Combining clothing with life experience, clothing becomes the externalization of people's mental outlook. This is a new clothing aesthetic thought that sprouted in the Wei, Jin, Southern and Northern Dynasties, and also an unprecedented clothing fashion that appeared in the Wei, Jin, Southern and Northern Dynasties.

According to the records in the reflection of Wei Zhi, Zhuge Liang went out of the inclined valley and repeatedly challenged Sima Yi. Sima Yi had long heard that Zhuge Liang was resourceful, so he dared not go to war easily and avoided it. Zhuge Liang had no choice but to send someone to see Sima Yi with "a woman's ornament" and laugh at his opponent's lack of masculinity. Later, Zhuge Liang finally met Sima Yi in Weibin. Instead of wearing armor, he only wore a black silk scarf and a feather fan, which made him look poised among thousands of troops. This scene was artistically processed by Su Dongpo, a poet in the Song Dynasty, and became a well-known sentence: "The black silk scarf of the feather fan disappeared between laughter and conversation." "Feather fan nylon scarf" has also become a celebrity costume in the Three Kingdoms period. "Interpretation of Jewelry" said: "Towel, honesty, twenty adults, scholar crown, Shu Ren towel". It can be seen that "towel" is only a kind of headdress for civilians, and officials are despised. When Zhuge Liang saw Sima Yi, he "tied his head with a black silk scarf", which was not simple, but a contempt. There is another story about the origin of "towel". According to legend, Wang Mang was bald at the end of the Eastern Han Dynasty. In order to hide his ugliness, he often has to wrap a headscarf on his head. "What is good at the top will also be effective at the bottom." Over time, it has gradually become a trend, and the "towel" has changed from a headdress to a cosmetic bundle that everyone can wear. But in the war between the two armies, it is obviously very dangerous to go into battle with a black silk scarf. The battle between Zhuge Liang and Sima Yi was neither dressed in military uniform (the armor and helmet used for defense in the Han Dynasty were very developed), nor was it necessary to wear a crown and formal clothes on formal occasions to show seriousness, but a "feather fan black silk scarf", which showed Zhuge Liang's great contempt for Sima Yi and his confidence in winning the battle. The seemingly ordinary dress of "feather fan with black belt scarf" has also become a symbol of wisdom for winning thousands of miles, and has become the demeanor of everyone who is fearless and safe in times of crisis.

Clothing expresses dissatisfaction with social reality and personal pursuit of clean, free and generous life, which is also very prominent among literati in Wei, Jin, Southern and Northern Dynasties. There is a record in the Five Elements of the Book of Jin: "In Yuankang, the children of distinguished guests drink naked ... those who want to live in the world are ashamed." "Bao Pu Zi La Jiao Pian" also said: "The world knows that Dai Shuluan and Ruan Sizong are arrogant ... or they are arrogant, or they are naked, or they are squatting in the crowd." Ruan Sizong mentioned here is one of the so-called "Seven Sages of Bamboo Forest". In the Western Jin Dynasty, he hit it off with Dan Tao, Ji Kang, Liu Ling, Ruan Xian, Xiang Xiu, Wang Rong and other friends, and often gathered in the bamboo forest to have a drink. Although all seven people are well-read, they are dissatisfied with reality, dismissive of Confucian etiquette, and even less fettered by the secular. They are famous for their willfulness and laziness. Their costumes are extremely rebellious, which not only shows the spirit of advocating freedom and despising etiquette and customs, but also reflects the extreme dissatisfaction of the literati class with the real society, as Mr. Lu Xun pointed out in the relationship between Wei and Jin demeanor and the spread of drugs: "The old ethics handed down from generation to generation, bamboo celebrities do not recognize it. That is to say, Liu Ling-they wrote a Ode to Sadr, and everyone knows this-does not recognize the previously stipulated truth in the world. There was once such a thing: once a guest saw him naked, and someone asked him, and he replied: heaven and earth are my house, and the house is my clothes. Why did you get into my pants? (Note: Liu Lingyuan said: "I take heaven and earth as my building, and the room is my clothes. Why did you get into my pants? "See Shi Shuo's Ren Xinyu Dan")? From this story, we can see the bohemian scene of the literati at that time. Today, we can still see fragments of their lives from some cultural relics. For example, the brick mural of "Seven Sages of Bamboo Forest" discovered in Nanjing Xishan Bridge is the work of this period. The "Seven Sages of the Bamboo Forest" in the mural (the mural also added a memorial to the fallen literati) are all disheveled, or bare chests or clothes on their shoulders. Among them, 7 were barefoot, 1 distributed, 3 were in bun and 4 were wrapped in towel, which vividly reflected the natural and refined temperament and bohemian appearance of the literati class in Wei and Jin Dynasties.

The literati's pursuit of personalized clothing in Wei and Jin Dynasties was directly related to the popular metaphysical influence in society at that time and the change of basic talent view. Metaphysics in Wei and Jin Dynasties was developed from Taoist thought, and its core was anger and rebellion against dark reality and painful life, as well as a strong sense of individual freedom in order to get rid of darkness and pain. The appearance of metaphysics not only changed China's ancient philosophy, but also impacted a series of major social issues, such as the criteria for employing people, the evaluation of talents, and the distinction between good and evil. With the development of social economy, the pragmatic spirit has been deeply rooted in people's hearts, and the benevolence and morality advocated by Confucianism has gradually lost people's hearts because of its emptiness. Instead, he paid attention to and studied people's spiritual qualities such as talent, appearance, manners and wisdom. This is reflected in Cao Cao's Eight Years of Jian 'an (A.D. 203) in "Seeking Talents": "Those who have never heard of incompetence, those who do not fight, and those who are rewarded by Lu can all contribute to rejuvenating the country. Therefore, the Ming monarch is not an official, a minister of reactive power, and does not reward people who do not fight. Zhiping Suntech is still functional. " "People who have a career may not be able to make progress, and those who are enterprising may not be able to do it." (The History of the Three Kingdoms, Emperor Wei Zhi) Cao Cao also collected examples from history, which showed that those who "humiliated, laughed and acted" or even "were heartless and unfilial" could make contributions to rejuvenating the country as long as they were talented. These opinions emphasize the gap and contradiction between "virtue" and "talent", and point out the talent view that "those who are talented and capable can finally do it, and those who are enterprising can finally do it". In Cao Cao's view, it is much more valuable to be enterprising without doing it than to be enterprising without doing it. Therefore, if a person, despite his high moral cultivation, is helpless in real life and can only be a lobbyist with low vision and no practical work, then it is useless to be noble in morality. This is obviously in sharp contrast with Confucius' view that "if you have the beauty of Zhou Gong's talents, you will be arrogant and stingy, and the rest will be insufficient" (The Analects of Confucius, Taber).

It is in such a social atmosphere that talents' intelligence and appearance are emphasized that a large number of military advisers, generals and literati hermits have emerged from poor backgrounds but are pregnant with literary talent and military talent. They are famous for their inner beauty, such as intelligence, manners, knowledge, and conversation. They don't pay attention to dress, but pursue a natural, casual and harmonious appearance. Consciously or unintentionally, he took the Taoist concept of light life as his life criterion. Because of their outstanding talents and the affirmation of the social aesthetic environment of "the beauty of sages is better than wisdom", they have high confidence in their talents and appearance, adhere to their living habits, and like to show their inner self-restraint through costumes with rich personality characteristics. So people began to talk about Zhuge Liang, and people naturally thought of his "feather fan black silk scarf", which seemed to be synonymous with Zhuge Liang, and seemed to form a subtle isomorphic relationship between the inner beauty of the characters and the external costumes.

Of course, under the social conditions at that time, there were only a few talented people like Zhuge Liang. In the political environment of "meritocracy" and "recognizing people as relatives", more talents can only feel the loneliness and pain of being excluded. The "Seven Sages of Bamboo Forest" mentioned above is a good example. As the leaders of "Seven Sages of Bamboo Forest", Ruan Ji and Ji Kang were both people with unique ideas, brilliant talents and extraordinary integrity at that time. Ruan Ji wrote 13 poems all his life, and he also had considerable opinions in politics, philosophy and artistic theory. However, his life has been difficult and has experienced many ups and downs. "Biography of Ruan Ji in the Book of Jin" said that he "had the ambition to help the world and returned to Ruan in Wei and Jin Dynasties. There are many reasons in the world, and few celebrities have all the people. The reason is that he doesn't touch the world, so he drinks alcohol. " From "having the ambition to help the world" to "drinking poison to quench thirst", Ruan Ji's life track has been clearly constructed, from being determined to serve the country to being frustrated and retiring. This is an extremely painful process. Today, we can still hear his many feelings about the darkness of reality, the impermanence of the world and the worries of life from his love poems:

Who is smart and wise? ("Thirty Poems")

Intimacy is the opposite, flesh and blood is the enemy. ("Poetry Sixty-seven")

The secret passage is full of doubts, but the pearl is not dry. ("Poetry Sixty-one")

After a while, take the sword to my mountain. ("Fifty-four Poems")

Feeling is bitter, and resentment is often bitter. ("Poetry 17")

I've been walking on thin ice all my life, but I'm worried (Poem 63)

All this vividly shows Ruan Ji's pain and helplessness in the face of dark reality. Such a situation and feeling made Ruan Ji gradually doubt his earlier "ambition to save the world" and finally embarked on the road of "not contacting with the world, so drinking is the norm". Ji Kang, younger than Ruan Ji 13 years old, was also an important thinker in Wei and Jin Dynasties. "Confucianism in family affairs, less talented and versatile, broad-minded but not group." (The Remnant Biography of Wang Weizhi) His friend Sun Deng rated him as "brave and talented". This contradictory inner world formed his personality charm, and also laid the groundwork for his tragic fate development. Ji Kang made great achievements in literature and philosophy because of his talent, and became an important and influential writer and thinker in Wei and Jin Dynasties. His "ferocity" made him show a resolute and uncooperative attitude towards the increasingly powerful Sima Group, which eventually led to his death. In 262 AD, Ji Kang was beheaded in the eastern city of Luoyang. "Ji Kang Biography" records: "Kang will be punished in the East City, inviting students to be teachers, and Fu Xu. Kanggu looked at the shadow of the sun and played the piano, saying,' Yuan Xiaoni learned Guangling San from me, and every time I learned it, Guangling San is now extinct', when he was forty years old. " This fearless spirit of playing the piano at the end of life and laughing proudly in front of death embodies Ji Kang's determination and strong sense of struggle not to bow to evil forces until his death.

Ruan Ji's pain and Ji Kang's attitude towards death reflect their fearless spirit of not going with the flow and opposing the dark rule, and also contain the eternal pursuit of individual personality freedom. This is an extraordinary realm of life. Only those who have reached this level can have a broad mind and lofty artistic conception of life, such as "being superior to others, leaving the vulgar and going alone, looking forward to the desert before going to a surname", and dare to ignore the Millennium dress etiquette, or show their chest and belly, or make a sound. Put on your shoes, or simply "distribute naked bodies" and drink them, and make a series of things that deviate from feudal rules and regulations, so that those who believe in "don't move until you are indecent" are ashamed. This is rebellion and diarrhea. At first glance, such clothes seem to have no chance of beauty. However, if we look at this phenomenon from the perspective of human life beyond the social and political categories, it is not difficult for us to feel the great resistance when people's free nature is suppressed and destroyed, which is a kind of collapse and surge of life. And this kind of situation with strong tragic meaning is just a kind of advanced expression of beauty.

2. The elegant beauty of miscellaneous clothes and women's clothes.

Influenced by the gentry at that time, women in Wei and Jin Dynasties also showed great creativity in clothing, advocating clothes, wide sleeves and graceful posture, which was unprecedented. Among them, the clothes that best represent this tendency should be the first miscellaneous clothes. The characteristics of this kind of clothing mainly focus on the hem of the skirt. First of all, this kind of skirt has a larger hem, which can mop the floor and is wider. In addition, the hem part is specially equipped with a regular triangle, which is wide at the top and sharp at the bottom, and the decorative effect is very strong, so it is named "vertical". Moreover, this kind of clothing is also decorated with ribbons of various colors. Because the ribbon has been dragged on for a long time, it affects the sharp corners of the hem, such as swallows flying and colorful chains fluttering, which is very dynamic. In addition, women who wear this kind of clothing generally have very delicate headdresses. "The Five Elements of the Book of Jin" records: "The daughters of kings in Taiyuan must put their hair slowly on their temples for decoration. Because they use a lot of hair, they can't wear it often, but put it on a wooden cage first, which is called a fake bun or a fake head. As for the poor, they can't do it by themselves. Headless person, borrow his head. " The "fake bun", "fake head" and even "borrowing head" mentioned here are a bit like the fake headgear used in today's drama, but they are much higher and more gorgeous than the fake headgear. These headdresses make women's figure taller, and then echo the ribbons hanging on their bodies, so that women's clothing constitutes a strong linear feature from top to bottom.

Today, we can still see the aesthetic effect of this kind of clothing from Gu Kaizhi's Pictures of Lienv, Zhentu of Nvshi, Luoshen Fu, colored portrait bricks of the Northern and Southern Dynasties unearthed in Dengxian County, Henan Province, and colored screens of the Northern Wei Dynasty unearthed in Sima Jinlong's tomb in Datong City, Shanxi Province. In particular, the wonderful description of the external beauty of Luo Shen in Cao Zhi's Ode to Luo Shen provides us with a broad space to imagine the aesthetic realm achieved by women's clothing at that time.

Focus on fiber to shorten the fit;

If the shoulders are cut, the waist is like a vegetable;

The neck is stretched to look good and the quality is exposed;

Fang Ze does not add, lead is rich;

Clouds, eyebrows and hearts are one;

Red lips are bright outside and white teeth are fresh inside;

Bright eyes and good hope pave the way for strength;

Decorated with splendor, tranquility and leisure;

Gentleness and charm in language;

Stunning clothes are outstanding, and the bone image should be mapped. (The History of the Three Kingdoms, Volume XIII)

From red lips and white teeth to towering; From waist and neck, to beautiful eyes and eyebrows, from graceful expressions to extraordinary clothes that are rare in the world ... Although there are many authors' beautiful ideals here, they also depict the creativity of women's clothing in the Wei and Jin Dynasties in embodying the overall beauty and pursuing an aesthetic realm of clothing that is fully decorated from head to toe. This aesthetic realm of clothing reflects not only partial and pure beauty, but also a charm beauty with a certain sense of rhythm.

As mentioned in the previous chapter, the distinction between men and women in China's clothing form was generally formed in the Han Dynasty. But it was in the Wei and Jin Dynasties that local formal differences gradually turned into all substantive differences. There are many reasons for this situation, but the most important thing is that the social culture of this period pays attention to the problem of form and spirit.

The problem of form and spirit is often discussed by thinkers of various schools after the pre-Qin period, but it has not been paid enough attention. It was only in the Wei and Jin Dynasties that this issue was endowed with aesthetic significance, gradually linked with literary theory, painting theory and calligraphy theory, and became an important part of China's aesthetic theory, which influenced all kinds of artistic creation in this period and all kinds of social practice activities of people, including clothing, with great artistic charm.

As early as the early years of Wei and Jin Dynasties, Liu Shao, the ruling group of Cao Shi, put forward the question of "God" in his People's Tales, specifically discussing the character's conduct. He said: "The beauty of a person depends on his appearance, and the so-called spirit is sought. When you look at the gods, you will feel something. " "Things are tangible and thin; If you can know the spirit, you will be exhausted. " Compared with the pre-Qin period, Liu Shao's "God" has gone far beyond the scope of ethical spirit, but is related to Cao Cao's understanding of "talent" at that time, involving wisdom and talent. We don't observe and evaluate people from the perspective of ethics, but put people's intelligence and creativity in an important position. Therefore, the problem of form and spirit has the significance associated with aesthetics. Later, Wang Bi and others discussed the "God" of "saints", although it was closely related to social politics, but they emphasized the wisdom and cleverness of "saints". Later Ruan Ji and Ji Kang denied the political color of Yanhe and Wang Bi about the "saint" god, but were completely linked with the free liberation of individual spirit. In their eyes, the political significance of "saints" has become a thing of the past, and the pursuit of freedom and liberation is the most important thing. This makes "spirit" have a higher meaning than "shape", which is not only related to Ji Kang's health preservation, but also has aesthetic significance more clearly than ever before. During this period, Gu Kaizhi, a famous painter, not only made theoretical research on the issue of form and spirit, but also practiced it in artistic practice, and achieved remarkable results. According to his own aesthetic opinions and artistic practice, he put forward the idea of "writing God with form", and made a theoretical distinction between "form" and "God" for the first time, pointing out that "form" is meaningful only when it expresses a certain "God", and "form" without "God" is just an empty shell and will not have aesthetic significance and value. But he did not ignore the aesthetic value of "form" closely related to "writing God". Therefore, although he pays attention to "vivid expression" and thinks that "four-body beauty has no beauty", he does not ignore the importance of physical beauty in the performance of characters. For example, when he commented on Little Lienv, he said, "As a woman's Julia maesa bun, every picture on the court is integrated with her gorgeous figure." The theme of "Heroic Woman" in the painting was originally made for the purpose of ethics and morality, and it is very spiritual. However, Gu Kaizhi still attached great importance to their "gorgeous" beauty, pointing out that the painter's "dribs and drabs" should complement the "gorgeous figure" of the "heroic woman". When talking about the painting "Poetry of the North Wind", Gu Kaizhi also talked about the importance of "form" beauty: "The form of beauty, the difference in size, the number of yin and yang, and the subtle traces are all valuable in the world." This is a full affirmation of the "formal beauty" in paintings. It is worth noting that Gu Kaizhi not only summed up the aesthetic significance of "form" and "spirit" in theory, but also showed a superb level in dealing with the relationship between "form" and "spirit" in his works, which is reflected in the evaluation of his paintings by later generations: "Gu Kaizhi's Flying Fairy is at home, and the History of Women is at Liu Youfang's house, which is very vivid and beautiful." (Mi Fei's History of Painting) "Gu Kaizhi's paintings are like silkworms spinning silk. At first glance, it is very simple, and the style is similar; Look closely, there are six ways, some of which can't be described in words. They have seen Thrushcross Stone, Yu Xia Water Control Map, Luoshen Fu and Little King of Heaven. Their brushwork, such as floating clouds in spring and flowing water on the ground, is natural, giving color to the characters' faces, embellishing them with strong colors and not seeking dizzy decoration. " (Dong Tang's Painting Director) These comments are an appropriate description of Gu Kaizhi's "exquisite traces". The so-called "like a silkworm spinning silk" and "like spring floating in the air, flowing water moving on the ground" is precisely the "exquisiteness" in Gu Kaizhi's paintings, and it is also the image embodiment of the aesthetic view of "writing God with form".

These historical summaries on the discussion of "form" and "spirit" can't fully describe all the viewpoints of thinkers and artists in Wei and Jin Dynasties, but they can show us that thinkers and artists in this historical period really paid attention to "form" and "spirit" at an unprecedented height. Although there is no direct talk about clothing here, it provides ideas for the development of clothing and creates a cultural environment. You know, it is in this cultural atmosphere that Wang Xizhi's calligraphy appears exquisite and graceful, which contains an inexhaustible feeling (Wang Xizhi's words); Yungang Grottoes Buddha, with free and open carving techniques, eclectic image, vivid and vivid, gives people a sense of grandeur; There are a series of female history and goddess portraits in Gu Kaizhi, which pay attention to "describing the spirit with form" and "having both form and spirit". These are the artistic practices of aesthetic thoughts on "form" and "spirit", which turn abstract aesthetic theories into vivid works of art and present them to the world. At the same time, various images of works of art will guide and inspire people's bold imagination and creation in clothing with their unique aesthetic charm. Consciously and unconsciously, the formal factors such as style, color and decoration of clothing are artistically, and the spiritual factors such as people's physical conditions, temperament characteristics and hobbies are linked with the external forms of clothing, so that clothing becomes the external expression of people's inner spirit. Careful observation of women's clothing in Wei and Jin Dynasties and praise of all-round decorations such as women's clothing, big sleeves, high bun, high eyebrows and pink can accurately and vividly express women's posture and spiritual temperament characterized by "softness" and successfully practice the aesthetic thought of "both form and spirit" in the field of clothing.

3. costume aesthetics's pursuit of combining rigidity with softness.

Looking at the fashion of clothing in Wei, Jin, Southern and Northern Dynasties, besides the general situation of men's wide shirts, big sleeves, black scarves, women's belts and high buns, we can also see another fashion of clothing: men and women wear the same clothes and act the same role. This fashion starts with the head.

As early as the Han Dynasty, the custom of wrapping hair with "towel" was named because its length and width were equal to the cloth woven at that time. By the end of the Han Dynasty, people from the official to the ordinary people wrapped their heads in towels as elegance. It is recorded in the Biography of Zheng Xuan in the later Han Dynasty: "(Why) I set up several sticks and treated them well. Xuan did not wear royal clothes, but was seen with a towel. " Pei Songzhi's Notes on the History of the Three Kingdoms, Wei Zhi Liang Wudi, Fu Xuan and Fu Zi in the Jin Dynasty in the Southern Song Dynasty also recorded that "at the end of the Han Dynasty, the governors wore many robes and the towels were elegant. Therefore, although Yuan Shao and Cui Bao are generals, they all wear scarves. " "Towel" is made of a fine silk, which can be dyed into various colors and packed into a certain size for headdress, also called "towel". Compared with all kinds of crown hats, it is much more convenient to decorate the head with a towel, which can both tie the hair and decorate it, killing two birds with one stone. Therefore, Cao Cao praised it as a "time suit." During the Wei and Jin Dynasties, a large number of official figures wore scarves without hats, which played a certain exemplary role. The Book of Rites in the Song Dynasty, which had a great influence on the society, said: "The towel is Ge ... Today, children all over the country use it for coronation, taking single clothes as royal clothes and holding scrolls instead of hand plates. Both amateurs and barbarians wear towels. "Indeed, black silk scarf with feather fan by Zhuge Liang and Lu Sa towel by Tao Yuanming are the best examples of celebrities wearing scarves, which can also explain the prosperity of officials wearing scarves in Wei and Jin Dynasties.

While men decorate their heads with towels, it is not uncommon for women to tie towels. Today, we can still see the images of men and women wearing black scarves from the stone carvings unearthed from Han tombs and Wei tombs in Yinan, Shandong Province and the pottery figurines unearthed from Luoyang, Henan Province. There is also a record in the Jin Dynasty's "Nakano Ji": "The queen is out, and the woman rides a thousand horses with thin brine. The winter and the moon are all purple scarves and the pants are pleated." "Liang Shu" also recorded such a story, saying, "He Deji didn't study much, didn't come back for a long time, and ran out of clothes, so he didn't wear underwear in winter. I met a woman in front of the White Horse Temple. She is very easy to talk to. She called Deji to the front of the temple and took off her white silk scarf as a gift. The kind woman pitied Deji's thinness and gave him a "black scarf" to keep out the cold. It can be seen from these records that women did have the custom of tying towels in Wei and Jin Dynasties.

During the Wei and Jin Dynasties, men and women wore the same clothes, mainly in the form of "pants pleats" and "crotch". At the end of the Eastern Han Dynasty, a kind of underpants called "big mouth pants" was popular in society. This kind of trousers is loose, especially the two legs are very fat. In order to facilitate riding, people cut brocade ribbons into three-foot sections and tie them at the knees of trouser legs, as if they were modern leggings. Jackets worn with wide-mouth pants are usually tight-fitting, with a horizontal collar and narrow sleeves, and the clothes are not longer than the knees, commonly known as "pleats". "Big underpants" and "pleats" are worn together, which is called "trouser pleats". Because this kind of clothing is simpler and easier to move than wide robes and blouses, it is originally a military uniform and can be worn by officers and men. "Yu Jin Fu Zhi" records: "The system of pants pleats began at the end of the item. In modern times, all cars were driven by relatives, and martial law took it at home and abroad." "Biography of Yang Jin" also records: "Ji has talent. Since Emperor Wu began to try hunting under the North Mountain, and Ji Wang, who was waiting for him, wore trousers and pleated, rode on a horse and held a horn bow in front of the car." Later, this kind of clothing called "trouser pleats" was introduced from the army to the people because it was easy to move, and became a common casual dress among the people.

It is also common for women to wear pants pleats while men wear pants pleats. "Peaceful Magnolia" in volume 695 quoted "Xihe Ji" as saying: "There is no sericulture in Xihe, and women take foreign brocade as their pants pleats." Judging from the image data, the pants pleats they wear are not much different from those of men in style and color, and they are typical men's and women's clothes. "Crouching" is also called "Erwu", which is similar to the current vest and protects the chest and back at the same time, because of its name. In Qing Dynasty, Guangqian said, "A case was half-backed in Tang and Song Dynasties, and now it is called vest. When you are careful, it is also a kind of righteousness. " Judging from the image data, the original crotch shape is very simple. Generally, two pieces are made, the front piece covers the chest, the back piece covers the back, and the upper part is connected with fabric or leather. During the Western Han Dynasty, the crotch was usually worn by women and was mostly used as underwear. After Wei and Jin Dynasties, it gradually wore out. It becomes casual clothes. 1956, there were still artifacts in the gold tomb unearthed in Astana, Turpan, Xinjiang. There is a piece of red silk embroidered with black, green and yellow creeping weeds and dots in the carry-on clothes of the female corpse in the tomb, and silk cotton is stuffed in the crotch. 1979, another tomb dating from 16 was discovered in this area. The deceased in the tomb was still a woman, wearing a crotch made of red silk embroidered with blue, green, yellow and black silk threads, such as dragons, birds, flowers and plants. These objects are just in line with the situation recorded in the Song Dynasty's "Five Elements", that is, "at the end of the Yuan Dynasty, women bent their hips and put their shins out."

This year, an image of a man wearing crotch was unearthed. This burial strategy was found in the man's coffin unearthed from the ancient tomb of Wudong in Nanchang, Jiangxi Province, with the words "Therefore, two practices become one" written on it. In the Song of Shangsheng written by Anonymous in the Jin Dynasty, there is also a saying that "Hip and Lang are written and embroidered in the store". Don't splash mud when you are dirty, keep an existing promise. Because there were many wars at that time, besides the crotch made of daily cloth, there were also crotch armor made of leather and iron for fighting, which proved that this kind of clothing was not only loved by slim women, but also a necessity for martial arts.

Under the background that the characteristics of men's and women's clothing tend to be obvious and the styles of men's and women's clothing tend to be complete and mature, it is not an accidental phenomenon that men's and women's clothing are the same in Wei and Jin Dynasties. We can't simply attribute this situation to the retro retrogression in clothing (the upper and lower dresses in the pre-Qin period, the deep clothes and robes in the Western Han Dynasty are really unisex, and there is little gender difference). There is the influence of the great national integration caused by the war, and it is also related to the active situation after the decline of Confucianism, but more importantly, under the strong impact of these two factors, the aesthetic and fashion changes of clothing-pursuing new integration points in the different development of men's and women's clothing, trying to create a kind of beauty of both rigidity and flexibility in the unity of opposites between men's and women's clothing.

Whether it is a scarf, or pants pleats and crotch that both men and women like to wear, their styles or colors are moderate, which greatly dilutes and neutralizes the simplicity of pure men's clothing and the elegance of pure women's clothing. Therefore, it has a wider scope of application. It can be said that the clothes that both men and women like to wear epitomize China's ancient aesthetic thought with "harmony" as its content.

It is not only the Wei and Jin Dynasties, but also the basic idea of China's ancient aesthetics to properly unify mutually exclusive and opposing factors and form a new harmonious body in which you have me and I have you. "Twenty-nine Years of Zuo Zhuan Xiang Gong" recorded Ji Zha's visit to Zhou Le. When he heard the carol playing, he couldn't help exclaiming, "What a pity! Stand tall and unyielding, don't push, don't carry, don't move, don't worry, don't be happy, don't use, don't understand, don't spend money, don't eat, don't have a bottom, don't flow, five tones, calm, moderate, rank and prosperous. These praises focus on the unity of opposites of musical factors, express the harmony and appropriateness of feelings, and clearly reflect the ideal of "harmony" pursued by China's ancient aesthetics. Ruan Ji in Wei and Jin Dynasties also put forward an idea similar to the complete works of Ji Zha in "On Music": "Musicians are the body of heaven and earth, and the nature of all things is also. , fit its body, get its sex, and; Leave the body, lose sex, and it will be fine. In the past, the joy of saints will also become the nature of all things with the body of heaven and earth. Therefore, the voice of heaven and earth, to welcome the sound of yin and yang and the eight winds, is the method of neutralization in the yellow bell and opens up the feelings of all things. Therefore, the harmony of yin and yang is based on the harmony of law and Lu, and the sound is suitable for everything; It is not easy for men and women to find their place, and the monarch and the minister do not commit their position; The four seas are happy with it, and Kyushu is a festival. "

Ruan has a great boldness of vision and a wide horizon. But he thinks that the beauty of music comes from the harmony between heaven and earth and the organic unity of various opposing factors, which coincides with Ji Zha's opinion. It's not just music. In ancient China, the artistic beauty of poetry, calligraphy, painting and so on was the same. However, in these works of art, various opposing factors are expressed and unified in different ways. Understanding this point is undoubtedly of great significance for us to understand the phenomenon of men and women wearing the same clothes when the characteristics of men and women's clothing tend to be obvious in Wei and Jin Dynasties, and to understand the aesthetic characteristics and causes of neutral clothing that embodies both men's clothing characteristics and women's clothing style.

In a word, apart from political and economic reasons, an important reason why clothing aesthetics in Wei, Jin, Southern and Northern Dynasties shines brilliantly lies in cultural liberation: it broke away from the thinking mode that Han and Confucianism put social ethics and morality at the highest position, and bravely pushed personal needs and will to an important position on the social stage. Rulers, especially Han and Confucianism, have always attached great importance to personal attachment and obedience to society, and it seems that personal value can only be reflected in this attachment and kimono. This was not the case in Wei, Jin, Southern and Northern Dynasties. People not only expressed great contempt and rebellion, but also re-established the meaning and value of individual existence in various ways and established a new value orientation. In the sense of emancipating the mind, the bohemian dress behavior, deliberate modification, extravagance and splendor of undressing, and the anti-traditional thought of "men and women are different and human nature is great" in the Wei and Jin Dynasties strongly denied the Confucian doctrine of "being immobile is evil". However, the social structure in the Wei, Jin, Southern and Northern Dynasties still cannot be divorced from the feudal basic system, and all things should be handled according to the principle of consanguinity and kinship. Therefore, the emphasis on the individual can not fundamentally deny the Confucian hierarchy between monarch and minister, but also shift from the initial pursuit of absolute individual freedom to the morbid desire for satisfaction such as naked drinking, forming the final result of self-abandonment However, a series of Wei-Jin clothing aesthetic thoughts with "human consciousness" as the core laid in the turbulent years not only became an important foundation for the unprecedented prosperity of clothing in the Tang Dynasty, but also left a glorious page in the history of ancient Chinese clothing aesthetic thoughts.