Good Orient - Tibetan products, nepalese jewelry

The Ancient Art of Women's Underwear

noreply@blogger.com (Amidiu) — Fri, 18 Dec 2009 09:51:00 +0000

Underwear had a discrete niche within ancient Chinese costumery. The ingeniously demure styles, bold colors and ornamentation of delicately crafted undergarments reflected the refined approach of ancient Chinese women towards life, beauty and love, as well as their creativity.

Underwear, unlike outer garments, which were strictly prescribed according to ritual and rank, offered women the chance to dress according to their mood. All women, regardless of social standing, hence perceived underwear as a medium of self-expression.

Ingenious Designs

Subtle designs of underwear gave altered impressions of the wearer's figure, according to her whim. The detailed ornamentation on ancient lingerie also reflected individuality as well as the trends, customs and beliefs of the time, thus imbuing undergarments with historical essence. The two main styles and structures of underwear were those of a front-piece and a front-and-back tunic. Both came in rectangular square diamond and triangular shapes, or simply fit the body in question.

Color Consciousness

Women sometimes chose bright colors that combined in striking contrast, for example, red and green or yellow and blue with black, gold or silver selvedges that emboldened the overall visual effect. Others preferred more understated shades in similar hues that gradually lightened or darkened to produce a harmonious effect.

Patterns and Ornaments

Women of old China wore underwear decorated in the artistic motifs of their time, such as landscapes, flowers, birds, clouds, myths, legends and literary characters. In addition to being decorative the designs signified specific states and were also symbolic. A magpie and plum blossoms, for example represented happiness, as it was an image reminiscent of the Chinese idiom defining a person radiant with joy. Auspicious symbolism included bats, representing good fortune, and lotus with fish, which invited wealth.

Consummate Craft

The decorative features on ancient undergarments demanded high embroidery, stitching, pasting, patching, embellishing and rolling expertise. Stitches had to be of an even tension and the slightest crease or tear in the material was out of the question.

The only underwear deemed fit to be worn was smooth, fine, light, soft and leveled off. Added features included flower designs on laced sections of the fabric in various styles of embroidery and pasted on feathers or fur for greater effect.

Underwear was considered a showcase for the wearer's taste and needlework – attributes highly valued in women of ancient China.

Varieties of Chinese Women's Underwear

1. Moxiong, a one-piece underwear garment binding breasts which first appeared in the Northern Dynasties (420AD-589AD) and was popular during the Tang (618AD-907AD) and Song Dynasties (960AD-1279AD).

2. The zhuyao ("zhu" meaning button) was a style of embroidered underwear favored by Qing Dynasty (1644AD-1911AD) court ladies.

3.The xieyi was a tunic-style undergarment first worn in the Han Dynasty (206 BC-220 AD). Xie in Chinese means frivolity. The term xieyi hence implies the prevailingly evasive attitude towards even the mention of underwear.

4. The dudou, also called the doudu, was either a square or diamond shaped apron-style garment, often embroidered, covering the bust and belly which fastened at the back. The dudou often incorporated a pocket in which to keep ginger, musk or other Chinese medicinal herbs believed to keep the belly warm.

Chinese Kites

noreply@blogger.com (Amidiu) — Fri, 18 Dec 2009 09:46:00 +0000

The History of the Chinese Kite

The kite is widely recognized as having originated in China. For this reason, one can safely say that the origin of the Chinese kite is synonymous with the origin of the kite, period. The first kites were what we today would call prototype kites: they were made of light wood and formed in the shape of a bird. It was of course logical enough to attempt to mimic a creature designed by nature for flight, and, indeed, the first European attempts at constructing a "flying machine" involved strapping artificial "wings" onto a human's arms, though human arms proved to lack the strength necessary to flap wings large enough to support the weight of the human body.

The later development of the traditional kite as we know it today, i.e., a device with narrow ribs, or veins, made of light but strong, pliable material and with a thin material such as silk cloth stretched over the ribs, was surely inspired by observing the accidental flight of broad, thin objects such as leaves (which also have veins, between which are stretched the thin green photosynthetic material that absorbs sunlight and CO2, releasing oxygen), or broad, thin pieces of silk that were perhaps blown out of the carrier's grip – or even a hat – that ended up taking an involuntary flight for several meters if not hundreds of meters. Things rarely come to humankind via fiat; they instead have their origin in observed natural phenomena that is mimicked by man.

It requires, however, an advanced society in order to have the sufficient surplus so that some individuals in society may devote at least part of their time to such frivolity as playing around with flying objects. And ancient China did indeed have a well-developed social structure that fostered a division of labor that would not only produce famous inventions and memorable literature, but would make possible the pursuit of flight in the form of the humble kite.

The Early History of the Kite

The earliest kites, which date from the Warring States (BCE 475-221) Period of the Eastern Zhou (BCE 770-221) Dynasty, were made of wood, and were called mu yuan (wooden kite). Mention of this prototype kite – the "wooden bird" referred to above – stems from an ancient Mozi text (Mozi (BCE 470-391 circa) was a philosopher who lived a century later than Confucius (BCE 551-479) and who opposed the teachings of both Confucianism and Taoism/Daoism... Mohism, or the teaching of Mozi, seems to have been a belief system before its time, for it strikes one as being a thoroughly modern philosophy today) that was documented by another Chinese philosopher – and man of many parts – who was also a contemporary of Mozi, Lu Ban.

Another source indicates that a paper kite, the zhi yuan, was used as an emergency warning device a millenium later, when the kite was flown in order to appeal for help when the city-state of Nanjing was under seige by Hou Jing (CE ???-552), a Northern and Southern (CE 386-588) Dynasties general who served the Northern Wei (CE 386-533), the Eastern Wei (CE 534-549) and the Liang (CE 502-556) Dynasties, and who was mostly renowned for his exceeding cruelty (he was eventually murdered by his own men during a retreat, who perhaps performed the deed in the hope of being shown leniency by the pursuing enemy).

It was not until the Tang (CE 618-907) Dynasty that lighter kites made of first silk and then paper (bamboo was a common material used for the ribs) made their appearance. It was at this time that the kite came to transcend its humble military, or functional, origins, becoming a toy, or an instrument of pleasure. It was not long before artisans began to compete in creating the most artistic, the most acrobatic, etc., kites. During the Ming (CE 1368-1644) and Qing (CE 1644-1911) Dynasties, kite making and flying had become an art form, being the object of elaborate and colorful decorations in the form of birds, flowers, blossoms, and of course, calligraphic characters. The Chinese kite, not unlike the case of the Chinese lantern and the Chinese umbrella, became a vehicle of artistic expression – oftentimes with literary overtones.

Kite Construction

Kite construction consists of three parts: framing, or the preparation and binding together of the bamboo ribs that will constitute the kite's frame, gluing and decoration. Regarding framing, sometimes movement is incorporated into a kite by means of a hinged arrangement of sections of the frame, suggesting wing or tail movement, etc. As indicated, thin strips of bamboo are generally used for the ribs, as these are both light, exceptionally strong, and pliable. Many frame shapes are popular, including traditional representations of birds, butterflies and dragonflies, as well as non-winged insects such as centipedes or mythical animals like dragons, though modern kite artisans go beyond the traditional, producing kites that conform only to the creator's imagination. However, symmetry is key, otherwise the kite will not fly well.

Both silk and paper are used for the kite's "sail" material. Silk is very beautiful but also more expensive and more fragile. Paper sail material is both cheaper and more practical to work with, and it lends itself admirably to decoration. The paper type used for kites is very thin but fibrous, which both reduces weight and ensures strength. It is often treated with a with a thin layer of glutinous tung oil (aka Chinawood oil, which stems from the euphorbiaceous tree, Aleurites fordii, found throughout central Asia). Once the kite's sail material is glued to the bamboo frame, the kite is then decorated. This might take the form of painting representational images, geometric figures or even calligraphic characters. In addition, tassels and sometimes hollow reeds are attached to the kite in order to give it movement or produce sound.

Overall kite construction types can be divided into two categories: rigid (thicker, less pliant ribs) and soft. The former makes for a kite that can fly as high as the eye can see, while the latter makes for a kite that, though it may not attain great heights, is capable of delicate, fluttering movements.

The Weifang Kite Tradition

The city of Weifang, Shandong Peninsula, has a special relationship to the kite. The city is namely home to the International Kite Association, and holds the Weifang International Kite Festival from April 20th to the 25th each year. Kite enthusiasts in the thousands, and from the four corners of the globe, descend upon the city of Weifang at this time each year to participate in the kite competitions, or to just watch this majestic and colorful spectacle. The climax of the festival is the crowning of the annual "Kite King". Weifang quite naturally also has a museum dedicated to the history of the kite.

It was in the city of Weifang that Marco Polo, in 1282, supposedly witnessed the flying of a manned kite. According to Marco Polo's travel diary, there existed a tradition in Weihai at the time for testing the wind with a kite in order to determine if an imminent voyage would be a good one or not. This was done by binding a sailor to a large kite from the stern of a ship that was freely anchored, such that the ship "rode with the wind", then casting kite and sailor off the ship's stern and into the breeze. If the kite and its passenger flew high and straight, it was a sign that the voyage would be a good one, otherwise not.

When he returned to Italy, Marco Polo brought with him a Chinese kite, and soon, thanks to the Silk Road, the Chinese kite became known throughout Europe, and from Europe, it would of course travel to the New World, the Americas. In the History of Flight pavilion at the National Aeronautics and Space Museum in Washington D.C. hangs a plaque on which is inscribed the following homage to the humble Chinese kite: "The earliest aircraft made by man were the kites and missiles of ancient China."

Chinese Lanterns

noreply@blogger.com (Amidiu) — Fri, 18 Dec 2009 09:44:00 +0000

Lanterns, the traditional folk craftwork, are still popular all over the country. And the art of lanterns, as the precious traditional culture of Chinese, is also inherited and continues among folks. We can say that lanterns play an important and irreplaceable role in Chinese long history and symbolize the brilliant culture of China.

The craftwork of lantern is still widely used in current society which can be seen in some happy days such as the Lantern Festival, wedding and celebration ceremonies. Besides, lanterns have some other functions in daily life. For example, at ancient time, when there was no electricity, lanterns were used as a tool of illumination, which brought great convenience to everyday life. At that time, people of all classes admired the specific culture of lanterns. As verified by historians, Chinese lantern was the earliest invented portable illumination instrument in the world. However, Chinese lantern was not just used to illuminate. It was also historic. The elaborate pattern of lantern was the intelligence gathering of ancient laboring people. Ancient lanterns were on the greatest artistic level. What's more, the lanterns used in royal families and palaces were the most valuable, which had elaborately engraved decorative design, smooth lines, and plump patterns. All these designs fiercely impact on eyes. Besides, some lanterns not only have elegant lines and engraved designs, but also were decorated with Chinese characters, portraits of historic figures, pictures of the divinities of some legends, and the landscape of China, which perfectly blend the nature with the humanistic ideas and thus vividly reflect the high level of civilization of the society at that time.

Chinese lanterns not only played an important role in Chinese history, but also made great contribution to the development of international civilization. Some western countries got the skills of designing and making Chinese lanterns by means of missionaries and foreign trading, which greatly fasten their social development. While some oriental countries, especially those Asian countries, taking the advantage of the geographical position, learned the traditional culture of Chinese lanterns directly by means of the commercial communication, which means that even their current lantern designs have the trace of Chinese culture. So we can say that the brilliant Chinese culture has greatly impacted the whole world, among which the traditional lantern culture is an important part.

Nowadays, people usually use other instruments to illuminate instead of lanterns. However, lanterns still play a special role in certain occasions, especially the festivals and some wedding ceremonies. What's more, recently great changes have taken place in the skills of making lanterns so that lanterns work better in decoration. Nowadays, lanterns are more and more used in advertisements.

At present, people have changed their taste for lanterns. As a result, traditional lanterns become the collections of some lantern lovers. Artists at home and abroad all have great passion for traditional Chinese lanterns owing to their elegant molding and convincingly exquisite craftsmanship.

Chinese Seals

noreply@blogger.com (Amidiu) — Fri, 18 Dec 2009 09:41:00 +0000

History

There are four traditional arts in China: seal carving, calligraphy, painting, and poetry writing.
Historically, seals (also called zhang or yin zhang) were symbols of power. In 221 BC, after emperor Qin Shi Huang conquered the six Warring States and unified China, he ordered his national seal to be carved using the famous "He Shi Bi" white jade. He further stipulated that this would also serve as his personal seal. His officials also had seals and these were called zhang and yin. Zhang seals were given to officials who received more than 2,000-dan (dan is a unit of dry measure for 100 liters of grains) grains as salary. Yin seals were given to officials who received salaries from 200-dan to 1000-dan grains. The rest of the seals were personal seals. The official seals were about a cubic inch, while personal seals were smaller.

Seal Carving

Seals can have a variety of shapes and sizes. They are usually made from stone but wood, bamboo, bone or ceramics can also be used. There are four parts to a seal: grip or handle, body or platform, sides and face. Carvings may be done on the grip portion of the seal or may cover the entire seal. Common motifs are landscapes, figures, birds or flowers. Engravings on the seal face can follow several calligraphy styles and the arrangement of characters should fit the space appropriately. During Han Dynasty, seal carving became a highly refined art form. Seals from this era, together with Tang poetry, Song ci (lyrics/prose), and Yuan qu (another ancient Chinese literary form), are national treasures.

Use of Seal

In ancient China, it was customary for an artist to use both his signature and personal seal on finished paintings, poetry, calligraphy, documents and letters. Seals were often stylized carvings of the artists' names.
Before using, the seal is dipped in red ink paste made of vermilion (a mercury compound). High quality ink paste must possess a bright color and not fade over time. The containers for the paste are made of porcelain. The ink paste should be stirred often to prevent it from hardening. When not in use, ink paste containers are placed inside wood or silk boxes for safekeeping.

Even today, the seals of many famous calligraphers and painters such as Su Dongpo, Huang Tingjian, and Emperor Hui of the Song Dynasty, are still visible on their works.

Chinese Traditional Art List

noreply@blogger.com (Amidiu) — Fri, 18 Dec 2009 09:38:00 +0000

* Chinese Seals
    * Chinese Lanterns
    * Chinese Kites
    * Cloisonne
    * Wax Printing
    * Chinese Knot
    * Acrobatics
    * Paper Cut
    * Paper Umbrella
    * Traditional Painting
    * Chinese Calligraphy
    * Embroidery
    * Chinese Dance
    * Beijing Opera

Chinese Art

noreply@blogger.com (Amidiu) — Fri, 18 Dec 2009 09:36:00 +0000

China's traditional arts command a great part of the country's rich heritage. Since ancient time, Chinese society has cherished excellence in its arts. Over centuries, Chinese arts have developed its own unique styles and forms. Singing, sculpture, calligraphy, painting, carving and others are the timeworn forms of expression in Chinese arts.

Design a China tour to fully explore China's traditional arts. China Highlights offers tailor-made service, free inquiry, quick response and suit just your own pace.

Chime-bell

noreply@blogger.com (Amidiu) — Fri, 18 Dec 2009 09:34:00 +0000

The chime-bell, cast with bronze, is a member of the percussion instrument family in ancient China. It consists of oval bells in different sizes arranged to the order of the pitch, which are hung on a huge bell cot. Different tones can be produced when beating the bells with a wood hammer and a long stick, and beautiful music can be performed when beating to the tune.

The chime-bells of King Yi of the Zeng State are a complete set of percussion instrument excavated from the tomb of King Yi of the Zeng State in the Warring States Period (433 B.C.). It reflects the luxurious life of the aristocrats in that period, as well as the proficiency in bronze casting in ancient China.

In 1978, Chinese archeologists found in the tomb of King Yi of the Zeng State a huge underground music palace, located at Leigu Mound of Sui County, Hubei Province. There unearthed a large amount of valuable musical instruments in the Warring States Period, including chime bells, chime stones, Jian drum, Chi (bamboo wind instrument), Pai Xiao (the circular bamboo Pipe), Sheng (the reed Pipe), hand drum and Se (the horizontal lute).

Among the excavations, there are 64 articles of bronze chime bells preserved in good condition, which can be divided into eight groups according to size and tone order and hung on the three-tiered bronze-wooden bell cot. This is the famous chime-bells of Marquis Yi of the Zeng State, the largest and most intact set of chime bells that exists today in China. The largest bell is of a person's height, weighing over 200 kg.

Inscriptions in Zhuan script inlaid with gold are engraved on the body of each bell. Its total volume range covers five octaves, slightly less than modern pianos. The set of bells is beautiful and mellow in tone color, featuring a whole set of high, medium and low voice parts, while inflexion is allowed for some modes of ancient Chinese music. It can virtually play all of the 12 semitones, as well as melodies from pentatonic to diatonic scale.

The excavation of the chime-bells astounded the world's archeological society, since it's extremely rare in the world cultural history to find such exquisite musical instruments and magnificent band existed over 2000 years ago. It is the embodiment of our great achievement in bronze casting, our proficiency in music science and the wisdom of our people in ancient China. It's a real pride of our nation.

The chime-bells of King Yi of the Zeng State are now preserved in Hubei Provincial Museum.

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Historical Hair Ornaments and Their Social Connotations

noreply@blogger.com (Amidiu) — Fri, 18 Dec 2009 09:32:00 +0000

Hair ornaments worn by women of wealth also took the form of gold flowers encrusted with jewels depicting flowers or animals.

Among popular decorative patterns were auspicious birds and beasts, such as the dragon, phoenix, crane, deer and the 12 animals of the Chinese "zodiac." The deer was considered a propitious animal because its pronunciation in Chinese is the same as that for six, which denotes success. Hairpins in the design of a mandarin duck denoted married bliss. Patterns of flowers and fruit-bearing trees featured the peony, lotus flower, plum, guava and asphodel. The five petals on a plum represent blessings, high-salary, longevity, luck and wealth.

Designs depicting auspicious objects included musical instruments, chess pieces, calligraphic characters, and the "four treasures of the scholar's studio" comprising the calligraphy brush, ink stick, ink slab and paper.

But to the women of ancient China the ji was far more than just a hair ornament. The ji ceremony, which bestowed a hairpin upon a young woman when she reached the age of 15, was a rite of passage signifying that she had reached marriageable age.

A hairpin also functioned as a love token. When Chinese lovers of ancient times were forced to part they would often split a hairpin, both keeping a half with them at all times until they were reunited.

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Historical Hair Ornaments and Their Social Connotations

noreply@blogger.com (Amidiu) — Fri, 18 Dec 2009 09:25:00 +0000

Hairpins and hair clasps were everyday embellishments in old China. During the Ming (1368-1644) and Qing Dynasties (1644-1911), women's hair ornaments expressed traditional Chinese thought and culture in exquisite, sophisticated techniques.

Heigouding Village, Ledu County in the west of Qinghai province is a place where many people of the Tu minority have lived for centuries. As the little village is comparatively closed to the outside world, a custom called "Four Tigers" was created 200 years ago to protect its inhabitants from sickness and bad luck.

Every year the ritual is held on the eve of January 15th according to the Chinese lunar calendar to frighten off ghosts and evil souls, and to pray for peace.

Normally four local villagers are selected to be the "tigers" in the ceremony.

At first, they gathered with village elders at the mountain-god temple to offer sacrifices of wine, food and incense, and to ask the god to help the tigers.

Fashioned in materials that included jade, gold, silver, ivory, bronze and carved wood, the style, materials and craftsmanship of these hair ornaments reflected both social status and Chinese ethnic culture.

The patterns, craftsmanship, materials and number of hair ornaments a woman wore signified her social rank. Feudal etiquette defined the style of hair ornaments women wore on formal occasions, such as weddings or court ceremonies.

The elaborate buyao hairpin was an exquisite hair ornament denoting noble status. Often encrusted with jewels and featuring carved designs, the main feature of a buyao was its pendants that flatteringly framed the wearer's face and "danced" as she moved, hence the name buyao, which literally means "shake as you go". This ornament was generally made of of gold in the shape of a dragon or phoenix and adorned with pearls and jade.

The Spring Festival is the most important festival for the Chinese people and is when all family members get together, just like Christmas in the West.

The Spring Festival falls on the 1st day of the 1st lunar month. It is a national carnival to welcome the spring after a long and gloomy winter, and to celebrate the past year's harvest with good food, festivities,dragon dancing and firecrackers.

Many customs accompany the Spring Festival. Some are still followed today, but others have weakened. On the 8th day of the 12th lunar month, many families make laba porridge, a delicious kind of porridge made with glutinous rice, millet, seeds of Job's tears, jujube berries, lotus seeds, beans, longan and gingko. People attach great importance to Spring Festival Eve. At that time, all family members eat dinner together.The meal is more luxurious than usual. Dishes such as chicken, fish and bean curd cannot be excluded, for in Chinese, their pronunciations, respectively "ji", "yu" and "doufu," mean auspiciousness, abundance and richness.

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Seal Engraving:Cornerstone of Chinese Fine Arts

noreply@blogger.com (Amidiu) — Fri, 18 Dec 2009 09:17:00 +0000

The art of seal engraving is a cornerstone of Chinese fine arts. The seal was originally used as a signature or sign of authority, but it came to be used by all social classes and in much of Asia. The Seal Engravers' Society of Xiling in Zhejiang Province, central China, which was founded a century ago, preserves the art of seal engraving along with approximately a hundred other specialized institutions.

Hong Kong Chinese Orchestra

Founded in 1977, the Hong Kong Chinese Orchestra is a large-scale professional orchestra with 85 musicians. Its performance and repertoire covers Chinese folk music, large-scale contemporary works and commissioned works in various styles. Apart from over 100 regular concerts, the Orchestra also organized music festivals like Hong Kong Huqin Festival, Hong Kong Drum Music Festival and Hong Kong Guzheng Festival.

The Orchestra was often invited to perform at internationally renowned music halls or for international festivals in Oceania, America, Europe or Asia. To cultivating new musicians and developing new spectators, the Orchestra also established the Hong Kong Children Chinese Orchestra and Hong Kong Junior Chinese Orchestra.

The Orchestra won a number of prizes, including The Most Outstanding Achievement in Advancing Contemporary Chinese Music awarded by the International Society for Contemporary Music, Most Outstanding Achievement in Advancing Asian Contemporary Music awarded by the Asian Composers League, and the two awards in the Instrumental Music – Album category and the Instrumental Music – Performance category at the 6th China Gold Record Awards. The Orchestra also set a record when it organized most performers to play erhu and bamboo flute together.

The design is first sketched on paper, and then engraved on stone, in reverse, with a knife. In addition to mastery of traditional calligraphy, the art of engraving requires a high degree of virtuosity, since the artist works on a tiny surface area where every curve, every thickness of line counts. The very diverse motifs are the fruit of the artist's imagination and culture.

The overwhelmingly large variety mainly comes from the emperors hosting a banquet of 100 dishes each meal[9]. A countless number of imperial kitchen staff and concubines were involved in the food preparation process. Over time, many dishes became part of the everyday-citizen culture. Some of the highest quality restaurants with recipes close to the dynastic periods include Fangshan restaurant in Beihai Park Beijing and the Oriole Pavilion[9]. Arguably all branches of Hong Kong eastern style or even American Chinese food are in some ways rooted from the original dynastic cuisines.

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Great Mila (Beewax) Bracelet

noreply@blogger.com (Amidiu) — Sat, 28 Mar 2009 06:46:00 +0000

Great Mila (Beewax) Bracelet From Tibet

Leather bracelets, 'Infinite Brown' (pair)

noreply@blogger.com (Amidiu) — Sat, 08 Nov 2008 11:50:00 +0000

Weaving in and out, belts and braids give form to the fascinating design of this bracelet. Nueng Pakdee crafts his original creation with quality leather in warm earth tones and a striking red contrast. The bracelet ties to the desired length.

Leather bracelet, 'Brown Riddles'

noreply@blogger.com (Amidiu) — Sat, 08 Nov 2008 11:37:00 +0000

Weaving in and out, belts and braids give form to the fascinating design of this bracelet. Nueng Pakdee crafts his original creation with quality leather in warm earth tones. The bracelet ties to the desired length. For more, please click

Rustic Leather Bracelets, was handmade in Tibet from leather and rope. Size:Adjustable .
When we made it to shore I was so happy to have made it alive! I finally confessed to my friends I couldn't swim. This taught me an important lesson, that I should value life more.

Tibetan Mala Beads

noreply@blogger.com (Amidiu) — Thu, 15 Nov 2007 10:19:00 +0000

Mala Beads Malas are made with 108, 27, 21 or 19 beads. They are used to count prayers or mantras. Buddhists use counters to keep track of how many times around a mala they have counted. Malas made of wood are the most common, but some of our most popular are made of amethyst, lotus seed and bone.

Secret of Attraction

noreply@blogger.com (Amidiu) — Tue, 16 Oct 2007 03:38:00 +0000

Timeless Appeal of Slender Waist

The traditional Chinese theory of beauty says that a slender waist and a small waist-to-hip ratio are vital for feminine beauty. The "belle curve" showcases the softness and tenderness of women, fitting in with the aesthetic tastes of Chinese. .

In ancient China a girl with an hourglass-shaped waist made for the perfect figure. Many ancient poems and legends have linked attractiveness with a thin waist. A legend dating to more than 2,000 year ago says that the King of Chu States lusted for narrow waists, leading to starving palace ladies. The Chu Waist was hence added into the vocabulary referring to a slender waist.

An Oriental Sexy Idol

What made a sexy idol for the ancient Chinese? Firm, uplifted buttocks and big breasts may not be the best answer. Instead, the Chinese thought the sexiest part of a woman was her eyebrows which, as mentioned before, were the coverts of her feelings, leading to its name "Rainbows of Affection." A protruding collarbone and a long, elegant neck were also the focus of secondary erogenous zones in China.

Science of Romance

In fact, beauty was not only a matter of physical appearance, but more importantly, as the painting had indicated, was a demand of feudal etiquettes, to be exact, the three obedience and four virtues."

Women's appearance, along with their impeccable morality, proper speech, and diligent housework, were compulsory criteria of good women. In addition, a woman should be obedient to her father before marriage, to her husband after marriage and to her son after her husband's death.

Silver Ornaments of the Miao Ethnic Group

noreply@blogger.com (Amidiu) — Thu, 12 Apr 2007 09:54:00 +0000

Silver Chest Bands

A popular silver chest decoration, the bands are usually rectangular or semicircular and evolved from longevity locks. Some smaller ones are made of single pieces, and bigger ones are made up of two or three pieces, covering almost the whole chest and abdomen with a highly decorative effect.

Silver Hanging Decorations

The most common hanging decorations are shaped like butterflies, birds, fish, coins, and riding figures. They usually consist of chains, brands, and pendants arranged in as many as four to five levels, and the longest can be up to 85 cm long.

Hand Decorations

Silver Bracelets

Bracelets are an important part of the Miao people's silver decorations. There are many variations in shape and different styles represent the diversified tastes of various Miao group branches. People usually wear four or five pairs of bracelets at a time up their forearms.

Silver Rings

Miao silver rings are usually large and wide featuring birds, flowers or vines. There is no specific restriction on how many or where to wear rings. The Miao people near Guiyang sometimes wear eight rings at one time - one on each finger except the two thumbs. In comparison with other silver Miao ornaments, there are few patterns and styles for rings, and they are only popular in a small number of regions.

Clothing Decorations

Silver Patches

People of the Miao branch near the Qingshui River delta area traditionally wear clothes with silver patches. The most common patches are square, rectangular or round and usually feature reliefs of lions, tigers, phoenixes, golden pheasants, dragons, cranes, butterflies, flowers, children and arhats (enlightened Buddhists). Butterfly-shaped bells decorate the bottom of gowns and wristbands, ringing melodiously when the girls walk.

Silver Waist Chains

Silver waist chains are mainly shaped like plum blossoms, with single or double layers.

Silver Clasps

Silver clasps are most common in the Duliu River delta area. These clasps are highly decorative.

Back Decorations

Back decorations can be functional or purely for ornamental purpose. These decorations are usually shaped like butterflies or gourds, and are mostly worn by girls and women.

Others

Waistbands and foot decorations are popular in some regions.

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Costume and Ornaments in Tibetan Drama and Dances

noreply@blogger.com (Amidiu) — Wed, 11 Apr 2007 09:51:00 +0000

Costume and Ornaments in Tibetan Drama and Dances

Tibetan drama and dance drama have their own unique features and the art of the costume and ornaments applied in them are remarkable and have high artistic values. Tibetan drama began to develop in the 14th and 15th centuries and became an independent singing and performing art by the time of the fifth Dalia Lama (1617-1682). There are many schools in Tibetan drama and the ones that have been handed down belong mostly to traditional repertoire.

The costume and ornaments of Tibetan drama smack of strong national coloring. Some of them (especially those for the aristocrats) were historically actual garment styles for the aristocrats.

Apart from the practical type, there is also the highly exaggerated theatrical costume. The stories of the drama are mostly legendary and the figures fictional, but they are for the most part derived from actual life, such as Maiden Langsa, Prince Nuosang, and Zuova Sangmu. In Tibetan Drama, there are many gods and ghosts with extreme mysteries. It is only natural that special kinds of make-ups are necessary for them.

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Tibetan ornaments: Ethnic charm unleashed

noreply@blogger.com (Amidiu) — Mon, 09 Apr 2007 12:21:00 +0000

Today, Tibetan-ornament stores are commonplace in fashionable and bustling districts in large cities, such as Houhai, Xinjiekou, Xidan and Sanlitun in Beijing and Xiangyanglu and Shaanxi Nanlu in Shanghai. In addition, some domestically well-known websites, such as eyongs.com, tibetanshop.com, fineasiangoods.com, and la-cathay.com, have devoted special sections to Tibetan ornaments as well as introductions to Tibetan culture and customs.

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Instructions on Inkstone Storage

noreply@blogger.com (Amidiu) — Sun, 18 Mar 2007 14:10:00 +0000

Opening inkstone: in case the inkstone is blocked in the case, place the inkstone upside down on the desk with a carpet by two hands, knock the case edge lightly to make the inkstone body reveal from the case again, never drag it by a metal tool in order to prevent damage on the inkstone.

Placing inkstone: place the inkstone into the case naturally in line with the original position of the inkstone and the case. Esp. for the rectangular inkstone which is not same in the length on the upper and under edges, and usually the bottom edge is slightly wider than the upper edge and it should be placed according to the width. If it is adversely placed, the case becomes jam-packed and will crack.

In case the case shrinks and can not hold the inkstone body, burnish the inside of the case by sand paper to widen the case. Never burnish on the inkstone as this is as foolish as the action to cut the feet to fit the shoes.

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Instructions on Inkstone Storage

noreply@blogger.com (Amidiu) — Wed, 01 Nov 2006 03:26:00 +0000

Waxing: ancient people had different ideas on waxing. They thought that after waxing, inkstone would be not clear to see the stone, and it would be not so fruitful of ink. This is rather reasonable. Nowadays some people spread wax all over the inkstone, or spread plant oil and even ink to nourish the inkstone and get a primitive sense. But these methods are not good actually. It is acceptable to spread wax and seal the inkstone, but it requires in a proper manner. The wax can be spread around the inkstone, and should be thin and proper at the bottom; never spread wax on the part for grinding ink, because the ink can not be melted in wax and no ink can be produced. It is not reasonable to spread plant oil on inkstone, because plant oil will attract dust, make ink dirty; and with oil in ink, it will smell terrible after a long time, or milden and rot will form in plant oil, leaving speckles on the inkstone surface which will lose the beauty if the speckles can not be washed off.

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Instructions on Inkstone Storage

noreply@blogger.com (Amidiu) — Mon, 23 Oct 2006 07:56:00 +0000

If an inkstone is placed on the desk, it should avoid sunshine, otherwise, it will become dried in the stone texture, and inkstone case will become dried also after a long time under sunshine...

Avoid sunshine: if an inkstone is placed on the desk, it should avoid sunshine, otherwise, it will become dried in the stone texture, and inkstone case will become dried also after a long time under sunshine.

Appreciation: when appreciating an excellent inkstone, it is recommended to place a carpet on the desk to prevent the inkstone from touching on metal and glass utensils; it is also forbidden to pile the inkstone in case of damage by knocking.

Cloth art trade in China

noreply@blogger.com (Amidiu) — Tue, 29 Aug 2006 14:04:00 +0000

Cloth art trade in China

Over the last two decades, the cloth art trade in China has undergone enormous development to become an important part of China's textile industry. Today, China's cloth art trade has reached a new climax, with tens of thousands of enterprises engaged in the production of cloth art products, with annual sales volume totaling billions of meters.

China's cloth art products have matched international levels in terms of variety and quality. However, promoting the development of the domestic economy, the beautification of people's lives, the expansion of exporting capacity and spreading Chinese culture has proven to be a challenge, and the trade still has a long way to go in these regards.

In the days to come, China's cloth art trade will face a great many new challenges: On the domestic market, for example, how will the cloth art trade adapt to the shift from a seller's to a buyer's market; on the international market, how can we improve product quality and maintain their stability; and how can we satisfy the cultural necessities of consumers from different countries. Solving such obstacles demands sound coordination and cooperation in the entire trade business. And various kinds of resources will be needed to strengthen the cloth art trade.

Kimono

noreply@blogger.com (Amidiu) — Fri, 04 Aug 2006 16:43:00 +0000

Kimono

Kimono in Japanese simply means clothing. Since 19 century, western styles have been the main dress code in Japan. But kimono still plays a role in Japanese culture, mostly worn on special occasions. Kimono

Chinese Acrobatics

noreply@blogger.com (Amidiu) — Thu, 03 Aug 2006 10:20:00 +0000

Chinese Acrobatics

Tightrope-walking, plates spinning on poles, grinning contortionists fold in half? Chinese acrobatics is a dizzying pinnacle of artistic achievement. Chinese Acrobatics

Mahjong

noreply@blogger.com (Amidiu) — Thu, 03 Aug 2006 09:22:00 +0000

Mahjong (Mah Jong)
Mah jong (mahjong) was invented by monks during the Tang Dynasty in China, around 200 B.C. Mah jong pieces were originally made with bamboo, and it was also called the bamboo game. Mah jong was especially popular with the royal family. Today mahjong is the most popular game in China. It is normally played with four people (but can be played with two), and the set consists of 144 domino-like pieces or tiles. The object of mahjong is to build a winning combination of pieces. If you would like to learn the rules of mahjong. Mahjong