The shuitianyi is a popular, but rare fashion phenomenon, which appeared in the middle and the late Ming dynasty and remained popular in the Qing dynasty. The shuitianyi may have originally originated from poor people, who would use whatever leftover clothing they would have at hand for saving purposes, and was initially only popular among poor women. Kasaya or Baina, which was made when monks would make clothes out of a variety of useless clothes. It was later adopted by aristocratic women during Ming dynasty who found it beautiful, and they began to cut cloth (even from entire brocade) voluntarily into a design shape and sew it into an aristocratic form of the shuitianyi. A version of the shuitianyi worn by children is called baijiayi. While the shuitianyi was a popular form of fashion for women in the Ming dynasty, men during this era would also wear baina clothing. In Beijing opera, the shuitianyi is worn as a costume called sanse dao beixin (Chinese: 三色道背心; pinyin: sānsè dào bèixīn; lit. It originates from Buddhist clothing and represents the ragged clothing of Buddha. 177 It can be used by actors who perform as male or female monks and as Taoist characters. The sanse dao beixin is characterized by a diamond-shaped pattern which is created through patchwork. The female version looks like a knee-length pifeng as it features a centre-front opening and a collar band which ends at the mid-chest level; however, it differs from the pifeng due to the absence of sleeves. 177 While both male and female roles used it; however, there are differences between the man’s and woman’s sanse dao beixin. The man’s version is floor-length and the collar band has a straight lower edge; it is also tied with a sash without the back of the garment being caught in the sash, which is the manner monks wear their vest. 177 When male monks characters wear it, it indicates that they have outstanding martial arts skills. A pifeng has long sleeves while beixin is sleeveless. The main difference between a pifeng and a beixin is the presence or absence of sleeves. See page beizi and bijia for more details. Hanson, Marin F (2014). “”One Hundred Good Wishes Quilts”: Expressions of Cross-Cultural Communication”. Uncoverings. 35: 69-89 – via Art Index (H.W. Finnane, Antonia (2008). Changing clothes in China : fashion, history, nation. New York: Columbia University Press. Yin, Zhihong (2019). “Study on the Evolution and Development of Baina Clothing to Shuitian Clothing in the Ming and Qing Dynasties”. Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Vol. Gao, Yingpei (2018). “Application of Patchwork Art Form in Traditional Costumes: A Case Study of Baijia Clothes”. 368. Atlantis Press. pp. Journal of Landscape Research. 10: 98-100 – via ProQuest. Honolulu: University of Hawaiʻi Press. Bonds, Alexandra B. (2008). Beijing opera costumes : the visual communication of character and culture. This page was last edited on 15 November 2024, at 08:51 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.