Daz3d hanfu
Huadian (traditional Chinese: 花鈿; simplified Chinese: 花钿), also known as huazi (Chinese: 花子; lit. Spring and Autumn period (c. Warring States period (c. Its origins has no connection with the diandan (Chinese: 点丹; lit. The huadian was also popular among Tang and Song dynasties’ women. The popularity of the huadian declined in the Yuan dynasty. The huadian forms an integral part of Chinese clothing culture. It is typically red in colour but can also be found in different colours, such as green and gold. In present days, huadian is often combined with the wearing of hanfu, the traditional clothing of the Han Chinese. Different materials such as emerald bird feathers / cuidian (Chinese: 翠鈿), gold leaf, silver leaf, paper, fish scales, feathers, pearls, jewels, dragonfly wings can be used. During the prosperous period of the Tang dynasty and the Five Dynasties and Ten Kingdoms period, the mianye reached high up to the two sides of the nose. Mianye were typically about 1 cm from each sides of the lips and were red in colour. Chu dating to the Warring States period in Changsha, Hunan province, have decorative shapes or patterns painted on their face, which shows that the prototypes of the huadian already existed much earlier than the folk legends. The effect of the flower imprint was so striking that it formed a new vogue and was copied by other ladies. The plum blossom for some reasons could not be removed or washed off; but since it looked beautiful on the princess, it became a fashion trend. According to the Youyang zazu (酉陽雜俎), women in the Tang dynasty painted huazi (Chinese: 花子) on their face, which originated from Shangguan Wan’er. According to the Chinese folk legend, the red plum blossom huadian became popular in the Tang dynasty under the influence of Shangguan Wan’er. This fashion trend soon became popular across the country. The red plum blossom not only covered her scar but also made her look more beautiful and charming, which in turn made the makeup popular from the palace ladies to the common folk turning it into a representative makeup of the Tang dynasty. This became known as Hongmei zhuang (Chinese: 紅梅妝; lit. Shangguan Wan’er had her face ruined by Wu Zetian with a scar on the forehead, and as a result, she tattooed a red plum blossom around her scar and dyed it red taking inspiration to the plum blossom makeup created by Princess Shouyang. During this period, there were more than 10 variations of plum blossoms which were used as facial adornment. Other materials such as paper, fish scales or dragonfly wings were also used to make the huadian. Bird, snake and lead-shaped decorations were also popular. Woman wearing huadian on forehead and mianye, Five dynasties period. During the prosperous period of the Tang dynasty and the Five Dynasties and Ten Kingdoms period, the mianye reached high up to the two sides of the nose, and they were shaped in the form of coins, peaches, birds, and flowers. Song dynasty empress of Qinzong wearing pearl huadian. Empress of Yingzong wearing pearl huadian. In the Song dynasty, huadian embellished with pearls became popular. However, the traditional pattern design of huadian is still used in the designs of contemporary wedding accessories and large shows. The huadian is also used as a form of makeup for women when wearing hanfu. In the 21st century, the huadian typically do not appear on women’s face as daily makeup. It is also depicted in many Chinese television drama. Nowadays, the huadian can either be painted or be applied on the face in the form of commercialized temporary tattoos. Hua, Mei (2011). Chinese clothing (Updated ed.). The Palace Museum. “Pottery Figurines In Connection With Ladies’ Lives”. Chen, Jack Wei (2010). The poetics of sovereignty : on Emperor Taizong of the Tang Dynasty. Cambridge, hanfu dress United Kingdom. pp. 刘瑜芬. “How cosmetics were created in ancient China”. 5000 years of Chinese costumes. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. Zhongguo fu zhuang shi yan jiu zu. Wu, Qian (2022). “传统艺术中的花钿研究–《河北大学》2010年硕士论文”. San Francisco, CA: China Books & Periodicals. Shu, Hongxia (2021). “Rhyme in the Poems by Li Qingzhao and Zhu Shuzhen–《Journal of Yuncheng Advanced Training College》2000年05期”. Cao, Lifang (2011). “古代女子的花钿 – 国学网”. Guoxue (in Chinese (China)). Rui, Ying (2016). “浅析妇女花钿妆–《艺术品鉴》2016年12期”. Li, Xuewei (2007). “古之花钿 今更俏”. Yu, Qian; Lu, Xiuwen (2006). “敦煌壁画中的妇女花钿妆–妆饰文化研究之五–《敦煌研究》2006年05期”. The Works of Li Qingzhao. Zhang, Lei (2012). “The pursuit of beauty|Life|chinadaily.com.cn”. Ronald Egan, Anna Shields. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. This page was last edited on 30 October 2024, green hanfu at 04:15 (UTC). Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.