Research On Jingchu Costumes From Pre-Qin To Han Dynasty

There are increasing number of bamboo slips,funeral figurines and fabrics of the pre-Qin and Han Dynasty unearthed in Jingchu area,which provide us detailed and reliable documents,images and unearthed remains for the study of Jingchu costumes.This paper takes the unearthed costumes as the research object,combing the generality and individuality of "textile and clothing technology","dyeing and weaving,embroidery pattern" and "accessories structure".Then explore the surface layer(shape,decoration),middle layer(craft,structure)and core layer(etiquette system,creation thought,custom and belief)of Jingchu costume.By using the methods of historical literature analysis,field investigation and multiple evidence,this paper makes a textual and empirical research on the shape,decoration,structure and technological evolution of textile technology and costume in Jingchu area from pre-Qin to Han Dynasty in China.And seek the etiquette regulation,creation thought and custom belief contained in Jingchu costume.The main research content of this topic includes the following parts:(1)Structural characteristics of fabrics unearthed in Jingchu area from pre-Qin to Han Dynasty.This paper makes an analysis of the etymology of Jingchu fabric and concludes that the naming function of the textile vocabulary and the change of the vocabulary reflect the regional characteristics of textile technology and the change of costume style simultaneously.Then,through quantitative analysis,it is proved that the specification difference and processing technology of hemp and silk fabrics are closely related to "practical function",and "high warp density silk fabric" is the material basis of the multi-layer light and warm fashion style of the chu and Han aristocrats.Through the systematic induction,analysis of the organizational structure of the textiles and knitting structure features and development rules: The middle and late warring States period was an important period for the development and maturity of textile technology in Jingchu area.The complexity of fabric organization and the change of color configuration made a leap compared with that of Shang and Western Zhou Dynasty,which directly contributed to the innovation and popularization of the superb textile technology of "velvet ring brocade" in the Western Han Dynasty.(2)The shape and structural features of Jingchu costumes from pre-Qin to Han Dynasty.In this study,the plane and three-dimensional costume images of different unearthed cultural relics are combed in detail,and according to the modeling characteristics,they are divided into four styles: Jiangyi(wide-sleeved Shenyi),Pianyi,rhombic Shenyi and coat and dress.This content puts forward the Chu wide-sleeved Shenyi,that is,the Jiangyi of the pre-Qin period,and makes a textual research on the difficult names.It is found that the solidification of costume modeling and the social stratum differentiation elements reflected by the costume image of “extravagant expense” and “frugality”,guan,clothing length,patterns and accessories.Because scholars attach importance to craftsmanship and despise shape that caused a lack of discussion on the phenomenon of "upside-down" embroidery of costumes in Mashan No.1 Chu Tomb,and an erroneous point of view of maintaining the integrity of each piece of embroidery,that is,following "etiquette".Through the comparative analysis of the unearthed costume remains and the cutting and sewing order of embroidery patterns,this paper reveals that the significance of "upside-down motif" lies in the appropriateness and harmony of "etiquette"(etiquette regulation)and "usage"(wearing function).Furthermore,it reveals the law of the change of the structure of Shengyi from Chu and Han tombs-the changes of human behavior in the etiquette activities from pre-Qin to Han Dynasty affected the evolution of costume,and solved the difficulties in the study of costume structure features in pre-Qin period.(3)Pattern modeling characteristics and cultural connotation of Jingchu fabrics from preQin to Han Dynasty.Starting from the modeling regulation,the fabric pattern is divided into five patterns: small rhomboid pattern,large diamond pattern,interval strip,animal and plant nesting,scattered geometric pattern.Based on the two-dimensional simulation of the pattern,it is found that the difference in pattern forming is helpful to meet the pattern decoration needs of different costumes and quilts.The study points out that pre-Qin embroidery adopts the mode of "division of labor and cooperation",corrects the size of embroidery frame,drawing tools and embroidery order,and comprehensively combs the development of different embroidery techniques as: Dazi,chain stitch,Najin,Jin stitch,and leather stitch.From the analysis of printing and dyeing process,the technology of stone dyeing and straw dyeing(painting dyeing,dipping dyeing,mordant dyeing,overlaying dyeing)has been developed in the early Western Han Dynasty,stencil printing is easy to operate,and lithographic printing is an effective supplement to the pattern of hand-painted fabric.From the perspective of cultural connotation,it is found that the pattern design of Jing-Chu fabric strictly follows the concept of "preparing things for application" in the pre-Qin period,which is mainly manifested in the construction of a harmonious and unified visual aesthetic in the process of cutting fabrics in the "diamond pattern" configuration of weaving and embroidery patterns."reuse of leftovers" condenses the labor wisdom,cherishing and respecting things of the ancestors of Jinchu area.Through the comparative analysis of the pattern changes,it is revealed that the social consciousness in the production of weaving and embroidery has an active reaction to the social existence-the aesthetic changes of the aristocratic class in the Western Han Dynasty contributed to the obscure design development of a series of weaving and embroidery patterns from obvious to obscure.This paper analyzes the dual cultural connotation of weaving embroidery patterns: one is to use decoration of the coffin cover to reflect the geography view of "Round sky and square earth",and the other is to construct the primitive witchcraft belief paradigm of the soul of the dead ascending to heaven with the combination of embroidery patterns.However,in the process of constructing belief totem,the decorative aesthetic of patterns is subordinated to the practical value of labor.(4)The characteristics of Jingchu costume accessories from pre-Qin to Han Dynasty.This content questions the naming of the wooden guang of the State of Chu,and speculates and restores the structure and wearing mode of the Chang guan of the State of Chu in the pre-Qin Dynasty,the Wu Bian and the Gauze guan in the Western Han Dynasty.From the analysis of hair accessories,the article believes that the practical function of multi-functional "hairpin" is the product of the concept of "preparing things for use”.The research shows that the typical hairstyles of women in Chu and Han dynasties are high bun and low bun,while men in Chu wear braided hair and wear guan.The study of waist decoration found that the "belt hook" could not act as a gender symbol of the deceased alone and provided a possible way to restore the structure of the folded sachet in the Western Han Dynasty to the sachet which was previously lack of material evidence.The shoes and socks are analyzed and demonstrated that the functional differences between the pre-Qin "mat-living system" and "daily life,field hunting,war,etiquette" determine whether the shoes are laced or not,and then it is concluded that the layout of tiny knots of the soles is an important construction of the laced shoes of the men in the State of Chu.This paper reasonably explains the cause of the shoe shape of the figurines and terracotta servants of the Western Han Dynasty,which is contrary to the real object.From the Pre-Qin dynasty to the Han Dynasty,Jingchu textile and costume embodies the superb ancient textile and weaving technology,costume and etiquette culture,and creative thinking wisdom created by the Chinese nation.On the one hand,sorting out the evolution of the superb textile and weaving technology in the ancient Jingchu region,digging and sorting out the structural characteristics of the ancient Jingchu fabric,costume,dyeing,weaving,embroidery,cutting and sewing techniques,will help to improve the value pedigree of the ancient Chinese textile and costume technology.On the other hand,the study of the modeling characteristics,structure features,decorations,and three-dimensional dressing form of ancient Jingchu costumes is not only helpful to deepen the understanding of the historical etiquette system and social customs of the Chinese nation,but also can reflect the ancient craftsmen's condensed creative thinking wisdom in the process of constructing textile and costume materials.The study of Jingchu costume is helpful to explore and inherit the technology and cultural value contained in the cultural treasure of ancient Chinese textile and costume,hoping to better understand the ancient material civilization with a long history of extensive and profound,and contribute to the study of the history of ancient costume with Chinese characteristics,Chinese model and Chinese style.