Tang and Song Dynasty China (618–1279 CE)
Tomb of Princess Yongtai, Qianling Mausoleum, near Xi'an, 706 CE. Wikimedia Commons, Public Domain.
The Tang dynasty (618–907 CE) represented a golden age of Chinese fashion, marked by cosmopolitan openness and extravagant court dress. Women of the Tang court wore ruqun — a blouse tucked into a high-waisted skirt — often paired with sheer silk shawls called pibo that draped over the shoulders. Fabrics ranged from lightweight gauze to richly patterned brocades, and bold colors like vermilion, emerald, and gold were favored. Foreign influences from Central Asia introduced narrow-sleeved robes, riding outfits, and new textile patterns featuring Persian and Sogdian motifs.
The Song dynasty (960–1279 CE) shifted toward a more restrained aesthetic. Court and scholarly dress emphasized elegance through simplicity, with muted colors and refined tailoring replacing Tang exuberance. The beizi, a long open-fronted coat, became a defining garment for both men and women. Song-era advances in silk weaving — particularly kesi (cut silk tapestry) — produced textiles of extraordinary intricacy, with pictorial designs that blurred the line between fabric and painting.
The Kimono and the Hanbok
En'i, Illustrated Biography of the Monk Ippen (Ippen Hijiri-e), scroll 4, Fukuoka market scene, 1299. Shōjōkō-ji. Wikimedia Commons, Public Domain.
Japanese clothing underwent a profound transformation during the medieval period. The layered court robes of the Heian era gradually gave way to the kosode, a smaller-sleeved garment that had originally served as an undergarment. From roughly the Kamakura period (1185–1333), the kosode was increasingly worn as outerwear by commoners and warriors, forming the foundation of what would eventually be called the kimono. Samurai dress introduced practical innovations such as the hitatare, a two-piece outfit with a wide-sleeved jacket and trousers, suitable for both formal occasions and movement.
In Korea, the Goryeo dynasty (918–1392) developed a distinctive dress tradition that balanced Chinese influence with indigenous style. The hanbok — comprising a short jacket called a jeogori and a high-waisted wraparound skirt (chima) for women, or wide trousers (baji) for men — continued to develop as the defining Korean silhouette during this era, while contact with the Mongol Yuan court brought new garments such as the short-sleeved dapho. Goryeo textiles were valued for their quality; the kingdom's ramie and fine linen were prized abroad and regularly sent as royal tribute, and its weavers also produced damask silks.
Sources
- Seated Court Lady — The Silk Road, Department of History, University of New Mexico (Tang ru, qun, and pibo shawl).
- Dancer, approx. 618–700 — Asian Art Museum of San Francisco (Tang taste for foreign fashions).
- A Study on Women's Dress of Song Dynasty — Lee Soon-ja, The Research Journal of the Costume Culture, 1995 (Song restraint and quieter colors).
- Beizi — Wikipedia.
- Sober Luxury: Three Examples of Late Kesi Silk Tapestries in the Náprstek Museum — Helena Heroldová, Annals of the Náprstek Museum 34/2, National Museum, Prague, 2013 (kesi in Song sources and its resemblance to painting).
- Woman of the upper class in kosode (short-sleeved kimono) of Keicho period — The Costume Museum, Kyoto (kosode as Heian undergarment turned outer garment).
- Hitatare — Victoria and Albert Museum.
- Hanbok: traditional Korean dress — Jenny Kim, Victoria and Albert Museum.
- Gifts of Clothing from the Mongol (Yuan) Empire to the Goryeo Dynasty — Yunjung Kim, The Review of Korean Studies 28:1, Academy of Korean Studies, 2025 (Mongol dress gifts; Goryeo ramie, linen, and damask).
- Dapho — Wikipedia.