In the long history of our country, the feudal imperial system has stood for more than 2,000 years, and the emperor, as the master of the world, has always been honored as the emperor. However, there are different styles and attitudes towards the wearing of dragon robes. The masters of this world, headed by the emperor, enjoy incomparable privileges, and the emperor's dragon robe is even more unique and full of historical imprints.
Despite the change of dynasties, the dragon robe, as the exclusive attire of the emperor, has always been one of the representatives of the feudal imperial system. The Emperor's exclusive items have unique titles, such as the chair on which the Emperor sits in the court is called the Dragon Chair, and the robes he wears are also called Dragon Robes. These names not only gave the emperor a lofty status, but also showed the atmosphere of the monarch in the outside world.
The color of the dragon robe: an eclectic history of change.
In the dragon robes that we are familiar with, they are basically golden yellow. However, in the Song Dynasty, the gold lords were not wearing yellow, and even in the portraits, their clothing patterns were relatively simple. So, why didn't the emperor of the Song Dynasty like to wear yellow "dragon robes"?
For modern audiences, most of the dragon robes they see integrate the "Ninety-Five Supreme" into the design. Clever craftsmen sewed nine dragons on the inside of the clothes, so that the front and back showed the figures of five dragons, which was both beautiful and in line with the ancients' pursuit of "ninety-five supreme". The emperor's dragon robe was not a casual thing, but a masterpiece of ingenious design and aesthetic ingenuity.
The luxury and opulence of the garment bureau: the wealth behind the dragon robe.
It was the responsibility of the Garment Bureau to make the Emperor's dragon robe, and the leaders of the Garment Bureau were often the Emperor's close ministers. They are not only responsible for the production of dragon robes, but also for looting rare treasures. In these garment bureaus, although the status is not the highest, but it is a rich person. The Grand View Garden depicted by Cao Xueqin is a representative of luxury and wealth dominated by the Garment Bureau.
Although most of the emperors of previous dynasties wore bright yellow dragon robes, Zhao Kuangyin was an exception. As the founding emperor of the Song Dynasty, Zhao Kuangyin advocated frugality and was unwilling to waste gold and silver on luxury goods. Even when wearing a "dragon robe", he chose the cheapest fabric, which greatly reduced the luxury of the dragon robe. This move became a sign of social change, with far-reaching consequences for entire families and entire countries.
Changes in social atmosphere: resist extravagance and advocate simplicity.
Zhao Kuangyin's frugality is not only reflected in his personal life, but also conveyed to the whole society. During the Five Dynasties and Ten Kingdoms period, extravagance prevailed, and the high-level ministers looted the people's gold treasures, leading to social unrest. Zhao Kuangyin was reluctant to embark on this path, advocating thrift and becoming a leader in society. He knew very well that the dynasty was not in vain, because there were many powerful countries around the Northern Song Dynasty, and Zhao Kuangyin chose to negotiate in exchange for a short period of peace rather than continue the war.
Although most of the dragon robes we see today are golden yellow, before the Sui Dynasty, the dragon robes worn by emperors did not have a fixed color. Each dynasty decided on the color of the dragon robe according to the preferences of the time. Thus, the color of the dragon robe is closely related to the personal preferences of the founding emperor of the dynasty. It was not until after the Sui Dynasty that the color of the dragon robe was gradually fixed to yellow and became a symbol of imperial power.
The actual wear of the dragon robe: not everyday clothing.
The dragon robe was not a daily garment worn by the emperor, but was more often used on important occasions or ceremonies to entertain foreign ministers. Due to the fine production of the dragon robe and the color requirements, the emperor could wear it only a few times a year. This also makes the luxury of the robe a significant expense, as repairing it would cost a considerable amount of money to repair it.
Although the feudal dynasties have long since faded from our field of vision, some of these unique details are still worth going deeper**. The emperors of the Song Dynasty did not like to wear dragon robes, precisely because dragon robes were not only luxurious yellow, but could be a kaleidoscopic and colorful thing. In the vicissitudes of history, the dragon robe has witnessed the change of the times and also reflected the diversity of the monarch's personality.
Epilogue. The dragon robe, as one of the symbols of the feudal imperial system, is not only a costume, but also a symbol of power, aesthetics and social atmosphere. From bright yellow to red robes, from extravagance to simplicity, every emperor has left his own historical footprints in the choice of wearing dragon robes. In the long river of history, the magnificence of the feudal imperial system is like a magnificent picture, which makes people have endless reverie about the charm of the past.
This article profoundly and vividly reveals the unique history of the dragon robe under the feudal imperial system, which not only gives people a deeper understanding of this costume, but also outlines the personalities of different emperors in choosing to wear them and the changes in the background of the times. Here is a review of the article:
First of all, through the introduction of the design, color and production process of the dragon robe, the article vividly outlines the uniqueness of the dragon robe, which is a symbol of the emperor's power in feudal society. It can be seen from the article that the dragon robe is not a simple clothing, but contains profound cultural connotation and aesthetic ingenuity. In particular, the design of the "Ninety-Five Supreme" makes the dragon robe not only show majesty on the front, but also present a beautiful artistic effect in the back, and the ingenuity of this design is amazing.
Secondly, the article profoundly demonstrates the luxury and wealth of the garment bureau in feudal society through specific examples, such as Cao Xueqin's family as the leader of the garment bureau. This close connection between power and wealth not only provides insight into the hierarchy of feudal society, but also provides interesting details about history and culture.
The article also vividly describes Zhao Kuangyin's frugal attitude towards the dragon robe, as well as his unique choice in historical moments. Zhao Kuangyin's red robe and frugal style not only aroused deep interest in the emperor, but also made the article more vivid and interesting in describing the different customs and social backgrounds of the historical period.
The description of the color change of the dragon robe in the article is also very fascinating. Through the personal preference and aesthetic pursuit of color by the emperors of the past dynasties, it shows the diversity of the color of the dragon robe and the imprint of the changes of the times. This meticulous observation of historical changes enables readers to better understand the pluralism and development of feudal society.
Overall, this article successfully outlines the unique charm of the dragon robe in feudal society with vivid details and in-depth historical analysis. Through the depiction of the personality and background of the emperors of the past dynasties, readers can not only have an in-depth understanding of the historical evolution of the dragon robe, but also have a more comprehensive understanding of the cultural heritage of the feudal imperial society.
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