Naciela - My Art - Tumblr Blog

I love my outfit design so far maybe I wuld add a detail later.

Raafa mom was always 100% look like a goddess

Urzai adopts the gaang au

Ursa: *takes out FN soldiers Kyoshi Warrior style*

Ursa: Are you children ok?

Katara: Can you adopt me?

Ursa: What?

Katara: What?

Thanks ☺

I'm not dead! Well yeah I'm not dead XD/jk

Some of my sketch about my girlsss XD

I'm designing raafa maternal grandma XD. She look like him in one way or another sadly her marriage with her husband was not all sunshine and happiness.

And I love her outfit XD

do you have any pictures or resources on what yuan dynasty hanfu looked like? i see a lot of song and ming, but rarely yuan. i know it was ruled by the mongols, but i don’t think i ever read that the han were forced to wear mongol clothing like they were manchu clothing during the qing dynasty.

Yes. Han was not forced to wear Mongolian clothing in Yuan dynasty, but before the Mongolians conquered all of China, the northern part of zhongyuan regions was conquered by Jin Dynasty of the Jurchens, who enforced rules to wear only Jurchen clothing. Hence, in Yuan dynasty Han people from the north and the south (previously ruled by Song dynasty) had different dressing habits. At the same time, for various reasons people might switch to Mongolian clothing. Hence, Han clothing during the Yuan dynasty was a mix and match of various cultures, depending on where those people were from. Those from the north would wear clothing predominantly influences by Xixia, Liao, Jin dynasties, while those from the south would wear clothing evolved from Song.

Men usually wore cross-collar or circular-collar robes, similar to Song dynasty.

Woman often depicted wearing ao/shan with mamian qun, often with a short-sleeves parallel collar jacket. There is not many ao/shan excavated from Yuan dynasty. On the other hand, many short-sleeves did. These short-sleeves came in a variety of size (sleeve-length, fitting), and could have side vents. These short sleeves was probably inherited 貉袖hexiu of the Song dynasty.

The blue and brown colour short-sleeves represent two important colours in Yuan dynasty wardrobe. The Mongolians hold blue-green in high regard, while brown was one of the most common colour for the commoners (because Yuan dynasty banned commoners from wearing many bright colours and could only wear the natural colour of the fibre or dark colour).

There might be other type of skirts around that was not mamian qun.

Left or right

Interestingly, from the figurines and murals, women often depicted as wearing the right lapel over their left lapel (左衽zuǒrèn). While men wore their clothes like Han people, with the left lapel over the right lapel (右衽yòurèn; the collar forms a y shape).

It was speculated that Mongolians used to wear zuoren, but later they officially pushed for youren, due to Han influence. It is possible that the switch did not affect women and commoners, although there are drawings of high-ranking Mongolian women in youren.

In addition, unlike Han people of the time, they actually regards the right side as the more important side, although later they switched back to the left side. Hence the position of the husband and wife depicted on murals was used as an evidence to place the period of the tomb.

At the same time, the Jurchens actually worn zuoren exclusively. Thus women wearing zuoren might just be something left over from Jin dynasty.

Effect of Yuan Dynasty

Yuan dynasty introduced many new elements into Han people’s wardrobe, and some even stayed firmly in Ming dynasty (much to the effort of the Hongwu Emperor). Some examples:

Terlig, jisun and others gave rise to tieli, yesha, dahu, zhaojia etc.

The closing of cuff 收祛

钹笠帽Bólì mào (don’t know what its Mongolian name) became damao

The Nasich textile weaving technique form Persia

The golden collar and upper arm decorations (云肩)

The golden rectangular decorations on the chest and the back became buzi

This is a very brief introduction to Han clothing during the Yuan dynasty. I am not particularly familiar with this dynasty and I hope I did not made any glaring mistake.

Some References

北方地区蒙元壁画墓研究_洪淑莹

关中元墓出土陶俑研究_蒲洋

蒙元关中服饰文化研究_赵学江

蒙元时期随葬俑的研究_徐正宇

穹庐一曲本天成_张宏瑜

中国古代设计中的_胡化_与汉胡融合现象研究_陈筱娇

元代妇女服饰简论（上）——服装和化妆

Archeology reports

苏州吴张士诚母曹氏墓清理简报_郭远谓

邹县元代李裕庵墓清理简报_王轩

江苏无锡市元墓中出土一批文物_钱宗奎

河北隆化鸽子洞元代窖藏_田淑华

洞藏锦绣六百年之——两件元代对襟半臂短袄的保护与研究_ 贾汀

On youren and zuoren

北方地区蒙元壁画墓研究_洪淑莹

北方蒙元墓葬墓主人形象与族属问题的再思考_赵丹坤

蒙元关中服饰文化研究_赵学江

蒙元时期周边文化对蒙古族服饰影响探析_陈晓

穹庐一曲本天成_张宏瑜

Pictures of the women in slide 4 and 5 were from 清荷今天成为蛇蝎美女了吗 on weibo, used with permission.

24/05/21 Edit slide 7, add more references.

Talking about the Qabā'. Again.

The last time I talked about the Qaba was in another post where i was very excited to have found a miniature from either Syria or Egypt that matched an extant piece of fabric from a close time period. Today I'm going to talk about the garment itself more, and it's relatives. The impetus for this is that a few months ago, I was scrolling through hanfu blogs- if you've read the article I published in Egyptian Migrations, you know I have an interest not just in Egyptian fashion, but how other cultures navigate fashion, both in their unique subcultures and traditional styles. While doing so I came across the tieli (貼裏), and quite liked the look of it, so I searched up the garment and began looking more at it. As I was scrolling through the many pretty pictures, I realized hey- I've seen this before. This looks a lot like that coat with the red foliage pattern!

Turns out this was because they're related.

They're not the only ones either- the Qabā' (as both Farsi and Arabic call it), the Tieli, the Indian Jama, the Korean Cheolik, and more, all bear a resemblance to each other. Covergent evolution happens plenty of course, but in this case there's something of an established link. In fact while doing my research, I found a paper specifically about this garment family (The Dress of the Mongol Empire: Genealogy And Diaspora of the Terlig by Woohyun Cho, Jaeyoon Yi, and Jinyoung Kim), though without explicit mention of the Qabā'.

The name and garment Tieli come from the Mongolian Terlig and Jisün (also called a Zhama (诈玛 or 詐馬), establishing a possible linguistic connection to the Jama) during the Yuan dynasty. Like many Mongolian traditional garments, it's well suited to horseback riding, which which what many Mamluk depictions also show the Qabā' being worn during. It could be round or cross collar (the combination of the two is unique to the Qabā'). The key features of the garment were a knee to calf length skirt that was gathered or pleated, a close fitting bodice cut separate from the skirt, close fitting sleeves, a corded waist which usually lead into the ties that closed the garment. According to the aforementioned trio, the garment was originally made of hides, and the waist detail found in the original Terlig, lost in other cultures renditions, is an indication of this. The Terlig, known before this point, was introduced to China, India, and Korean when the Monglian Empire was an active political entity in the 13th century and onwards, and this is the case for this style of Qabā' as well. During the 13th century, the Ilkhanate was established in the former territory of the Khwarazmian Empire, after a political incident where the Shah ordered the execution of a group of merchants sent by the Mongolian Empire lead to a long military conflict. The Ilkhanate went on to control large portions of Turkey, Syria, Iraq, and the Caucasus, as well as Afghanistan, Turkmenistan, and Pakistan. Ultimately the Ilkhanate tried, but never did, conquer Egypt, which was ruled by the Mamluks at the time.

However, it did leave a cultural influence behind. Reference to this origin for this style of qaba can be found in one of the two names for the Qabā': al-aqbiya al-tatariyya or qabā' tatarī, meaning the Tatar coat or Tatar way of wearing a coat. Tatar, in this instance, is being used to refer to Mongolians. A similar distinction can be found in the Jama, where Muslims fasten it on the right in the Mongolian style (brought to my attention by the paper mentioned before). The tatarī is fastened in the same way, ties on the wearer's right of the body. The other style of Qabā' (al-aqbiya al-turkiyya) is the same, but fastens on the opposite side of the body. The Mamluks preferred the tatarī, but it was not the exclusive style worn. Along with this, some Qabā' fastened in the center front.

The Jisün was a type of Terlig, made of one color of silk and gold, worn as a robe of honor by officials during the Yuan dynasty. During the later Ming dynasty, it became the dress of certain military officials. It had different varieties for seasons and social status. It also progenitated the Yesa (曳撒), which was longer and more widely worn than the Jisün. The Feiyufu (飞鱼服) was a Ming variant of the Tieli, and another type of honor robe. The Qing dynasty Chaofu also seems to have taken the terlig into account when it was designed.

The Cheolik has a crossover collar, pleated skirt, and may have quite long, wide sleeves. Political marriages with Mongolian courts likely helped this garment take root. This garment is still worn today as Korea, like China, has revitalized its traditional clothing. It is mostly by women today as far as I can tell, though historically it was a masculine garment. It has a longer hem than the Terlig. It also sometimes had a higher waistline.

The Jama was introduced by the Mughal dynasty, and unlike the other garments listed here which typically used rectangles and triangles for constructing clothes, the one pattern I've seen for it taken from an extant garment (as opposed to being a guess) shows a skirt made of gores and set in sleeves with a gusset. Another example, laid flat, shows rectangular sleeves with a gusset, but the skirt cannot be determined. It was later renamed to sarbgati. It typically has a crossover fastening, though I have seen one that closed in the center front. The ties are especially prominent and decorated, which overall is not the case in the rest of the garment family. Gold bands on the sleeves and collar are sometimes found as decoration. It also has a longer hem and higher waistline than the Terlig.

In my previous post I noted a similarly to this robe and the Central Asian and Persian robes I'd seen from a different century, but was hesitant to connect them. Now I'm sure of a connection. The waist seam is confirmed! There are still several stylistic differences, though:

1. The Qabā', in Syrian and Egyptian depictions, typically combines a round neckline with the cross over collar. The Persian Qabā' typically does not have a round neckline.

2. The Qabā' usually has what looks like a gathered skirt, not a pleated one, as the Tieli does. The Terlig sometimes has a gathered skirt as well, as does the Jama.

3. The Syrian and Egyptian Qabā' is decorated with strips of gold, not with a cloud collar. The Persian Qabā' often has a cloud collar, which it inherits from the Terlig, and I have seen an Angarkha from Lahore with a cloud collar as well. It sometimes has bands. The Seljuk Qabā' sometimes has bands, and sometimes has a rank badge (more commonly found in Chinese court dress). As an aside, I recently found a British drawing (from life, presumably) of an Egyptian envoy in a garment similar to an Angarkha as well...

4. The Qabā' in Syrian and Egyptian depictions often retains the knee or calf length good for horse riding that many other garments in this family moved away from.

5. The Qabā' most likely does not have the corded waist found in the Terlig. There is a gold band around the waist in some depictions that could be a braided waist, but could also be a belt. Unfortunately I don't know of any extant examples from Syria or Egypt that would clarify matters. There is an example which might be Persian that does show this corded waist. Most depictions have no waist detail other than an indication of a waistline.

As far as I know, while this robe spread a little into the Balkans and Eastern Europe (the cloud collar has appeared in some Christian Iconography and a few examples of Terlig like historical garments exist), it did not spread much further west or south of Egypt. However, given the Qabā' has been excluded from discussions of the Terlig's many sons already, it's possible I simply don't know about it, as further iterations in Africa would be excluded as well. As always, I welcome people bringing their own findings to the table.

Further reading: The Dress of the Mongol Empire: Genealogy And Diaspora of the Terlig by Woohyun Cho, Jaeyoon Yi, and Jinyoung Kim

Mongol court dress, identity formation, and global exchange by Eiren L. Shea

https://sartorialegypt.wordpress.com/2022/12/03/a-brief-discussion-of-a-mamluk-robe/ - prev post

http://collections.vam.ac.uk/item/O480307/gown/ - the cloud collar angarkha

https://www.newhanfu.com/6021.html - Discussion of the tieli and yesa

https://www.jstor.org/stable/41917645 - Terlig discussion

https://www.jstor.org/stable/43957434 - general discussion of Yuan clothing with a nice example of a terlig

https://en.unesco.org/silkroad/silk-road-themes/mouvable-heritage-and-museums/robe-decorative-braided-waist-band-0 - Terlig example

A Preliminary Study of Mongol Costumes in the Ming Dynasty by Luo Wei

https://m.terms.naver.com/entry.naver?cid=46671&docId=563301&categoryId=46671 - Cheolik

Arab dress: a short history; from the dawn of Islam to modern times by Yedida Stillman

https://lugatism.com/outer-garments-in-the-mamluk-sultanate/#3-_Qaba_qba - the Qaba and other dress in the Mamluk era

https://www.agakhanmuseum.org/collection/artifact/robe-AKM677 - a robe which may be Persian or Central Asian with the corded waist

Additionally, blogs like @ziseviolet and @fouryearsofshades post about hanfu, including the tieli and yesa.

Chinese Dynasties.

Shang | Zhou | Qin | Han | Jin | Sui | Tang | Liao | Song | Yuan | Ming | Qing

A woman wearing Chinese armor

it's been a while since I ever drew this finally I managed to draw Feng Xiang and Mei Ling's parents, this is what they look before Mei Hua became emperor, and yeah when they were far younger.

they kinda married when Haru was still young actually and their first meeting was clearly an unpleasant one since they first met as an enemy XD

I have a question for you! Do you know what sort of garment unmarried noble girls would wear? And i mean very noble women- i need it for a reference :D

Hi! That truly depends on what time period you are talking + what you mean by noble + how old is the girl ^^;

A Heian girl will not wear the same as an Edo one, same for a noble (kuge) or samurai (buke) daughter

Min, boleh ngomongin Nyi Roro Kidul gak min,,, I love her- aesthetic-

Nyi Roro Kidul

An iconic queen, Nyi Roro Kidul is a legendary spirit/goddess figure who resides in Java’s Southern Sea, hence “Ratu Laut Selatan” (Queen of the Southern Sea).

There are a lot of folklore regarding her origin, but arguably the most popular version is Dewi Kandita/Kadita. Dewi Kandita was the daughter of King Munding Wangi. The King remarried, Kandita’s stepmother plotted to get her kicked out by making a shaman curse her with skin disease. The King reluctantly exiled her, and she fled to the Southern Sea, where a voice told her to jump in. The seawater healed her skin, she became even more beautiful and ascended, becoming Nyi Roro Kidul. (Some versions tell of how her beauty made her famous, inviting a lot of suitors. No one could beat her in a duel though so she rejected everyone, and the suitors instead became her manservants followers.)

Another origin story for her stems from a popular folktale: Jaka Tarub, who stole the scarf of Nawang Wulan (who was an angel/nymph), thus preventing her from going back to the heavens, and married her. Nawang Wulan found out later and left, but she still can’t return because she married a human. Instead, she became the spirit known as Nyi Roro Kidul.

Not to be confused with a similar sea goddess-queen figure: Kanjeng Ratu Kidul. A lot of overlapping has been done with their mythos, but a distinction is that Kanjeng Ratu Kidul is a benevolent goddess that comes straight from the heavens, without any human origin. In Kejawen belief, Nyi Roro Kidul is Kanjeng Ratu Kidul’s underling.

The most popular superstition linked to her is “Don’t wear green.” Because green is the queen’s favourite colour, and if you wear green she may drag you into the sea to stay with her forever. The “logical” explanation for this, though, is that the water of the Southern Sea has a greenish tint, so if you wear green and happen to drown, it would be difficult to spot you.

One should also take caution when depicting Nyi Roro Kidul in paintings, because you can feel her presence.

Fun fact, there’s a character based on her in Mobile Legends called Kadita:

Other posts on Nyi Roro Kidul on our blog:

Link to journal “Tārā and Nyai Lara Kidul: Images of the Divine Feminine in Java”

The “Nyi Roro Kidul Room”

The Nyi Roro Kidul painting incident

that one time someone arranged a mass assault on parangtritis beach while wearing green clothes

I'm not dead! Well yeah I'm not dead XD/jk

Some of my sketch about my girlsss XD

Formal outfits for upper ranks samurai & Most formal for lesser ranks samurai - Hitatare, Daimon and Suô court dress,

(as worn by samurai of the Edo period - great charts by Nadeshico Rin). You can find more about samurai ranks and their regulated attires under the tag "samurai kimono".

The Hitatare

直垂 Hitatare first appeared as an attire worn by lower class warriors. As buke (warrior class) rose into status, it was slowy established as a formal garb for samurai during Kamakura period.

In Edo period, hitatare was the most formal attire worn by samurai of the 3rd rank and above. Fabrics used were luxurious, such as 精好織 seigo-ori (a type of textured silk, also used for Shinto priest clothing nowadays).

風折烏帽子 Kazaori-eboshi - black-lacquered hat made of silk, cloth or paper, originally worn by Heian nobility. Many eboshi shapes exist, this one is a upright style (tate-eboshi 立烏帽子) with top folded to the left.

袴 Hakama - formal pants, more exactly 長袴 nagabakama trailing pants

小さ刀 Chîsagatana - a small decorative katana

胸紐 Munahimo - chest ties​, first appeared on Heian nobility clothes

菊綴 Kikutoji - decorative tassel-like knots, first appeared on Heian nobility clothes

袖括 Sodekukuri - decorative sleeve ties. Originally appeared on Heian clothings (like kariginu, nôshi, etc) where they were used to tighten sleeve cuffs. Later types like the tiny ones above are purely decorative.

The Daimon

The 大紋 daimon is a specific hitatare set patterned with large 紋 mon (clan/family crests). It was worn by fifth court rank samurai (rank of the daimyô lords for example).

It was put over a 熨斗目 noshime, a type of kosode (=ancestor of the kimono) worn by samurai, with stripes or lattice pattern around waist area.

The Suô

The 素襖 Suô, also a variation of the hitatare, was the ceremonial dress of the lower-ranked samurai. Via explicit permission of the shogunate, some samurai could be granted the right to wear 布衣 hoi (a type of kariginu).

It looked very similar to daimon set, but showed fewer crests of much smaller size. The hat was also different as they wore one called a 侍烏帽子 samurai eboshi.

okay i can make note from this

The symbolism of flowers

Flowers have a long history of symbolism that you can incorporate into your writing to give subtext.

Symbolism varies between cultures and customs, and these particular examples come from Victorian Era Britain. You'll find examples of this symbolism in many well-known novels of the era!

Amaryllis: Pride

Black-eyed Susan: Justice

Bluebell: Humility

Calla Lily: Beauty

Pink Camellia: Longing

Carnations: Female love

Yellow Carnation: Rejection

Clematis: Mental beauty

Columbine: Foolishness

Cyclamen: Resignation

Daffodil: Unrivalled love

Daisy: Innocence, loyalty

Forget-me-not: True love

Gardenia: Secret love

Geranium: Folly, stupidity

Gladiolus: Integrity, strength

Hibiscus: Delicate beauty

Honeysuckle: Bonds of love

Blue Hyacinth: Constancy

Hydrangea: Frigid, heartless

Iris: Faith, trust, wisdom

White Jasmine: Amiability

Lavender: Distrust

Lilac: Joy of youth

White Lily: Purity

Orange Lily: Hatred

Tiger Lily: Wealth, pride

Lily-of-the-valley: Sweetness, humility

Lotus: Enlightenment, rebirth

Magnolia: Nobility

Marigold: Grief, jealousy

Morning Glory: Affection

Nasturtium: Patriotism, conquest

Pansy: Thoughtfulness

Peony: Bashfulness, shame

Poppy: Consolation

Red Rose: Love

Yellow Rose: Jealously, infidelity

Snapdragon: Deception, grace

Sunflower: Adoration

Sweet Willian: Gallantry

Red Tulip: Passion

Violet: Watchfulness, modesty

Yarrow: Everlasting love

Zinnia: Absent, affection

me too

oh God I`m so much miss him T---T

Hehehe I love this eps

Sousou no Frieren - 26

hatsune miku mikusona

Prototype design of my primordial creature!!!

Making him! I like the glowing hands that I make hehe

Credit pose k_mb001

Behold

Raafa Alana and Maara grandparents

I love them in one way and another XD

Today actually was adith birthday!! happy birthday to my cute boyo, actually he only has a birthday once every four years

🎶

I miss them and their shenanigans. Between Alana making trouble or both Maara and Alana make Raafa angry because they touch his things without permission or when Maara fighting in bar and same goes with Alana that leading to Raafa drag them both back to their home.

and there it goes my Al-Hanna sketch was complete

UwU