Plus size modern hanfu

This information is derived from a larger write-up I did for an A&S Competition entry – you can read the final version of that entry in my documentation vault. The banbi was first worn by “maids of honour,” but the fashion trickled down to commoners.5 Strict families did not allow their women to wear the banbi at all, and its popularity declined as a result.6 The depictions we have of women wearing a banbi are all labeled as attendants and serving women, so these families likely did not want to be seen as of a lesser rank. I also made a short video about this project, which you can view on the Kingdom of Meridies’s YouTube channel. Click on the images in galleries to enlarge them. Late 7th – early 8th century, China. Figure 1: Detail of Standing Female Attendant (Figurine). Figure 2: Detail of Standing Female Attendant (Figurine), Late 7th – early 8th century, China. The Metropolitan Museum of Art. The Metropolitan Museum of Art. Figure 3: Detail of a wooden figurine found in the tomb of Zhang Xiong (d. 633) and Lady Qu (d. Figure 4: Detail of a mural painting of a dancer wearing a banbi outside of her skirt, from the tomb of Zhang Lichen (655-702), Astana Cemetery. 688), Astana Cemetery, wearing a polychrome jin silk jacket woven to scale and tucked into a silk tapestry belt. 701), Shaanxi Museum, Xi’an, Shaanxi, China. Princess Yongtai (永泰公主, d. Figure 6: Female entertainers in a mural on the north wall of the Tomb of Prince Li Xian, dated 742 C.E. Figure 7: Figure of a woman holding a bird and wearing a banbi over her skirt, dated to the early 8th century. These attendants are wearing their banbi outside their skirts, with the ties visible. Figure 8: Figurine of female attendant, wearing a banbi tucked into a striped skirt with a patterned belt or waistband and with a blue pibo (shawl), from the Tomb of Zhen Rentai (a military commander), dated 664 C.E. Figure 9: Female attendant from a mural on the tunnel’s east wall, the Wei Family Tomb, dated to the late 8th century.11 Her banbi, like her ru, has very wide sleeves and is worn tucked into her skirt. Freer Slacker Gallery. The sancai (“three colors”) glaze pattern on the jacket suggests a polychrome silk. China National Silk Museum. Hanpi (sleeveless coat) of bast-fiber cloth in the Shōsōin Repository. Astana Cemetery tomb 206, Astana, Turfan, Xinjiang. Housed at the Xinjiang Uygur Autonomous Region Museum, Urumqi. The cut of the fabric implies it is a fragment of a doll-sized banbi or ru (shirt). 14.1 centimeters from sleeve to sleeve. It was found in a box with a statue of a Bodhisattva and labeled with the year 871. Housed in the Famen Temple Museum, Shaanxi. In R. Schorta & A. D. H. Bivar (Eds.), Central Asian textiles and their contexts in the early Middle Ages (pp. Lin, C. (2006). The lotus motif on textiles from Famen Temple. There are visible seams just past the sharp curve of the armpit, and the garment is lined with a center back seam. There is a short-sleeved jacket from the Yuan Dynasty in the Gansu Provincial Museum (Figure 10) which may be a descendent of the Tang Dynasty’s banbi. It is 63 centimeters long and has an arm-span of 115 centimeters.16. There are no ties or visible evidence of previous ties. Gansu Provincial Museum, China. The banbi may have either influenced or been influenced by clothing worn by the Mongols; an entire mode of dress, called hufu (foreign clothing) was popular during the Tang Dynasty to the degree that there are an ample number of tomb figurines and paintings of women wearing such garments. The longer versions of short-sleeved coats that Halbertsma-Herold presents in artwork all have crossed collars. Both garments are lined and feature a center back seam. Halbertsma-Herold (2008) points to three garments from Inner Mongolia that are similar to the banbi (Figures 11 and 12).17 Unlike Mongol garments that feature a cross-collar design, these jackets have a parallel collar and either visible or the suggestion of previous ties. The lining in both garments may have shifted over time, resulting in it being visible beneath the hem of the outer fabric. Instead of the garment edges meeting in the middle in the front, the hanpi garments have a small overlapping piece stitched to the left edge and onto which the collar is extended to form a tie (Figure 13). The hanpi is a men’s undergarment,18 while the banbi was outerwear. While there are several short-sleeved upper garments (hanpi) in the Shōsōin Repository, these are men’s garments and neither serve the same purpose nor have the same stylistic features of the women’s banbi. Based on the figurines, paintings, and miniature extants, I concluded that the banbi’s construction was closer in similarity to a ru (襦, shirt) than the Japanese hanpi. Like the banbi, the ru has a straight, open collar, a slight curve at the underarm, and ties in the front. I based my banbi pattern on my ru pattern, which I designed for a fabric width of 24 inches, which was the standard fabric width during the Tang Dynasty.19 Because the banbi is a short-sleeved garment, no additional material is necessary to extend the sleeve length. As it is, the sleeve cuff of my banbi sits at my elbow, which corresponds with period artwork (Figures 4 and 9). The length of a banbi varied, but a few inches past one’s natural waist should allow for one banbi to be worn either tucked in or outside the skirt. The shirt is fairly straightforward, being very similar to a basic T-Tunic, without under-arm gussets or gores. There are no extant shirts from the Tang Dynasty, so we are limited to period depictions including reliefs, murals, paintings, and tomb figurines, though we can supplement this with extant garments from preceding and succeeding periods. The seam in the center back is described in the Book of Rites regarding the proper construction of the shenyi (深衣),20 and can be seen in upper-body extant garments. In terms of construction, the shirt likely had a center back seam. The China National Silk Museum has one shirt from the Northern Dynasty (386 – 580 C.E.) which appears to be lined, and it is difficult to see whether there is a center back seam (Figure 14).23 It may be that the lining does not have a center back seam and the outer fabric does, though this would be odd considering other lined garments have a visible center back seam in the lining. The Book of Rites24 calls for a “square-shaped collar” for the shenyi,25 but given how the garments appear to rest in statuary, as well as on a figurine wearing cloth garments, I believe the necklines for women’s shirts were curved. Given that the standard width of fabric in the Tang Dynasty was approximately 24 inches, a center back seam is necessary to produce an open-front garment that can go all the way around the body. I am only aware of one extant upper garment where the side seams are open and the textile is laid flat to show an angled collar, but it is unclear who wore this garment.26 Though they are usually displayed and photographed flat, it is arguable that extant upper-body garments from preceding and succeeding dynasties, as well as hanpi in the Shosoin Repository, have curved necklines. A textile fabric dated to the Tang Dynasty recovered from Astana tomb number 206 that appears to be part of an upper garment (either a shirt or jacket) made for a tomb figurine due to its small size, not unlike the two skirts found in another Astana tomb, looks to have a curved (if slightly) neckline (Figure 15).27 Juni L. Yeung translated an article by Hu Jingming, originally posted on Baidu Tieba (an online community that is integrated with a Chinese internet search engine), which was posted to the Toronto Guqin Society’s page. The article presents an argument for a curved Ming Dynasty neckline.28 I have made shirts with both a square neckline and a curved neckline, and I prefer the fit of the latter. The silk ties/tapes used as garment closures don’t get much attention in the literature: Zhao Feng mentions them as closures for Liao Dynasty garments, ranging from 1.5-2.5 centimeters in width for upper garments, with wider tapes used for pants and skirts. From a mathematical perspective, the calculation of pi (π) was known in China as early as the 3rd century.29 The miniature garment in Figure 16 also features an undeniably curved neckline. They are visible on extant garments, as well as in art throughout Chinese history (Figures 4 and 7 are particularly good examples). Seong Myeong Su Daegam suggested I look at Traditional Korean Costume30 to get more insight on the way the ties are made and attached to collars. The Tang Dynasty roughly corresponds to the Unified Silla period in Korea, and the majority of the garments in this book are not from that era. This being said, the methods of how to make and attach silk ties are likely very similar to what was used in the 7th-9th century, given the simplicity of ties as a closure method. For upper garments, no attention is given to the construction of the ties themselves, though they appear to be made by sewing strips of silk into tubes and pressing them flat, chinese traditional clothes for men with the narrow edges folded in and finished with an invisible slip/ladder stitch. You can move the collar in the cutting layout, or make it. The banbi is constructed similarly to the ru (襦, rū), or shirt. Alternatively, you can shorten the upper sleeve piece to your desired length. Notes for how to draft a ru pattern are on the pattern page for that garment. As seen in Figures 1-9, sleeves ranged from cap to elbow-length. Figure 18 is my pattern/cutting layout for the ru. This is for half of the pattern pieces – it would be mirrored for patterned fabric to accomodate for directional designs. Remember that this garment has no shoulder seam so if your design has a top and bottom, it will be upside down on the back. Finish the ends of the sleeves with a blind hem stitch before you attach them to the shoulders, finishing the seams as you go. I like use a backstitch, and I flat-fell my seams – we don’t have definitive information about what kind of seams and seam finishes were used in period.39 If you’re lining your banbi, a secondary line of stitches on your seam allowance should be enough. Stitch the center back and side seams. The collar consists of a single, straight piece of fabric that is 3 inches wide. To make ties for your banbi measure out strips 6 centimeters wide and 54 centimeters long (for ties that are 2 centimeters wide and 53 centimeters long when finished). Congratulations! You now have a lovely piece of outerwear for your early Tang Dynasty wardrobe. Fold and press the strips, then stitch them with an approximately 0.5 centimeter seam allowance (Figure 22). Turn the ties and fold in the narrow sides 0.5 centimeters and close the tubes with a slip stitch. 1. Zhou, X. & Gao, C. (1987). p.77. 2. Hua, M. (2011). p. 4. Chen, B. (2013). p. 3. Chen, B. (2013). pp. 9. Chen, B. (2013). p. 8. Watt, J. C. Y., Jiayao, A., Howard, A. F., Marshak, B. I. Su, B., Zhao, F. (2004). pp. 12. “妆花凤戏牡丹纹绫夹衫.” (Silk twill damask phoenix peony patterned jacket). 10. Chen, B. (2013). p. 13. Kessler, A. T. (1993). Empires beyond the Great Wall: the heritage of Genghis Khan. Los Angeles, CA: Natural History Museum of Los Angeles County. Gansu Provincial Museum, China. 14. Chung, Y. Y. (2005). Silken threads: a history of embroidery in China, Korea, Japan, and Vietnam. New York: Harry N. Abrams. 15. Zhao, F. (2012). Silks in the Sui, Tang, and Five Dynasties. 203-257). New Haven, CT: Yale University Press. 17. Halbertsma-Herold, U. (2008). p. 18. Parent, M. N. (2001a). Hanpi 半臂. In D. Kuhn, (Ed.), Chinese Silks (pp. 19. See Appendix in the larger write-up for more information on period textiles and tools. JAANUS: Japanese architecture and art net users system (Dictionary). I’ll eventually make a new page for that information on the site, too. 21. 小花菱纹罗单衣片. 20. Confucius. (475 B.C.E. 22. 花卉纹罗袍. China National Silk Museum, Hangzhou, Zhejiang, China. China National Silk Museum, Hangzhou, Zhejiang, China. 23. 绞缬绢衣. China National Silk Museum, Hangzhou, Zhejiang, China. 24. The Book of Rites is a compilation of the customs, administration, and rituals of the Zhou Dynasty (c. 221 B.C.E./2018) 深衣 – Shen Yi. China National Silk Museum, Hangzhou, Zhejiang, China. 25. Confucius. (475 B.C.E. In D. Kuhn, (Ed.), Chinese Silks (pp. 27. Zhao, F. (2012). Silks in the Sui, Tang, and Five Dynasties. 203-257). New Haven, CT: Yale University Press. 28. Hu, J. (2011, April 11). Understanding hanfu aesthetics mathematically: Curves of a robe. In Lu, Y. (Ed.), A history of Chinese science and technology (Vol.1) (C. 31. Lee, K., Hong, N., & Chang, S. (2005). Traditional Korean costume. 29. Gao, S. & Tian, M. (2015). Mathematics. Folkestone, Kent, United Kingdom: Global Oriental. 38. LLee, K., Hong, N., & Chang, S. (2005). Traditional Korean costume. 39. For what we do know or can extrapolate, see Zhao F. (2004). Liao Textiles and Costumes. Folkestone, Kent, United Kingdom: Global Oriental. Hong Kong: Muwen Tang Fine Arts Publication Ltd. Yong-i Y., Yeo-Kyung K., Su-jin S. (2016). Chimeson: Korean Traditional Sewing. Seoul: Korea Craft and Design Foundation.