A Study On The Costumes Of The Secular Characters In The Mogao Grottoes Frescoes In The Late Northern Dynasty

The murals of Mogao Grottoes in the late Northern Dynasty are rich in costume information.A thorough study of these images can help us understand the costume of the people living in Dunhuang and Hexi in the late Northern Dynasty.By using the methods of literature study,image study and multiple evidences,this paper makes an in-depth study of the murals of Mogao Grottoes in the late Northern Dynasty which contain the information of secular costumes,enriches the research contents of the history of the Northern Dynasty,and locks the research center in the late Western Wei and Northern Zhou Dynasties,which is a refinement of the study of costume history.The article is divided into seven chapters.Chapter 1 is the introduction,which states the origin,significance,research status,research contents and research methods of this study.Chapter 2 summarizes the historical reasons for the formation of secular costume images in murals from four aspects,pointing out that the historical trend of figure painting influenced the appearance of secular costumes in murals of Mogao Grottoes in the late Northern Dynasty,and that there were different groups of painters in Dunhuang in the late Northern Dynasty.There were hierarchical differences within these groups,as well as painting levels.These objective factors have an impact on the appearance of costume images in murals.The article divides the secular costumes in the murals of Mogao Grottoes in the late Northern Dynasty into three categories: skirts,yams and Hu clothes,which are discussed in chapters 3,4 and 5 respectively.This is also the main part of this study.The third chapter divides the skirt into male skirt and female skirt two parts respectively.Because of the phenomenon that men’s skirts are often misinterpreted as gowns in previous studies,the differences between men’s skirts and gowns in murals are analyzed firstly in the part of men’s skirts,and the differences between men’s skirts and gowns in image presentation are summarized.Through the research and analysis of the types,matching and accessories of the male jacket skirts in the murals,this paper finds that the male jacket skirts in the murals of Mogao Grottoes in the late Northern Dynasty embodied the learning and imitation of the clothing etiquette of the Central Plains by the Xianbei rulers,and the Chinese clothing etiquette was also continued by the learning and imitation of the alien rulers.The study finds that even after nearly four hundred years of great splitting and chaos,the clothes made of the upper and lower garments are still noble in the mural image system of the secular men in the Mogao Grottoes in Dunhuang,far from the central plains,which reflects the strong influence of the "clothes and Zhou rites".Through the research and analysis of the types,matching and accessories of women’s dresses,this paper finds that women’s dresses in this period have more colorful expressions in the way of matching compared with the previous generations,and the combinations of dress elements are free and varied,which reflects the various exploration of dresses for the proportion of women’s bodies and marks women’s clothes.Decoration gradually entered the period of liberation in history.Women’s dresses in the Western Wei Dynasty and the Northern Zhou Dynasty are quite different in appearance,reflecting the changes of the times and the political and cultural environment.In Chapter 4,the author analyzes the two kinds of maggots in the murals,and then makes a comprehensive study of them in the historical sequence of the evolution of maggots.It is pointed out that the Qianhu in the murals of Mogao Grottoes in the late Northern Dynasty is different from the pleated Qianhu prevalent in the Central Plains and Southern Dynasties at the same time,and still maintains the narrow sleeve tight style in the Wei and Jin Dynasties,which should be related to the geographical and climatic characteristics of Dunhuang.It is pointed out that the narrow-sleeved jacket is an inherent type of clothing in ancient China.Since the Shang and Zhou Dynasties,it has been used as underwear or the clothes of the working people at the bottom of the ritual society.It is seldom paid attention to.Through the excavation of archaeological images,the historical evolution sequence of the ancient jacket can be sorted out,which proves that the jacket has been worn in ancient China.History has always existed.Chapter 5 divides the murals into two types: open-necked and semi-open-necked.Through a brief analysis of the historical evolution of the murals,it is found that the open-necked and semi-open-necked Husuits in the murals of Mogao Grottoes in the late Northern Dynasty are not typical attires of the Xianbei people,but are closer to the Sogdians and the Dayuesi people.Clothes.The study points out that after many rounds of deep integration,many dress elements are common among Hu nationality,which is related to the way of life of Hu nationality.The study shows that the murals of Mogao Grottoes in the late Northern Dynasty embody the characteristics of the coexistence of two tracks of Hu clothes and Han clothes.The idea of holistic or holistic is inconsistent with historical facts.Chapter 5 makes a special analysis of the music and dance of Hu clothes and the fresh humble hood in the murals,and points out that the music and dance of Hu clothes in the murals reflect the cultural exchange between Dunhuang and the Western Regions.In the late Northern Dynasty,the fresh humble cap in the Central Plains had been improved,showing a marked change to the "crown",while the fresh humble cap in the murals of Mogao Grottoes still maintained the characteristics of the early lofty roof and long skirt,which is related to the regional climate characteristics of Dunhuang.Chapter 6 makes a special analysis of the calf nose trousers,deer skin clothes,crotch and hanging tendon in the murals.It is pointed out that the calf nose trousers were the underwear of the ancient people without hierarchy,not just the clothes worn by the laboring people at the bottom;the deer skin clothes were the clothes of the people who practiced in the mountains and wild,which implied the idea of seclusion and cultivation.Although the northern people had many clothes and animal skins,they had no such cultural connotations;the jacket armor and small sleeved jacket were worn together in the murals of the Mogao Grottoes in the late Northern Dynasty.It is pointed out that the "jacket" is not a dress name,but a combination of "jacket" and "shirt".It is pointed out that the hanging Teng is an oblique cut cloth,which is wrapped from the bottom to the top of the leg and forms a kind of binding material.From Wei Jin Dynasty to Tang Xingteng,there is a change in the width and narrowness of the cloth.There are changes in winding ways.In addition,it is pointed out that evil amplitude is not the same as Xing Teng.The seventh chapter is the conclusion of the article.The article elaborates seven chapters,respectively,from the perspectives of historical continuity,times change,cultural exchanges,historical influence and so on,carries out a comprehensive study of the mural costumes of secular figures in the late Northern Dynasty Mogao Grottoes,which is a detailed study of the clothing history of the Northern Dynasty.The study summarizes the characteristics and distinguishing points of the image presentation of men’s gowns and gowns,which is a supplement to the theoretical basis for the study of clothing images,especially for the waist accessory system of men’s gowns and skirts,which has not been put forward before.This paper analyzes the types of waistbands on men’s skirts in the late Northern Dynasty,and points out that there is a hierarchical distinction between kneecap and waistband,and makes a supplementary study on small crown and cage crown.This paper makes a further research on the "half-sleeve" and points out that the half-sleeve probably originates from the clothes,which is a kind of half-sleeve open-fitting clothes at first,and then becomes an important match on the skirts of women.This paper makes an in-depth study of the "hanging bun" on the coat,pointing out that the "hanging bun" originated from the "three Zhai" customs of the Zhou rites,and that from the Han Dynasty to the Southern and Northern Dynasties,the "hanging bun" underwent a change from the characteristics of the cutting structure to the fake decorations on the clothes.Through combing the literature and images,it is proved that Qianyu is an inherent type of costume in the history of ancient Chinese costume,and the theory that narrow sleeve shorts originated from Hu clothes is questioned.It is believed that the Hu clothes in the murals of Mogao Grottoes in the late Northern Dynasty were more similar to the dress patterns of Sogdians and Dayueshi than Xianbei people,reflecting the geographical particularity of Dunhuang and the information of grotto diggers.