Sentences or words describing women's cheongsam costumes in the Republic of China

On Women's Clothing in the Republic of China from Literary Works

When Shanghai became the fastest, nostalgia became a fashion. Photographer Ma Yuanhao is a man of heart. He collected a lot of women's clothes in the late Qing Dynasty and the early Republic of China in the process of collecting folk songs everywhere. This book Gone with the Wind (photography by Ma Yuanhao Dai, Shanghai Pictorial Publishing House, July 2002) is not only his collection, but also his photography collection. Dai's words comprehensively described the development of women's wear in China. But the models in old-fashioned clothes in the photos always make people feel a little embarrassed. Ma Yuanhao himself has this feeling: "Contemporary women live in today's equality between men and women. They are lively and cheerful, and can't show the sadness, vicissitudes and implication of women 1200 years ago. After all, the times are different and the environmental atmosphere is different. "

How did women dress up during the Republic of China? Of course, the yellow and brittle old photos and the musty clothes on the lower floor of the box can provide some reference. In addition, there is another way, that is, the description of clothing in literary works can also tell us a lot of real information.

Ba Jin wrote about the life, pain and struggle of China youth in feudal autocratic families after the May 4th Movement in the torrent trilogy. There is not much description of women's clothing in the book, but it is very representative: Hui "wears a crepe jacket with rolled edges and a pink skirt". This is the costume of a lady after the May 4th Movement. Wan'er "wore a fashionable short-sleeved jacket with big cuffs and a pleated skirt with pink lake crepe". Feng Leshan made a fashionable short coat with flared sleeves for Wan'er, originally to save face for himself. This dress shows the identity of Wan'er's concubine.

After the May 4th Movement, women in Han towns were still used to wearing coats and skirts, and the long sleeves with narrow sleeves gradually changed into short sleeves with flared sleeves. At this time, only the flag bearer wears cheongsam. At home, in spring and autumn, you can't find a woman wearing cheongsam.

Zhang Ailing is famous for her attention to clothes. She will naturally carefully design the heroine's clothes in her works. Cao Yuan in The Golden Lock is the daughter of a sesame oil shop. After marrying into a big family, in order not to be looked down upon, he kept up with the trend in clothes.

She is "wearing a silver-red shirt with a roll of onions and white thread on it, and her feet are black and blue." After the Revolution of 1911, the feminist movement appeared. Influenced by the idea of "equality between men and women", tops and trousers have become women's fashion dresses. Only on formal occasions, good women have to wear skirts.

More than 20 years later, Cao's daughter Chang 'an grew up to be a big girl, but she remained in the family. When someone introduced her, she "changed into an apple green georgette cheongsam, a high collar, lotus leaf sleeves and a semi-western pleated skirt below the waist".

Wearing cheongsam on the top and pleated skirt on the bottom is the result of the blending of Manchu and China women's styles. High collars and pleated sleeves were very popular at that time.

Mrs. Tao in Zhang Henshui's Crying Marriage is a modern woman in the Republic of China. She is wearing a silver-gray silk robe, so she must reach her knees. The four sides of the robe are inlaid with peach braids. In the middle of the braid, there are blue flowers and shiny rhinestones. She has a bare neck and a pair of beads, which naturally shows simplicity and clean richness. "

The above descriptions of the costumes of these literary figures give us a general understanding of women's costumes in the Republic of China.

Women's dress reflects the political situation, economic outlook, moral concepts and living customs at that time, and reflects her identity, status, temperament and taste. This is the same in any era.

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