#220 BCE

[artschoolglasses]

Barberini Faun, 220 BCE

Glyptothek, Munich

[museum-of-artifacts]

Ceramic dancing figures from China. 206 BCE-220 CE, now housed at the Minneapolis Institute of Art

More: https://thetravelbible.com/museum-of-artifacts/

[takero2]

Yin and Yang

It's always occured to me that Miraculous Ladybug is based on Yin and Yang philosophy but at the same time it's really not.

Both the symbol of the black cat and the ladybug acquired their meanings around the same time in medieval Europe. Superstitions about black cats originated during the period of witch hunts, which began in the early 13th century in Europe.The name "ladybug" comes from medieval European farmers who would pray to the Virgin Mary for good harvests. Ladybugs feed on pests that destroy crops, so their appearance was seen as a sign that their prayers had been answered.

However, Yin and Yang philosophy came from ancient China and this concept has its own symbols.

There're no records about this concept being used by ancient Chinese alchemists. However, the concepts of essences is a part of Neidan branch of alchemy, whereas experimenting with minerals and something material is a part of Waidan alchemy. So, miraculouses might be the result of combination of two of these branches.

First notice of Waidan alchemy was made during Han Dynasty (206 BCE–220 CE) and gradually declined until the Ming dynasty (1368–1644). Neidan was arguably first mentioned in in Jin dynasty (266-420). Also Ying and Yan philosophy was first mention in the 16 century. So, creation of the miraculouses should have taken place between the 16 century and the 17 century.

Dragon as the symbol of Yang, the Sun and it is connected with masculine energy, so this is considered to be a miraculous for males.

Tiger as the symbol of Yin, the Moon, on the contrary, is considered to be a miraculous for females.

Both of them are in the beginning of their way for Balance. Marinette will go through Red Dragon phase before becoming Golden Dragon. While Adrien will go through Black Tiger phase before becoming Golden Tiger.

But I.. couldn't come up with their names

[jiangwanyinscatmom]

"In historical context though-"

This book has potatoes and chilis in supply and demand when these were not traded until the late 15th century... and not used for cuisine and a foods crop cultivator in China well into the 17th and 18th century almost 200 years later. Folding fans that are seen abundantly were not popularized until the 13th century. Taoism was at its largest during the Warring States period of 450 BCE–c. 300 BCE with the epigram of Tao Te Ching. Confucianism became the abundant practice as of 206 BCE to 220 BCE with the authoring of The Analects. It uses fabricated province names for real world Chinese provinces that are relegated to a simple five, when there are of 22 (claimed) and have been the most stable to survive since the Yuan dynasty 1271-1368. Idioms used vary through the centuries and are still a staple of modern day vernacular. The version of futou Jin Guangyao alone wears was a wushamao (乌纱帽), used in the Ming dynasty 1368-1398. Futou was made a part of ministerial and court attire during the reign of Emperor Wu 560 BCE.

The author has said it has no standing Imperial Dynasty it takes place in and has borrowed aesthetics from the Han, Wei-Jin, Song, Tang, Ming and even Qing. All of which had seen several turns of dynasty from Han to Mongol to Han divine rulings. So no, there is no historical context to take in regard when it comes to Madam Yu's overt abuse, to Jiang Cheng's abuse, the clan's classisms and hypocrisy.

It was written in an alternate fantasy of China without this context of real world history and through the lens of modernity of its author. Do not use a history that does not pertain to a novel that is not has not and was never called historical.

[artist-ellen]

Fooduary Day 10: Dragon's Beard Candy

Happy Lunar New Year!!! This one probably doesn’t seem very obvious but a white-candy version would be terribly unlucky!! (And I need all the luck I can get). So I tried to make the lantern slightly reminiscent of the treat while the character is styled in Han Dynasty fashion. According to the legend-history of dragon’s beard candy it was invented in the Han Dynasty (202 BCE 220 CE) which makes it our oldest dessert yet! And yeah, I went off script for this one. Day 10 was supposed to be Cinnamon rolls but I’m moving some stuff around because I so rarely get the chance to post something to celebrate.

I am the artist! Do not post without permission & credit! Thank you! Come visit me over on: instagram, tiktok or check out my coloring book available now \ („• ֊ •„) /

https://linktr.ee/ellen.artistic

[astrazero]

My revamp of the sculpture, Sleeping Satyr / Barberini Faun, by Unknown Artist, circa 220 BCE

[whencyclopedia]

Ancient Chinese Warfare

In ancient China warfare was a means for one region to gain ascendancy over another, for the state to expand and protect its frontiers, and for usurpers to replace an existing dynasty of rulers. With armies consisting of tens of thousands of soldiers in the first millennium BCE and then hundreds of thousands in the first millennium CE, warfare became more technologically advanced and ever more destructive. Chariots gave way to cavalry, bows to crossbows and, eventually, artillery stones to gunpowder bombs. The Chinese intelligentsia may have frowned upon warfare and those who engaged in it and there were notable periods of relative peace but, as in most other ancient societies, for ordinary people it was difficult to escape the insatiable demands of war: either fight or die, be conscripted or enslaved, win somebody else's possessions or lose all of one's own.

Attitudes to Warfare

The Chinese bronze age saw a great deal of military competition between city-rulers eager to grab the riches of their neighbours, and there is no doubt that success in this endeavour legitimised reigns and increased the welfare of the victors and their people. Those who did not fight had their possessions taken, their dwellings destroyed and were usually either enslaved or killed. Indeed, much of China's history thereafter involves wars between one state or another but it is also true that warfare was perhaps a little less glorified in ancient China than it was in other ancient societies.

The absence of a glorification of war in China was largely due to the Confucian philosophy and its accompanying literature which stressed the importance of other matters of civil life. Military treatises were written but, otherwise, stirring tales of derring-do in battle and martial themes, in general, are all rarer in Chinese mythology, literature and art than in contemporary western cultures, for example. Even such famous works as Sun-Tzu's The Art of War (5th century BCE) warned that, "No country has ever profited from protracted warfare” (Sawyer, 2007, 159). Generals and ambitious officers studied and memorised the literature on how to win at war but starting from the very top with the emperor, warfare was very often a policy of last resort. The Han Dynasty (206 BCE - 220 CE) was notable for its expansion, as were some Tang Dynasty emperors (618-907 CE) but, in the main, a strategy of paying off neighbours with vast tributes of silver and silk, along with a parallel exportation of “civilising” culture was seen as the best way to defend imperial China's borders. Then, if war ultimately proved unavoidable, it was better to recruit foreign troops to get on with it.

Joining the intellectuals with their disapproval of warfare were also the bureaucrats who had no time for uncultured military men. No doubt, too, the vast majority of the Chinese peasantry were never that keen on war either for it was they who had to endure conscription, heavy taxes in kind to pay for costly campaigns, and have their farms invaded and plundered.

With the emperors, the landed gentry, intellectuals and farmers all well-aware of what they could lose in war, it was, then, somewhat disappointing for them all that China, in any case, had just as many conflicts as anywhere else in the world in certain periods. One cannot ignore the common presence of fortifications in the bronze age, such chaotic centuries as the Autumn and Spring Period (722-481 BCE) with its one hundred plus rival states, the Warring States Period (481-221 BCE) with its incredible 358 separate conflicts or the fall of the Han when war was once again incessant between rival Chinese states. Northern steppe tribes were also constantly prodding and poking at China's borders and emperors were not averse to the odd foreign folly such as attacking ancient Korea.

Continue reading...

[niteshade925]

April 14, Xi'an, China, Shaanxi History Museum, Qin and Han Dynasties Branch (Part 1 - Political Structure, Laws, and Military):

This was the final museum I went to while in Xi'an, and despite its name, it is not the Shaanxi History Museum/��西历史博物馆. It is a new branch that's in a separate location from the main museum, so it's also referred to as the "Qin/Han Branch"/秦汉馆 (ugh I wish I could've gone to the main branch), and the museum building and its gates were supposed to imitate the look of Qin/Han-era palaces. It was raining cats and dogs the night before, so the ground still bear traces of that. I had fun though.

This museum doesn't have a lot of unique artifacts that other museums don't have, but instead focuses on the political structure, thought, life, and technologies from Qin and Han dynasties, so there were a lot of tables, maps, and diagrams in the museum. I will only be giving a brief summary of each thing here so these posts won't get too long (and take too much effort to make). If you understand Chinese though, these may be helpful worldbuilding references.

First is a rough timeline of the history Qin dynasty (221 - 207 BC) to Han dynasty (202 BC - 220 AD) (right side of timeline) and how it fits within the overall ancient world history (left side of timeline) in the same time frame, just as a general reference so museum visitors can have an idea of when these dynasties and events took place. The timeline included events starting from when Qin was still a state (Warring States period, 476 - 221 BC) until after the end of Han dynasty (Three Kingdoms period, 220 - 280 AD; and Western Jin dynasty, 265 - 317 AD). Here, 公元元年 means 1 CE/AD, so 公元前 means BCE/BC, and 公元 means CE/AD. Also I know the left side is hard to read, sorry about that, it was easier to read in person. There is a key at the bottom though:

A diagram of the Three Lords and Nine Ministers system (三公九卿制) that was used as the central political structure of ancient China during Qin and Han dynasties, which was replaced by the Three Departments and Six Ministries system (三省六部制) in Sui dynasty (581 - 618 AD). There are many translations for the same positions, here I used what I think fits best for each position.

The Three Lords/三公 are (left to right on chart) : the Imperial Secretary/御史大夫 (handles the audit system and helps the chancellor), the Chancellor/丞相 (helps emperor handle national political affairs), and the Grand Commandant/太尉 (helps emperor handle military affairs).

The Nine Ministers/九卿 are (left to right): the Minister of Finance/治粟内史 (oversees public finance and tax system), the Minister of the Imperial Clan/宗正 (handles affairs within imperial clan), the Grand Herald/典客 (handles foreign policy), the Minister of the Guards/卫尉 (controls imperial guards), the Minister of Justice/廷尉 (oversees judicial system), the Minister of Attendants/郎中令 (controls palace guards, oversees imperial household, serves as imperial advisor, etc.), the Minister Coachman/太仆 (oversees the care, training, use, and purchase of horses; horses were an important resource in ancient times), the Lesser Treasurer/少府 (oversees the emperor's personal finances and some taxes), and the Minister of Ceremonies/奉常 (handles official ceremonies, worship, and rituals, oversees court astrologers and court scribes/historians).

Qin and Han dynasty bureacratic systems. Right is Qin dynasty's system of commanderies/郡, counties/县, townships/乡, and villages/里 (levels of local government from highest to lowest). Left is Han dynasty's central government system, which designated the Three Lords and Nine Ministers system as the Outer Court/外朝 (executes policies), and added a Central Court/中朝 (decides policies).

A list of the 48 commanderies during Qin dynasty and their locations today, grouped by where they were located before Qin dynasty (for example 7 of these groups were states during the Warring States period). A few of the names of these commanderies continue to be place names today, and some others often make appearances in modern novels.

The Recommendatory System/察举制 of Han dynasty, which was how officials were selected. Basically this process consists of a few steps: first the emperor would set what categories of talents are needed, then local government would recommend people to the central government accordingly. The emperor would ask the recommendees how they would deal with current issues, and then gave them positions based on how good their policy ideas were. Ideally the local officials would be impartial with recommendations, but in reality the local officials often belonged to powerful local clans, so these recommendations gradually became a way for the powerful clans to stay in power. This system was replaced by the Imperial Examination System/科举制 in later dynasties, which put more emphasis on exams as a way to select talents.

The locations of Qin and Han dynasty national temples, sacred mountains, and sacred bodies of water on a modern map. Of these, the temples marked in yellow were the temples dedicated to eight deities worshipped by the state of Qi, so they are collectively called the Eight Deities of Qi/齐地八神. Although the state of Qin eventually defeated the state of Qi, worship of these deities continued through Qin dynasty into Han dynasty. The temples marked in red were dedicated to deities worshipped by the state of Qin. The temples marked in purple were temples built in Han dynasty. The sacred waters are marked with wavy lines. The sacred mountains are marked in light blue-gray (a few are outside of this picture). MDZS fans may recognize Qishan/岐山 on this map, and Three Kingdoms enthusiasts may recognize jieshishan/碣石山 as the place Cao Cao visited when he wrote the line "东临碣石，以观沧海" in his famous poem.

Replicas of a small part of the Qin-era bamboo texts found in a tomb of a Qin dynasty official at Shuihudi (睡虎地秦简). The originals are at Hubei Provincial Museum/湖北省博物馆. Many of these texts concern laws and decrees of Qin dynasty, and in another tomb in the same area there were also the oldest letters ever found in China (link goes to the full digitized text). These bamboo slips are meant to read from top to bottom, right to left, and the construction of bamboo scrolls are actually the very reason why Chinese texts read this way traditionally even on printed texts during later dynasties.

This was something I'd written about in the MDZS posts a few years ago, and now I've finally seen the real thing with my own eyes: the Tiger Tally/虎符 (I translated it as "Tiger Amulet" in that post but in fact "Tally" is the correct translation). Tiger tallys have two halves, each with gilded gold text upon them. This particular artifact is the left half of a tiger tally from late Warring States period (state of Qin), and reads:

"This is a tally of the armed forces, right half goes to the ruler of Qin, left half goes to (the official of) Du county. When the need to dispatch armored troops of over 50 soldiers arises, this half must find the other half held by the ruler in order to authorize this military activity. In case of emergency, there is no need to wait for this authorization." (“兵甲之符，右才君，左才杜。凡兴士披甲用兵五十人以上，必会君符，乃敢行之。燔燧之事，虽毋会符，行殹。”)

The different currencies (coins) of the states of Warring States period:

The different coins and coin molds during Qin and Han dynasties:

Left: Han dynasty disk-shaped gold ingots; these were rare currencies at the time and were mainly exchanged between the imperial family and nobility as gifts. Right: a standard weight from Qin dynasty that reads "weighs 30 jin/斤". Since Qin dynasty unified systems of measurements, and this weight is known to weigh 7.5 kg, we can easily convert the Qin-era jin to the modern kg (1 Qin-era jin = 0.25 kg).

Terra cotta soldier and horse from Qin Shihuang's mausoleum. As some people have pointed out, these terra cotta soldiers were fully painted and colorful when they were first excavated, but when exposed to air, the paint quickly peeled and the colors faded, leaving the sculptures in their familiar clay-color. Few of these sculptures still have their original colors intact, thanks to preservation efforts. The immense difficulty of preservation is also a reason why modern Chinese archaeology has that rule of "don't excavate unless absolutely necessary".

A Qin-era bronze jian/剑 (double-edged straight sword) from Qin Shihuang's mausoleum:

Left: Qin-era bronze spear heads and a pi/铍 head (on the right; pi is a type of ancient Chinese polearm). Right: Han-era ring-pommel dao/环首刀 (dao is a single-edged sword that can be straight or curved; interestingly, many ring-pommel dao artifacts exhibit a forward curve). Ring-pommel dao continued to be used in the military after Han dynasty.

A suit of armor made out of stone from Qin Shihuang's mausoleum. These armor sets weigh about 18 kg or 39.7 lbs each, which is........actually not too bad. There are specialized armor sets in later dynasties that can weigh 30 kg or 66 lbs.

[journeytothewestresearch]

PSA - Don't Treat JTTW As Modern Fiction

This is a public service announcement reminding JTTW fans to not treat the work as modern fiction. The novel was not the product of a singular author; instead, it's the culmination of a centuries-old story cycle informed by history, folklore, and religious mythology. It's important to remember this when discussing events from the standard 1592 narrative.

Case in point is the battle between Sun Wukong and Erlang. A friend of a friend claims with all their heart that the Monkey King would win in a one-on-one battle. They cite the fact that Erlang requires help from other Buddho-Daoist deities to finish the job. But this ignores the religious history underlying the conflict. I explained the following to my acquaintance:

I hate to break it to you [name of person], but Erlang would win a million times out of a million. This is tied to religious mythology. Erlang was originally a hunting deity in Sichuan during the Han (202 BCE-220 CE), but after receiving royal patronage during the Later Shu (934-965) and Song (960-1279), his cult grew to absorb the mythos of other divine heroes. This included the story of Yang Youji, an ape-sniping archer, leading to Erlang's association with quelling primate demons. See here for a broader discussion. This is exemplified by a 13th-century album leaf painting. The deity (right) oversees spirit-soldiers binding and threatening an ape demon (left).

Erlang was connected to the JTTW story cycle at some point, leading to a late-Yuan or early-Ming zaju play called The God Erlang Captures the Great Sage Equaling Heaven (二郎神鎖齊天大聖). In addition, The Precious Scroll of Erlang (二郎寳卷, 1562), a holy text that predates the 1592 JTTW by decades, states that the deity defeats Monkey and tosses him under Tai Mountain. So it doesn't matter how equal their battle starts off in JTTW, or that other deities join the fray, Erlang ultimately wins because that is what history and religion expects him to do. And as I previously mentioned, Erlang has royal patronage. This means he was considered an established god in dynastic China. Sun Wukong, on the other hand, never received this badge of legitimacy. This was no doubt because he's famous for rebelling against the Jade Emperor, the highest authority. No human monarch in their right mind would publicly support that. Therefore, you can look at the Erlang-Sun Wukong confrontation as an established deity submitting a demon.

I'm sad to say that my acquaintance immediately ignored everything I said and continued debating the subject based on the standard narrative. That's when I left the conversation. It's clear that they don't respect the novel; it's nothing more than fodder for battleboarding.

I understand their mindset, though. I love Sun Wukong more than just about anyone. I too once believed that he was the toughest, the strongest, and the fastest. But learning more about the novel and its multifaceted influences has opened my eyes. I now have a deeper appreciation for Monkey and his character arc. Sure, he's a badass, but he's not an omnipotent deity in the story. There is a reason that the Buddha so easily defeats him.

In closing, please remember that JTTW did not develop in a vacuum. It may be widely viewed around the world as "fiction," but it's more of a cultural encyclopedia of history, folklore, and religious mythology. Realizing this and learning more about it ultimately helps explain why certain things happen in the tale.

[daugterofliterature]

Sleeping Satyr(Sátiro Adormecido), c.220 BCE Glyptothek Museum of Greek and Roman Sculptures, Munich

[mosertone]

A 1800-year old ceramic horse. Han Dynasty (202 BCE– 9 CE, 25–220 CE),

[talonabraxas]

Tianlong 天龍 "Heavenly Dragon" Talon Abraxas

Among Chinese classic texts, tian "heaven" and long "dragon" were first used together in Zhou Dynasty (1122 BCE – 256 BCE) writings, but the word tianlong was not recorded until the Han Dynasty (207 BCE – 220 CE).

The ancient Yijing "Book of Changes" exemplifies using tian "heaven" and long "dragon" together. Qian 乾 "The Creative", the first hexagram, says: 九五，飞龙在天，利见大人 Nine (it stands for a solid horizontal line that symbolizes the yang. Why nine is used is unclear.) in the fifth place means: Flying dragons in the heavens. It furthers one to see the great man. — Qian 乾 "The Creative", Yijing

[paganimagevault]

Female Europid Mummy from the Necropolis of Subexi III, Grave M6, Turfan District, Xinjiang. 5th-3rd C. BCE. Source: Baumer, Christoph.The history of Central Asia. Vol.1. The age of the steppe warriors. London : I.B. Tauris, 2012. pg. 218 left DS329.4 .B38 2012. Image via University of Pennsylvania. See maps in the post before this one for a better understanding of the geography discussed.

"Section 26 – The Kingdom of Nearer [i.e. Southern] Jushi 車師前 (Turfan)

1. ‘Nearer Jushi’ 車師前 refers to the kingdom or state centered in the Turfan oasis or, sometimes, to the tribe which controlled it. There can be no question that Nearer Jushi refers here to the Turfan Oasis. See for example: CICA, p. 183, n. 618; also note 1.5 above. For the etymology of the name Turfan see Bailey (1985), pp. 99-100, which is summed up in his sentence: “The name turpana- is then from *druva-pāna- ‘having safe protection’, a name suitable for a walled place.”

“One other oasis town is currently under excavation. At Yarghul (Jiaohe), 10 km (16 miles) [sic – this should read 10 miles (16 km)] west of Turpan, archaeologists have been excavating remains of the old Jushi capital, a long (1,700 m (5,580 ft)) but narrow (200 m (656 ft)) town between two rivers. From the Han period they uncovered vast collective shaft tombs (one was nearly 10 m (33 ft) deep). The bodies had apparently already been removed from these tombs but accompanying them were other pits containing form one to four horse sacrifices, with tens of horses for each of the larger burials.” Mallory and Mair (2000), pp. 165 and 167.

“Some 300 km (186 miles) to the west of Qumul [Hami] lie [mummy] sites in the vicinity of the Turpan oasis that have been assigned to the Ayding Lake (Aidinghu) culture. The lake itself occupies the lowest point in the Turpan region (at 156 m (512 ft) below sea level it is the lowest spot on earth after the Dead Sea). According to accounts of the historical period, this was later the territory of the Gushi, a people who ‘lived in tents, followed the grasses and waters, and had considerable knowledge of agriculture. They owned cattle, horses, camels, sheep and goats. They were proficient with bows and arrows.’ They were also noted for harassing travellers moving northwards along the Silk Road from Krorän, and the territories of the Gushi and the kingdom of Krorän were linked in the account of Zhang Qian, presumably because both were under the control of the Xiongnu. In the years around 60 BC, Gushi fell to the Chinese and was subsequently known as Jushi (a different transcription of the same name).” Mallory and Mair (2000), pp. 143-144.

“History records that in 108 BC Turpan was inhabited by farmers and traders of Indo-European stock who spoke a language belonging to the Tokharian group, an extinct Indo-Persian language [actually more closely related to Celtic languages]. Whoever occupied the oasis commanded the northern trade route and the rich caravans that passed through annually. During the Han Dynasty (206 BC-AD 220) control over the route see-sawed between Xiongnu and Han. Until the fifth century, the capital of this kingdom was Jiaohe.” Bonavia (1988), p. 131.

“Turpan is principally an agricultural oasis, famed for its grape products – seedless white raisins (which are exported internationally) and wines (mostly sweet). It is some 80 metres (260 feet) below sea level, and nearby Aiding Lake, at 154 metres (505 feet) below sea level, is the lowest continental point in the world.” Ibid. p. 137.

“The toponym Turfan is also a variation of Tuharan. Along the routes of Eurasia there are many other place names recorded in various Chinese forms that are actually variations of Tuharan.” Liu (2001), p. 268."

-Notes to The Western Regions according to the Hou Hanshu. Second Edition (Extensively Revised and Expanded). John E. Hill. University of Washington.

[chinesehanfu]

【Han Dynasty Historical Reference Artifacts】:  

As early as the late Western Han Dynasty(206 BCE-25S CE), the High hair bun became popular, and it was no longer limited to the low hairstyle like early Western Han Dynasty (put the hair down and tied behind the back). Moreover, high hair bun it has been popular until the Eastern Han Dynasty(25–220)  and Wei & Jin Dynasty. According to the "Ballad in the City《城中谣》" of the Han Dynasty: 

城中好高髻，四方高一尺。 城中好广眉，四方且半额。 城中好大袖，四方全匹帛。

【Translate】

High buns are popular in the city, and people all over the world have buns that are one foot taller.

Wide eyebrow are popular in the city, and people in the world draw(eyebrow) half their foreheads.

Big sleeves are popular in the city, and people all over the world use whole pieces of cloth to make them.

※" Ballad in the City 《城中谣》" is a folk song in "Yuefu Poetry Collection Miscellaneous Songs and Ballads《乐府诗集·杂歌谣辞》". On the surface, it talks about the fashion and its variation in the Han Dynasty, but actually satirizes the social atmosphere of blindly following the trend at that time.

---------

In addition, There were also changes in the way of dressing in the Western Han Dynasty and Eastern Han Dynasty Period.

Left：Murals of the Eastern Han Dynasty from Dahuting Han tombs

Right: female pottery figurines of the Western Han Dynasty (presumably early Western Han Dynasty)

------------

Western Han Dynasty Mural Tomb unearthed from Xi'an University of Technology↓

Western Han Dynasty Mural,Unearthed from Cuizhuyuan Tomb No lin Qujiang New District of Xi'an, Shaanxi, in 2008

Western Han Dynasty Murals, Luoyang Museum Collection

Eastern Han Dynasty Mural in Lujiazhuang, Anping County/安平县逯家庄东汉壁画墓

[Hanfu · 漢服]Chinese Eastern Han Dynasty (25–220 A.D.) Traditional Clothing Hanfu Photoshoot

_______

📸Photo：@松果sir

👗Hanfu：@桑纈

📍Filming Location: Minhou, Fuzhou,China

🔗Weibo：https://weibo.com/3250619702/N4GoJiBmz

_______

[beehunni62]

Origins of the Pibo: Let’s take a trip along the Silk Road.

1. Introduction to the garment:

Pibo 披帛 refers to a very thin and long shawl worn by women in ancient East Asia approximately between the 5th to 13th centuries CE. Pibo is a modern name and its historical counterpart was pei 帔. But I’ll use pibo as to not confuse it with Ming dynasty’s xiapei 霞帔 and a much shorter shawl worn in ancient times also called pei.

Below is a ceramic representation of the popular pibo.

A sancai-glazed figure of a court lady, Tang Dynasty (618–690, 705–907 CE) from the Sze Yuan Tang Collection. Artist unknown. Sotheby’s [image source].

Although some internet sources claim that pibo in China can be traced as far back as the Qin (221-206 BCE) or Han (202 BCE–9 CE; 25–220 CE) dynasties, we don’t start seeing it be depicted as we know it today until the Northern and Southern dynasties period (420-589 CE). This has led to scholars placing pibo’s introduction to East Asia until after Buddhism was introduced in China. Despite the earliest art representations of the long scarf-like shawl coming from the Northern and Southern Dynasties period, the pibo reached its popularity apex in the Tang Dynasty (618–690 CE: 705–907 CE).

Academic consensus: Introduction via the Silk Road.

The definitive academic consensus is that pibo evolved from the dajin 搭巾 (a long and thin scarf) worn by Buddhist icons introduced to China via the Silk Road from West Asia.

披帛是通过丝绸之路传入中国的西亚文化, 与中国服饰发展的内因相结合而流行开来的一种"时世妆" 的形式. 沿丝绸之路所发现的披帛, 反映了丝绸贸易的活跃.

[Trans] Pibo (a long piece of cloth covering the back of the shoulders) was a popular female fashion period accessory introduced to China by West Asian cultures by way of the Silk Road and the development of Chinese costumes. The brocade scarves found along the Silk Road reflect the prosperity of the silk trade that flourished in China's past (Lu & Xu, 2015).

I want to add to the above theory my own speculation that, what the Chinese considered to be dajin, was most likely an ancient Indian garment called uttariya उत्तरीय.

2. Personal conjecture: Uttariya as a tentative origin to pibo.

In India, since Vedic times (1500-500 BCE), we see mentions in records describing women and men wearing a thin scarf-like garment called “uttariya”. It is a precursor of the now famous sari. Although the most famous depiction of uttariya is when it is wrapped around the left arm in a loop, we do have other representations where it is draped over the shoulders and cubital area (reverse of the elbow).

Left: Hindu sculpture “Mother Goddess (Matrika)”, mid 6th century CE, gray schist. Artist unknown. Looted from Rajasthan (Tanesara), India. Photo credit to Metropolitan Museum of Art, New York, United States [image source].

Right: Rear view of female statue possibly representing Kambojika, the Chief Queen of Mahakshatrapa Rajula, ca. 1st century CE. Artist unknown. Found in the Saptarishi Mound, Mathura, India. Government Museum, Mathura [image source].

Buddhism takes many elements from Hindu mythology, including apsaras अप्सरा (water nymphs) and gandharvas गन्धर्व (celestial musicians). The former was translated as feitian 飞天 in China. Hindu deities were depicted wearing clothes similar to what Indian people wore, among which we find uttariya, often portrayed in carvings and sculptures of flying and dancing apsaras or gods to show dynamic movement. Nevertheless, uttariya long predated Buddhism and Hinduism.

Below are carved representation of Indian apsaras and gandharvas. Notice how the uttariya are used.

Upper left: Carved relief of flying celestials (Apsara and Gandharva) in the Chalukyan style, 7th century CE, Chalukyan Dynasty (543-753 CE). Artist Unknown. Aihole, Karnataka, India. National Museum, New Delhi, India [image source]. The Chalukyan art style was very influential in early Chinese Buddhist art.

Upper right: Carved relief of flying celestials (gandharvas) from the 10th to the 12th centuries CE. Artist unknown. Karnataka, India. National Museum, New Delhi, India [image source].

Bottom: A Viyadhara (wisdom-holder; demi-god) couple, ca. 525 CE. Artist unknown. Photo taken by Nomu420 on May 10, 2014. Sondani, Mandsaur, India [image source].

Below are some of the earliest representations of flying apsaras found in the Mogao Caves, Gansu Province, China. An important pilgrimage site along the Silk Road where East and West met.

Left to right: Cave No. 461, detail of mural in the roof of the cave depicting either a flying apsara or a celestial musician. Western Wei dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 285 flying apsara (feitian) in one of the Mogao Caves. Western Wei Dynasty (535–556 CE), Artist unknown. Photo taken by Keren Su for Getty Images. Mogao Grottoes, Dunhuang, China [image source].

Cave 249. Mural painting of feitian playing a flute, Western Wei Dynasty (535-556 CE). Image courtesy by Wang Kefen from The Complete Collection of Dunhuang Grottoes, Vol. 17, Paintings of Dance, The Commercial Press, Hong Kong, 2001, p. 15. Mogao Grottoes, Dunhuang, China [image source].

I theorize that it is likely that the pibo was introduced to China via Buddhism and Buddhist iconography that depicted apsaras (feitian) and other deites wearing uttariya and translated it to dajin.

3. Trickle down fashion: Buddhism’s journey to the East.

However, since Buddhism and its Indian-based fashion spread to West Asia first, to Sassanian Persians and Sogdians, it is likely that, by the time it reached the Han Chinese in the first century CE, it came with Persian and Sogdian influence. Persians’ fashion during the Sassanian Empire (224–651 CE) was influenced by Greeks (hellenization) who also had a a thin long scarf-like garment called an epliblema ἐπίβλημα, often depicted in amphora (vases) of Greek theater scenes and sculptures of deities.

Left to right: Dame Baillehache from Attica, Greece. 3rd century BCE, Hellenistic period (323-30 BCE), terracotta statuette. Photo taken by Hervé Lewandowski. Louvre Museum, Paris, France [image source].

Deatail view of amphora depicting the goddess Artemis by Athenian vase painter, Andokides, ca. 525 BCE, terracotta. Found in Vulci, Italy. Altes Museum, Berlin, Germany [image source].

Statue of a Kore (young girl), ca. 570 BCE, Archaic Period (700-480 BCE), marble. Artist unknown. Uncovered from Attica, Greece. Acropolis Museum, Athens, Greece [image source].

Detail view of Panathenaic (Olympic Games) prize amphora with lid, 363–362 BCE, Attributed to the Painter of the Wedding Procession and signed by Nikodemos, terracotta. Uncovered from Athens, Greece. J. Paul Getty Museum, Los Angeles, California, United States [image source].

Roman statue depicting Euterpe, muse of lyric poetry and music, ca. 2nd century CE, marble, Artist unknown. From the Villa of G. Cassius Longinus near Tivoli, Italy. Photo taken by Egisto Sani on March 12, 2012, Vatican Museums, Rome, Italy [image source].

Greek (or Italic) tomb mural painting from the Tomb of the Diver, ca. 470 BCE, fresco. Artist unknown. Photo taken by Floriano Rescigno. Necropolis of Paestum, Italy [image source].

Below are Iranian and Iraqi period representations of this long thin scarf.

Left to right: Closeup of ewer likely depicting a female dancer from the Sasanian Period (224–651 CE) in ancient Persia , Iran, 6th-7th century CE, silver and gilt. Artist unknown. Mary Harrsch. July 10, 2015. Arthur M. Sackler Gallery of Asian Art, Smithsonian, Washington D.C [image source].

Ewer with nude dancer probably representing a maenad, companion of Dionysus from the Sasanian Period (224–651 CE) in ancient Persia, Iran, 6th-7th century CE, silver and gilt. Artist unknown. Mary Harrsch. July 16, 2015. Arthur M. Sackler Gallery of Asian Art, Smithsonian, Washington D.C [image source].

Painting reconstructing the image of unveiled female dancers depicted in a fresco, Early Abbasid period (750-1258 CE), about 836-839 CE from Jawsaq al-Khaqani, Samarra, Iraq. Museum of Turkish and Islamic Art, Istanbul [image source].

The earliest depictions of Buddha in China, were very similar to West Asian depictions. Ever wonder why Buddha wears a long draped robe similar to a Greek himation (Romans called it toga)?

Take a look below at how much the Greeks influenced the Kushans in their art and fashion. The top left image is one of the earliest depictions of Buddha in China. Note the similarities between it and the Gandhara Buddha on the right.

Left: Seated Buddha, Mahao Cliff Tomb, Sichuan Province, Eastern Han Dynasty, late 2nd century C.E. (photo: Gary Todd, CC0).

Right: Seated Buddha from Gandhara, Pakistan c. 2nd–3rd century C.E., Gandhara, schist (© Trustees of the British Museum)

Standing Bodhisattva Maitreya (Buddha of the Future), ca. 3rd century, gray schist. From Gandhara, Pakistan. Image credit to The Metropolitan Museum of Art, New York City, United States [image source].

Statue of seated goddess Hariti with children, ca. 2nd to 3rd centuries CE, schist. Artist unknown. From Gandhara, Pakistan. The British Museum, London, England [image source].

Before Buddhism spread outside of Northern India (birthplace), Indians never portrayed Buddha in human form.

Early Buddhist art is aniconic, meaning the Buddha is not represented in human form. Instead, Buddha is represented using symbols, such as the Bodhi tree (where he attained enlightenment), a wheel (symbolic of Dharma or the Wheel of Law), and a parasol (symbolic of the Buddha’s royal background), just to name a few. […] One of the earliest images [of Buddha in China] is a carving of a seated Buddha wearing a Gandharan-style robe discovered in a tomb dated to the late 2nd century C.E. (Eastern Han) in Sichuan province. Ancient Gandhara (located in present-day Afghanistan, Pakistan, and northwest India) was a major center for the production of Buddhist sculpture under Kushan patronage. The Kushans occupied portions of present-day Afghanistan, Pakistan, and North India from the 1st through the 3rd centuries and were the first to depict the Buddha in human form. Gandharan sculpture combined local Greco-Roman styles with Indian and steppe influences (Chaffin, 2022).

In the Mogao Caves, which contain some of the earliest Buddhist mural paintings in China, we see how initial Chinese Buddhist art depicted Indian fashion as opposed to the later hanfu-inspired garments.

Left to right: Cave 285, detail of wall painting, Western Wei dynasty (535–556 CE). Mogao Grottoes, Dunhuang, China. Courtesy the Dunhuang Academy [image source]. Note the clothes the man is wearing. It looks very similar to a lungi (a long men’s skirt).

Photo of Indian man sitting next to closed store wearing shirt, scarf, lungi and slippers. Paul Prescott. February 20, 2015. Varanasi, India [image source].

Cave 285, mural depiction of worshipping bodhisattvas, 6th century CE, Wei Dynasty (535-556 A.D.), Unknown artist. Mogao Grottoes, Dunhuang, China. Notice the half bow on his hips. That is a common style of tying patka (also known as pataka; cloth sashes) that we see throughout Indian history. Many of early Chinese Buddhist paintings feature it, including the ones at Mogao Caves.

Indian relief of Ashoka wearing dhoti and patka, ca. 1st century BC, Unknown artist. From the Amaravathi village, Guntur district, Andhra Pradesh, India. Currently at the Guimet Museum, Paris [image source].

Cave 263. Mural showing underlying painting, Northern Wei Dynasty (386–535 CE). Artist Unknown. Picture taken November 29, 2011, Mogao Grottoes, Dunhuang, China [image source]. Note the pants that look to be dhoti.

Comparison photo of modern dhoti advertisement from Etsy [image source].

Spread of Buddhism to East Asia.

Map depicting the spread of Buddhism from Northern India to the rest of Asia. Gunawan Kartapranata. January 31, 2014 [image source]. Note how Mahayana Buddhism arrived to China after passing through Kushan, Bactrean, and nomadic steppe lands, absorbing elements of each culture along the way.

Wealthy Buddhist female patrons emulated the fantasy fashion worn by apsaras, specifically, the uttariya/dajin and adopted it as an everyday component of their fashion.

Cave 285. feitian mural painting on the west wall, Western Wei Dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 285. Detail view of offering bodhisattvas (bodhisattvas making offers to Buddha) next to the phoenix chariot on the Western wall of the cave. Western Wei Dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 61 Khotanese (from the kingdom of Khotan 于阗 [56–1006 CE]) donor ladies, ca. 10th century CE, Five Dynasties period (907 to 979 CE). Artist unknown. Picture scanned from Zhang Weiwen’s Les oeuvres remarquables de l'art de Dunhuang, 2007, p. 128. Uploaded to Wikimedia Commons on October 11, 2012 by Ismoon. Mogao Grottoes, Dunhuang, China [image source].

Detail view of Ladies Adorning Their Hair with Flowers 簪花仕女图, late 8th to early 9th century CE, handscroll, ink and color on silk, Zhou Fang 周昉 (730-800 AD). Liaoning Provincial Museum, Shenyang, China [image source].

Therefore, the theory I propose of how the pibo entered East Asia is:

India —> Greek influenced West Asia (Sassanian Persians, Sogdians, Kushans, etc…) —> Han China —> Rest of East Asia (Three Kingdoms Korea, Asuka Japan, etc…)

Thus, the most likely theory, in my person opinion, is Buddhist iconography depicting uttariya encountered Greek-influenced West Asian Persian, Sogdian, and Kushan shawls, which combined arrived to China but wouldn’t become commonplace there until the explosion in popularity of Buddhism from the periods of Northern and Southern Dynasties to Song.

References:

盧秀文; 徐會貞. 《披帛與絲路文化交流》 [The brocade scarf and the cultural exchanges along the Silk Road]. 敦煌研究 (中國: 敦煌研究編輯部). 2015-06: 22 – 29. ISSN 1000-4106.