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Manchu People, China
Manchu People, China
25 year old Chen Yen-hui recreates makeup looks from the Tang dynasty
click here for more Tang dynasty eyebrows!
woven by Tlingit woman Anisalaga (Mary Ebbetts Hunt)
Fort Rupert, British Colombia
Height: 117 cm. (46 in.)
Materials include mountain goat fiber and cedar bark fiber
Minh-Ha T. Pham, “Fraught Intimacies: Fashion & Feminism (The Director’s Cut)” (via vroomheid)
All this right here definitely applies to bras and bra wearing.
Silla, 6th century
From the tombs of Silla period, the internationally unprecedented number of gold earrings was excavated.These earrings were found in Couple’s tombs in Bomun-dong, Gyeongju. They are the most elaborate and magnificent earrings among Silla earrings in that they display elegant taste of Silla and the prime craftsmanship of metal arts of Silla.
Woman’s ceremonial skirt (kain kebat), early 20th century
Indonesia (Upper Kapuas River, West Kalimantan, Borneo); Kantu’ people
18 1/4 x 46 1/2 in. (46.4 x 118.1 cm)
Purchase, The Fred and Rita Richman Foundation Gift, 2006 (2006.349)
NOT ON VIEW Last Updated April 26, 2013
The intricately patterned skirts, or kain kebat, of the Kantu’ people of Borneo are luxurious ceremonial garments. Kain kebat are worn as formal attire by women on important occasions, especially while performing ritual activities such as setting out food offerings for the gods and spirits or dyeing the threads for weaving textiles. Weavers among the Kantu’ and neighboring peoples create two primary forms of ritual textiles: kain kebat and pua. Pua are ceremonial cloths used in a variety of religious rites. The patterns of the pua cloths are said to be so supernaturally powerful that they will make a woman ill if she weaves them continuously. Weavers thus regularly alternate between making pua and less dangerous but equally magnificent skirts and other garments.
The compositions of most Indonesian textiles are strictly symmetrical. Weavers of kain kebat often introduce a slight asymmetry that accentuates the vigor of their patterns. Many of the motifs and patterns on the skirts are named after the plants and animals of the surrounding rainforests and rivers, although their precise significance remains uncertain. The complex curvilinear compositions at times resemble those on ancient pottery from Borneo as well as Bronze Age objects imported centuries ago from the Southeast Asian mainland.
Politics of Men’s Hair in Chinese history