La Mode illustrée, no. 31, 02 août 1874. Corsage en mousseline. Ville de Paris / Bibliothèque Forney
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La Mode illustrée, no. 31, 02 août 1874. Corsage en mousseline. Ville de Paris / Bibliothèque Forney
OP loves wearing armour and has her own styling ideas, mostly in Ming Dynasty style. She joins events wearing her custom-matched armor and interacts with other enthusiasts.(cr丛都督)
China produced numerous verifiably real female military commanders. They led troops, fought campaigns and received official ranks for battlefield merit. Here are the most prominent ones recorded in reliable sources.
Fu Hao妇好 (Shang Dynasty, c.13th century BCE). The earliest verifiable female military leader in Chinese recorded history, proven by oracle bone inscriptions and her intact tomb. She was Queen of King Wu Ding, repeatedly commanded large armies on campaigns and served as the royal high priest, with her own fiefdom. Fu Hao is China’s earliest recorded female stateswoman and military strategist, the first verifiable heroine in Chinese history; she was a rare all-round figure holding multiple roles as queen, military general, high priest, and lord of her own fiefdom, reaching the pinnacle within three core spheres of power — military affairs, politics and religion. Her existence overturns stereotyped assumptions about women’s status in early antiquity and proves that during the Shang Dynasty, women could attain immense authority and exert decisive influence; her bond with King Wu Ding went far beyond marriage, as they were also political and military partners, Wu Ding cherished and heavily relied on her, and after her passing, he arranged several spirit marriages for her, praying to ancestral spirits to watch over her, powerful testimony to her extraordinary significance. Her surname Fu妇 literally means women.
Lady Xian冼夫人 (Liang-Chen-Sui Dynasties, c.512–602 CE). Leader of southern tribal peoples across three dynasties. Known as the "Holy Mother of Lingnan". She quelled regional rebellions, secured Hainan for central governance and helped local people live a peaceful life. The Sui emperor titled her Duchess of Qiao, granting her authority to command regional troops.
Princess Zhao of Pingyang平阳昭公主 (Sui-Tang transition, died 623 CE). Daughter of the founding emperor of Tang. She raised tens of thousands of rebel troops known as the "Army of the Lady", seized cities and aided the founding of the Tang Dynasty. She is the only imperial princess in Chinese history honoured with a full military funeral.
Liang Hongyu梁红玉(Southern Song Dynasty, 1102–1135 CE). In the Battle of Huangtiandang, she stood on warships beating drums to coordinate naval troops, trapping a huge Jin army for weeks in one of the most famous anti-invasion battles. She descended from a distinguished military clan; official dynastic records only note her surname, not her given name. The name Hongyu was created for her in folk legendary plays dating to the Wanli reign of the Ming Dynasty (1573–1620 CE), meaning "red fine jade", and it has been widely adopted ever since. Her husband is the Southern Song general Han Shizhong.
Qin Liangyu秦良玉 (Ming Dynasty, 1574–1648 CE). The most remarkable case. She is the only woman in all official Chinese dynastic histories granted an independent biography among military generals. Awarded the Marquis of Zhongzhen for combat achievements. She commanded the elite "White Pole Troops", fought rebels and northern invaders for over forty years.
The following comments on Qin Liangyu are from OP 橘子进化论: “The History of the Ming Dynasty dedicates two full pages to Qin Liangyu, recording nearly all her battles. She first commanded troops in 1599 at age twenty-five. When rebels raided the camp at midnight and threw government forces into chaos, her 500 men held firm and repelled the attackers.
Her most famous fight, the brutal Battle of Hun River against the Later Jin, marked the first bold Ming offensive against these northern invaders and dealt heavy losses to the enemy, shocking the entire Ming court; no one anticipated the bravest troops were led by a woman all the way from Sichuan. She later took three thousand soldiers to defend Shanhaiguan and safeguarded the capital region for years.
In 1629, when Huang Taiji surrounded Beijing, over 200,000 relief troops hesitated to attack. Once more, Qin Liangyu marched nonstop from Sichuan, launched the first strike and forced the invaders back. She was fifty-five. The Chongzhen Emperor met her, awarded her rich gifts and wrote four poems in her honour, including the line: “So many remarkable men under heaven; who will journey thousands of li to fight on the battlefield?” It carries sharp irony — amid countless male courtiers, it was a woman who charged forward in crisis.
While most late Ming warlords craved territory or plotted surrender, Qin Liangyu followed every imperial order, returning to Sichuan after campaigns without demanding land or promotion. In 1644, aged seventy-one, she defended Shizhu against Zhang Xianzhong. Even though many former allies surrendered, Zhang’s army dared not enter her territory. She passed away peacefully at seventy-five, living several years into the Southern Ming Yongli reign.
Records describe her courageous, intelligent, skilled at riding and archery, educated and elegant. She stood about 1.86 metres tall, and her armour fit no ordinary person. The Southern Ming posthumously named her Marquis of Zhongzhen, the only woman in Chinese history ennobled a marquis purely for military merit.
Her life contained no romantic legends, only endless campaigns, constant journeys and family members fallen in combat. Many say the late Ming had no great generals, yet that is false. Their finest commander was simply a woman — a fact many refuse to accept.”
This list does not cover the many figures recorded solely in local gazetteers, like Gao Guansuo and Li Yongrong.
Gao Guansuo高关索 (Late Ming Dynasty, c.early 17th century). Recorded in local Qing-era gazetteers of Ningxia. Tall, strong and skilled in archery and firearms. After her father’s death, she inherited his military household duty and passed official tests to serve as a firearm artillery soldier. When rebel troops besieged Lingzhou, she defended the city using fire weapons and burned enemy ladders to repel the attackers. She was appointed Firearms Battalion Qianzong by the regional military governor, governing over two thousand military households.
Li Yongrong李雍容 (Northern Wei Dynasty, 5th–6th century CE). A famed expert archer of the Northern Dynasties. Back then northern China valued martial skill, and it was common for women to manage household affairs. She was an exceptional rider who would lift her skirt and gallop at speed, with extraordinary marksmanship. Ordinary locals composed the Northern Dynasties folk ballad Song of Younger Sister Li Bo to sing of her bold, gallant bearing, as well as her clan’s resistance against Northern Wei authorities.
Nor does it include Hua Mulan, who is more akin to a legendary figure. Mu Guiying and Fan Lihua are celebrated characters from Yuan and Ming novels and operas; while scholars hypothesize certain historical inspirations — for instance, some believe Mu Guiying draws inspiration from Yang Wenguang’s wife Lady Murong, a woman from a northwestern tribal group — there exists no credible contemporary documentation proving they lived. Most pics come from Hanfu creators. There are no authentic portraits for some ancient historical figures, so other photos by OPs are borrowed as stand-ins. Some outfits doesn't fit their time periods — these visuals are just here for atmosphere. Their stories are scattered across the tides of history, shimmering like stardust strewn across the Milky Way. All of them carry beautifully crafted Chinese given names. Chinese naming traditions value profound meaning and melodic flow. Names such as Li Qingzhao李清照, Xie Daoyun谢道韫, Lin Huiyin林徽因, Qi Bangyuan齐邦媛 and so on, are widely regarded as elegant, powerful and timeless — fitting for any era. If you’re searching for a Chinese name, these make fantastic references. (cr 兴雌亭侯,荷里寒,镰镰子,蝶芽无牙,苹果落地后,苍松映雪,与田汉服茶咖,清青鳞,鶯梭传统服饰研究所,芈蘭池,乔织,北京虞小姐摄影)
Knitting finished as of last night! Still need to weave in a few ends, wash, and block.
Was aiming for 48” x 60”, came out 39” x 60” so far, but I’m hoping to be able to block it to a little wider and I’m ok losing a few inches of length for that
Thank you so much for all the nice things everyone has said about this blanket! Unfortunately, I do not have a pattern, so much as I have several patterns and some back-of-the-napkin style math notes that won’t make sense to anyone but me - but I do have a picture of this planning piece (since frogged to reuse the yarn in the blanket itself.)
As a few people in the notes pointed out, the dragon pattern is Tahesha the Dragoness by Ina Wendrock
Skill level: Advanced cable knit / Zopfmuster für Fortgeschrittene
But it's on a plain reverse stockinette background, and I wanted this as part of a complex cable afghan. It's going to be a wedding gift for two friends in my DnD group, so I knew I wanted it big enough that two people could reasonably share it while watching TV together on a couch, and for a dragon to still be visible when folded and draped over the back of a couch or chair, in case that's how they store it. So I knew I was committing myself to knitting 5 dragons (one in the center and one in each of the four corners), and figuring out myself how to plop the dragon in to a larger cable blanket pattern.
Back in November, I bought the dragon pattern and knit a test version of it so I could see how it worked and measure the dimensions. (You can see from the curled up edges that I did this before I found the part in the pattern notes where Ina Wendrock helpfully informs us that the dragon is knit over 45 initial stitches, to help us add it to our own projects, but ah well.) Then I started trying to figure out the other cables.
I knew I wanted some traditional cables so that it had an heirloom look to it (but with dragons), but I thought that the dragons would look too out of place if everything else looked copy-pasted from a classic fisherman’s sweater. Fortunately, there are a number of knitting designers right now doing cool things with trying to make cables that resemble Celtic knot motifs, so I went to the public library and borrowed a bunch of cable knitting books and started bookmarking what I liked. My favorite patterns were all coming from this book:
Mention the phrase ?cable knitting,? and most people?knitters and non-knitters alike?envision textured ropes, twists, and braids winding up
Which looks like it's out of print now, but wasn't in December and I was able to ask for and receive it for Christmas. (Designer Melissa Leapman's ravelry store is here in case anyone wants to check it out):
I narrowed my bookmarked cables down to patterns that had 1) an odd number of stitches; 2) a central "crossover" cable in multiple parts of the pattern so that I could "open" it up to create the medallions that the dragons would sit in; and 3) a stitchcount of less than 45, by enough that I'd have room to drop a traditional cable on either side. My favorite two would then be the center cables for the central dragon panel and the left & right dragon panels (when I wasn't doing the dragons), and then I decided on a very simple c4b twist between the panels and a tight 5-rib cable braid on the edges. I loved the first two patterns from the book that I tested and didn't have to try any of my runner-up bookmarks - but if you zoom in on the picture, you can see that for the traditional cables around the Melissa Leapman cable for the center panel, I tried and discarded a honeycomb cable and an Xs and Os variant before deciding on the one that I'm not actually sure of the name of that made it into the final pattern. For the side panels, I had thought it might be nice to incorporate a hearts cable since it was for a wedding blanket. I'm not sure how traditional these heart cables are, but I've seen them unattributed in more than one published pattern from different sources, and they're published in a number of cable pattern guides online. They worked next to the Melissa Leapman cable I wanted for the side panels, so they went in the pattern without me trying anything else.
While practicing the dragon cable, I had noticed that many of the cables started with an increase, so on the back of one of my chart print-outs, I graphed a rough plan for what I had decided to put where in terms of the traditional and Leapman cables that would go around the dragons, and numbered out the stitches if I worked the first cables in each pattern as increases instead of cables to mimic the start of the dragons. Then I added up the total number of stitches and cast on, and it worked surprisingly well! After completing one repeat of the side-panel central cables, I started "opening" up the circles where the dragon would be through improvisation (the left and right panels that were parallel always matched each other because I was doing the same thing in each row - other than that, I wound up doing it slightly differently every time, and that was ok. They look the same enough.)
I had planned to either leave it un-bordered or add the full mitered border that Ina Wendrock (who designed the dragon pattern) has on her store depending on how it worked up, but after I'd knit enough to see what it looked like, I decided that the mitered border was overkill, but it did need something, so when I finally got to the end I did an I-chord bind-off and then went back and picked up stitches along the cast-on to do an I-chord bind-off there too. If I had it to do over again, I might have done a folded hem on each side instead, but we'll see how the I-chord blocks.
So, that's how you make the dragon blanket. Either get the patterns I mentioned and try to duplicate, or just buy the dragon and add your favorite cables for the rest!
[Sorry I'm not more help, but I cannot stress enough - I did not write any of this down as I went.]
[[For the patterns that were from the Continuous Cables book, I used panel 10 from page 136 for the center and panel 27 from page 146 for the sides]]
It’s blocked! The dragons came out so nicely after blocking, and you can see the hearts better.
(DVD for scale)
Fancy dress ensemble: Marguerite de Valois
c. 1875-1885
pink-rose, cut and uncut pile-weave silk (velvet); gilt passementerie; faux pearl and gilt passementerie; off-white linen bobbin lace; gold-yellow, satin-weave silk; silver-gilt embroidery; off-white, plain-weave silk lining; boning
by House of Worth
Wadsworth Atheneum Museum
steve o smith inspired by the preliminary blue-line animation sketches of Snow White
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L'Art et la mode, no. 12 et 13, vol. 41, 20 et 27 mars 1920, Paris. Advertisement. Erasmic. Les savons de toilette. Sont les premiers parmi les Meilleurs. Bibliothèque nationale de France
Nightgown
c. 1910
Sarcenet and lace
French
Pitti Palace
Evening Dress
c. 1915
by Lucile Ltd.
Kent State University Museum
L'Art et la mode, no. 50, vol. 18, 11 décembre 1897, Paris. Dessin de Félix Fournery. Bibliothèque nationale de France
La Mode illustrée, no. 18, 3 mai 1896, Paris. Élégante toilette d'été. Modèle de chez Mmes Coussinet-Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney
Le Petit écho de la mode, no. 1, vol. 17, 6 janvier 1895, Paris. 15. Jaquette Darlaud. Ville de Paris / Bibliothèque Forney
15ct Gold Amethyst & Natural Pearl Edwardian Necklace
c. 1900-1910
I’m deranged about our starter horse and Catherine Moorland on levels you cannot comprehend
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Le Petit écho de la mode, no. 50, vol. 18, 13 décembre 1896, Paris. 7. Corsets sans busc. Mme Desbruères, Maison Jeanne d'Arc, 265 rue Saint-Honoré, Paris. Ville de Paris / Bibliothèque Forney
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