If the coats with hoods aren’t historically accurate, what coats did Chinese people wear prior to the modern period?
Hi! Thanks for the question, and sorry for taking ages to reply!
By "coats with hoods", I assume you're referring to the doupeng/斗篷 (cloak/cape) commonly seen in modern hanfu and guzhuang (drama costumes), like the one below (x):
Chinese people did wear doupeng prior to the modern period, along with other kinds of coats. However, as I mentioned in my post here, historical Chinese doupeng did not have hoods attached to the cloak/cape. That is why many modern doupeng aren't considered historically accurate - because they have hoods attached. Below are examples of more historically accurate, hoodless doupeng (1/2):
In the image on the above left, the model is wearing a separate, detached hood/hat called fengmao/风帽 (wind hat) which was historically worn to keep warm. Below - examples of fengmao (1/2):
Historically, fengmao was often worn with doupeng when travelling during cold weather (x). Below - women wearing doupeng & fengmao in historical art (top row), and Chinese opera performers wearing doupeng & fengmao as part of their costumes (bottom row) (x):
Oftentimes the doupeng & fengmao are matching, which can give the impression that they are attached - but if you look carefully, you can see that they are separate. Below - Chinese opera costume (x):
Below are historical photos of women wearing doupeng in 1920s Beijing - note how they are hoodless (1/2):
Hooded doupeng, in contrast, are more similar to historical western cloaks, such as the below American/European cloaks from the 18th century (1/2):
The hooded doupeng of modern hanfu are likely based on those seen in guzhuang dramas - another instance of drama costumes not being the most historically accurate (x):
An example of a drama with a historically accurate depiction of doupeng & fengmao is the 1987 TV adaptation of Dream of the Red Chamber. As seen in the below images, the characters wear hoodless doupeng & occasionally matching fengmao as part of their winter wardrobe (1/2/3):
The 1994 TV adaptation of Romance of the Three Kingdoms also depicts historically accurate, hoodless doupeng & matching fengmao worn by men (x):
For more references, please check out my doupeng, fengmao, and winter wear tags.
Long antique dress, draped in cream-white silk jersey, wide draped neckline, fitted waist and long skirt. Long skirt in white muslin with silver braid and mounted on a belt braided with silver braid.
First cape: Long cape in red velvet edged with embroidery and gold braid.
Second cape: Long asymmetrical cape in slate blue velvet trimmed with silver braid appliques on the edge.
Marcel Escoffier's costumes worn by Maria Callas for the role of Norma (Acts I and IV) in "Norma", Opera by Vincenzo Bellini, Libretto by Felice Romani.
Set designer: Franco Zeffirelli
Opéra national de Paris, Palais Garnier, 1964-1965.
Costumes preserved at the Centre National du Costume de Scene in Moulins.
Artist and designer Romain de Tirtoff, known by the pseudonym Erté, was born on this day [November 23] in 1892. He designed this blue and white painted and chiné silk costume, made by Redfern, for Ganna Walska in the role of Zazà in a 1920 adaptation of Zazà. LACMA collection.
For #Feathersday: Some selections from the Kingfisher Headdresses from China exhibition at Art Institute of Chicago showcasing tian-tsui, the traditional Chinese fine art of using the highly prized iridescent blue feathers of regional Kingfisher species (Alcedinidae).
Lots more pieces (including smaller hairpins & earrings) on display at the exhibition, open through May 2023.
It is also important to note that the demand for feathers for tian-tsui nearly drove kingfishers to extinction in China in the early 20th centry, with the last feather factory closing in 1933. But there are now some contemporary artists reviving the craft who make a point of using ethically sourced feathers (collected from molt etc).
1 Cap (清朝 点翠头饰）
China, Qing dynasty (1644-1912), 18th-19th century
Gold wire, kingfisher feathers, amber, coral, jadeite, ivory, glass, silk
Exceptional workmanship and the brilliant color of the kingfisher feathers make this an outstanding example of a woman's headdress. At the center, a phoenix with a peacock-like tail is flanked by a pair of dragons. Stacked above the phoenix are a large bat studded with a jadeite gem and another executed in fine filigree. Gourds, symbolizing the wish for multiple offspring, appear on the sides and suggest that this cap may have been worn by a young woman.
2 Headdress (清朝 点翠头饰）
China, Qing dynasty (1644-1912), 19th century
Silk-covered lattice, kingfisher feathers, gilt bronze, jadeite, coral, amethyst, rose quartz, and carnelian
The central roundel on this headdress features a butterfly with jadeite wings and a coral body while those on either side contain rose-quartz flowers and narrow-waisted bottle gourds, symbols of fertility. Below the butterfly, two bat-like creatures with long antennae and quartz bodies are flanked by gourds. Jade-petal flowers and other plant motifs fill the top register.
3 Headdress (清朝 点翠头饰）
China, Qing dynasty (1644-1912), 19th century
Kingfisher feathers, gilt bronze, pearls, garnets. rose quartz, jadeite, and glass, applied to a silk-wrapped wickerwork trellis
The numerous stylized creatures that adorn this headdress are bats. They represent a motif favored in Chinese art because the Chinese word for "bat" (fu) sounds similar to that for good fortune. The wings of the large bats are fashioned with seed pearls, and red agate cameos indicate the eyes and bodies of the smaller ones. Their long antennae end in pearls, which would quiver with the slightest movement when the headdress was worn. The strings of pearls hanging from the lower rim form a veil.
4 Tiara (清朝 点翠头饰)
China, Qing dynasty (1644-1912), 19th century
Kingfisher feathers on silver gilt, jadeite, carnelian, coral, and ivory
In Chinese culture dragons are powerful but benevolent creatures, and the ones that decorate the top of this tiara chase a central flaming pearl- a combination that probably expresses the hopes for a happy marriage. Around the perimeter, stylized characters for longevity (show) and small figures of immortals symbolize a further wish for long life. On the inner rim, the eight phoenixes facing downward are also talismans for good fortune.
5 Tiara (清朝 点翠头饰)
China, Qing dynasty (1644-1912), 19th century
Kingfisher feathers on gold and gilt bronze, agate, and lapis lazuli
At the top of this tiara, a pair of dragons chase a flaming pearl, a motif expressing hopes for a happy marriage. Below them a pavilion probably represents a paradise of immortals, and still farther down are two goldfish, symbolizing offspring and good fortune. The bottom is composed of a row of birds facing downwards, each holding in its beak a string of pearls suspending L-shaped musical chimes. The Chinese word for chime, qing, is similar to that for celebration.
6 Opera Costume Headdress (民国 点翠头饰）
China, first half of 20th century
Kingfisher feathers, gilt bronze, faux pearls, and glass
This headdress teems with symbols of good fortune. The design centers on a large tree peony and below it, a pair of guardian lions flank a flaming pearl. The next row down features red-headed phoenixes and a dragon. A pair of leaping fish--symbolizing a successful career and abundant offspring- appear above the peony. At the top is a pavilion, perhaps representing a paradise of immortals.
More details appear amidst the primary designs: bats and butterflies fluttering their wings and Chinese characters with meanings such as "wealth," "longevity," "nobility," and "glory," collectively imbuing the headdress with an air of celebration.
7 Opera Costume Headdress (民国 点翠头饰)
China, Possibly Guangxi province, early 20th century
Gilt bronze, kingfisher feathers, pearls, coral, silk thread, and glass
Together with phoenixes, mandarin ducks, and bats, four large clamshells decorate this headdress. Each clamshell contains a pearl that is visible only from the side or the top. Contemporary audiences would likely have noticed many pearls dotting the headdress, though, and associated them with the clamshells' contents. In addition to wealth, the pearls probably symbolize a wish for a happy marriage and many offspring.
[all descriptions above from the gallery labels]
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The only book I know about (in English) about tian-tsui feather art is this one:
Kingfisher Blue: Treasures of an Ancient Chinese Art by Beverley Jackson (2001)
PS - kingfisher feathers aren't really blue - and in fact no bird feathers are known to have "true blue" pigmentation! It's all structural color, just a trick of the light fooling our eyes. :) (Try taking a single "blue" feather and backlighting it sometime to see for yourself!)
Learn more here:
As one might expect from the amazing diversity of colors and patterns exhibited by more than 10,000 bird species found in the world, birds c
