Asian Social Science; Vol. 14, No. 8; 2018 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education
A Study on the Origin and Evolution of Shape and Structure of ‘Gui-Yi’ in Ancient China Xiang Yang Bian1 & Fang Zhou1 1
Fashion & Art Design Institute, Donghua University, Shanghai, China
Correspondence: Xiang Yang Bian. Tel: 1-370-171-5417. E-mail:
[email protected] Received: June 5, 2018 doi:10.5539/ass.v14n8p145
Accepted: June 19, 2018
Online Published: July 27, 2018
URL: https://doi.org/10.5539/ass.v14n8p145
Abstract Most of the existing studies on Gui-Yi, which is a kind of ancient women’s dress of China, are barely about the interpretation of Xian (ie. a long ribbon made of silk) and Shao (ie. a hanging fabric of cloth, shaped like a swallow tail, tied to the waist) of Gui-Yi, on whose origin, development and evolution of the shape and structure there are few discussions. Based upon summarizing the literature, this paper points out that Gui-Yi in Han Dynasty was originated from a relic of San-di (ie. three kinds of ceremonial dress worn by queens in The Rites of Zhou Dynasty-a classical book in ancient China on the bureaucratic establishment system of Zhou Dynasty and the system of states in Warring States Period). In the paper, Gui-Yi is divided into two kinds according to images in archaeological studies, namely, the ‘Gui-Yi in one-piece system’ (‘one-piece system’ is Chinese robe) and ‘Gui-Yi in separate system’ (‘separate system’ is a kind of suit that consists of blouses and skirts). The former was popular in Han Dynasty, and the latter was popular in Wei &Jin Southern and Northern Dynasties. The change of the shape and structure of Gui-Yi conforms to the historical trend that the ‘Gui-Yi in one-piece system’ entered a recession in the late Eastern Han Dynasty and the ‘Gui-Yi in separate system’ became a popular mainstream in Wei &Jin Southern and Northern Dynasties. In addition, the paper points out female images wearing Gui-Yi in Gu Kaizhi's paintings influenced the expression of Gui-Yi image of Wei & Jin Southern and Northern Dynasties, and Gui-Yi were gradually brought into immortal statues during painters’ artistic processing of that time. Keywords: ancient times, clothing, Gui-Yi, Wei &Jin Southern and Northern Dynasties, Gu Kaizhi 1. Introduction Most of existing studies on Gui-Yi, which is a kind of ancient women’s dress of China, are barely about the interpretation of Xian and Shao. For example, some scholars think that ancient Chinese women put some linked trinkets, in a triangular shape, on the lower hem of their dress during the period of Wei &Jin, which is called Shao; at the waist under wrap skirt of Shen-yi (ie. a Chinese robe, in which its upper part and skirt are cut apart but stitched together) hung long ribbons, which is called Xian, The scholars consider that such decoration began in Eastern Han Dynasty, which is related to the soft and light texture of Chinese silk materials, playing a role of increasing elegance (Huang & Chen, 2001, p. 132). Other scholars think that after Eastern Han Dynasty, the hem of female Shen-yi are cut into a number of triangles, several laminated pieces intersecting when put on, It is also called Gui-Yi, or Gui-shu (Zhou & Gao, 1988, pp. 202-203), for that its shape is like a Gui (an ancient measuring vessel of China) or swallow tail, which is wide in the upper and narrow in the lower. The others point out that Xian and Shao originated in Han Dynasty, handed down to Wei and Jin Dynasties; the lower hem of the dress is cut into a triangle, overlapping with layer on layer, the upper is wide and the lower is narrow, which is called Shao, and Xian refers to the long ribbon extending from the wrap skirt, When women walk, the sharp corners of their clothes are flying like swallows, which is thus described as ‘beautiful ribbon and gorgeous pendant flying.’ And the ribbon was removed in Southern and Northern Dynasties, while the swallow tail was lengthened (Zhou & Gao, 1984, p. 77). Clearly, most scholars believe that Gui-Yi originated in Han Dynasty and prevailed in Wei &Jin Southern and Northern Dynasties, and its leading features are characterized by being decorated with Xian and Shao. These research findings are lack of discussion of the origin, development and evolution of the shape and structure of Gui-Yi. Combined with historical documents and archaeological images, this paper tries doing a brief textual research and discussing several questions about Gui-Yi on the base of previous studies. 145
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2. Origin of Gui-Yi 2.1 Gui-Yi Recorded in the t Literature During thee period of Waarring States, tthere was a verrse going as ‘fflying embroiddered clothes, graced with Gui-Yi G outside’ inn Song Yu’s Ode O to Goddesss, which thuss shows that tthe origin of G Gui-Yi is likelly earlier than Han Dynasty. IIn Han Dynassty Gui-Yi wass also named Gui-i, or Guii-pao. As Exeegeses of Ritess of Zhou Dyn nasty recorded, ‘There are six kinds of cerem monial dress oof the empresss. This ceremoonial dress all ddecorated with h silk that is cutt into a certainn shapes, and colored patterrns are drawn on the silk (L Li, 1999, p. 2002). Gui-Yi in Han Dynasty w was decorated with w silk that was cut into aarch shape, whhich originatedd from San-Di among ceremonial dress of ann empress recoorded in The R Rites of Zhou D Dynasty-a classsical book in aancient China oon the bureauc cratic establishm ment system off Zhou Dynassty and the system of statess in Warring S States Period ((Li, 1999, p. 204). 2 San-Di reffers to three kinds k of cerem monial dress thhat are decoraated with patteerns of pheasaant. The reliqu ue of San-Di froom Zhou Dynaasty was inheriited in Han Dyynasty, cutting silk into trianggle shape and sewing on the hem of dress foor ornamentatioon, and such oornamented dreess were calledd Gui-Yi in Hann Dynasty.
Figuree 1. An unearthhed triangular oornament for clothing c
Figure 2. A coat with ddecorative trianngles
Figuree 3. Portrait stoone of the Hann Dynasty in Y Yinan, Shandonng
Figuure 4. Wu Lejuun portrait ston ne in Han D Dynasty
2.2 Gui in Archaeologicaal Excavation From objeects currently archaeology a unnearthed, the shhape of Gui, w which is a kindd of tablet of jaade held in han nds of ancient rullers on ceremoonial occasionns, presents itsself as ‘Two hhumeral angless are in a straight line, above the shoulder iss the shape of an isosceles trriangle’ (Zhou,, 1992, p. 14). Clearly, the shhape of Gui is a triangle. There wass the dress withh a shape like Gui unearthedd in Han Dynassty. ‘Four trianngular pieces thhat were made e of a piece of w white silk’ weree unearthed at a fresco tomb of northern L LE in Kroraina,, Xinjiang in 22003, among which w ‘two piecees and another two pieces spliced, rimmed with tawny, thhin and tough silk, affixing kkerf with deep blue silk stream mer at the midddle of each triaangular piece, w with round gold foil pasted oon the silk edgge and silk stre eamer. The four ddecorative triaangular piecess of a robe weere 79cm longg and 20cm w wide’ (Figure 1) (Bao, 2007 7, pp. 10-12). A coat with a trriangular ornam ment at its low wer hem was aalso unearthedd from the sam me tomb (Figu ure 2, 146
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collected in Xinjiang Cultural Reliccs and Archaaeological stuudies Institutioon). Its era iis archaeologiically speculatedd to be about Eastern E Han Dynasty to Wei & Jin Dynastties, which cann be regarded as a solid evid dence of the use of the unearthhed triangular clothing. In adddition, there were similar ttriangular ornaaments at the collar c and side oopening of chaaracter imagess in the stone relief of Han Dynasty in Y Yinan (Figure 3) and Wu Le ejun's stone relieef (Figure 4). This charaacter images inn the stone reliief are rather aabstract, yet thhe decorative ttriangles on thhe clothing are very clear, besiides the uneaarthed objects of decorativve triangles inn kind, it is proved that iit was a com mmon phenomennon to decoratte gowns withh triangular oornaments in H Han Dynasty, and triangulaar ornaments were chiefly useed at the collarr and the edge of the dress off a Chinese robbe. 3. The Shaape and Struccture of Gui-Y Yi Gui-Yi in Han Dynasty image can bee divided intoo two kinds off ‘Gui-Yi in oone-piece systeem’ and ‘Gui--Yi in separate syystem’. ie. ‘onne-piece system m’ is Chinese robe which connnecting the bllouse and skirtt together, ‘sep parate system’ is a kind of suitt that consist oof two parts: tthe upper part is a blouse, thhe lower part iis a skirt, ‘sep parate system’ alsso called ‘RuQ Qun’ in China, ‘Ru’ refers to a kind of blouse. 3.1 Gui-Yi in One-Piece System n ‘Gui-Yi inn one-piece syystem’ was allso called Guii-pao in Han Dynasty. Onn a stone tableet that was newly unearthed at a tomb of Wei W Kindom, ffounded by Caao Pi, in Luoyaang during Thhree Kingdomss period, there were words readd as ‘wearing nine sets of seecular suits under Gui-pao’ ((Figure 5). It ggave eloquent proof that Guii-pao was one of common arisstocratic costuumes in Han annd Wei dynastties. Gui-pao hhas edgings, w which here refe ers to ornamentss at the border of clothes. Ass Rites recorded, edgings of G Gui-Yi are madde of blue silkk. Yan Shigu in n Han Dynasty ssaid, ‘Edgings at female cloothes draping silk into wrinnkles were all the rage thenn.’ These histo orical records inddicate that edggings of Gui-paao are rather fllorid. As Book oof Later Han recorded, r ‘Peoople whose titlle is below thee Duke and thhe Count mustt wear clothes with edgings off monolayer. Ladies L whose title is below the empress m mustn’t wear L Li-Gui-Sen (iee. a gorgeous dress which edgged with Gui). This clothing ssystem was baanned in the yeears of Jian Wuu (ie. 25-26 A.. D.) and Yong ping (ie. 58-75 A. D.), and gradually, g no oone knew how to tailor and make these anncient gorgeouus costumes, which w were graddually disappeaaring in historry. Edgings off monolayer oon clothes of tthe Duke and the Count ma ay be similar wiith Gui-shaped edgings onn male gownss engraved in the stone reelief in Yinann of Han Dyn nasty. Li-Gui-Senn has completeely extincted, aand it is imposssible to know its form now.
Figure 5. A Stone card of the Caoo Wei tomb uneartheed in Luoyang
t Figure 66. painted woooden figurines Unearthed in the tomb of tthe Western H Han Dynasty inn Yunmeng, Hu ubei
A tomb off Western Hann Dynasty wass discovered inn Yunmeng C County, Hubei, in 1973, Threee painted wo ooden figurines w were unearthedd in the tomb, among them thhere was an uppright figurinee in a robe, of w which the corn ner of its robe w were curved, annd two pieces of the front inntersected, wrrapped the boddy and hung bbehind it (Figu ure 6) (Chen, 19773, p. 31). As Supplement S No Notes of the Hann History recoorded, ‘Jiao-Shhu, which is a kkind of cutting g way in ancient China, is to cut c off the whhole textile acrross corners, aand make one end of the texxtile as narrow w and small as thhe swallow tail, hung on botth sides of the body when seewn with the edge of a robe, which can be seen from behinnd. Jia Kui inn Han Dynastyy called this roobe style as Yi Gui (Ban, 20008, p. 3574). Ancient peop ple in China streessed regular and a square whhen tailoring, which meanss to take the ppositive of clooth and silk. So S in Western H Han Dynasty, Ru R Chun calleed it ‘cutting fabric positiveely’. Jiao-shu cutting, diagoonal cutting of o the fabric in aancient China, ie. bias-cuttingg. Jiao-shu cuutting was usedd to tailor Gui--pao in Han D Dynasty, making the 147
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edge of a ggarment as shaarp as a swalloow tail, hanginng on both sidees of the bodyy and seen from m behind. Yi-G Gui as Jia Kui caalled refers to the robe with the edge of a garment lookk like a swalloow tail. The roobe of the stan nding figurine thhat was unearthhed from the toomb of Westerrn Han Dynastty in Yunmengg matched up w with the description in the literrature. (Figure 6) On the stone coffin of Han H Dynasty unnearthed in Xinnjin County, Sichuan Provinnce, a female im mage was engrraved. The time iis archaeologiccally speculateed to be Easteern Han Dynassty or so. Therre is a womenn in robe with long, large and wide sleeves (Table ( 1, Patteern A) carved on the stone coffin. The eddge of the robee drape, upperr part being widde and lower narrow, unduulant follow the human body moves. A As Shiming rrecords, ‘Wom men’s ceremoniaal dress is calleed Gui, for thee edge of the rrobe drapes, uppper part being wide and low wer narrow, whose w shape is likke Gui.’ This sort s of robe with draping eddge, upper partt being wide annd lower beingg narrow, confforms to the shaape and struccture of the rrobe recorded in the literatture. (Shimingg is the first monograph about a systematiccal etymological investment in ancient China) Table 1. G Gui-Yi in one-piiece system Pattern A:
P Pattern B:
Paattern C:
Image onn a Sarcophaguus of Eastern Han Dynastty
The Paintiing Roll of Virrtuous and Wise Ladies
The Paintingg Roll of Virtuous and Wise Ladies
Cultural R Relics Managem ment Institute, Sichuan
The Paalace Museum’s ccollection
Thhe Palace Museum’s collectio on
In The Paiinting Roll of Virtuous V and W Wise Ladies, G Gui-Yi that the llady wears is ddifferent from that of in Patte ern A (Table 1, P Pattern B). Thhere's another layer of SuShaDanYi, ie. a single transpaarent blouse m made of white yarn, outside heer Gui-pao. Thhe SuShaDanY Yi was a popuular silk blousse worn by meen and womenn in Han Dyn nasty, similar with the single blouse b outsidee the robe. Weearing this trannsparent singlee blouse makees people look very light and eelegant as if with w a kind of immortals. It was widely sppread in Han D Dynasty becauuse of the com mmon pursuit of transcendencyy at that time. W When one putts on Gui-pao and SuShaDannYi together, thhe edge of the robe would draape in four droooping Gui-shhaped pieces. T The effect of this multi-layer robe is perrhaps the sourc ce of ‘miscellanneous edge’ inn literary workks. The picturee of the wife of Bo Zong iin The Paintinng Roll of Virttuous Ladies inddirectly showss the design feeature of Gui--Yi (Table 1, P Pattern C). Thhis pattern alsoo adopts to pu ut on Gui-pao toogether with SuuShaDanYi. These threee patterns are all style repreesentatives of G Gui-pao in Hann Dynasty. Alll of them exagggerate on the basis of curved front of the roobe and the Guui-shape edge ((Also called as swallow tail)) draping at thhe back of the robe. The elegannt robe with swallow-tailed s d edge graduallly developed into a relativeely fixed shappe kept in wom men's clothing inn Han Dynastyy. The swallow w-tailed (samee as Gui-shapeed) edge are aall connected tto the robe, so o it is called ‘Guui-Yi in one-pieece system’. 3.2 Gui-Yi in Separate System Sy From the extant mural paintings in tthe tomb cham mber of Han D Dynasty, it is clear that the women’s dre ess in separate syystem was poppular at the sam me time with thhe ‘one piece system’ in latee Eastern Han Dynasty. From m last years of E Eastern Han Dynasty D to Weei &Jin Southhern and Nortthern Dynastiees, ‘one piece system’ grad dually declined, w while separate system graduaally took over the dominant role of womenn's clothing. Gui-Yi in sseparate system m had emergedd in Han Dynaasty, also calledd Gui-Chang oor Gui-Shu. Ass Book of Post-Han Dynasty reecorded, ‘Everry time a banqquet is held, alll concubines w will compare their costumess and ornamen nts to 148
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each otherr in secret. The hairpin and earring they w wear are all resplendent, Guui-Chang they wear are all bright b and beautiiful’ (Ban, 2013, p. 56). Thhere is a desccription of thee scene when Manji, a danccing girl of Zheng Z Kingdom, danced, in Boook of Former--Han Dynasty. The phrase ‘bbeautiful ribboons and gorgeoous pendant fly ying’, is used to describe the swinging s statee of ribbons annd pendants on her skirt whhen the dancinng girl dances.. The ribbon (Xiian) refers to a long silk beltt at the waist oof on Gui-Yi, aalso called Li ((Li, means leavve, a metaphor is a ribbon thaat leaves the surface s of thee dress), whicch hints that X Xian is a ribbbon seperated from the suitt, not connected with the skirt,, playing the roole of fixing cllothes as well as decoration. The accessoriies (Shao) refer to a swallow taail shaped ornnament, hanginng from the w waist, too. Xiaan and Shao aare both ornam ments on Gui--Yi in separate syystem, which is i much differeent from Gui-sshape (swallow w-tailed shape)) edge connectted to the robe. In the copy edition in Song Dynasty oof The Paintinng Roll of Odee to Luo River Goddess, whiich is of the Palace Museum ccollection, Luoo River Goddeess wears a pinnk blouse, alsoo called Ru in aancient Chinesse, with long, large and wide sleeves (Tablle 2, Pattern A), and an eelbow-sleeve bblouse outsidee Ru. There aare folding-sh haped decorationn circling arouund the cuff oof the elbow-ssleeve, and thee lower part iis a long skirtt trailing along g the ground. It’’s a typical colllocation of a ddress in separaate system, alsso called ‘RuQ Qun’ in China. A red lone silk k belt is tied at thhe waist of Ruu, that is Xian, and there are several hanginng Shao flyingg between Ru aat the upper an nd the skirt at thee lower. In linee with the rolliing Bixi, a deccorative piece oof cloth that covers human tthighs to kneess and represents social ranks, the t whole figuure looks very flexible and eelegant, the fluuttering Xian annd Shao served the glory of thhe goddess gessture, It is quite consistent w with Cao Zhi eelaborated in O Ode to Luo Riiver Goddess. (Cao Zhi, an im mportant poet inn the Three Kiingdoms periodd, who elaboraated the Featurres of Gui-Yi inn Ode to Luo River R Goddess). wings from Sim ma Jinlong cem metery in the N Northern Wei D Dynasty, which was made before In the screeen paint-draw the eighth year of Taihee (ie. 477-499 A. D.) (Tablee 2, Pattern B). Though thee lady coveredd her waist witth an obeisance gesture by cuppping one handd in the other bbefore chest, hher dress is in sseparate system m still be seen. She wears a yeellow Ru and red r skirt, and elbow-sleeve bblouse outsidee Ru, The hangging Shao wass simplified he ere to three flyinng triangular orrnaments. It caan be seen from m the gradationn of the imagee that the hanging triangular Shao is not connnected to Bixi, instead, hung alone at the w waist. The female singing figurrine of Northeern Wei Dynassty, which is off National Muuseum’s collecttion, and unearthed at Meadow w slope, Xi'an, is also dressedd in separate ssystem, with seeveral clear hannging triangullar ornaments at a the waist. (Tab able 2, Patternn C) Similar too this are kabbuki on the poortrait brick oof plate and drrum dance off Han Dynasty, w which is of Henan H Museum m’s collection, and kabuki ffigurine of Eaastern Han Dyynasty, which is of Shanghai Museum’s coollection. Theyy all have triaangular pendaants at their w waists. The phhrase of ‘beau utiful ribbons annd gorgeous pendant flying’’ in Book of F Former-Han w was intended orriginally to deescribe the dan ncing gesture off Manji, a danncing girl of Z Zheng Kingdoom. Therefore,, it is not diffficult to underrstand that the ere is decorationn of hanging triiangular pendaants (ie. hanginng shao) at thee waist of the uunearthed Kabuuki figurines. Table 2. G Gui-Yi in separaate system Pattern A: The Paintting Roll of Odde to Luo Riveer Goddess
The Pallace Museum’ss collection
Pattern B: The screeen paint-drawiings from Sima Jiinlong cemeterry in the Nortthern Wei Dynnasty
Paattern C: A female figurrine of Northerrn Wei D Dynasty
Datoong City Museum’s collecttion, Shanxi Prrovince
National Muuseum’s collection
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As Shiming records, ‘Shu is a blouse whose upper part linked with the lower part.’ As Phonetics in Jin Dynasty records, ‘Gui is a ceremonial dress for women, Shu is a one-piece blouse.’ It is indicate that Gui and Shu is a kind of long blouse, which also belongs to the category of the separate system: the upper part is a lone blouse, the lower part is a skirt. As Book of Southern Qi Dynasty records, ‘There's a lot of embroidery on Gui and Shu, and there are five colors on the skirt, with further decoration of cannetille.’ The empress of Sui Dynasty wore the ceremonial dress with Gui and Shu when offering Ancestral Shrine Sacrifice, of which there is no pictures to verify the shape and structure now. From Han Dynasty to Wei &Jin Southern and Northern Dynasties, female dress generally change from one piece system to separate system, and the evolution of Gui-Yi also agreed with the change of this historical tide. The swallow-tailed shape (or Gui-shaped) edge of a gown evolved into several flying triangular ornaments hanging from the waist, changing from structural characteristics of tailoring to independent decoration on Gui-Yi in separate system. 4. Gu Kaizhi’s Influence upon Gui-Yi Images Gui-Yi in Wei & Jin Southern and Northern Dynasties all belonged to the category of ‘Gui-Yi in separate system’, and used to be worn with elbow-sleeve blouse and Bixi together. Because of these quite universal paintings in fresco and statues from the Sixteen Kingdoms to Northern Dynasties, such as the female supporter in a mural painting of the 169th Grottoe of Bingling Monastery, the lady in the screen paint-drawings from Sima Jinlong cemetery in the Northern Wei Dynasty, the female supporter in the statue of the fifth year of Huangxing in Northern Wei Dynasty, the female supporter of Western Wei Dynasty in North wall of the 285th cave of Mogao Grottoes, and the female supporter of Western Wei Dynasty of the 127th cave in Maiji Mountain, etc. Therefore, many scholars think that Gui-Yi is the representative female dress in Wei & Jin Southern and Northern Dynasties. From the above explanation, it is seen that Gui-Yi had been popular in Han Dynasty, ‘Gui-Yi in one-piece system’ gradually disappeared in Wei &Jin Southern and Northern Dynasties, while ‘Gui-Yi in separate system’ was becoming widely popular. What cannot be ignored in the process of the popularity and change of Gui-Yi in Northern and Southern Dynasties was the influence of Gu Kaizhi's painting art. Gu Kaizhi is the first humanistic painter in Chinese history as well as an art theorist. He advanced a theory of painting, such as ‘theory of true spirit conveyance’ (ie. rules that govern image building and form shaping in Chinese ink and wash painting), which had a very important contribution to the development of ancient Chinese painting. During the prevailing period of metaphysics in Wei and Jin Dynasties, calligraphy and painting became one of the main methods for the gentry to express their thoughts and feelings. As a social celebrity, Gu Kaizhi had a great influence in Southern Dynasties, whose paintings were ever highly praised as ‘No one is better ever since life began in the world’ by Xie An, gentry leader of the gentry class. Because of the influential of Xie An himself, Gu Kaizhi’s paintings were highly held in esteem by the gentry class, which, hence, affected the entire society in Southern Dynasties. Paintings of Northern Dynasty that were first affected by Gu Kaizhi were considered to be the screen paint-drawings from Sima Jinlong cemetery in the Northern Wei Dynasty. Yang Zhishui (Yang, 2005, pp. 34-35) thought that in the screen paint-drawings in Sima Jinlong cemetery, ‘the deportment and temperament of figures made people ready to see the similarity between it and Gu Kaizhi's works. The inheritance of the painting style and technique of Gu's figure painting in Northern and Southern Dynasties could be found in ancient documents with evidence and source……The screen paint-drawings in the tomb of Sima Jinlong is the very evidence of that, and the good relationship between the Northern and Southern Dynasties also provided this possibility at that time.’ Liu Jianhua (Liu, 1999, pp. 26-27) thought that the screen paint-drawings unearthed from Sima Jinlong cemetery was the most characteristic of Gu Kaizhi’s painting style in northern China: ‘The figure image is delicate and pretty, the clothing line is succinct and elegant, with the use of techniques of iron-wire stroke and color rendering……Figures in the painting of Emperor He’s Empress in Eastern Dynasty resemble figures in Admonitions Scroll by Gu Kaizhi a lot’. This similarity is largely shown on the basis of the similarity of clothing, that is, Gui-Yi. Comparing Pattern A with Pattern B of Table 2, it can be found that Gui-Yi that the female dress in the screen paint-drawings from Sima Jinlong cemetery resembles the dress of the goddess in The Painting Roll of Ode to Luo River Goddess a lot. With rolling curves Gu Kaizhi portrayed an agile and elegant goddess, ‘flying swiftly and gracefully as a swan, being vigorous as a speedy dragon’. Those fluttering edges are very suitable for displaying active manner of figures, indeed. With the light, lovely and graceful features of its ribbon, Gui-Yi expresses female curvaceous bearing the best, admitted in all kinds of expressive art, and becomes a common artistic symbol for depicting the image of ancient women.’(Yang, 2005, pp. 34-35). Hereafter, the figure painting 150
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completelyy cast off ausstere lines of ancient timess, entered a liively and alerrt period. Dresss also becam me an important part to show w movements of characters.. Some scholaars pointed oout that it waas Gu Kaizhi who establishedd the ‘clothingg line pattern’ oof Chinese figuure painting. (Y Yang, 2009, ppp. 26-27) When Gu Kaizhi's painnting art spreaad from Southhern Dynastiess to Northern Dynasties, paainters of Northern Dynasties could learn paainting techniqques from diffeerent versions.. However, thoose painters weere unfamiliar with the shape and structure of Gui-Yi, theey could onlyy copy its shappe, the floatinng dress of Guui-Yi was grad dually simplified into three eloongated trianggles on the skiirt in a swarm ming and floatiing state free ffrom gravity of o all times, witthout the ratioonality of garm ment tailoring and structure any more. Thhe female proovider in Gui-Yi of Western W Wei Dynasty inn the fresco oof the 285th caave of Mogaoo Grottoes is tthe representaative of this period (Figure 7), and the artistic exaggeratioon of Gui-Yi rreached the sum mmit in the frresco of Westeern Wei Dynassty in the 127th ccave of Maiji Mountain M (Figgure 8), when long, large annd wide sleevees, flying Xian and hanging Shao are almostt integrated intto one in the w wind. That completely divorced from the possible postuure in reality. Xian and Shao aat the waist off Gui-Yi in sepparate system w were continuouusly stretched,, exaggerated and even disto orted, which madde figures withh a posture off soaring to thee skies. It accoorded with hum man aesthetic ppursuit of vigo orous and livelyy bearings in figure f paintinggs in Wei & JJin Southern aand Northern D Dynasties. Gui-Yi also became a necessary element of thhis aesthetic ppursuit. Then iin frescoes off Mogao Grotttoes in Sui annd Tang Dynasties, Gui-Yi weere mostly thee costumes off worshiped ccelestial beinggs and goddessses, especiallyy the maid beside Vimalakīrtti of early Tang dynasty in thhe 103th cave oof Mogao Grottoes is a faithhful copy of thee goddess image in The Paintiing Roll of Odee to Luo Riverr Goddess. Thee Gui-Yi in sepparate system w with long, largee and wide sleeves, elbow-sleeeve outside off blouse, floatiing hanging Shhao and rollinng Bixi are exaactly the samee as the dressin ng of goddess inn the Song dynnasty version of The Paintingg Roll of Ode tto Luo River G Goddess.
Figure 7. C Cave 285th of Mogao M Grottoees, Gansu
Figure 8. Cave 127th off Maijishan Groottoes, Gansu
5. Conclussion Gui-Yi, alsso named Guii-i in Han dynnasty, came fr from a relic of San-Di from m Zhou Dynasty. Gui-Yi in Han dynasty coould be dividedd into two kindds: the ‘Gui-Yi Yi in one-piece system’ and thhe ‘Gui-Yi in sseparate system m’. In late Easterrn Han dynastyy, the ‘Gui-Yi iin one-piece syystem’ graduallly faded with the decline off Shen-yi, ‘Gui--Yi in separate syystem’ becamee the pop mainnstream. Gui-Y Yi in paintings of Wei &Jin S Southern and N Northern Dyna asties were all inn separate systeem, on which Xian and Shaoo were ornameents tied at thee waist. Becausse female in Gui-Yi G in Gu Kaizzhi’s paintingss matched hum man aesthetic taaste of vigorouus and lively bbearings of figuures in Wei an nd Jin Dynasties,, Gui-Yi graduaally became a symbol of fem minine aesthetics and spread widely in Norrthern and Southern Dynasties.. In late Northeern and Southern Dynasties,, painters made further artisttic exaggeratioon of Gui-Yi im mage, Xian and SShao were conntinuously streetched, exaggeerated and eveen distorted, w without the ratiionality of garrment tailoring aand structure any more. Froom the existinng image dataa, Gui-Yi of llate Northern Dynasty gradually divorced fr from the possibble posture in rreality, and enttered into imm mortal statues inn Sui and Tangg Dynasties. Acknowleedgments The paper owes great grratitude to Professor Dai Yanngben of Anciient Literature Research Insttitute of East China C Normal U University and Mr. Zhao Sheengliang, Vicee president off Dunhuang A Academy. Profeessor Dai Yan ngben gave a lott of guidance in the use andd expression oof ancient boooks and Vice ppresident Zhaao Shengliang gave valuable innstruction in the t use of imaage materials. Also, I'd likee to thank my classmate, Caao Aijuan, and d my special thaanks go to editoors and staff oof Journal of Assian Social Scciences.
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