#dajin

[ancatss]

the sillies

[nexkaya]

I made these bc I couldn’t find any on Pinterest so here

[choi-yujin-folder]

[240615] Yujin Twitter update: Kep1er’s VOYA9E (Goodbye Kep1erving)

행복한 시간들💕

Happy times 💕

Source: https://x.com/official_kep1er/status/1801889065136185732

[kep1er-net]

official_kep1er: [🎶Tiktok] ✨오카네 카세구 오레라와 스타✨ https://vt.tiktok.com/ZS2PgFMvq/

[cymraegdragon21]

Watched Suzume and caught a small reference to Muta on the train in Whisper of the Heart 🐈‍⬛️🐈

[fictionalcharacteradoptionagency]

UP FOR ADOPTION!

[blackhart212]

[samuraiblack]

beach side. 

drawing strangers off the internet.

november 2022

[ziseviolet]

Ganluyan temple, located on a cliff in Dajin Lake Scenic Area, Taining County, Fujian Province, China. (Source)

[mooyuringwaves]

Things that I find interesting in Wuthering Waves.

The character tacet mark moves and gets bigger when resonance liberation is ready.

Characters look around when sitting.

Rover gets dizzy using Havoc because is the most self damaging element, the same happens with Dajin, but she loses hp.

Some NPC soldiers can be called to help you or you can follow them, the things that they kill will be transferred to you. Also if they die, they will not reset unless you log again, in lore they’re dead and a new soldier is replacing them.

NPCs will salute you if they’re guarding the entrance of military bases.

Is implied that Rover visited Solaris-3 at least 3 times, one time saving Huanglong, an unknown time and the actual one.

When Sanhua sees the frequencies in normal resonators she sees their overclocked form. Only the ones linked to the centinels and Rover look normal.

The 1.0 Jinzhou city is not the capital of Huanglong, the country has 5 cities. Jinhsi was visiting the capital during the 3 days break. Also Huanglong is not the only country.

In the south part of the map players will find more scientists, travelers and Exiles and in the north players will find more TD's and more Fractidus.

This is because the military base at Desorock Highland and the military force of Jinzhou work as a barrier of the Threnodian advance. Jinzhou is the bordering city.

Yangyang got feathers in her hair because she overcloked, she is very sensitive to the frequencies of the wind and air so she can “read the wind”.

Genshu Lin was the one that stopped alone the first formation of the Threnodian embodiment of War.

[beehunni62]

Fishskin Robes of the Ethnic Tungusic People of China and Russia

Oroch woman’s festive robe made of fish skin, leather, and decorative fur trimmings [image source].

Nivkh woman’s fish-skin festival coats (hukht), late 19th century. Cloth: fish skin, sinew (reindeer), cotton thread; appliqué and embroidery. Promised gift of Thomas Murray L2019.66.2, Minneapolis Institute of Art, Minnesota, United States [image source].

Back view of a Nivkh woman’s robe [image source].

Front view of a Nivkh woman’s robe [image source].

Women’s clothing, collected from a Nivkh community in 1871, now in the National Museum of Denmark. Photo by Roberto Fortuna, courtesy Wikimedia Commons [image source].

The Hezhe people 赫哲族 (also known as Nanai 那乃) are one of the smallest recognized minority groups in China composed of around five thousand members. Most live in the Amur Basin, more specifically, around the Heilong 黑龙, Songhua 松花, and Wusuli 乌苏里 rivers. Their wet environment and diet, composed of almost exclusively fish, led them to develop impermeable clothing made out of fish skin. Since they are part of the Tungusic family, their clothing bears resemblance to that of other Tungusic people, including the Jurchen and Manchu.

They were nearly wiped out during the Imperial Japanese invasion of China but, slowly, their numbers have begun to recover. Due to mixing with other ethnic groups who introduced the Hezhen to cloth, the tradition of fish skin clothing is endangered but there are attempts of preserving this heritage.

Hezhen woman stitching together fish skins [image source].

Top to bottom left: You Wenfeng, 68, an ethnic Hezhen woman, poses with her fishskin clothes at her studio in Tongjiang, Heilongjiang province, China December 31, 2019. Picture taken December 31, 2019 by Aly Song for Reuters [image source].

Hezhen Fish skin craft workshop with Mrs. You Wen Fen in Tongjian, China. © Elisa Palomino and Joseph Boon [image source].

Hezhen woman showcasing her fishskin outfit [image source].

Hezhen fish skin jacket and pants, Hielongiang, China, mid 20th century. In the latter part of the 20th century only one or two families could still produce clothing like this made of joined pieces of fish skin, which makes even the later pieces extremely rare [image source].

Detail view of the stitching and material of a Hezhen fishskin jacket in the shape of a 大襟衣 dajinyi or dajin, contemporary. Ethnic Costume Museum of Beijing, China [image source].

Hezhen fishskin boots, contemporary. Ethnic Costume Museum of Beijing, China [image source].

Although Hezhen clothing is characterized by its practicality and ease of movement, it does not mean it’s devoid of complexity. Below are two examples of ornate female Hezhen fishskin robes. Although they may look like leather or cloth at first sight, they’re fully made of different fish skins stitched together. It shows an impressive technical command of the medium.

赫哲族鱼皮长袍 [Hezhen fishskin robe]. Taken July 13, 2017. © Huanokinhejo / Wikimedia Commons, CC BY 4.0 [image source].

Image containing a set of Hezhen clothes including a woman’s fishskin robe [image source].

The Nivkh people of China and Russia also make clothing out of fish skin. Like the Hezhen, they also live in the Amur Basin but they are more concentrated on and nearby to Sakhalin Island in East Siberia.

Top to bottom left: Woman’s fish-skin festival coat (hukht) with detail views. Unknown Nivkh makers, late 19th century. Cloth: fish skin, sinew (reindeer), cotton thread; appliqué and embroidery. The John R. Van Derlip Fund and the Mary Griggs Burke Endowment Fund; purchase from the Thomas Murray Collection 2019.20.31 [image source].

Top to bottom right: detail view of the lower hem of the robe to the left after cleaning [image source].

Nivkh or Nanai fish skin boots from the collection of Musée du quai Branly -Jacques Chirac. © Marie-Lan Nguyen / Wikimedia Commons, CC BY 4.0 [image source].

Detail view of the patterns at the back of a Hezhen robe [image source].

Read more:

[ancatss]

BUCCHIGIRI?! discord server

do you like bucchigiri and/or jin marito and/or catboys and/or gay people.... consider joining a server made just for people like you!!! ^^ you'll find custom emotes and roles, fun channels and events along with a small but friendly community of bucchigiri fans! We talk about arajin and matakara kissing. JOIN NOW! (16+)

[nemainofthewater]

Best character surnamed: Du

Come and vote for the best characters with the same surname!*

What does best mean? It's up to you! Whether you love them, are intrigued by their characters, love to hate them, or they're your '2 second blorbos whose personality you made up wholesale', these are all reasons for you to vote for your favs!

*note, the surnames are not exactly the same in all the cases, as often there will be a different character. I am, however, grouping them all together otherwise things got more complicated.

Propaganda is very welcome! If I’ve forgotten anyone, let me know in the notes.

This is part of a larger series of ‘best character with X surname’ polls’. The overview with ongoing polls, winners, and future polls can be found here

[choi-yujin-folder]

[240812] Yujin Twitter update: HAPPY YUJIN DAY🎉

우리 리더 언니 생일 축하해요🥳🎉❤️ 언니를 바라보는 제 시점 일상이 귀여운 언니 사진들을 가져왔어요 ๑>ᴗ<๑ 저랑 12시간 이상은 꼭 붙어 있는 떼놓을 수 없는 존재인데😝 앞으로도 맛있는 거 먹으러 다니고 재밌는 거 많이 하러 가요❤️❤️

Happy birthday to our leader unnie 🥳🎉❤️ From my perspective of looking at unnie I brought you some cute pictures of my unnie's daily life ๑ > ᴗ < ๑ She's someone I can't be separated from for more than 12 hours😝 Let's continue to eat delicious things and do a lot of fun things ❤️❤️

Source: https://x.com/official_kep1er/status/1822840058795495777 - posted by Bahiyyih

[kep1er-net]

yujin update ☆ bubble messages

[audreydoeskaren]

Abridged History of Qing Dynasty Han Women’s Fashion (part 5: Late Qianlong & Jiaqing eras)

(artwork from 1782)

Previous posts:

Late Ming & Shunzhi era

Kangxi era

Late Kangxi & Yongzheng eras

Qianlong era

The last two decades of the Qianlong era, the 1780s and 90s, formed one aesthetic continuity with the reign of Qianlong’s successor Jiaqing (1796-1820). This period was characterized by a turn to extreme formal simplicity and what I believe to be a revival of the tastes of the Ming-Qing transition.

We see sleeves of women’s robes, tight fitting and short to create a practical look in the previous era, become wider and longer. The folded cuff design was retained, though now more difficult to manage as the sleeves became wider. In the last post I discussed how the construction of dajin similar to Manchu men’s fashion became en vogue among Han women and replaced the earlier center front closing robes----this remained the same. We see some of the first instances of binding strips being used around the collar and the dajin, which would become a highly popular and elaborate craft later in the 19th century. Around this time, the binding strips used were usually thin and minimal, commonly of a black color. Plain cloth or bead tip buttons were popularized earlier in the Qianlong era, and metal clasp buttons (zimukou) became increasingly rare. The shape of the standing collar remained the same as that of previous centuries, soft, unstiffened and tall.

Artwork from 1796 showing a group of courtesans. You can see the black binding on some of their robes. A note about the dating of this artwork: while it’s quite a common reference image for Jiaqing era fashion, I wasn’t able to find an exact date until I read about it in the book Pictures for Pleasure and Use by James Cahill (spectacular book discussing the importance of vernacular and commercial art, highly recommend) and he said the date of creation was signed in the cyclical calendar and corresponds to either 1736 or 1796. He was inclined to 1736 because of “similar face shapes” or something to Yongzheng era artworks, but since he wasn’t a fashion historian he probably wasn’t aware that the fashions depicted here would not have been possible before the 1780s, so I think 1796 is instead the correct date.

Late Qianlong/early Jiaqing era artwork, showing two austerely (and fashionably) dressed women.

The more radical departure from the previous era, however, was the complete eradication of ornament. Robes and skirts of this era were often entirely plain, with no brocaded patterns or embroidery of any kind. Gone were the roundel patterns, quatrefoil motifs on collar facings and decorative strips around skirts----only solid color blocks remained. Pastel colors like light pink, blue and green were among the most popular for robes besides bright blue and red, whereas skirts were white or black.

Late Qianlong/early Jiaqing era paintings of the Anglo-Chinese school showing the new style of plain garments.

Artwork from the era showing a woman in a light mustard robe with dusty pink cuffs, white skirt and red sash (sashes were still commonly worn).

The other significant changes happened in hairstyling. The 1780s did away with the iconic tall knots of the earlier Qianlong era, instead moving the mass and volume of hair toward the back. We see the re-emergence of the swallow tail. The front of the hair could be middle parted or completely pulled back. Flowers and other ornaments could be worn on the sides of the hairdo, behind the ears. The general shape of hairstyles stressed horizontality rather than verticality, as was the case before.

A 1943 copy of a turn of the 19th century original, showing the front and back of hairstyles.

Bust portrait showing the new hairstyle.

A unique hair accessory of the 1780s and 90s was a new iteration of the mo’e, which now had a sharply pointed triangular front and was worn high on the head instead of at the forehead. I think it became less common as the 19th century approached.

Export artwork showing a woman musician, likely 1770s or 80s as she is still wearing the ornamented, center front closing robes popular in previous decades.

Minimalism was not to last long, however, and soon decorative patterns began to reappear on robes, sleeve cuffs and skirts. Hairstyles began to gain volume and became more puffed, forming a sort of face framing crown. New styles of decorating skirts appeared, with binding going around the qunmen and the edge of each pleat, and embroidery on each individual pleat. The rectangular or circular patterned patch popular prior to the 1780s returned.

Early 19th century export painting at the Brighton Pavilion, maybe 1810s. We can see roundel patterns on the blue robe, embroidery on the cuffs and skirt, and the lady in red wears a pointed mo’e.

Presumably later Jiaqing era artwork, ca. 1810s, showing a group of women. Floral embroidery is present on the sleeve cuffs, the skirts are decorated.