcile disparate philosophies through "mysterious learning". They preferred a life of truth and freedom. They dressed themselves in free and casual elegance.
_por_Ku_K%2527ai-Chih._Copia_de_la_dinast%25C3%25ADa_Sung_(960-1279)_seg%25C3%25BAn_la_obra_original_del_siglo_%25E2%2585%25A3.jpg)
Thezaju chuishao fu (orguiyi), which was worn in the Wei, Jin, Northern, and Southern dynasties, was quite different from the style worn in the Han dynasty.[6]: 62 [2]: 62–64 It had evolved from the one-piece long robe, either from thepaofu[5] or theshenyi[6]: 62 worn in theHan dynasty, and had wide sleeves.[5]
Theguiyi are depicted with in the paintings ofGu Kaizhi.[5][1] Theguichang eventually became more popular than theguipao during this period.[1][4]
Theguiyi also evolved in terms of shape in the Northern and Southern dynasties when the long ribbons were no longer seen and the swallow-tailed corner became bigger; as a result the flying ribbons and the swallow-tailed corners were combined into one.[2]: 62–64 These changes can be found in the paintingsWise and Benevolent Women andNymph of the Luo River byGu Kaizhi, as well as the lacquered paintings unearthed from theSima Jinlong tomb in Datong and the Goguryeo tomb murals from theAnak Tomb No. 3.[2]: 62–64 [6]: 62
Typically theguiyi was decorated withxian (襳) andshao (髾).[2]: 62–64 The Shao refers to pieces of silk cloth sewn onto the lower hem of the dress, which were wide at the top and narrow at the bottom, so that triangles were formed overlapping each other.[2]: 62–64 "Xian" refers to some relatively long, silk ribbons which extended from the short-cut skirt.[8][5] While the wearer was walking, these lengthy ribbons made the sharp corners and the lower hem wave like a flying swallow, hence the Chinese phrase "beautiful ribbons and flying swallowtail" (華帶飛髾).[2]: 62–64 There are also two types ofguiyi. Theguiyi which follows the 'one-piece system' is calledguipao while the other form ofguiyi,guichang (orguishu), follows the 'separate system', consisting ofruqun which is a set of attire composed of aru, an upper garment, and aqun as a long skirt.[4]
The change in the shape and structure of theguiyi reflects the historical trend of the fading popularity ofguipao in the late Eastern Han and the increase popularity of theguichang (orguishu) which eventually became the mainstream style in the Wei, Jin, Southern and Northern dynasties.[4]
In theguichang, the upper garment was opened at the front and was tied at the waist. The sleeves were broad and fringed at the cuffs with decorative borders of a different colour. The skirt had spaced coloured stripes and was tied with a white silk band at the waist. There was also an apron between the upper garment and skirt for the purpose of fastening the waist. Apart from wearing a multi-coloured skirt, women also wore other kinds such as the crimson gauze-covered skirt, the red-blue striped gauze double skirt, and the barrel-shaped red gauze skirt. Many of these styles are mentioned in historical records.[8] Wide sleeves and long robes, flying ribbons and floating skirts, elegant and majestic hair ornaments,[7] all these became the fashion style of Wei and Jin female appearance.
During theNorthern and Southern dynasties, theguiyi underwent further changes in style.[2]: 62–64 The long flying ribbons were no longer seen and the swallow-tailed corners became enlarged; as a result, the flying ribbons and swallow-tailed corners were combined into one.[9][2]: 62–64
Depictions of women wearingguiyi can also be found in Goguryeo tomb murals, as found in theAnak Tomb No.3.[2] The wife of the tomb owner of Anak Tomb No.3 dresses in Chineseguiyi,[2][10] which may indicate the clothing style worn in theSix dynasties.[11] The tomb belongs to a male refugee called Dong Shou (died in 357 AD) who fled from Liaotong to Goguryeo according to Chinese scholar Yeh Pai, a conclusion which is also accepted in the formal Korean report issued in 1958 although some Korean scholars believe the tomb to belong to King Mi-chon.[12]
_2.jpg)
_4.jpg)
_6.jpg)
_7.jpg)
_1.jpg)
_2.jpg)
_3.jpg)
_4.jpg)
._Southern_Sung_Copy_of_the_Original_Work_by_Ku_K%2527ai-chih._Freer_Gallery_of_Art%2c_Washington_D.C.jpg)
| Characteristics |
| ||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Garments |
| ||||||||||||||||||
| Headwear (list) |
| ||||||||||||||||||
| Footwear (list) | |||||||||||||||||||
| Accessories (list) |
| ||||||||||||||||||
| Influenced clothing |
| ||||||||||||||||||
| Cosmetics | |||||||||||||||||||
