Pakaian/Aksesori/Senjata/Pengangkutan/Gaya Hidup Masyarakat Melayu Zaman Silam

sephia_liza · Post time 20-4-2006 04:37 PM

Research of the Heian Period is almost, dare I say it, simple compared to research of 8th through 12th century Western garments. This is primarily due to two factors: women's literature and the modern imperial family. The early Heian Period (specifically 894) saw the end of diplomatic relations with China and the growth of a native style in art, architecture and writing. Some Chinese characters were "abbreviated" into a phonetic Japanese script that made writing easier. This script was referred to as "women's writing," since the men preferred the prestige of being able to write in Chinese. Needless to say, the first truly native poetry was written exclusively by women. More relevant to our study, two of the greatest Japanese works of prose, one semi-fictional novel and one diary, were written by Heian court women in the late 10th century. These books tell us much of what we know about how Heian court society lived, loved and worked. Because the Heian court was so taken with sensitivity to art and love of subtle beauty, much detail is given to wardrobe: colours, combinations, and fabric textures. The other reason we know so much about Heian court dress is that it has been lovingly preserved by the imperial family. On major state occasions such as marriages or ascensions, the royal family and their attendants still wear "kimono" based on Heian court garb, even though the rest of the country has utterly abandoned the fashion.

Construction of the Heian Period court dress is also relatively easy. It may carry all the pomp and circumstance of High Elizabethan, but its lines are a lot simpler. This may have been due to a rise in Japanese nationalism, a turning away from foreign things evidenced in the architecture, literature, art and writing style of the period. (The Chinese court robes popular until this time were cut with bell-shaped sleeves and skirts.) However, there may have been a purely utilitarian impetus for the un-curved kimono line. When Japan severed formal relations with China, they created a need to manufacture goods that they were heretofore importing. The return to the construction techniques of the ancients may have initially been an effort to conserve cloth. However, this argument can hardly be supported for more than the initial period after detachment in light of the numerous layer of silk that the Heian courtiers wore on a daily basis.

The costume of the female courtiers is commonly referred to as ju-ni hitoe. To begin, this is a misnomer. Literally "twelve unlined robes," this term derived from a story about a lady-in-waiting who drowned while trying to save the child Emperor. It was said that her "ju-ni hitoe (12 unlined robes)" weighed her down. It was obviously summer, for unlined robes were not usually worn except on the most humid days and twelve is an awfully minuscule number for a courtier who usually wore 20-40.

The correct term for the garment is karaginu mo, although this refers only to two components of the ensemble. Karaginu means "Chinese overcoat" and mo, "skirt." Karaginu is the Japanese word for the Nara (late 6th - early 7th century) Period jacket, and mo is a vestigial remnant of the shang skirt worn in the 7th century. In Heian-jidai, it was more like an apron worn backwards. The fact that the impressive parts of this costume are the layers is not evinced in the name. The multiple layers are called uchigi (robes) and the ensemble is alternately called itsutsiginu (five gowns). Women still wore hakama (split skirts or trousers descended from the Tang ku pants) under all these layers. The reason the ladies of the court wore so many layers (often 15 to 40) may have begun as imitation, as so many Japanese things do, but ended up utilitarian. The Chinese wore multiple layers, but never more than nine. The Japanese being given to exaggeration added more. With the cessation of diplomatic relations with China, a native style of architecture arose. Raised floors reminiscent of Yayoi Period rice granaries appeared. The style we think of as "Japanese" developed at this time

sephia_liza · Post time 20-4-2006 04:38 PM

Originally posted by sephia_liza at 20-4-2006 04:37 PM
Research of the Heian Period is almost, dare I say it, simple compared to research of 8th through 12th century Western garments. This is primarily due to two factors: women's literature and the mod ...

Heian dress is marked by a great attention to one's place in society and the reflection of that place in one's clothing. Clothing also is dependent upon the time of year, one's sensitivity to nature,

The costume of the female courtiers is commonly referred to as ju-ni hitoe. To begin, this is a misnomer. Literally "twelve unlined robes," this term derived from a story about a lady-in-waiting who drowned while trying to save the child Emperor. It was said that her "ju-ni hitoe (12 unlined robes)" weighed her down. It was obviously summer, for unlined robes were not usually worn except on the most humid days and twelve is an awfully minuscule number for a courtier who usually wore 20-40.

The correct term for the garment is karaginu mo, although this refers only to two components of the ensemble. Karaginu means "Chinese overcoat" and mo, "skirt." Karaginu is the Japanese word for the Nara (late 6th - early 7th century) Period jacket, and mo is a vestigial remnant of the shang skirt worn in the 7th century. In Heian-jidai, it was more like an apron worn backwards. The fact that the impressive parts of this costume are the layers is not evinced in the name. The multiple layers are called uchigi (robes). Women still wore hakama (split skirts or trousers descended from the Tang ku pants) under all these layers. The reason the ladies of the court wore so many layers (often 15 to 40) may have begun as imitation, as so many Japanese things do, but ended up utilitarian. The Chinese wore multiple layers, but never more than nine. The Japanese being given to exaggeration added more. With the cessation of diplomatic relations with China, a native style of architecture arose. Raised floors reminiscent of Yayoi Period rice granaries appeared. The style we think of as "Japanese" developed at this time

sephia_liza · Post time 20-4-2006 04:40 PM

After the takeover of political control of the country by the military government, the habits of the Imperial Court fell into disfavour. No more voluminous sleeves and multitudinous layers. Plain was in. Kamakura era dress is marked by a reaction against the decadence of the Heian court. Sleeves were smaller, layers were fewer, and the height of elegance was what any good Heian lady would consider indecent exposure. The simple white kosode and red hakama came out of hiding and became the staple of female dressing in the Kamakura period.

A scene from the Genpei War

But it would be naive to assume that everyone in the Kamakura period disgarded their extravagant clothes and began running around in what had formerly been their underwear. Although the excesses of the Heian Period were on the wane, powerful and influential people still love to look good. And look good they did.

But a little background first... The Heian Period was succeeded by an era of warring clans and political/military power. This was a major change from the Imperial rule of the previous nineteen centuries. Although this is not a history text, it is important to understand the political machinations in order to understand the wide-sweeping changes in culture. Contrary to what one might suspect, the above-mentioned warring clans were not commoners revolving against a decadent monarchy. The Imperial position was sacred. Although a prominent family like the Fujiwara held the real power of the government from time to time, no one would dream of overthrowing the Imperial line. These warring clans were actually related to the Emperor. It was customary for the sixth generation of Imperial descendants to return to common status. Most of these descendants took the name of Taira (aka Heike) or Minamoto (aka Genji). It was these clans, cousins of the Emperor, that brought the Heian Period to an end.

In 1160 the Taira murdered the leaders of the Minamoto. The chief's two sons, however, escaped from Heian-kyo and were raised by a minor Taira family, the Hojo. In 1180, Minamoto Yo****sune, the younger brother, began his campaign against the murderers of his father. In 1185, the Taira were decisively defeated. This was known as the Genpei War, taking its name from Chinese characters included in the two families' names

sephia_liza · Post time 20-4-2006 04:42 PM

Originally posted by sephia_liza at 20-4-2006 04:40 PM
After the takeover of political control of the country by the military government, the habits of the Imperial Court fell into disfavour. No more voluminous sleeves and multitudinous layers. Plain w ...

At first glance, male dress all seems to have changed dramatically, but on second thought, perhaps not. The typical outfit of Kamakura era noblemen was the kariginu, the hunting costume of the Heian period. Often it's been said that the Kamakura men adopted this costume because it was functional. It's possible to slip your arms out of the sleeves and preform any arduous task -- hunting with a bow being the favourite. But the idea that the kariginu was adopted by the bakufu for functionality alone... that's not precisely true. The men who rose to power under the bakufu government were the healthy outdoors type. One source calls them "rusticated". These men wouldn't have worn the elaborate sokutai at all. They weren't of high enough status to appear in the Imperial presense. Their fathers and grandfathers in the Heian period would have worn kariginu and so did they. True, kariginu is imminently more functional than the court garments. And perhaps later the bakufu thought to make a point that they were wearing practical clothing in opposition to the decadent court garb. But at base, it was more a question of what they had on when they went to battle than what they chose to wear after the war was won.

Kariginu in action

But male dress did change by the end of the period; in fact more dramatically than women's wear. Men of the Kamakura Period turned away from the Chinese-type agekubi style discussed in the Nara section. This is the first time since contact with China that men's and women's dress were significantly similar. Men of the warrior class wore a two-piece set called hitatare consisting of a kimono-like top and short trousers. The high, round neck collars and wide sleeves of the Heian court were still reserved for occasions of the highest ceremony and would continue to be worn even unto the present day. But Kamakura men began to wear increasingly heavily brocaded hitatare for formal wear. Hitatare was usually of small repeat-patterned brocades.

Kamakura era gentlemen wearing hitatare

sephia_liza · Post time 20-4-2006 04:46 PM

In the Muromachi Period (1392-1573) many mutations occurred that changed the "kimono" forever. Men's hitatare were made in large, elaborate patterns called daimon worn in multiple layers. Women ceased wearing hakama which allowed the kosode to increase to ankle length. The absence of hakama created an immediate need, however. Formerly, the waistband of hakama held the kosode together. Without trousers, a fastener of some kind was needed. The obi was the solution. This first incarnation of the obi was a far cry from what we think of today. The obi was a narrow sash of about 7 cm wide and a little more than waist measurement long. Now that kosode was truly outerwear and not tucked into pants or other robes, it adopted colour and texture to extremes. The new nobility, the warrior class, did not stay frugal for very long. By the Muromachi Period, excess was returning. Women wore the colourful and brocaded kosode in a variety of new ways. They draped a second kosode over their heads when outdoors (katsugu below left). For formal occasions, they wore a heavily brocaded kosode unbelted as a cloak (uchikake below middle). On hot summer days, women dressed in formal wear would remove their arms from uchikake and allow it to fall around their hips (koshimaki below right). These styles lasted well into the Edo Period (1603-1867).

Uchikake kosode worn katsugu style and koshimaki style

[ Last edited by sephia_liza at 20-4-2006 04:48 PM ]

sephia_liza · Post time 20-4-2006 04:51 PM

In the sixteenth century, Japanese clothes-horses found a style inspiration outside of the nobility. Asobime (lit. playgirls, sometimes translated as courtesans) were multitalented, public and, above all, trendy. Asobime wore their kosode belted with long tasselled silk cords. These cords, known as Nagoya obi (not to be confused with the modern Nagoya obi invented by the Geisha in the 1920抯), were woven in the Chinese style, wrapped around the hips 6-7 times, and tied in a looping bow. Asobime also wore their hair up in Chinese chignons. Previously women wore their hair long and straight, occasionally caught in a simple ponytail at the nape. Men were the ones who oiled and knotted their hair. As the Geisha who would follow, it seems Asobime adopted male styles and made them fashionable for women's wear. Tabi (the split-toe socks worn with "kimono sandals") came into common use at this time as well.

The late sixteenth century saw a borrowing from China unmatched since the Tang dynasty. Ming was in. This would be post-Period for most gentles since the only people to wear Ming-influenced clothes before the 1620抯 were courtesans. However, the Nagoya obi and upswept hairstyles were both borrowed from China. Another borrowing was new, softer fabric weaves. Japanese weavers learned how to create the figured damasks, satins and crepe silks they had previously been importing. Cotton was first planted in Japan at this time. Peasants began wearing it in lieu of the stiff hemp, flax, and ramie that had heretofore made up their wardrobe. These softer fabrics lent themselves to new dying and decoration techniques. Gone were the stiff, heavy brocades. Dapple-dyed, hand-painted, foil-stamped, and embroidered robes were in.

sephia_liza · Post time 22-4-2006 04:05 PM

Men

Men have two main options for starter clothing. We terms these two styles of dress "native" and "anglo". The "native" style of dress consists of a linen l閕ne and a leather or wool ionar. The l閕ne must be made out of linen and either white or saffron-coloured. No current documentation supports the use of any other colours for l閕ne in the 16th century. However, members may submit documentation to the contrary if any can be found.

The ionar may be of wool or leather, in any colour, decorated as shown in the Ashmolean and De Heere's illustrations or unadorned as the Kilcommon jacket. Any documentable decoration is allowed.
Men may go bare-legged and bare-footed as shown in De Heere's illustrations and the Ashmolean print, or they may wear trews like the Kilcommon trews (also described here). Trews may be made with solid or checked legs. Slip-on turnsole shoes like those shown in Derricke's engravings are also appropriate.

The "anglo" option is based on the Dungiven Costume, a suit of 16th century clothing found in County Derry. The outfit consists of a square-cut doublet and tight-fitting hosen. The doublet should be in a solid colour and made out of coat-weight wool. The hosen must also be wool, but they can being either solid or plaid, as were the originals. The construction of these garments is not limited to the Dungiven patterns; any common 16th century patterns for similar clothing may be used.

With this outfit, shoes must be worn. Choose from styles common to England in the 16th century.

Women

One option for women in our camp is what we call "the tucked-up kirtle". The kirtle is a simple fitted dress popular all over Europe from the 14th century. In the 16th century, Lucas De Heere drew Irishwomen wearing such a garment with a contrasting petticote, tucked up into a belt to show a different coloured fabric or fur lining. The garment laces closed in the front with zig-zag lacing. The sleeves may either be of the "hanging" type shown on the Shinrone gown or tightly fitted and with cuffs as shown in the picture to the left. The tucked-up kirtle is worn with a bag-sleeve l閕ne or a fitted-sleeve underdress.

Another option for female 16th century Irish re-enactors is the Flemish kirtle. We call this dress "Flemish" because it appears in many paintings by Flemish artists. In truth, this type of kirtle was worn by common women all over Europe in the late Middle Ages. At right is an illustration of this kirtle on an Irishwoman by Lucas De Heere. It bears a striking resemblance to the Shinrone gown but it is much simpler to make for a beginner. Sleeves may be of the hanging variety like the Shinrone gown (and a l閕ne worn showing through). Other sleeve options include fitted sleeves or sleeveless. If the gown is worn sleeveless, a long-sleeved linen underdress or l閕ne must be worn. There is no documentation to support Irishwomen going around with bare arms!

A white or yellow linen or silk kerchief (as described by Luke Gernon) may be tucked into the front of any of these gowns. A belt should be worn and a purse may dangle from it. Medieval turnsole shoes resembling "China flats" should be worn, but going barefoot is also an option. The hair may be covered by any one of the headdresses Luke Gernon describes on this page. Wearing hair in braids coiled around the head or loose is also acceptable. Modern hairstyles or colours must be disguised. Appropriate jewelry is acceptable, but should be limited to period-accurate items. Watches, obviously modern rings and bracelets, and plastic jewelry should be removed. Modern "Celtic" jewelry in particular will not be tolerated. If you have an issue with an item of jewelry you would like to wear, bring it to the attention of your captain. If it can be reasonably documented, it may be worn. However, the captain's decision is final.

In colder weather, both men and women may wear a semi-circular piece of wool as a cloak as shown in the Ashmolean print, below. "Shaggy Mantles" may also be worn if they pass muster.

The men depicted in this print represent Irish kern (catharnach) or non-professional infantry soldiers of the Tudor period. They are all wearing long tunics with wide dangling sleeves and short, elaborately decorated jackets (ionar). Some wear mantles (brat). They all carry swords. All are similarly bare-legged and bare-footed. Their tunics appear to be pulled up to knee-length and "bloused" over a belt. This would afford more freedom of movement to the legs. Additionally, even when the arms are down, the sleeve, though reaching the mid-calf in length, comes no lower down the arm than the elbow. This curious yet functional element will be seen again in later prints. Note that no gathers or pleats are visible on the top of the arm. The shirts gape open in the front, exposing the kern's musculature and chest hair. No collar can be seen.

Chronologically next come prints by Lucas de Heere, a Dutch painter who lived in England from 1567 to 1577. His pictures are carefully drawn and provide good detail. Although he never visited Ireland, it is believed that he copied his figures from other documentary evidence that is no longer extant. For example, his kern echo the poses and dress of the print in the Ashmolean Museum. Because of the similar level of detail in his women's clothing and how closely it resembles extant pieces, we can only assume that he had similar prints that have not surfaced. However, we know from a multitude of modern examples that copies are often imprecise. Keeping this in mind, we will examine de Heere's work.

sephia_liza · Post time 29-4-2006 03:57 PM

:dia:http://plaza.ufl.edu/jacarey/artindex.html

[ Last edited by sephia_liza at 29-4-2006 04:02 PM ]

sephia_liza · Post time 29-4-2006 04:02 PM

Warsaw burgomaster Lukasz Drewno
wearing a giermak circa 16th century

The mente bears a strong resemblance to the earliest wide-spread garment that can be considered 揚olish dress

sephia_liza · Post time 29-4-2006 04:06 PM

In another part of this picture (shown at right) we begin to see the combination of clothing that would dominate Polish dress for the next century -- zupan and delia. Both gentlemen wear zupan. The man on the left wears a brocade zupan that buttons down the front. He is labeled 搉obilis Polanus

sephia_liza · Post time 29-4-2006 04:11 PM

The most obvious characteristic of early 17th century dress on the Continent is the the persistence and growth in size and ornateness of the ruff. Once just a fancy edge on a shirt collar, the ruff in the 1610s and 1620s has become as large as a millstone and in need of wire supports to hold it in its proper position.

Ladies from Buytewech's "Elegant Couples Courting" 1618

As the ruff grew in size and ornamentation, the rest of the clothing became more simple and elegant. If we can draw our attention away from the ruffs for a moment, we will notice clothing made from shiney, smooth silk satins and painters who revelled in the play of light on these fine fabrics. The drape of these glorious textiles was emphasized by the arrangement of the fabric into poufs over the hips.

The conical bodice of the Elizabethan period seems to have survived. But the French or "wheel" farthingale has be replaced with a softer mode of kirtling up the gown skirts to reveal petticotes decorated with rows of metalic braid. You can see this style in this detail from Dirck Hals' "Banquet in a Renaissance Hall" at right.

Another style exists about the same time. Open-front jackets or gowns reveal brightly coloured brocade stomachers shaped in a low U over the abdomen. This style is best portrayed in Rubens' portrait of himself and his first wife, Isabella Brant, the detail of which is shown at left. Even though Isabella wears a red petticote, she is not protraying the norm. In most of the other portraits of women wearing this style of dress, these ornate stomachers are usually the only bit of colour in an outfit the rest of which is shockingly black. The Dutch fondness for black in the 17th century is well documented. This stomacher seems to be the Dutchwoman's outlet for panache in the 1620s. It is the staple worn in most of the portraits of the late teens and twenties. But it was not to cross out of the Low Countries and invade elsewhere.

But what did the English Wear?

In England, the supportase-held lace collar had been a staple of fashionable dress at the end of the Elizabethan period. However, the so-called "millstone" ruff was not worn. Two main trends can be observed. The extremes of the late Elizabethan period persisted in the form of the wheel (French) farthingale and long, almost impossibly-pointed bodice as seen in late portraits of Elizabeth I (shown at right as painted by Marcus Gheeraerts the Younger in 1592). However it is more than likely that this extremes of fashion were worn at Court and on ocassions of high ceremony, but were not the typical dress of even the most fashionable nobles of England.

By the teens, it was apparent that this stiff style was moving out of favour and that a similar but less formal style was replacing it. Another painting by Gheeraerts of a lady from 1618 (shown at left) shows this softer style quite well. The bodice is still quite structured, varying from a shockingly low neckling to a high collar, but the gown skirts or petticotes have become softer and no longer appear to be worn with a farthingale. The ornate decoration of the Elizabethan period also seems to be subsiding. It is being replaced by the suptuous silks and minimal trim that so clearly mark the Stuart fashions to come.

sephia_liza · Post time 29-4-2006 04:13 PM

The Stuart Period
1625-1642

After James' stroke in 1625, his eldest son, Charles, ascended the English Throne. Charles married the 15 year-old daughter of France's King Henry IV, Henrietta Maria, and thus a new fashion trend came into England. Shiny, smooth silk replaced heavy brocades. Curls and love locks replaced rigid hairstyles. Farthingales and ruffs were discarded. Waistlines rose on women as well as men. And a new short-waisted fashion was born: Cavalier!

Unfortunately this made the Roundheads very angry. A bunch of unattractive people with bowl haircuts, the Roundheads started the English Civil War by challenging Charles I's forces at Nottingham in 1642. Charles defeated the Roundheads that day, but in Parliament, they voted against his pretty hair and his royal perogative.

sephia_liza · Post time 13-5-2006 05:21 PM

Originally posted by sephia_liza at 3-4-2006 12:40 PM

Roman men and women, like other Indo-Europeans, originally seem to have worn a large piece of wool, wrapped around themselves. ...

sephia_liza · Post time 11-6-2006 11:08 AM

Few Americans had the time or the money for fancy European clothes. Most dressed in a simple style, often with homespun or homemade clothes. Until 1830, Americans wove more cloth in their homes than in their mills. Women wore long dresses and bonnets or caps, while men wore simple suits with knee breeches, long jackets, round hats and modest cravats. Until at least the late 1820s, the general custom was for men to be clean-shaven. The song "Yankee Doodle" shows how amused Americans were by the vanity of the European "dandies." In addition, the heavy dresses and thin-soled sandals that were appropriate in England and France were inconvenient in the often warm climates and rough, unpaved roads of America. Thus, when they dressed up, Americans usually simplified European fashions to fit their tastes and needs. The wealthy plantation families of the South, many of which sought to emulate European manners and sophistication, probably remained closest to the fashion plates of Europe.
Around the turn of the century, Americans of fashion followed the European change to Regency styles. For fashion-conscious American women, this meant slim and relatively simple dresses, inspired by ancient Greece and Rome, and low necklines; as opposed to the full skirts and high necklines of the older fashions. For men, this meant long pants and short, snug coats, worn with tall hats with narrow brims; instead of the eighteenth-century round hats, knee-breeches and shoes with huge buckles. Both genders discarded the elaborate wigs left over from the eighteenth century, generally favoring a simpler style.