Lauren+Waselik,+Alex+Kaplan,+Hailey+O'Grady,+Kevin+Folds-+Notes

__**Notes:**__
 * __Modern Day Clothing:__** clothes are silk elegant and graceful, shows glamour. It is light and thin. Traditional clothes are very beautyiful. Classic chinese women who like fairy maiden.They use fans wear western-style clothes. Mao suits made of thick blue cotton, a simple tunic with buttons down the front.Chinese ladies usually were a Traditional Chinese shirt and skirt.The chinese attitude toward life infulenced by the confucian ethic which teached respect and love for others. Page 59 Richard Barnhart

__**Buildings:**__ Roofs tilt outward to make the bad spirits go away. Modern day houses have more then one floor. Ancient chinese have peechoos on there houses. Lions are on the peoples land so people cam look at there beauty. Guy lions have there paw on a little ball. Girl lions have there paw on a carp or a little/baby lion. Palaces are made wood and glass. Regular houses are made out of tile if there rich. Either an emperor or empoerst live in huge palaces in summer or winter.


 * Old Clouths:** An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance, but also an internal symbolism. Each and every piece of traditional clothing communicates a vitality of its own. This combination of external form with internal symbolism is clearly exemplified in the pair of fighting pheasant feathers used in head wear originating in the battle wear of the Warring States period (475-221 B.C.). Two feathers of a ho bird (a type pheasant good at fighting) were inserted into the head wear of warriors of this period to symbolize a bold and warlike spirit.

Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. Variety and consistency in clothing were roughly established by the era of the Yellow Emperor and the Emperors Yao and Shun (about 4,500 years ago). Remains of woven silk and hemp articles and ancient ceramic figures further demonstrate the sophistication and refinement of clothing in the Shang Dynasty (16th to 11th century B.C.).

a Traditional Dress The three main types of traditional Chinese clothing are the pien-fu, the ch'ang-p'ao, and the shen-i. The pien-fu is an ancient two-piece ceremonial costume of a tunic-like top extending to the knees and a skirt or trousers extending to the ankles. The ch'ang-p'ao is a one-piece garment extending from the shoulders all the way to the heels. The shen-i is a cross between the pien-fu and the ch'ang-p'ao; it consists of a tunic and a skirt or trousers like the pien-fu, but the tunic and the skirt are sewed together and essentially one piece like the ch'ang-p'ao. Consequently, the shen-i was the most widely worn of the three types. Typical of these three types of clothing were wide and voluminous sleeves and a very loose fit. Tunic and trousers or tunic and skirt, utilized a very minimum number of stitches for the amount of cloth used. So because of their relatively plain design and structure, embroidered edgings, decorated bands, draped cloth or silks, patterns on the shoulders, and sashes were often added as ornamentation. These varied designs came to be one of the unique features of traditional Chinese dress. The name "cheongsam," meaning simply "long dress," entered the English vocabulary from the dialect of China's Guangdong Province (Cantonese). In other parts of the country including Beijing, however, it is known as "//qipao//", which has a history behind it ||
 * The cheongsam is a female dress with distinctive Chinese features and enjoys a growing popularity in the international world of high fashion.

Darker colors were favored over lighter ones in traditional Chinese clothing, so the main color of ceremonial clothing tended to be dark while bright, elaborate tapestry designs accented. Lighter colored clothing was worn more frequently by the common people for everyday and around the house use. The Chinese associate certain colors with specific seasons: green represents spring, red symbolizes summer, white represents autumn, and black symbolizes winter. The Chinese are said to have a fully developed system of matching, coordinating, and contrasting colors and shades of light and dark in apparel.

Before the May 4th Movement of 1919, women of any class could expect pretty much the same fate: to become part of a man's family, either as a wife or as a concubine. Some more liberated ladies begin to explore an alternative avenue: campus life. In their eagerness to carve out a clear distinction from their painted sisters, these women fashion an austere look: white blouse, black skirt and no cosmetics. A genteel young lady of that time might smooth her hair with pomade, a long fringe plunging down the middle of the forehead in the shape of a peach leaf. More independent-minded women sport fringes at only half length, thus allowing their more expressive eyebrows to tell their liberated tale. To a woman of this era, life's possibilities seem quite rooted, with few real surprises. Different fringes reflect different levels of emancipation. 1901, Qing Dynasty formal dress. || //** 1920-Eyebrow Protest **// Under pressure, most young women must finally abandon their American dream of study and accept their fate like a lady. Sometimes women would be confined to the home, only to see their husbands on rare occasions. Unbearable idleness ushers in a new era of modern cosmetics: eyebrow plucking becomes the order of the day. The overlytrimmed brow does not rally agree with the traditional oval Chinese face, and hints at the disordered mind: Richer women spend hours in front of the mirror, torturing their eyebrows to ease the pain of their suppressed passions. Chic Beijingers of the 1930s. || // **1930s-Hollywood Parade** // Hooray for Hollywood. Movies function as the bible of beauty. Famous actresses, ladies and young girls from ordinary families all copy the same style, with the help of various eyebrow pencils, eye-lash-plucking tweezers and false eyelashes. Even gifted novelist Zhang Ailing cannot resist the temptation and willingly joins the popular fad of using imported dark-colored lipsticks she bought with her first royalties The lipsticks even made a comeback at the end of the 1990s. //**1940s-Silk or Steel**// During the Japanese invasion, lipsticks become improper luxuries. Patriotic wives abandon cosmetics altogether. Chinese movies stars explore a brave new performance technique: no make-up, Natural beauty only. Well-tended brows and soft chins indicate affluence under occupation and a certain "indifference to national humiliation," While plain eyebrows and firm chins indicate solidarity with the masses, revolutionary fervor etc. **//1950-Idealistic curls//** Groups of Chinese women intellectuals return to China with their husbands, bringing back the lively fashions of idealistic elegance prevalent in Europe and America after the Second World War. Delicate faces wrapped in short curls resemble the last roses of summer in 1958. This ideal of combined beauty and intelligence is perfectly embodied in the talented poet Lin Huiyin. Late in the 1960s, a schoolgirl from an ordinary worker's family might well be ashamed of the "evil whiteness" of her skin. Her dreams are to be rid of the "capitalistic color". 1968: Fashion goes of fashion. || At the first opportunity-graduation from middle school, for example-a woman volunteers to go to the countryside, where flesh is exposed willingly to the merciless sun. A sun-kissed, scorched visage after two years' graft in the fields is your ultimate early' 60s fashion statement. The onset of the Cultural Revolution (1966-76) quickly erases fashion. Cosmetics are absolutely unimaginable. Women of all ages jump at the opportunity to perform group Zhongzi wu, Mao folk dancing. The reason? Loyalty of course. But they could also put on as much make-up as they liked without the danger of being punished-the performances resemble mask balls due to the heavy overuse of face paints. In the looser social environment after 1976, some city women cautiously implement their silent beauty experiments from the kitchen. Unsatisfied with the pitiful beauty aids available in the shops, they learn to use fire tongs for curled fringes. Fashion-any fashion at all-is in. There are still some high-ranking prudes who seriously endeavor to lay down strict rules for "good social effect" and thus trigger a national debate. Panda eyes and blood red lips inspire a lot of popular jokes and stories. People need time to realize make-up can be applied according to personal preference. **//1990s-Contemporary Lady//** From scarlet lips to false moles, contemporary women at last have freedom to change their faces. Singer Faye Wang is well-known for her innovative face make-up. Fed up with the overwhelming variety and increasingly complicated style gimmicks, some women miss the blue-gray edges and opt increasingly for "less is more" fashion.
 * [[image:http://www.chinavista.com/experience/old/women2.jpg width="182" height="178"]]
 * [[image:http://www.chinavista.com/experience/old/women4.jpg width="200" height="255"]]
 * // 1960s-Just say 'no' to whitey //**
 * [[image:http://www.chinavista.com/experience/old/women7.jpg width="200" height="177"]]
 * // 1970s-Secret Curls //**
 * [[image:http://www.chinavista.com/experience/old/women6.jpg width="133" height="300"]] ||
 * // 1980s-Conspicuous Consumption //**

mao suit

Foot binding- In two years, the process was finished. By then, the foot was useless for walking very far. Beverley Jackson let us use her pictures from the book she wrote about bound feet. || A slipper for a bound foot. __[|Splendid Slippers]__, Beverley Jackson. || X-ray of the normal and the bound foot ||  Bound feet had to be washed and cared for daily. If toe nails grew into the instep, infection could set in. If the bindings were too tight, gangrene and blood poisoning could occur. The bound foot was painful and tender forever. It often had an unpleasant smell. ||
 * Foot binding began between the ages of four and seven. A strip of bandage ten feet long and two inches wide was wrapped tightly around the foot. The four small toes were broken and bent under the sole. The arch of the foot was bowed to make the foot shorter. ||
 * The bandage was tightened each day and the foot was put into smaller and smaller shoes.
 * [[image:http://library.thinkquest.org/J0111742/xrayoffoot.jpg width="175" height="301"]]