In the long river of history, the clothing of ancient Chinese women resembles a series of flowing paintings, documenting the rise and fall of dynasties and the evolution of aesthetic trends.
From the simplicity and grandeur of the Shang-Zhou period, to the rich diversity of the Qin-Han dynasties, the ornate complexity of the Sui-Tang dynasties, and finally the elegant simplicity of the Yuan-Ming-Qing dynasties, the evolution of women’s clothing not only reflects the fashion of the times but also profoundly mirrors changes in social structure, cultural values, and women’s social status. The following is a detailed exploration of this long and splendid journey.
Shang-Zhou: The Initial Form, Unadorned Simplicity
The Shang-Zhou period represents the early stages of Chinese civilization, and women’s clothing from this era, though not as elaborate as later periods, laid the foundation for the basic framework of ancient attire. The typical attire for Shang-Zhou women consisted of an upper garment called “yi,” often featuring a crossed collar and right-lap design, paired with a lower skirt called “chang,” a loose, long dress.
These two pieces were connected by a wide belt at the waist, providing both warmth and practicality while also embodying the aesthetic sensibilities of the Shang-Zhou society. Materials such as linen and silk were commonly used, with plain colors or simple geometric patterns adorning the fabrics, reflecting the simplicity and grandeur of Shang-Zhou society.
In terms of hairstyles, Shang-Zhou women preferred minimal hairpins and hairpins, often made of bone, wood, or bronze. Though not elaborate, these hair accessories exuded an ancient beauty. Additionally, women liked to adorn their hair with fresh flowers or leaves, expressing their closeness to nature and longing for a better life.
Qin-Han: Diversity and Initial Splendor
Entering the Qin-Han dynasties, with the establishment of a unified empire, women’s clothing began to exhibit unprecedented diversity and inclusiveness. The shenyi became the representative attire of this period, combining the structure of the upper garment and lower skirt into a single, body-enclosing form, which was both warm and convenient for movement, reflecting the Qin-Han society’s emphasis on both practicality and aesthetics.
Meanwhile, the rise of ruqun (short jacket paired with long skirt) added more softness and grace to women’s attire, showcasing their curves and offering more variety in design.
Colors in Qin-Han women’s clothing became more vibrant, with reds, greens, blues, and other bright hues widely used. Patterns were also more intricate, with natural elements such as flowers, birds, fish, insects, mountains, and rivers serving as common decorative themes, reflecting the Qin-Han society’s love and reverence for nature.
In hairstyles, accessories such as buyao (jeweled hairpins that jingled with each step) and huasheng (ornate hairpins) became popular, adorning women’s buns and adding a lively elegance to their movements.
Sui-Tang: The Glorious Era, A Profusion of Flowers
The Sui-Tang dynasties ushered in another golden age in Chinese history, and women’s clothing reached unprecedented splendor. The ruqun underwent significant development during this period, with skirts gradually widening to form the unique style of “wide robes and large sleeves.”
Bright colors and intricate patterns were widely used, fully demonstrating the Sui-Tang society’s ultimate pursuit of beauty. Additionally, women liked to embroider exquisite flower and bird patterns on their clothing, symbolizing good fortune and reflecting people’s longing for a better life.
In hairstyles, Sui-Tang women’s buns were even more varied, featuring high buns, low buns, and double-ringed buns, each with its unique charm. The hair accessories that accompanied these buns were numerous and exquisite, including huadian (ornate hairpins adorned with flowers), zhucui (beaded hairpins), and buyao, each piece meticulously crafted.
These accessories not only adorned women’s buns but also added a touch of elegance to their movements. Furthermore, the emergence of the “banbi” (short-sleeved jacket) during this period not only enriched women’s clothing options but also reflected the Sui-Tang society’s respect for women’s freedom and individuality.
Yuan-Ming-Qing: Elegant Simplicity, Returning to Essence
During the Yuan-Ming-Qing dynasties, as feudal society gradually matured and stabilized, women’s clothing began to exhibit a simplicity without losing elegance. The Mongolian attire of the Yuan dynasty had a profound impact on the clothing of Central Plains women, with features such as wide robes, large sleeves, and bright colors being retained and fused with Han Chinese attire, creating a unique style.
In the Ming and Qing dynasties, cheongsams and mahuang skirts gradually became the mainstream attire for women, featuring smooth lines and tailored fits that showcased women’s graceful figures while also meeting the dual demands of functionality and aesthetics in contemporary society.
In terms of colors and patterns, Yuan-Ming-Qing women’s clothing placed greater emphasis on color harmony and the symbolic meanings of patterns, such as plum blossoms symbolizing integrity and lotus flowers symbolizing purity. These elements were widely used in clothing design, not only beautifying the attire but also conveying profound cultural connotations.
In hairstyles, while elaborate accessories such as buyao and huadian remained popular, more women began to prefer minimal hairpins and hairpins, as well as gold and silver jewelry symbolizing their social status. These accessories not only reflected women’s social status but also demonstrated their inner peace and composure.
In summary, from the Shang-Zhou period to the Yuan-Ming-Qing dynasties, the evolution of ancient women’s clothing is a vivid historical scroll that records the social landscape, aesthetic values, and changes in women’s social status across different historical periods.
Each attire, each accessory, is a microcosm of the culture of that time, collectively constituting the splendid chapter of ancient Chinese women’s clothing.
