Ancient Chinese Women's Wedding Attire through the Ages

Introduction

Wedding attire holds significant cultural and symbolic meaning in Chinese history. For ancient Chinese women, their wedding outfits were not only garments but also representations of social status, cultural traditions, and aesthetic values. This article explores the wedding attire of Chinese women across different ancient dynasties, revealing the unique charm and profound cultural connotations of each period.

I. Wedding Attire in the Zhou Dynasty

A. Overall Style

1. The Dress
   • The wedding dress was typically a long - sleeved, loose - fitting robe. It was usually made of plain - colored silk, with colors like black, white, and red being common. The black represented the solemnity and dignity of the wedding, while white symbolized purity. Red, although not as dominant as in later dynasties, was also used to signify auspiciousness.
   • The robe often had wide cuffs and a straight - cut silhouette. It was fastened with a sash or buttons, and the neckline was modest, usually round or square.
2. Headwear
   • Women wore simple headdresses. A common type was a cloth headband or a simple hairpin. The headband was often made of silk or linen, and it could be plain or have some simple patterns embroidered on it. The hairpin was usually made of wood or bone, used to hold the hair in place neatly.

B. Symbolism and Cultural Significance

1. Social Hierarchy Reflection
   • The choice of materials and colors of the wedding attire was related to the bride's family social status. High - ranking families would use finer silk and more elaborate decorations, while commoners had simpler attire. This was a manifestation of the strict social hierarchy of the Zhou Dynasty.
2. Moral and Ethical Values
   • The modest and simple style of the wedding attire reflected the Confucian values of propriety, righteousness, integrity, and shame that were emerging at that time. Women were expected to be virtuous and modest, and their wedding outfits conformed to these ideals.

II. Wedding Attire in the Han Dynasty

A. Features of the Attire

1. The Dress
   • The wedding dress in the Han Dynasty was often a deep - red ruqun (a traditional Han - style dress with a short upper garment and a long skirt). The upper garment was short - sleeved or sleeveless, and the skirt was long and flowing, usually reaching the ankles.
   • The fabric was mainly silk, with brocade being highly favored. The brocade was woven with intricate patterns, such as cloud patterns, floral patterns, and mythical animal patterns. These patterns were not only decorative but also carried symbolic meanings.
2. Headwear
   • Women wore elaborate headdresses. One of the most famous was the bun with various hair accessories. The hair was styled into a high bun, and then adorned with gold, silver, or jade hairpins, combs, and other ornaments. Some headdresses also included veils, which added a mysterious and elegant touch to the bride.

B. Cultural Implications

1. Symbol of Prosperity
   • The use of richly - patterned brocade and precious metal - based hair accessories indicated the prosperity and wealth of the family. In the Han Dynasty, a prosperous family would spare no expense to make their daughter's wedding attire magnificent.
2. Cultural Fusion
   • The Han Dynasty had extensive exchanges with foreign cultures. Some foreign decorative elements were subtly integrated into the wedding attire, showing a trend of cultural fusion. For example, some patterns may have been inspired by the art of Central Asia.

III. Wedding Attire in the Tang Dynasty

A. Fashionable and Luxurious Style

1. The Dress
   • Tang - dynasty wedding dresses were extremely colorful. They often combined multiple colors, with red still being a prominent color. In addition to red, colors like green, yellow, and purple were also used.
   • The style of the dress was more revealing compared to previous dynasties. The necklines could be low - cut, and the sleeves were often wide and flowing. The skirts were fuller, with many layers of fabric, creating a voluminous look. Some skirts were even made with transparent or semi - transparent materials, giving a sense of lightness and elegance.
2. Headwear
   • Women wore a variety of headwear. The most characteristic was the huadian (flower - shaped hair adornment). It could be a real flower or an artificial flower made of silk or precious metals. Huadian added a touch of freshness and beauty to the bride. In addition, there were also elaborate crown - like headdresses, which were decorated with pearls, gemstones, and gold - silver ornaments.

B. Significance of the Style

1. Social and Cultural Openness
   • The revealing and colorful style of the wedding attire was a result of the Tang Dynasty's open - minded social atmosphere. Women had more freedom in fashion, and the wedding attire reflected this social change.
2. Artistic and Aesthetic Trends
   • The rich colors and diverse styles of the wedding attire were in line with the artistic and aesthetic trends of the Tang Dynasty. The prosperity of art and literature at that time influenced the design of wedding outfits, making them more like works of art.

IV. Wedding Attire in the Song Dynasty

A. Return to Simplicity and Elegance

1. The Dress
   • The wedding dress in the Song Dynasty was usually a narrow - sleeved, long - skirted ruqun. The colors were more subdued, with light red, pink, and light purple being popular. The fabric was mainly soft and light - weight silk.
   • The skirt was often pleated, and the pleats were fine and even. The overall style was simple and elegant, focusing on the lines and texture of the clothing.
2. Headwear
   • Headwear became simpler. Women often wore a small - sized hairpin or a simple bun cover. The hairpin was usually made of silver or jade, with delicate carvings. The bun cover was made of light - colored silk, adding a touch of elegance without being too showy.

B. Cultural Background

1. Neo - Confucianism Influence
   • The rise of Neo - Confucianism in the Song Dynasty emphasized moral integrity and propriety. The simplicity of the wedding attire was in line with this philosophical thought. Women were expected to be gentle and modest, and their wedding outfits reflected these values.
2. Aesthetic Taste of the Time
   • The Song Dynasty had a refined aesthetic taste, preferring simplicity and subtlety. The wedding attire's design was influenced by this aesthetic, focusing on the inner quality and delicate details of the clothing.

V. Wedding Attire in the Ming Dynasty

A. Elaborate and Dignified Style

1. The Dress
   • The key component of the wedding dress was the xiapei (a kind of ceremonial sash). It was usually red and was lavishly embroidered with patterns such as peonies, phoenixes, and auspicious clouds. The embroidery was done with gold and silver threads, making it extremely luxurious. The peonies, known as the "king of flowers," symbolized wealth and honor, while the phoenixes were a symbol of the bride's noble status. The auspicious clouds added a sense of good fortune and blessing.
   • In addition to the xiapei, the dress itself was also well - made. It was long - sleeved and reached to the knees or lower. The fabric was mainly high - quality silk, with brocade or satin being commonly used. The choice of fabric and the fine workmanship further enhanced the dignity of the attire.
2. Headwear
   • The most famous headwear was the phoenix crown. It was made of gold or silver, with phoenix - shaped ornaments made of precious metals and gemstones. The phoenix crown was highly symbolic, representing the noble status of the bride. The phoenixes on the crown were exquisitely crafted, with their wings spread wide as if ready to take flight, adding a majestic and regal air to the bride.

B. Symbolic Meanings

1. Social Status and Family Honor
   • The elaborate phoenix crown and richly - embroidered xiapei were symbols of the bride's family's social status. A wealthy and noble family would invest a great deal in creating such luxurious wedding attire to show off their family's honor. The grandeur of the attire was a display of the family's economic strength and social standing in the community.
2. Cultural Inheritance
   • The Ming Dynasty's wedding attire continued and developed some traditional Chinese cultural elements. The use of phoenixes and auspicious clouds was deeply rooted in Chinese mythology and cultural traditions. These elements had been passed down through generations and were incorporated into the wedding attire, carrying forward the cultural heritage and values of the Chinese nation.

VI. Wedding Attire in the Qing Dynasty

A. Manchu and Han Cultural Integration

1. The Dress
   • For Manchu women, the wedding dress was usually a qipao - like garment. It was straight - cut, with a high collar and narrow sleeves. The fabric was often brocade with Manchu - style patterns, such as dragon patterns (although dragon patterns were more commonly used by the royal family).
   • Han women's wedding attire still retained some traditional Han - style elements, such as the ruqun. However, under the influence of the Manchu culture, the style became more refined and added some Manchu - style decorations, such as edge - binding with fur or adding Manchu - style buttons.
2. Headwear
   • Manchu women wore elaborate headdresses, such as the banner - woman's headdress. It was large - sized, with a framework made of metal or wood, and decorated with precious stones, pearls, and tassels. Han women's headwear was more diverse, with some still wearing traditional hairpins and buns, while others adopted some Manchu - style headdresses in a modified form.

B. Social and Cultural Significance

1. Cultural Assimilation
   • The integration of Manchu and Han cultures in wedding attire was a microcosm of the cultural assimilation process during the Qing Dynasty. It reflected the interaction and integration between different ethnic groups.
2. Social Norms and Customs
   • The style of wedding attire was also regulated by social norms and customs. For example, the use of certain patterns and materials was restricted according to the bride's family status and social class.

Conclusion