{"id":519,"date":"2019-10-14T13:34:05","date_gmt":"2019-10-14T18:34:05","guid":{"rendered":"http:\/\/www.biblionalia.info\/leah\/?page_id=519"},"modified":"2019-10-31T10:34:23","modified_gmt":"2019-10-31T15:34:23","slug":"8-tang-dynasty-ru-%e8%a5%a6-ru-shirt","status":"publish","type":"page","link":"http:\/\/www.biblionalia.info\/leah\/8-tang-dynasty-ru-%e8%a5%a6-ru-shirt\/","title":{"rendered":"8: Tang Dynasty Ru (\u8966, r\u016b) – Shirt"},"content":{"rendered":"\n

The primary upper garment for women in the Tang dynasty was a \u201csmall-sleeve short jacket and long skirt with waist fastened up under the armpit.\u201d1<\/a><\/sup> Over the course of the Tang Dynasty, the sleeves grew in size and the collar opened up to reveal more of the chest (Figures 1-8). <\/sup>2<\/a><\/sup>,<\/sup>3<\/a><\/sup><\/p>\n\n\n\n

Alternatively, the term \u5bf9\u895f (duijin<\/em>, dw\u0101-j\u012bn, \u201cdouble breasted\u201d) is used to denote the Tang Dynasty shirt, given that the collars do not cross as in other shirt-layers throughout Chinese history. Another type of shirt was the \u886b (shan<\/em>, unlined shirt), which I have only come across in one source which describes it as low-cut. It is possible that the shan<\/em> is the shirt with the curved neckline that is seen in some tomb figurines (Figures 1, 2).4<\/a><\/sup> These figures also appear to be wearing the half-arm jacket (\u534a\u81c2, banbi<\/em>).<\/p>\n\n\n\n

The shirt is fairly straightforward, being very similar to a basic T-Tunic<\/a>, but 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. Like the skirt, the shirt can be considered a foundation garment. It changed over time, moving from inside the skirt to outside, changing fabrics, and having a variety of accessories paired with it. It could also feature embroidered cuffs or collars and front-openings decorated with patterned trim (Figure). This trim consisted either of embroidery or pieces of brocaded silk.5<\/a><\/sup><\/p>\n\n\n\n

In terms of construction, the shirt likely had a center back seam. The seam in the center back is described in the Book of Rites regarding the proper construction of the shenyi<\/em> (\u6df1\u8863),6<\/a><\/sup> and can be seen in upper-body extant garments. The Shosoin Repository has several 8th Century garments with a notable Chinese influence that have a center back seam,7<\/a><\/sup> but I should note that these are male upper body undergarments.8<\/a><\/sup> The China National Silk Museum has garments from the Southern Song9<\/a><\/sup> and Yuan Dynasties10<\/a><\/sup> with a center-back seam construction.  The China National Silk Museum has one shirt from the Northern Dynasty which appears to be lined, and it is difficult to see whether there is a center back seam (Figure ).11<\/a><\/sup> 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. Based on an assumed fabric width of 24 inches, fabric conservation, and an extant shirt from the Northern Dynasty (386-581 C.E.), there was a seam off the shoulder as well as at the cuff.12<\/a><\/sup><\/p>\n\n\n\n

The Book of Rites calls for a \u201csquare-shaped collar\u201d for the shenyi<\/em>,13<\/a><\/sup> 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\u2019s shirts were curved. 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.14<\/a><\/sup> Though they are usually displayed and photographed flat, it is arguable that extant upper-body garments from preceding and succeeding dynasties, as well as garments at the Shosoin Repository that show Chinese influence, 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 neckline (Figure ).15<\/a><\/sup>  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<\/a>\u2019s page. The article presents an argument for a curved Ming Dynasty neckline.16<\/a><\/sup> I have made shirts with both a square neckline and a curved neckline, and I prefer the fit of the latter.<\/p>\n\n\n\n

We know that sleeve width, like skirt volume and length, was subject to sumptuary law through the Tang Dynasty. For example, in 826, Emperor Wenzong (\u6587\u5b97, r. 826-840) restricted sleeve width to one chi<\/em> and 5 cun<\/em> – or approximately 0.32 meters plus 160 millimeters, which is just under 19 inches.17<\/a><\/sup> Sleeve width may be something that can perhaps indicate the social status in paintings and other media – it is logical to surmise that servants would wear more slim-fitting sleeves so as not to have them interfere when working (Figures 1 and 2).18<\/a><\/sup> Based on evaluation of Chinese tomb figurines and frescos, slimmer sleeves were in vogue earlier in the Tang Dynasty (Figures 4and 8); unfortunately the difficult issue of provenance (due to unethical archaeological practices19<\/a><\/sup> and looting from the 19th century through the modern era20<\/a><\/sup>) makes more exact dating for these art objects (and thus clothing trends) problematic.<\/p>\n\n\n\n<\/a>

Figures<\/h3>\n\n\n