A Study On The Skirts In Silk Paintings Of The Tang Dynasty

In terms of academic studies, the traditional legacy silk painting(figure painting) from Tang Dynasty is much more of a supporting witness to the art and fashion history that the figure costume is in the rare case to be a major study object. The silk painting(figure painting) used as main study carrier, the author focuses on the women dress on the Tang Dynasty silk painting, and interpret the differences and similarities in contrast to the women dress in other historical stages and on other dressing subjects from the angles of style, color, ornamentation and collocation pattern, etc., in the process of comparing the women dress on the painting and relative information with the corresponding image data from Wei, Jin and Southern and Northern Dynasties, Sui, Tang, the Five Dynasties, Liao and Jin Dynasty. The image data for comparison consists mainly of archaeological images and is supplemented by the traditional legacy silk painting. The archaeological image data includes excavated silk painting, portrait slates(bricks), stone coffin line-carvings, vault frescoes, Buddhist grotto frescoes, tomb terra cotta figures and unearthed textiles; The quantity of legacy silk painting of the dynasties involved in this thesis study is relatively less than that of the archaeological data, which only contains that of Wei, Jin and Southern and Northern Dynasties. In the studying process, image is employed as the basic starting point, meaning putting emphasis on the intuitive transmissibility and making brief analysis on differences and similarities. In such process, the following three aspects of knowledge of women dress on the traditional Tang-Dynasty legacy silk painting are finally acquired. The direct comparison result: the waisted dress represented on the Tang silk painting reached its prevailing culmination only in Tang Dynasty. Systematic knowledge of the whole ancient costume fashion: the waisted dress on the silk painting merely belongs to one of the waisted-dress periods, the Tang Dynasty--the pattern, whose waistband girded at the upper and the very brink of the breasts could not represent all the Tang Dynasty’s women waisted dress patterns; the silk painting bears a similarity with the comparative image data that the women dress on the images have a special significance of conveying sex characteristics. Knowledge of the traditional Tang-Dynasty legacy silk painting: as with the dressing subject on the silk painting, ladies in waisted dress were more than maids in waisted dress, which is not in concord with what most archaeological image data reflects,that is, maids more than ladies; the inclination to the ladies on the dressing subject coincides with the social status of the silk painting makers.