From Power departure to Snow chest-- the popular History of Wu Hou's Life

the recent hit drama "the Legend of Wu Mei Niang" has renewed everyone's attention to the fashion of the Tang Dynasty. The gorgeous costumes, towering and complex hair ornaments, and sexy open-chested clothes have all become hot topics of discussion and even debate. Do these elements reflect the actual situation of the Tang Dynasty? In fact, it can not be answered with a simple answer. Our impression of ancient Chinese clothing often stays in the immutable concept of facial pattern, simply thinking that fat is beautiful in the Tang Dynasty and elegant and slender in the Song Dynasty. But in fact, the speed of fashion change in ancient times is not as fast as it is today, and it will change in three to five years. From entering the palace to abdicating, Wu Zetian experienced nearly 70 years from the early Tang Dynasty to the heyday of the Tang Dynasty. With the change of the overall national strength, economy, atmosphere, and even climate, the court clothing during this period, no matter from aesthetics, makeup and hair, clothing to fabrics and patterns, have also undergone great changes. In fact, Wu Hou's life was a good theme to show the changes of fashion. In addition, as a woman who finally reached the top of imperial politics, Wu Hou not only reformed and innovated various political clothing systems at that time, but also had a strong energy to change the current fashion. Leaving aside movies and TV dramas, we might as well take a look at the popular history of the Tang Dynasty, which has been crossed and influenced in his life. [slender and conservative rhyme of the old dynasty]

the style of women's dress in Zhenguan was close to that of the late Northern Dynasty and Sui Dynasty, advocating a slim figure, and Wu Zetian was born in the seventh year of Wude (624). Zhenguan entered the palace at the age of 14. After being a talented person for 12 years, he entered Ganye Temple with the childless concubines. Zhenguan is not far from the founding of the Tang Dynasty, women's dress style is still similar to the late Northern Dynasty, Sui Dynasty, advocating slim figure, and relatively conservative. At this time, in the eyes of the martial arts, the imperial concubine in the palace was mostly dressed in a high bun, a large-sleeved blouse and a long skirt with a very high waist, while as an ordinary woman, she was more likely to wear a narrow-sleeved shirt and skirt, and her hairstyle was mainly in a bun.

regardless of big sleeves and narrow sleeves, the waist of the skirt is extremely high

"red shirt narrow wrapped in small arms", blouses are mostly cross-collar or round-collar blouses, daily wear narrow-sleeved short shirts, regardless of narrow sleeves and wide sleeves, the position where the neckline intersects is very high. At this time, the skirt waist position is also extremely high, and even tied to the chest armpit, close to the neckline. Sometimes a waist skirt will be added to the waist, and a large number of shoulder-strap skirts, which have been popular since the Northern Dynasty, are widely used to mop the floor, so when maids and maids walk or work outdoors, they will also tie the waist and crotch, tucking up the skirt to make it easy to do, revealing the stripes worn inside the skirt. On the other hand, the color of the skirt is mainly red and green, red and blue, red and white, and red and yellow, which can be called "inter-skirt" or "inter-colored skirt". In the "step-by-step map" that reflects the story of Zhenguan for 15 years, the palace happens to be dressed in this way.

in the step picture, the waist and crotch band is tied, the skirt is folded up to the high maid

at that time, the common hairstyle is still full-bodied Sui style, the sideburns are closed, and the top of the head is mainly in a low laminated coiled bun, or coiled in a single bun, or with a servant girl in a double bun. However, there is a kind of hair pulled up to the back of the head, turned from the bottom into a high bun also began to appear, or what the literature called "Tang Wude, the palace combed half bun." Since its appearance, this kind of high bun has quickly become popular among the people from top to bottom. Huang Fu de once wrote to Emperor Taizong to criticize the bad leading role played in the palace. "the vulgar high bun is the embodiment of the palace." after hearing this, Taizong angrily said, "if this person wants to make the palace people have no hair, it is called his intention!" This hairstyle continued until the height of the Tang Dynasty and became a high-ranking hairstyle for women in the Tang Dynasty.

the image of high bun reflected in the terracotta figures unearthed in Chang'an during the Zhenguan period

the conservatism in the clothing of the early Tang Dynasty was not only reflected in the higher neckline and skirt waist, but also reflected in the shelter of women's travel. At that time, the ladies of the palace and Wang Gong's family not only obeyed the etiquette and dress strictly, but also had to wear a kind of mask and dust-shielding towel "power away" when they traveled on horseback. They were "shielded all over the body, and did not want to peep through the road." [entering the open Gao Zong Dynasty]

the degree of chest exposure expanded, and the figure became more plump and straight

Tang Gaozong Yonghui two years (651), Wu Zetian re-entered the palace, and then was named the second grade Zhao Yi. Step by step, he established his position in the palace and ascended the throne of empress. At this time, the style of women's wear in the Tang Dynasty also quietly began to change, advocating the figure from slim to more tall and straight, the atmosphere is also gradually open. During this period of time, the archaeological materials of the royal and aristocratic tombs around the capital are extremely rich, especially the tombs of Wei Guifei and Yan Fei buried with Zhaoling, as well as the tombs of the Princess of the New Town and the eldest Princess of Fangling have been discovered one after another. it provided a large number of direct materials for understanding the popularity in the palace at that time. The neckline of the coat is changed to a round collar, with a thin edge on the lapel, pointed at the flap or upwarped, and sometimes fastened with a number of buckle loops. In addition to the most common lapel, there are many examples of round collar lapels. In addition to the long-sleeved shirt, there is an extra short-sleeved shirt, and the cuffs and edges are sometimes decorated with a wide brocade edge, mainly with beaded patterns or precious flowers that are popular in the early Tang Dynasty. The hem of a short-sleeved shirt is often not tied in the skirt, or even only fastened to the first buckle loop, while the hem is opened. Most of them hang from back to front, and they also begin to appear a cloak with one end tucked in the waist of the skirt, from the left shoulder to the right shoulder, and down to the chest.

the skirt becomes finer

the stripes of the intercolored skirt become finer. Compared with the extremely high skirt waist in the early Tang Dynasty, it began to move slightly down to the chest, the degree of breast exposure increased, but it was still tight and the hem was broad. The aesthetic tendency of tightening the chest and waist in the early Tang Dynasty can also be seen in the poems of the early Tang Dynasty. At that time, the monk Fa Xuan and Zhao Wang Guan prostitute praised "painting Guang Dai in the city and slimming the waist in the palace" and Liu Xiyi's "Childe Xing" and "willing to be light and thin waist". The variety and shape of the bun have become more abundant, and there are two types of mainstream hairstyles, both of which include single and double styles: in addition to the more plump and tall half-turned bun, all kinds of bun are also very popular. The small is like a finger, the big is like a fist, the elder is like a horn; and some of the remaining hair does not go back into a ring and hangs down at will. A lady of the courtThere is also a more exaggerated bun, which doubles the ring diameter and becomes an eye-catching left and right servant girl, which is also a common performance hairstyle for dancers.

all kinds of bun

makeup is mainly light makeup, with a little rouge and blush. At the same time, gorgeous makeup with false dimples on both sides of the lips, flowers on the center of the eyebrows and crescent-shaped red on both sides of the cheeks has also been formed, which can be seen in ladies and dancers. Jewelry is not often used, and most of them are only fixed with hairpin at the base of the servant girl, or one or two hairpins are inserted on the side of the half-turned bun. Pearl and gem necklaces and armbands are also used. At this time, women's travel gradually abandoned the power of the whole body, and only on the edge of the hat with a circle of tulle cover, tulle is also gradually shortened, "skirt to the neck, gradually exposed." Gao Zong banned it several times during the years of Xianqing, Longshuo and Xianheng, and thought that "there should be no barriers between the thoroughfares" and that "it was too imprudent and impolite." From now on, don't do this. In the mural of Yan Fei's tomb buried in the second year of Xianheng, there are people in the palace with a hanging hat, and the skirt is very long, which shows that the palace still abided by the imperial decree to a certain extent at that time. However, "Xuan is still", almost all the images of curtain hats we can see in the early Tang Dynasty are only "skirt to the neck", and the open atmosphere seems to be about to get out of hand. On the other hand, the fact that the power separation gradually disappeared and the veil of the curtain hat was shortened was even defined as "the prophecy of the woman" by the Book of the New Tang Dynasty, which was recorded in the "five elements to serve the demon".

the shortening of the curtain hat skirt

[Wu Zhou Feng magnificent blooming]

the first year of Tang Gaozong (674), Gaozong was called the emperor, and Wu Zetian called the diva, and the political affairs were all handled by the queen of Wu. In the first year of Zai Chu (689), Wu Zetian officially became emperor and changed the name of the country to "Zhou" until the first year of Shenlong (705) was forced to abdicate. Wu Hou carried out various innovations and reforms on the clothes with political symbolism, and several times gave gorgeous embroidered robes and inscription robes to senior officials and General Zhu Wei, symbolizing civil and military officials with birds of prey and beasts. At the same time, with the great improvement of women's political status, the style of daily women's clothing has also changed greatly. This period can be regarded as the most calm and confident, plump, symmetrical and curvy period of female images in the Tang Dynasty. at the same time, the dress atmosphere is also the most open and exposed, and the decoration is gradually moving towards gorgeous. As an era when women are in power, this is also a reasonable change.

Women's confidence in showing their bodies has greatly increased

first of all, the most striking thing is their confidence in showing their bodies. The collar type of the coat has changed from a straight collar to a lapel, and most of the jackets with short sleeves are straight collars whose hem is not tucked into the waist of the skirt. Due to the change of the collar style and the further downward movement of the skirt position, the degree of women's exposure of plump breasts has also greatly increased. From the terracotta figures and murals unearthed in the Wu and Zhou dynasties, there are many images of crispy breasts. Even today, the degree is slightly exaggerated. On the other hand, the razor is popular in a wider style, with a circle overlapped in front of the chest, which can almost be regarded as a shawl. In the early Tang Dynasty, the lower handmaids often wore men's clothes that were convenient for movement, while in the Wu and Zhou dynasties, the phenomenon of upper-class women wearing men's clothes and Hu clothes began to appear gradually.

at the beginning of Wu Zhou, in addition to the lower maids, the fashion of women wearing men's clothes and Hu clothes also gradually formed

skirt colors such as bright red and green, especially red skirts, which are often referred to as "pomegranate skirts." Wu Zetian himself has a famous sentence "open the box to check the pomegranate skirt." There is a slender mouth on each side of the long skirt, and this kind of long skirt has been in use for five generations since then. The fastening method can be enclosed from front to back or from back to front, and the latter is the most common. Due to the close-fitting degree of the skirt and the sense of droop, the figure curve is drawn more slender and graceful, and the leading edge of the skirt is provoked by the high head.

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the splendor of dress fabrics

the upper-class women's clothing materials are becoming more and more extravagant and extravagant, and more and more people use rich materials at the edges of clothes, and even the whole pieces of short sleeves and backs are made of magnificent flowers. Shirts and monochromatic skirts are often printed and dyed with a variety of scattered dots and flower patterns; the skirt is not satisfied with a simple two-color splicing, Wu weekend to the early Kaiyuan, there is also a vertical strip covered with patterns, cloud decoration.

Wu Zhou style high bun and Yi bun

hairstyle has also become more fluffy, especially the protuberance of the temples is in the shape of "cloud temples", which is no longer the state of gathering and serving in the early Tang Dynasty. On the basis of cloud temples, single-knife half-turned bun and double-knife half-turned bun are still popular, which are commonly used as people of higher status, and have developed into a wearable bun with gorgeous ornaments, such as a fake bun made of thin wood unearthed in Astana. In addition, double and single bun became the most popular bun in the Wu-Zhou period, and its shape gradually changed from small to big, and developed into a full and round bun in the martial weekend year, and there was also a homomorphic bun as a substitute, fixed with hairpin and lace. After the abdication of Queen nbsp;, women are still active at the pinnacle of power, including her daughter Princess Taiping and daughter-in-law Wei Hou, until Xuanzong ascended the throne. Wu Zhoufeng also maintained until the early Kaiyuan period, while the fashion of women advocating plump beauty and loose clothes in the Tang Dynasty was the later words of Yang Guifei after her appearance on the stage.