Product description

Product name: Fine Watermelon red vest bud shape long dress
Temperament conspicuous skirt is suits for temperament girl. It is all beautiful single wear or collocate a cardigan.

Main Feature:

Vest top, visually slim you.

Sleeveless, will flatter and beautify your arms.

Long bud shape sweep, exquisite.

Collocation waistband, will let your body slim.

Collocation wrap is also beautiful.

Quality artificial cotton/linen blends, soft and comfortable. You can wear it in the most occasions.

Color option:
1. mazarine: http://en.dawanda.com/product/19820341-Unique-Vest-Shape-Sweep-Long-DressNC016
2. watermelon red
3. wine red

Season: summer

Note: The waistband is not included in the package.

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Detail Info:

Material: artificial cotton/linen blends, It is soft and comfortable.

Care: machine wash cold and gentle, tumble low, line to dry; recommend laundry bag, it will help you to own a piece as new in a long run

Measurements:

Every piece is made to order, lead time is 5-7 working days.

Before ordering, please read our shop policy, By placing an order with us you agree to these terms: http://en.dawanda.com/shop/Stylishcasual/info#terms

( The model’s height is 5’8” and she is wearing the piece in size M )

You may pick up a size below and DO let us know your HEIGHT to calculate length for you when you pay.

We also accept custom made to fit. Please give us your measurements on bust, waist, hips and height when you pay (I will send you measurement guide if needed). If you have some specific request or special character
such as broad shoulder, long arms, long waist, etc you think we need to pay attention to when making, do let us know.)

Shop sizing chart FYI (made according to Europe/US sizing)

SIZE XS(German 30-32, US S 0-2, UK 6-8, Italian 36-38, French 32-34)
bust: fits bust around 32.5”-33.5”/81-85cm
Waist: fits waist around 25”-26”/63.5-66cm
Hips: fits hips around 35”-36”/89-91cm

SIZE S(German 34-36, US S 4-6, UK 10-12, Italian 40-42, French 36-38)
bust: fits bust around 34.5”-35.5”/87-90cm
Waist: fits waist around 27”-28”/68.9-71cm
Hips: fits hips around 37”-38”/94-97cm

SIZE M(German 38-40, US S 8-10, UK 14-16, Italian 44-46, French 40-42)
bust: fits bust around 36.5”-37.5”/92.7-95cm
Waist: fits waist around 29”-30”/74-76cm
Hips: fits hips around 39”-40”/99-102cm

SIZE L(German 42-44, US S 12-14, UK 18-20, Italian 48-50, French 44-46)
bust: fits bust around 39”-40.5”/99-103cm
Waist: fits waist around 31.5”-33”/80-84cm
Hips: fits hips around 41.5”-43”/105-109cm

For custom made order, the custom rate is 8EUR to cover extra fabrics and shipping cost.kindly see our shop policy.

Please feel free to contact me with any question, We’d love to help!
Materials utilised

artificial cotton/linen blends
Production method

Handmade
Customisation options

Farbe und Größe

Chinese Culture: Chinese Embroidered Shoulder Bag

Chinese Culture: Chinese Embroidered Shoulder Bag: "Chinese embroidery is the art or handicraft of decorating fabric or other materials with needle and thread or yarn. Embroidery may also ..."

Facial Makeups-Beijing Opera masks

The art of facial makeups in Chinese operas boasts a long history. In ancient China, there was a form of dance called nuo which was performed at ritual ceremonies to frighten off the ghosts and evil souls and to relieve people of epidemics. Masks were used by performers when they danced. In some areas the nuo ritual ceremonies were later transformed into theatrical performances. Another example of using masks was that of Prince Lanling of the Northern Qi Period (550-577 A. D. ) . It is said that Prince Lanling excelled in martial arts but was too handsome to terrorize the enemy. So he al ways wore a ferocious-looking mask in battles in order to overwhelm the enemy. This story was later brought onto the stage in the Southern and Northern Dynasties as well as in the Sui and Tang dynasties (420-907 A. D. ) . The masks used by the performers at the ritual ceremonies and in the performing art undoubtedly had a bearing on the origination of the facial makeups. In the Tang Dynasty(618-907 A.D. ) , masks continued to be applied in low comedy, and at the same time artists started to dye their faces in portrayal of super-human beings. In the Ming Dynasty(1318-1644 A.D.) , division of roles among actors became more classified on the basis of the Yuan Dynasty (1271- 1368 A.D.) operas and the facial makeups were gradually standardized. In the Qing Dynasty(1644-1911 A.D. ) , with the springing up of Beijing Opera, the art of facial makeups was increasingly perfected. And toward the end of the Qing Dynasty, the facial makeups for different categories of characters became finalized.

Facial makeups are a special art in Chinese operas which distinctly show the appearances of different roles as well as their dispositions and moral qualities by means of artistic exaggeration combined with truthful portrayal and symbolism. Facial makeups also serve to express praise or condemnation toward the characters.

In some local operas, facial makeups are applied to all the different roles while in Beijing Opera, the most representative of Chinese operas, facial makeups are limited only to the roles of jing and chou. A chou is characterized by his white-painted nose which gives a comic effect and there are relatively few facial makeup patterns for a chou role. There are a large variety of facial makeup patterns for jing in Beijing Opera, namely, "whole face", "three-tile face", "quartered face", "six-division face", "tiny-flowered face" , "lopsided face" , etc.

beijing operaDifferent colours such as red, yellow, blue, white, black, purple, green, gold and silver are used for facial makeups. The main colour in a facial makeup symbolizes the disposition of the character. Red indicates devotion, courage and uprightness. Yellow signifies fierceness, ambition and cool-headedness. Blue represents staunchness, fierceness and astuteness. White suggests sinisterness, treacherousness, suspiciousness and craftiness. Black symbolizes roughness and fierceness. Purple stands for uprightness, sophistication and cool-headedness. Gold and silver colours are usually used for gods and spirits.

Facial makeups are not only a special art in Chinese operas, but also an art of ornamental design, and have become a new variety in Chinese painting.

Chinese Embroidered Shoulder Bag

Chinese embroidery is the art or handicraft of decorating fabric or other materials with needle and thread or yarn. Embroidery may also incorporate other materials such as metal strips, pearls, beads, quills, and sequins.A characteristic of embroidery is that the basic techniques or stitches of the earliest work—chain stitch, buttonhole or blanket stitch, running stitch, satin stitch, cross stitch—remain the fundamental techniques of hand embroidery today.

The Embroidered shoulder bags are made from denim, velvet, and canvas with extra beautiful material such as sequins, white twisted threads, long bead, and circle bead. So that it looks like the twinkle of the stars under lights. Embroidered by hand and fully lined with satin polyester. The bottom has a firm base. The lip is closed with a recessed popper. In the inside is a zipped pocket for the valuable items.

Exquisite colours and fresh design make these embroidery shoulder bags perfect accessory for your outings Hand-embroidered elaborately on both sides of the embroidery shoulder bag show smart combination of colours, which not only features attractive but unique image as well. The bags are ideal for any occasion.

Miao people are also adept at embroidery. Their Miao embroidered bag uses sharp contrast of color and primitive design to express a mysterious flavor while embroidered by Miao people shows their passion in religion.

Chinese Baby Tiger-head shoes and Clothing

Tiger-head shoes is a kind of Chinese tradition folk handicraft manufacture baby shoe. The toe looks like a tiger so called tiger-head shoes. They have the practical value, but also have the ornamental value , at the same time is a mascot. They were given the function of exorcism and evil spirits.

A pair of authentic standards of the tiger-head shoes must be all sewn by hand. From the collection of fabrics, make shoe soles, upper, embroidered tiger face, sticky shoes edge, until sewn the upper and soles together, a pair of tiger-head shoes are basically completed.

Tiger-head shoes have great practical value.
The first, they have the spacious interior and wide soles, suitable for one-year-old girl to wear. They are conducive to growth and development of children's feet, but also can keep warm. That are able to protect the child's feet safety, also enabled a large area of the shoes touch the ground, help children to walk more steady , can promote physical and moral health of children.

Second, Tiger-head shoes have the well gas permeability, attract the perspiration, and environmental protection, no the smelly foot, so very suitable for a girl just learning to walk. In a word, Tiger-head shoes have the gorgeous color collocation and lifelike modeling can meet people's esthetic appeal, also by the image of tiger passed love and blessing to their children.

The Artistic Characteristics of Chinese Puppetry

1.The Modeling of Chinese Puppetry
During the Yuan. Ming and Qing dynasties.puppet shows gradually spread from the cities to the countryside. Puppet shows from various places had their own unique characteristics with strong local color in terms of figure modeling. String puppets from Quanzhou and Heyang. glove puppets from Zhangzhou.rod puppets from Guangdong. wire puppets from Chaozhou.shoulder-pole puppets from Wuqiao and large rod puppets from Sichuan were all finely and vividly crafted. They had all types of roles-the Sheing dan.jing and chou-as in Chinese opera. Among the puppet carvers during that period the best-known were jiang Jiazou and Xu Ziqing.Since the Republican era. especjally in the last few decades. Chinese puppet troupes have become highly professional. Puppet shows are no longer performed in the open air by itinerant artists. but instead in modern theaters. Puppets are modeled with modern techniques. Generally speaking. China`s puppet design and modeling have reached a considerably high level and are able to keep pace with the times. Development of Chinese puppet modeling can be divided into three stages:
 

The first stage puppets featured 70 percent painting and 30 Percent carving.Puppet heads were carved in a simple fashion and then their faces were painted in accordance with the characters they represented.

The second stage stressed both carving and painting. Puppet makers began to attach great importance to creativity and carving techniques and professional puppet makers and puppet-making workshops appeared. The first and second stages covered the time before the Ming-Qing period.

The third stage witnessed the development of plastic arts and freedom in creation. Modern puppet makers make full use of new materials according to the needs of plays and the requirements of modern aesthetics. Their puppets. characteristic of artistic exaggeration. fully exhibit the unique quality of puppetry and have broken free from the conventions of Chinese opera in deiineation of characters. This stage marks a prosperous era unknown in the history of Chinese puppet modeling.

2.The Mechanisms of Chinese Puppetry

Puppet art has two major aspects: modeling and performing arts. Mechanisms and modeling are a unified whole and a means to suit the performance. Together they provide the preliminary aspect in the per forming art of puppet shows. The mechanisms of Chinese puppets are becoming increasingly complicated. Following are the most important types of puppets in China: Rod Puppets They are wide spread in China. They range in length from a inches to that of an average adult. and vary from place to place.

Rod puppets are manipulated by a main rod which is inserted through the neck and attached to the head. and two rods which control the hands. Hence. in some areas the rod puppet is called ``Three Rods.`` The hand rods can be placed either in or outside the sleeves. The head is carved from wood. Mechanisms in the hollow head move the eyes and mouth. The main rod. made either of wood or bamboo. runs through the neck to the head. with the length varying from place to place. The hand rods are attached to the elbow and wrist. Puppets with the hand rods concealed in the sleeves are used in traditional operas. The bulky costumes used for Chinese opera provide ample space for manipulatingthe rods. resulting in lifelike actions. Puppets with the hand rods outside the sleeves have a bent main rod. it is less tiring for the per former to raise the puppet by holding the bend at the end of the main rod and easier for him to manipulate. The head of the puppet with the hand rods placed outside the sleeves can be made of papier mache. and these are light and easily manipulated by the main rod. In addition. there is a large hollow space for additional mechanisms that help the puppet enrich its facial expressions. As the hand rods are placed outside the sleeves. the body can be molded to meet the needs of the character Instead of wood and plastic. the hands are now shaped with resin and wire has been. used to replace wood or bamboo as the material for making hand rods. Rod puppets have no feet. and unattached legs are used for kicks and other leg movements.(Fig.3-4) Due to constant improvements on the making and manjpulation of rod puppets. this type of puppetry is still very popular in China.

String Puppets About two feet in height. the string puppet consists of a head. torso. limbs and control board. The head is carved from camphor. Chinese linden or willow wood. Mechanisms contained in the head can make the five sensory organs move as the situation requires. he torso is woven with bamboo filaments. The hads of warriors have oexible fists capable of wielding weapons. The agile hands of a gentleman can hold small props such as a writing brush. a cup or a folding fan. The feet can be fitted with either boots or ladies` slippers. and. if desired. can remain bare. The strings used to control the puppet are about 3 feet long. With the development of Chinese puppetry. large stages are now used for string puppet performances. The Quanzhou Puppet Troupe in Fujian has introduced innovations in its stage structure. With the puppeteers standing on a bridge above the platiorm. there is more stage area for the puppets. the strings used to control them have been extended to six feet. Although this increases the difficulty of manipulation. it can make the puppets perform more vividly Generally. 16 strings are used. However.their number can be increased or decreased as the situation demands. Puppets in Heyang. Shaanxi have only five strings. but they can be increased to more than 30 for complicated tricks. Wire Puppats which evolved from shadow plays. are very popular in eastCrn Guangdong and western Fujian. They are called paper shadow plays in Chaozhou and Shantou. They measure about 1-1.5 feet in length with painted heads made of clay. bodies carved out of tung wood. papier mache hands and wooden feet.They are controlled by three metal rods - one main rod and two side rods. all fixed with bamboo handles. The puppeteer either stands or sits behind the puppet when manipulating. In recent years. the puppct has been improved by increasing its length and adjusting the placement of the control rods.

Glove Puppets Also called palm puppets. consist of a head. a body and clothing. Glove puppets. about a foot in length. are most popular in Fujian`s Zhangzhou and Quanzhou. Carved out of camphor wood. the head contains mechanisms used to control facial muscles. The hands are either open or clenched.The puppeteer inserts his forefinger into the hollow neck and his thumb and middle finger into each sleeve to control the head and hands. In order to enrich the arm movements. a thin bamboo stick is placed in the sleeves and turned. Skilled puppeteers can make their puppets do highly difficult actions such as opening a folding fan. changing clothes. brandishing a sword. fighting and jumping out of a window. all to the surprise of the audience. Chinese rod puppetry boasts a rich repertoire which includes not only traditional items but also modern plays. mythical plays and fairy tales. (Fig.3-5)

Apart from the aforesaid types of puppet. water-activated and gunpowder-activated puppets can still be found in China but their influence is insignificant. Although human puppets still perform. they are regarded as folk art confined to certain regions.

3.Chinese Puppetry Show Stage Art

As puppets ore used to imitate human beings. the stage for puppet shows must have the function of hiding the puppeteers from view. separating the audience from the performing platform and focussing audience attention on the puppets.

In stage art. Chinese puppetry used to follow the tradition of Chinese opera. In the past. most string puppet shows were performed on a stage open on three sides with a back curtain to conceal the puppeteers and two doors marked with the words ``Minister in Court.`` and ``General in Battle`` respectively for the puppet characters to enter and exit. The stage for glove puppet shows is built of wood in palatial architecture. gilded and beautifully painted. it can also be disassembled and reassembled easily. making it possible to use the space on the stage in a better way. Elegant and graceful. most glove puppet sages are actually beautiful works of art. Over the past few decades. Chinese puppetry has developed into a fully-fledged stage performance. While inheriting and developing the tradition of the art. it learned the strong points of modern dramatic art and improved its stage design by employing new materials. modern sound and light effects. illumination and sets to enhance its performance.

Chinese puppetry undetwent tremendous changes during the 1970s and 1980s.Great efforts were made to bring the unique feature of the puppet to the forefront. Instead of performing stylized movements as in Chinese opera. puppets were made to perform as naturally as possible. Puppeteers often performed without any screen or Curtain to conceal them and sometimes different types of puppets appeared in the same play. Inspired by the effect of using colors not easily discernible by the eye. puppeteers performed in black velvet costumes in front of a black velvet backdrop. This and modern stage devices gave the audience the illusion that the stage was much laopr than it really was and attracted their attention to the maximum. Outstanding productions of stage design during the past decades include The Story of the Goldfish Monkey King Makes Havoc in Heaven. and Chang E Goes to the Moon which are traditional plays. the modern play of Heroic Little Soldiers of the Eghth Route Army and Magic Aster.

Tibetan Buddhism -- Rosary Prayer Beads

Tibetan Buddhism, the system characteristics of Buddhists, formed in the latter half of the 10th century, began spreading in Mongolia in 13th century. Nowadays, more than two-thirds world populations are doing religious prayers every year.

Tibetan Buddhism is the main body of Tibetan religion and culture which is an important feature of Tibetan religion. Prayer is a faith with words and body language to express their praises to the god, ceremonies of thanksgivings and supplications. Its main purpose is to pray to the gods desire to achieve and meet their hopes. The prayer tools of Tibetan Buddhist supplies, the common are prayer beads, rosary bracelets, Buddha bracelet, mala bracelet, etc. 

Rosary prayer beads originated early in Hinduism, it is an important prayer in Christianity, Islam, Buddhism and Hinduism. Rosary’s original meaning was Rose Garden, as a symbol of perfect. Rosary beads has different types: beads, known as “Japa,” meaning "garland"; Mara, is the integration of body and mind, a good combination of materials which gives better help to meditation.

Prayer beads, plays an important role in religion, stability people’s mind, not only the symbol of merit, compassion, kindness, good fortune, but also a beautiful decoration. The real meaning of prayer beads is the expression of respect, gratitude and nostalgia, dedicate life and conscious life. One of the mother beads of prayer beads expresses the enormous power of Buddha. Although prayer beads strung, it also can be separated to show the various merits of Bodhisattva merit which can get rid all our troubles. And the ring-shape of prayer beads, symbol the successful ending of Buddha. 

Now, Rosary bracelets become more and more popular over the world, common used in Tibet, Korea and Japan. The rosary beads which composed of rosary bracelets have different meaning according to quantities of beads: the rosary bracelets should wear on the hand at any time, remind people to kind to others. The rosary bracelets usually wear on the left hand, for Taoism said the left hand is represents kindness.