استحداث تصاميم مستوحاة من الفن الجداري العسيري (القط) لإثراء جماليات الزي النسائي = Innovating Designs Inspired by Asiri Wall Art (Qatt) to Enhance Women’s Dress Aesthetics

2017 ◽  
Vol 7 (4) ◽  
pp. 449-459
Author(s):  
حنان فائع حسن العسيري ◽  
عبير إبراهيم عبد الحميد إبراهيم ◽  
أميمة أحمد عبد اللطيف سليمان
Keyword(s):  
Women's Dress

Women's Dress in Eastern and Southern Africa

Costume ◽  
1975 ◽  
Vol 9 (1) ◽  
pp. 40-42 ◽  
Author(s):  
Valerie E. Vowles
Keyword(s):  
Southern Africa ◽  
Eastern And Southern Africa ◽  
Women's Dress

scholarly journals Gender, fashion and representation in nineteenth century British art

2021 ◽  
Author(s):  
Azadeh Monzavi
Keyword(s):  
Nineteenth Century ◽  
Research Study ◽  
Major Research ◽  
Research Project ◽  
Visual Narratives ◽  
British Art ◽  
Artistic Production ◽  
Victorian Women ◽  
Women's Dress ◽  
British Culture

This Major Research Project (MRP) examines the artistic production of British culture in the second half of the Nineteenth Century from 1850–1900, while critically engaging with existing nineteenth century art and literature, in order to deepen the understanding of the immense role played by fashion in the lives of Victorian women. I have approached this research study not through the examination of actual dress in its materiality, but instead, through its visual representation in paintings. These sartorial embodiments of women’s dress could help extend our understanding of artworks that are rooted in visual narratives—both literally and figuratively. Thus, this project aims to re-imagine histories of art through the analysis of the clothed body of women in nineteenth century paintings—for it is through their sartorial choices that women defied the Victorian ideals of femininity and femaleness.

Fashionable Figures: Narrative Roundels and Narrative Borders in Nineteenth-Century Han Chinese Women’s Dress

Costume ◽  
2016 ◽  
Vol 50 (1) ◽  
pp. 63-89 ◽  
Author(s):  
Rachel Silberstein
Keyword(s):  
Nineteenth Century ◽  
Museum Collection ◽  
Late Qing ◽  
Royal Ontario Museum ◽  
Economic Context ◽  
Theatrical Performance ◽  
Close Relationship ◽  
Close Study ◽  
And Performance ◽  
Women's Dress

Figural motifs have received little attention in Chinese dress and textile history; typically interpreted as generic ‘figures in gardens’, they have long been overshadowed by auspicious symbols. Yet embroiderers, like other craftsmen and women in Qing dynasty China (1644–1911), sought inspiration from the vast array of narratives that circulated in print and performance. This paper explores the trend for the figural through the close study of two embroidered jackets from the Royal Ontario Museum collection featuring dramatic scenery embroidered upon ‘narrative roundels’ and ‘narrative borders’. I argue that three primary factors explain the appearance and popularity of narrative imagery in mid- to late Qing dress and textiles: the importance of theatrical performance and narratives in nineteenth-century life; the dissemination of narrative imagery in printed anthologies and popular prints; and the commercialization of embroidery. By placing the fashion for these jackets firmly within the socio-economic context of nineteenth-century China, the paper provides a novel way of understanding the phenomena of narrative figures on women’s dress through the close relationship between popular culture and fashion in nineteenth-century Chinese women’s dress.

CONTROLLING WOMEN’S DRESS:

2001 ◽  
pp. 203-226
Author(s):  
Daniel Ogden
Keyword(s):  
Women's Dress

scholarly journals A Study on the Origin and Evolution of Shape and Structure of ‘Gui-Yi’ in Ancient China

2018 ◽  
Vol 14 (8) ◽  
pp. 145
Author(s):  
Xiang Yang Bian ◽  
Aijuan Cao
Keyword(s):  
Han Dynasty ◽  
Warring States Period ◽  
Ancient China ◽  
Origin And Evolution ◽  
Warring States ◽  
Zhou Dynasty ◽  
Separate System ◽  
Southern And Northern Dynasties ◽  
Women's Dress ◽  
Eastern Han

Most of the existing studies on Gui-Yi, which is a kind of ancient women’s dress of China, are barely about the interpretation of Xian (ie. a long ribbon made of silk) and Shao (ie. a hanging fabric of cloth, shaped like a swallow tail, tied to the waist) of Gui-Yi, on whose origin, development and evolution of the shape and structure there are few discussions. Based upon summarizing the literature, this paper points out that Gui-Yi in Han Dynasty was originated from a relic of San-di (ie. three kinds of ceremonial dress worn by queens in The Rites of Zhou Dynasty-a classical book in ancient China on the bureaucratic establishment system of Zhou Dynasty and the system of states in Warring States Period). In the paper, Gui-Yi is divided into two kinds according to images in archaeological studies, namely, the ‘Gui-Yi in one-piece system’ (‘one-piece system’ is Chinese robe) and ‘Gui-Yi in separate system’ (‘separate system’ is a kind of suit that consists of blouses and skirts). The former was popular in Han Dynasty, and the latter was popular in Wei &Jin Southern and Northern Dynasties. The change of the shape and structure of Gui-Yi conforms to the historical trend that the ‘Gui-Yi in one-piece system’ entered a recession in the late Eastern Han Dynasty and the ‘Gui-Yi in separate system’ became a popular mainstream in Wei &Jin Southern and Northern Dynasties. In addition, the paper points out female images wearing Gui-Yi in Gu Kaizhi's paintings influenced the expression of Gui-Yi image of Wei & Jin Southern and Northern Dynasties, and Gui-Yi were gradually brought into immortal statues during painters’ artistic processing of that time.

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