Lishui (sea-waves)
Lishui or shuijiao is a set of parallel diagonal, multicoloured sea-waves/line patterns. It originated in China where it was used by the Qing dynasty court prior to the mid-18th century. Lishui represents the deep sea under which the ocean surges and waves; it is therefore typically topped with "still water", also called, which is represented by concentric semicircle patterns which runs horizontally. Lishui was used to decorate garments, including the bottom hem and cuffs of some of the court clothing of the Qing dynasty. It could be used to decorate as wedding dress items. It is also used to decorate Chinese opera costumes, typically on the bottom hem of the costumes. It was also adopted in some court clothing of the Nguyen dynasty in Vietnam under the influence of the Qing dynasty.
Cultural significance and symbolism
In ancient China, embroideries on clothing were not only used as a mean to embellish clothing but also held symbolic meanings.When used on dragon robes, lishui could be combined with turbulent waves and a rock in the middle of the clothing. Lishui represents the deep water; the rock represents the, which is the representation of the Universe or the Earth. The turbulent waves were buddhist elements. Waves patterns are often used to represent tides which is the homophone and symbolism for the court. Therefore, when worn together, these motifs mean that the wearer of clothing is the "centre of the symbolic universe" being the ruler over the waters, the Earth and Heavens. Lishui could be found in the five colours. Sometimes, within the waves pattern, other religious and auspicious Chinese symbols were added, such as clouds.
History
In the Ming dynasty, patterns of sea "waves breaking against rocks" were already in use in the Emperor's dragon robe in the early 16th century in order to create a cosmic landscape for the imperial dragons. Other forms of court robes in Ming dynasty worn by nobles, officials and their wives also used ocean waves patterns in the form of concentric semicircles as clothing ornaments.After the conquest of the Ming dynasty by the Manchu and the establishment of the Qing dynasty, the Manchu rulers inherited the dragon robes of the Ming dynasty which they would refit and modify these robes by adding their own their own Manchu-style features similarly to how the Manchu used to modify the dragons robes bestowed by the Ming dynasty prior to the Ming dynasty conquest. Some early designs of the Qing dynasty jifu showed patterns of woshui at the bottom hem of the robe but did not have the presence of lishui; this form of dragon robe eventually disappeared in the mid-18th century, possibly having fallen out of fashion.
By the end of the 17th century, the Manchu rulers wanted to re-imagine the imagery of their dragon robes to emphasize on the centrality of the emperor within the cosmos and within the imperial court. The Manchu rulers thus decided to redesign and regulate the decorative patterns found on their court robes by introducing and applying elaborate pattern designs on their court robes. Designs and construction of the Qing dynasty court robes were enacted and regulated through imperial edicts; the dress code was a mixed of Manchu and Ming dynasty Chinese traditions in terms of prescribed designs. The decorative patterns and visual motifs used by the Manchu rulers were adopted from the Han Chinese's adornment designs, decorations, and symbols rooted in Taoism and Buddhism; they were then adapted into new set of designs. Lishui was thus added to on the bottom hem and/or on the sleeves of the court robes. Lishui found on the bottom of robes were initially short in length but gradually increased in length until the end of the dynasty.