Talking about history

Counting domestic dramas can influence people who advocate elegance and vulgarity from generation to generation, and detective Di Renjie can be in the forefront. In the film, Diego always thinks carefully, judges cases like gods and makes a lot of contributions to the rescue. In conversation and laughter, the plot disappeared. Especially before the mystery was revealed, that mysterious smile must have fascinated many loyal fans in front of the screen. The phrase "Fiona Fang, what do you think" was also chosen as the buzzword of 20 12.

Today, let's put aside the exciting plot for the time being. Have you paid close attention to the clothes in the film? In addition to the round neck robes commonly seen in historical dramas, a strange costume-lapel robes appeared on Lord Di's coat. At first glance, the neckline of this coat is almost the same as that of the current suit jacket, and it is full of tide. Have you ever suspected that the absent-minded director is playing the costume thunderbolt again?

-Fiona Fang, what do you think?

-adult, there must be something wrong with this matter.

There is something really fishy about it.

After all, this remarkable drama is eye-catching enough just for the plot review. There is really no need to create new topics with fancy clothes. Besides, this kind of clothes looks good.

Maybe that's how people dressed at that time.

In the previous public impression, before the Tang Dynasty, the traditional costumes of the Han nationality were long sleeves, cross collars or straight collars, which were comparable to those of the Hanwu Emperor. Later, influenced by Xianbei people, it gradually formed the style of narrow-sleeved round neck. I never thought that this kind of dress would become the standard of official dress, just like the dress of Emperor Taizong in our history textbook.

So, is the lapel robe the negligence of the director or the historical truth? Let's go back to the source and see if we can find any clues.

Tang suit, the most intuitive and meticulous material, is of course to be found in paintings. After several wars and thousands of years, there are very few paper or silk paintings handed down in the Tang Dynasty. Fortunately, we also have another painting carrier-murals.

Especially the murals in the tomb, once the tomb door is closed, the murals record the history, and there is no possibility of being tampered with-grave robbers will not be bored enough to dig graves and alter murals. The tomb owner who can leave murals in his own tomb is often either rich or expensive. The epitaph buried with the tomb records the identity, family background, achievements and year of birth and death of the tomb owner. By the time of the owner's death, the completion time of the mural can be defined. Therefore, this is a fairly reliable historical data.

Zhang Huai Prince Li Xian (652-684), named Mingyun, was the sixth son of Tang Gaozong and the second son of Wu Zetian. His life roughly coincides with that of Di Renjie. His grave was excavated at 197 1. More than 50 murals unearthed in the tomb are beautifully drawn and basically well preserved.

The east wall painting depicts the scenes of countries coming to Korea. The second man from the right, with a high nose and a lapel robe, is in sharp contrast with the three Tang officials on the left. According to textual research, he was an emissary of the Eastern Roman Empire.

The western mural "Career Service Map" depicts a similar scene. The first one from the left, slightly stiff, aquiline nose, from Okura (Arabia). Different from the emissary's costume, this emissary's robe is more similar to Diego's.

Ganling is the burial tomb of Tang Gaozong Li Zhi and Wu Zetian. In addition to the wordless tablet known to the world, there is also a statue of 6 1 Minister accompanying the tomb owner. It is said that these stone statues were carved according to the real appearance of foreign envoys at that time, and they replaced real people to wake up the queen they admired. The first one on the left faces us, wearing a lapel robe.

Looking through historical materials, such examples abound.

Shanghai Museum has horse-riding figurines, Hu people's faces, waist machetes and lapels. The folded skirt was painted green to highlight the lapels.

A horse-riding statue of the Hu people unearthed from the tomb of Prince Yide, with high nose and deep eyes, whiskers, Hu people's face and lapels.

The picture below shows Dunhuang frescoes, located in Cave 329. After appraisal, the painting was completed in the early Tang Dynasty. The two men in the photo, with dark skin, whip in hand and lapel jacket. The clothes are only knee-high, typical of conference semifinals.

It can be seen that this lapel robe was very popular among the Hu people from the early Tang Dynasty to the Wu and Zhou Dynasties. Corresponding to the round neck Hanfu, it is called Khufu, just right.

As an official of Datang, did De Renjie wear the wrong Khufu?

So far, this problem is still uncertain. There are still many unsolved mysteries in the murals unearthed from Prince Zhang Huai's tomb.

In the "Hunting Travel Map" of the East Wall, several followers are chasing each other on horseback. Watch their collars.

The mural of "Beating Ma Qiutu" in the Western Wall is very vivid. The hoof of the fine horse leaves the ground, and it seems that you can hear its neigh. The rider is also wearing a lapel robe.

In another Tu Yiwei, Yi Wei's foreman looks very powerful, with a big waist, wearing a blue robe and black boots. The neckline in the picture is almost the same as Di Gong's lapel in the play.

Murals show that Prince Zhang Huai, Zhang Huai's personal servant, wore the clothes of Khufu in the Wu and Zhou Dynasties. Most of these followers should be Han Chinese.

According to the New Tang Book Five Elements Records:

Tianbao began in the first month of 742 AD, and Di Renjie died in 700 AD. When he was with Prince Zhang Huai, he wore a khufu.

It can be seen that in the era of Di's activities, lapels gradually became popular among Han Chinese, and after more than half a century, they became a fashion. Not only did Dezhu not wear the wrong clothes, but he also walked in front of the trend.

The problem seems to have been solved satisfactorily, but ... wait a minute.

As we all know, the traditional dress in China is a dress under a coat, and the dress and the dress are two separate pieces. During the Northern Celebration, at the beginning of the popularization of round neck and narrow sleeve robes, Yuwen Hu ordered: This kind of robe, which is integrated from top to bottom, needs to be sewn with an obvious horizontal line at the knee position, which is called "Xiajian" to symbolize the ancient clothing system of dividing clothes, which is convenient for Han people to accept. ("Sui Shu Etiquette 6")

Look at the "Tu Yiwei" on the east wall mentioned above. There is an obvious black line at the knee of foreman Yiwei, calling the ghost. This shows that he is actually wearing a round neck robe, but the neckline of the round neck is open. (Zhou Xibao's History of Ancient Costume in China)

At first glance, this reason seems far-fetched. Is there a way to wear a round neck robe with an open neckline? The following picture is from the painter Qian Xuan's copy of Su Hanchen's "A Passage to Song Taizu" at the end of Song Dynasty and the beginning of Yuan Dynasty. In the picture, Zhao Guangyi, Song Taizu's younger brother, plays ball. Song Taizu Zhao Kuangyin is in the center of the photo. Of the six people, at first glance, four wore round necks as lapels.

The round neck valgus depicted in this picture should be more credible. The original author, Su Hanchen, was a royal painter in the Painting Academy during the reign of Huizong Xuanhe in the Northern Song Dynasty (119 ~1125). First, under the conservative atmosphere of the Northern Song Dynasty, he would not deliberately smear Mao and paint Mao as a dress. Second, he is closer to the era of Song Taizu, and the scene of noble cuju in the palace has remained basically unchanged. This painting at least shows that even though Song Taizu may not wear such a round neck robe, the painter must see others wear it. How else did he come up with such a picture?

Therefore, not all lapel robes are Hu clothes, and the people who wear them can still be regarded as Hanfu.

Master de's neckline is so similar to Evie's. Will he still wear Hanfu?

It's time to watch TV series again.

Although the picture is blurred, it is obvious that Di Gong's lapel robe is not wrinkled at the knee. And Hu Jinghui, who is traveling with him, has an obvious black line at the hem of his clothes, and he is squatting. It can be seen that the tailor of this film really worked hard and made no mistakes. Hu Jinghui is undoubtedly wearing Hanfu.

The director arranged for Di Gong to follow the fashion, and he really wore Hu Fu. Di Renjie led a generation of trends, and Di Chun and Fiona Fang around him followed suit. This kind of dress, called lapel suit, seems to be ok.

Then, the female characters in this play often appear Hu Fu. Is this a trend? Is this appropriate after all?

Please pay attention to the author and listen to the next decomposition.