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Shuitianyi

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Chinese patchwork clothing
Shuitianyi
清 緞地彩繡水田衣-Theatrical robe for a female Daoist priest MET 30 76 8 F
A style of shuitianyi used as atheatrical robe for a female Daoist priest (front view), 18th century.
清 緞地彩繡水田衣-Theatrical robe for a female Daoist priest MET 30 76 8 B
Back view
Chinese水田衣
Literal meaning"Paddy field garment" or "rice-paddy robe"
Transcriptions
Standard Mandarin
Hanyu PinyinShuǐtián yī

Shuitianyi (Chinese:水田衣), also known as "paddy field garment", "Shuitian clothing", or "rice-paddy robe",[1] is a non-religiousChinese patchwork gown which was made and worn by women inChina during theMing dynasty andQing dynasty; it was made by using many pieces of fabric sewn together (similar toChinese patchwork); the clothing reflected the era's tendency towards fashion novelty during theMing dynasty.[2][3][4][5]

Origins and Development

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Theshuitianyi is a popular, but rare fashion phenomenon, which appeared in the middle and the lateMing dynasty and remained popular in theQing dynasty.[5][6] Theshuitianyi may have originally originated from poor people, who would use whatever leftover clothing they would have at hand for saving purposes, and was initially only popular among poor women.[5] Its origins may have been inspired by Buddhist robes,[4] theKasaya orBaina, which was made when monks would make clothes out of a variety of useless clothes.[5] It was later adopted by aristocratic women duringMing dynasty who found it beautiful, and they began to cut cloth (even from entirebrocade) voluntarily into a design shape and sew it into an aristocratic form of the shuitianyi.[5] While theshuitianyi was a popular form of fashion for women in theMing dynasty, men during this era would also wearbaina clothing.[5]

Other versions

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Taoist Li Yuantong wearingshuitianyi, also known asbainayi (百衲衣).

Baijiayi

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A version of theshuitianyi worn by children is calledbaijiayi.[5]

Sanse dao beixin

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See also:Chinese opera costume

InBeijing opera, the shuitianyi is worn as acostume calledsanse daobeixin (Chinese:三色道背心;pinyin:sānsè dào bèixīn;lit. 'Three color Daoist vest'). It originates from Buddhist clothing and represents the ragged clothing ofBuddha.[7]: 177–178 

Thesanse dao beixin is characterized by a diamond-shaped pattern which is created through patchwork.[7]: 177  It can be used by actors who perform as male or female monks and asTaoist characters.[7]: 177  While both male and female roles used it; however, there are differences between the man's and woman'ssanse dao beixin.[7]: 177 

The female version looks like a knee-lengthpifeng as it features a centre-front opening and a collar band which ends at the mid-chest level; however, it differs from the pifeng due to the absence of sleeves.[note 1][7]: 177 

The man's version is floor-length and the collar band has a straight lower edge; it is also tied with a sash without the back of the garment being caught in the sash, which is the manner monks wear their vest.[7]: 177  When male monks characters wear it, it indicates that they have outstanding martial arts skills.[7]: 177 

See also

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Notes

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  1. ^The main difference between a pifeng and a beixin is the presence or absence of sleeves. A pifeng has long sleeves while beixin is sleeveless. See pagebeizi andbijia for more details.

References

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  1. ^"Theatrical robe for a female Daoist priest 18th century".www.metmuseum.org. Retrieved2021-12-23.
  2. ^Hanson, Marin F (2014).""One Hundred Good Wishes Quilts": Expressions of Cross-Cultural Communication".Uncoverings.35:69–89 – via Art Index (H.W. Wilson).
  3. ^"Costume in the Ming Dynasty – China Style".www.chinastyle.cn. Retrieved2021-02-06.
  4. ^abFinnane, Antonia (2008).Changing clothes in China : fashion, history, nation. New York: Columbia University Press. pp. 48–49.ISBN 978-0-231-14350-9.OCLC 84903948.
  5. ^abcdefgYin, Zhihong (2019)."Study on the Evolution and Development of Baina Clothing to Shuitian Clothing in the Ming and Qing Dynasties".Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Advances in Social Science, Education and Humanities Research. Vol. 368. Atlantis Press. pp. 315–318.doi:10.2991/icassee-19.2019.65.ISBN 978-94-6252-837-6.
  6. ^Gao, Yingpei (2018)."Application of Patchwork Art Form in Traditional Costumes: A Case Study of Baijia Clothes".Journal of Landscape Research.10:98–100.
  7. ^abcdefgBonds, Alexandra B. (2008).Beijing opera costumes : the visual communication of character and culture. Honolulu: University of Hawaiʻi Press.ISBN 978-1-4356-6584-2.OCLC 256864936.
Characteristics
Garment and neckline (list)
Fastening
Styles
Textile decoration and craft
Belief system and social movement
Sumptuary laws
Related rituals
Garments
Set of attire
Upper garment
Robe
Inner and undergarment
Lower garment
Religious clothing
Headwear (list)
Guan
Futou
Mao
Jin
Hairpin
Comb
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Footwear (list)
Accessories (list)
Head
Neck
Shoulders
Chest
Waist
Lap
Ribbons and knots
Portable
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Influenced clothing
Traditional clothing
Performance costume
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