Chinese paper cutting

Today, Chinese paper-cuts are used for religious and ceremonial purposes. They are buried with the dead and burned at funerals. They were also used as offerings to ancestors and the gods.
Additionally, paper-cuts are chiefly used as decorations. They are also to be used as patterns, especially for embroidery and lacquer wears. They can also adorn walls, windows, doors, columns, mirrors, lamps and lanterns in homes. Chinese people believe that the red paper-cuts on the door can bring good luck and happiness to the whole family. The paper-cuts are more often seen during traditional Chinese festivals, particularly in Chinese New Year, the Spring Festival. They are also given as presents or gifts to good friends or other family members. In Chinese traditional culture, paper-cuts can reflect many aspects of life such as prosperity, health, or harvest.

During the Spring Festival, the character “ Fu (福)” is pasted upside down on the door to express people’s wish for the coming of happiness.

When a man and woman get married, the red paper-cuts with the character “Xi (囍)” is a traditional decoration. It is believed that this paper-cut will bring the new couple happiness.

At a birthday party of an older person, paper-cuts with the character “Shou (寿)” are often seen.

Paper cut in fashion design

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Beijing opera costumes (3)

Beijing Opera in the use of modern design.

 

Beijing opera costumes (2)

Rules of Costume Tradition

(1) Anachronisms are allowable. A performer's costume primarily designates his or her role on the stage no matter when or where the action takes place. Characters, whether they are from ancient times or in pre-modern China, appear on the Chinese opera stage wearing costumes suitable to their roles.

(2) Regardless of which season is being depicted in performance, the opera costume is the same. Weather is described in every scene and must be made clear by the actor's movements, rather than his clothing.

(3) Beijing Opera costumes must enable the audience to distinguish a character's sex and status at first glance. In terms of symbolism, Beijing Opera costumes have its social hierarchy -- noble or humble, civilian or military, official or private citizens.

(4) By means of a subtle difference, opera costumes often give expression to sharp distinctions between good and evil or, preferably, loyal and wicked characters. Oblong Wings (chizi) attached to a gauze hat indicate a loyal official. In contrast, a corrupt official is made to wear a gauze hat with rhomboidal wings.

(5) Baldrics, though apparently of little or no account as compared with such principal items as crowns and robes, may nevertheless function to bring about more dramatic effects on the stage. For instance, the wings attached to a hat, the plumes (lingzi) pinned to a helmet and the cascading sleeves (shuixiu) sewn to a garment accentuate movement even if they have little practical use.

In the early days, opera costumes were mainly made of wool or coarse cloth; later, satin, crepe and silk were used, decorated with various meticulously embroidered patterns. The making of opera costumes is a special and unique stagecraft. The costume box first appeared in the Ming Dynasty (1368-1644), and was greatly improved in the Qing Dynasty (1644-1911).

Lavish Costumes

(1) Headdress: Designated by the general term Toukui, opera headdress comprises such items as crown, helmet, hat and scarf. Crowns are for the emperor and nobles; military people wear marshals, helmets; ordinary folks wear soft scarves or straw hats. Some headgear, such as crowns, is rigid, while others are soft.

(2) Costume: There are 20 major kinds of costumes, including the ceremonial robe, or Mang; the informal robe, or Pei; and the armor, or Kao, for soldiers. Ten colors are used, half of which are the five primary colors (or shang wu se), namely, red, green, yellow, white and black, in contrast to the other group of pink, blue, purple, pale-brown and pale-blue, all of which are labeled secondary colors (xia wu se).

Many details should be paid attention to, for example, Mang is the general costume for the emperor and nobles, but there are differences between these costumes. There is a dragon, opening its mouth on the Mang for the emperor, while the dragon on the Mang for the ministers and generals having its mouth closed. The dragons on the costume of the civil officials are gentle and quiet, while the ones on the costume of the martial officials are bold and mighty. There are clear distinctions between the use of colors, for example, the red Mang stands for majestic and noble, the green Mang indicates mighty and bold, the white one fits the handsome young people, and the black one is for the upright and unconstrained people. Besides, there are simplified Mang and Mang specifically made for the female actress, the Laodan, and the palace eunuch.

Beijing opera costumes (1)

Beijing opera or Peking opera is a kind of Chinese opera and has a 200-year-long history. Its main melodies originated from Xipi and Erhuang in Anhui and Hubei respectively, It is believed that Beijing Opera gradually came into being after 1790 when the famous four Anhui opera troupes came to Beijing. Beijing Opera underwent fast development during the reign of Emperor Qianlong and the notorious Empress Dowager Cixi under the imperial patron, eventually becoming more accessible to the common people.

There are four roles in Beijing Opera - Sheng(a male role, usually a leading one), Dan(female roles), Jing(painted-face roles) and Chou(Clown role). These roles have the natural features of age and sex, as well as social status, and are artificially exaggerated by makeup, costume and gestures. All but the second portray a male or masculine character. Until recently, even that of the female or feminine character was played by a male actor.

Costumes are an integral part of the Beijing Opera performance. That are called Xingtou or Xifu in Chinese. In the early days, opera costumes were mainly made of wool or coarse cloth; later, satin, crepe and silk were used, decorated with various meticulously embroidered patterns. The making of opera costumes is a special and unique stagecraft. The costume box first appeared in the Ming Dynasty, and was greatly improved in the Qing Dynasty.

Dries Van Noten Fall 2012

I really like the Dries Van Noten this season products, he perfectly to apply Chinese elements on clothing，like the easy yet structured tailoring, ethnic prints, a touch of handcraft and embellishment.

Van Noten said he’d recently taken a trip to the Victoria and Albert in London—specifically, to the museum’s holdings of decorative arts and costumes of the world—for print inspiration. He photographed costumes and textiles from China, Japan, and Korea, chopped up the images, and placed them, in patches, on silk mid-length dresses, blouses, and his signature jackets and coats. Goldthread embroidery of birds in flight or dragons was worked into some of the outerwear—half the torso and a sleeve, maybe—in a way that leaves the options open for the pieces to be worn for day or night.

Fluid silks and sharp tailoring led the way - this, after all, is a designer who is known for his masterful approach to mixing - and spanned the sartorial gamut of flowing skirts and tapered trousers to gently oversized tunics and sharply-cut jackets whose shoulder shaped into peaks and whose collars curved to a swift slice. They came with eagle and tapestry prints or with gold patterns swirling out upon them.

But there was a chinoiserie influence to the print that came later, and this continued through to modern details such as the riff on obi belts that were actually elasticated and fastened with Velcro - they came on the dresses and the jackets and the coats, some boasting shoulders overshadowed with fur.

Ordinary people’s costume in Qing dynasty.

The pattern of official’s costume  in Qing dynasty.

The emperor's clothes in Qing dynasty.

Dries Van Noten Fall 2012