In an intriguing exploration of Chinese cultural heritage, the “Vibrant Tapestry: Exhibition of Chinese Costume Culture” at the China Arts and Crafts Museum has become a focal point for visitors. Described as a “history book worn on the body,” the exhibition showcases an array of traditional garments from various Chinese ethnic groups. From the intricate embroidery of the Kyrgyz women’s robes to the unique fish-skin clothing of the Hezhe people, and the exquisite silver waist ornaments of the Tibetan culture, the exhibit presents a rich tapestry of styles, materials, craftsmanship, and vibrant colors.
As attendees navigate through the exhibition hall, over 200 garments narrate the historical interconnectedness of different ethnic groups, reflecting the enduring vitality of Chinese costume culture. One standout piece in the “Diverse Unity” section is the “Ming Dynasty Red Ground Eight-Group Floral Pattern Robe,” traditionally worn by Manchu aristocratic women during ceremonial occasions.
This robe features a round collar, right overlap, and wide sleeves, intricately woven with eight hidden floral motifs known as “Baxian” on the chest, back, and sleeves, paired with a wave pattern at the hem. The intricate designs not only display elaborate craftsmanship but also symbolize auspiciousness and prosperity.
Tian Hui, the director of the Ethnic Costume Museum at Beijing Institute of Fashion Technology, emphasizes the simplicity and elegance of traditional Chinese robes, which have evolved since the pre-Qin period and became more prevalent after the Han Dynasty. Various ethnic groups, including the Manchu, Mongolian, Tibetan, and Qiang, traditionally wore long robes.
“This robe serves as an important testament to the cultural exchange between Manchu and Han clothing styles during the Qing Dynasty,” Tian explains. “The Manchu, a northern nomadic group, originally favored a ‘tight sleeves’ style suited for horseback riding. However, in the later Qing period, they adopted the wider, flowing sleeves influenced by Han women’s fashion.”
Another intriguing highlight in the “Transmission through Clothing” section is the restored “Yuan Dynasty Dragon and Phoenix Pattern Golden Thread Robe,” which also reflects cultural fusion.
Tian elaborates that this braided line robe, popular in Mongolian society during the 13th to 14th centuries, is named for the hundreds of braided lines sewn around the waist. Characterized by its right-overlap design and long, slightly narrow sleeves, this robe showcases functional attributes suitable for nomadic life.
“The motifs of dragons, phoenixes, and peonies found in the robe incorporate elements of traditional auspicious culture, demonstrating the multi-faceted evolution of Chinese clothing,” Tian adds.
Tian further discusses the ongoing transmission and blending of costume cultures across the vast Chinese landscape. “The exchange and integration of ethnic costume cultures continue to thrive. By influencing each other and drawing on diverse characteristics, a unified yet diverse fabric of Chinese national costume culture has emerged.”
Regarding the preservation of traditional clothing, the museum employs modern technology to restore some precious garments and textiles. They conduct comprehensive research on various aspects of these items, including design, fabric materials, decorative patterns, and dyeing techniques. This work is crucial for strengthening the sense of community among the Chinese people and promoting the scientific dissemination of Chinese costume culture.
