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[Hanfu · 漢服]Chinese Late Warring States period(475–221 BC) Traditional Clothing Hanfu Based On Based On Chu (state)Historical Artifacts
【Historical Artifact Reference】:
Late Warring States period(475–221 BC):Two conjoined jade dancers unearthed from Jincun, Luoyang,collected by Freer Museum of Art
A similar jade dancer was also unearthed from the tomb of Haihunhou, the richest royal family member in the Han Dynasty, and was one of his treasures.
Warring States period, Eastern Zhou dynasty, 475-221 BCE,jade dancer by Freer Gallery of Art Collection.
Warring States period(475–221 BC)·Silver Head Figurine Bronze Lamp.Unearthed from the Wangcuo Tomb in Zhongshan state during the Warring States Period and collected by the Hebei Provincial Institute of Cultural Relics and Archaeology
The figurine of a man dressed as a woman holds a snake in his hand, and 3 snakes correspond to 3 lamps.
Sword of Goujian/越王勾践剑:
The Sword of Goujian (Chinese: 越王勾践剑; pinyin: Yuèwáng Gōujiàn jiàn) is a tin bronze sword, renowned for its unusual sharpness, intricate design and resistance to tarnish rarely seen in artifacts of similar age. The sword is generally attributed to Goujian, one of the last kings of Yue during the Spring and Autumn period.
In 1965, the sword was found in an ancient tomb in Hubei. It is currently in the possession of the Hubei Provincial Museum.
【Histoty Note】Late Warring States Period·Noble Women Fashion
The attire of noblewomen in the late Warring States period, as reconstructed in this collection, is based on a comprehensive examination of garments and textiles unearthed from the Chu Tomb No. 1 at Mashan, Jiangling, as well as other artifacts from the same period.
During the late Warring States period, both noble men and women favored wearing robes that were connected from top to bottom. These garments were predominantly made of gauze, silk, brocade, and satin, with silk edging. From the Chu Tomb No. 1 at Mashan, there were discoveries of robes entirely embroidered or embroidered fragments. The embroidery technique employed was known as "locked stitches," which gave the patterns a three-dimensional, lively appearance, rich in decoration.
The two reconstructed robes in this collection consist of an inner robe made of plain silk with striped silk edging, and an outer robe made of brocade, embroidered with phoenixes and floral patterns, with embroidered satin edging. Following the structural design of clothing found in the Mashan Chu Tomb, rectangular fabric pieces were inserted at the junction of the main body, sleeves, and lower garment of the robe. Additionally, an overlap was made at the front of the main body and the lower garment to enlarge the internal space for better wrapping around the body curves. Furthermore, the waistline of the lower garment was not horizontal but inclined upward at an angle, allowing the lower hem to naturally overlap, forming an "enter" shape, facilitating movement.
The layered edging of the collars and sleeves of both inner and outer robes creates a sense of rhythm, with the two types of brocade patterns complementing each other, resulting in a harmonious effect. Apart from the robes, a wide brocade belt was worn around the waist, fastened with jade buckle hooks, and adorned with jade pendants, presenting an elegant and noble figure.
The reconstructed hairstyle draws inspiration from artifacts such as the jade dancer from the late Warring States period unearthed at the Marquis of Haihun Tomb in Nanchang, and the jade dancer from the Warring States period unearthed at Jin Village in Luoyang. It features a fan-shaped voluminous hairdo on the crown, with curled hair falling on both sides, and braided hair gathered at the back. The Book of Songs, "Xiao Ya: Duren Shi," vividly depicts the flowing curls of noblewomen during that period. Their images of curly-haired figures in long robes were also depicted in jade artifacts and other relics, becoming emblematic artistic representations.
The maturity and richness of clothing art in the late Warring States period were unparalleled in contemporary world civilizations, far beyond imagination. It witnessed the transition of Chinese civilization into the Middle Ages. The creatively styled garments and intricate fabric patterns from the Warring States period carry the unique essence, mysterious imagination, and ultimate romanticism of that era, serving as an endless source of artistic inspiration.
Someone on private message said thankful to me for posting the “EA Misinterpretation of China and Chinese Culture in Shang Simla World” that my post was informative and felt sorry for Chinese simmers for bad representation.
I'm sorry too for very late publishing the post to spread the information. It was actually critics I was supposed to complain to EA from year 2015, I did not make my Sim visiting Shang Simla afterwards due to disappointment and forgetting that world. When in 2020 pandemic, I decided write on tumblr. Writing in English language was quite difficult that was why it was long time to write and revise a lot in year 2021, then "forgotten", due to CC publications and uncomfortable incidents happened on my blog. Decided to publish on public to share knowledge to Simming community who are not familiar with Chinese culture.
I decided to not mention who the person is to protect the person's identity. Glad that to hear the person (from U.K. and said has no Asian ancestry) said already realized the Shang Simla icon is Japanese gate from beginning playing TS3 World Adventures, wondered from long time ago why EA made that mistake.
I tag @yorithesims What’s your opinion as Japanese seeing your country’s building icon Torii Gate as icon symbol for Chinese country. Weird, right?
The person asked again whether the clothing is accurate or not.
For clothing... I do wear Tang suit on Spring Festival or Chinese New Year in real life. Tang suit is for men and although it was from Qing dynasty it's also applicable for usage in modern time with more modernized design.
I use EA's Tang suit for dressing my Sim, Ridwan (he is Indonesian, ethnically Han Chinese descended from Hokkien speaking ancestors from Fujian, China). EA-made Tang suit with short sleeve here is modernized. Traditional Tang suit has long sleeves.
And for traditional Tang suit with long sleeves converted for child version is HERE.
I have no problem so far with the clothing because TS3 style is cartoony, low poly, yeah I kind of understand the clothing don’t have too much detail with wrinkles. I don’t expect EA TS3 team too much for clothing because I know the employees were too overworked with tight deadlines, working other 2 worlds as well. If it's historically accurate or not, I will say the hanfu is.. too ordinary because its worn by poor peasant in ancient dynasty time but the sleeves are not long enough to cover wrist.
EA employees must be getting the design from Hong Kong movies they had watched which showing scene of ordinary peasants. If you need more accurate ancient Chinese clothing, better download from actual Chinese CC creators. Hanfu differs in every dynasty, elegant, has complex design and patterns, definitely not resembling simple kimono robe after taking bath.
Better ask to Simmers from China, Taiwan, Hongkong if you want to know more about hanfu and more traditional Chinese clothing. @pitheinfinite Just in case you come back again to Sims community, please help explaining about traditional Chinese clothing, as you are woman who knows more about female clothing and Chinese history. Thank you in advance.
As you know, Cheongsam (Cantonese language) or Qipao (Mandarin Chinese language) tight dress showing curvy body you Westerners see actually is modernized/Westernized version. The original Qipao is from Qing dynasty is HERE.
Made by Taiwanese creator, Paulean-R.
I notified Western CC creator @murfeelee because I've seen her made compilation of TS3 Qipao. Just in case if she needed more information about traditional Chinese clothing, I gave the explanation here.
Qipao made by EA (No sleeve, long skirt) is too outdated to be honest. I've seen the most popular Qipao among girls has sleeve and short skirt.
Martial arts clothing made by EA is quite alright, that is wushu clothing. Unlike Japanese & Korean martial arts, wushu does not have standard uniform. Usually wushu clothing does not have sash, some have sash on waist. Colors are variable. Japanese & Korean martial arts do have strict discipline policy, must wear white uniform, belt must be worn properly and must obey the teacher. If do not, you will get punishment from the teacher.
Wushu vs Karate
Just for your info, Chinese martial arts (wushu) do not implement belt colour system for ranking levels. It's Japanese and Korean martial arts that have white, yellow, green, blue, red, black belt colour. I'm former Taekwondo practitioner. Sash on wushu clothing is just a sash, not belt with ranking levels.
As bonus here are Misua (Fujian-style wheat vermicelli), Sichuan-style noodles and oolong tea from Fujian I recently bought, they are imported straight from China.
Real Shang Simla foods are supposed to look like this. I bought product from Taiwan too but because Shang Simla is supposed to depict Mainland China, Taiwanese product is excluded. Hehe. Peace, no war. ✌️
[Hanfu · 漢服]Chinese【Late Tang Dynasty-Five Dynasties & Ten Kingdoms Period(907-979)】Traditional Clothing Hanfu Reference to Dunhuang Silk Painting
【Historical Reference Artifacts】:
1.China Five Dynasties Silk Painting:
Name: 《药师琉璃光如来》
Medium: Color on silk
Artist: Anonymous
Dimension: 72.5 x 55.5 cm
Location: The British Museum
2.China Northern Song Dynasty Silk Painting:《释迦说法图》(around 951-1000)
【History Note】
During the late Tang Dynasty and the Five Dynasties, the attire of aristocratic women continued the extravagant and gorgeous style of the mid-Tang Dynasty. The size of shirts and skirts further increased, and high buns and large-sleeved shirts and skirts were popular, showing an aesthetic trend from wide and puffy to slender.
With such changes in fashion, slender, gorgeous and elegant blouses and long skirts have become the attire for women at that time to attend formal occasions. Paired with a grand and square bun with a single hairpin, slender and flexible flower hairpins on both sides, and a delicate and gorgeous gold comb in the front of the bun, the overall look is more solemn, elegant, gorgeous and brilliant.
The comb worn in this outfit was restored from the gold comb with Jile Feitian pattern unearthed in Sanyuan Road, Yangzhou. It is huge in size and exquisite in craftsmanship, which fully demonstrates the superb level of gold jewelry production at that time. It is still shining brightly after more than a thousand years.
The woman wears a blue printed shirt with a long skirt, and a large-sleeved shawl made of "Crimson Dabao Xianghua Ling/大宝相花绫" on the outside, with a silk wrapped around her shoulders. This is the typical attire of female donor of Dunhuang silk paintings at that time, and is full of the rhythm of the late Tang Dynasty and the Five Dynasties beauty standard.