Zhang Ruying’s Notes: From《中国妆束：大唐女儿行》Clothing (Late Tang Dynasty 晚唐 & Five Dynasties)

Table of Contents

• Introduction
• About《中国妆束：大唐女儿行》
• Late Tang Dynasty (晚唐) and Five Dynasties: Recalling The Past After Meeting Among Flowers
• Pi Shan (披衫 ; pī shān)
• Ke Dang (衤盖裆 ; kè dāng)
• Ku/Trousers (袴 ; kù) and Long Skirt
• Hua Chanqun (花襜裙 ; huā chān qún) (Knee-Covering Skirt (花蔽膝 ; huā bì xī))

Introduction

Hello,

I’m 张儒英 Zhang Ruying, and I have a deep passion for traditional Chinese clothing.

Recently, I came across a fascinating book titled《中国妆束：大唐女儿行》by 左丘萌 and 末春. The book delves into the intricate fashion and beauty practices of the Tang dynasty (618-907), and I found it incredibly insightful. To better understand parts of it, I translated sections that I found challenging. I also made notes (written in English) along the way to help deepen my understanding.

Now, I’m thrilled to share these notes with you! I aim to help us all gain a deeper appreciation for the elegance and historical significance of traditional Chinese attire, which is so rich in history and beauty. All the information in these notes comes from the book 《中国妆束：大唐女儿行》.

About《中国妆束：大唐女儿行》

《中国妆束：大唐女儿行》(Zhōng Guó Zhuāng Shù: Dà Táng Nǚ’ér Xíng) by 左丘萌 (Zuǒ Qiūméng) and 末春 (Mò Chūn) attempts to reinterpret the true fashion of women’s makeup and attire during the Tang dynasty, based on archaeological findings of Tang artifacts.

It contrasts these findings with historical records and unearthed documents to reframe how the Tang people themselves might have viewed fashion in their time.

The book covers from the Sui dynasty to the Five Dynasties, and is divided into four sections: Qi Luo 绮罗 (clothing), Lin Lang 琳琅 (accessories), Fen Dai 粉黛 (makeup), and Ji Huan 髻鬟 (hairstyles).

Each section carefully examines and details the names, styles, and combinations of different makeup and attire from that period.

The book selects well-known historical figures, such as Yang Guifei, Wu Zetian, Shangguan Wan’er, Nie Yinniang, Princess Tongchang, and others, based on existing archaeological findings, makes informed speculations to restore the possible makeup and attire of these figures. The book reconstructs their clothing, accessories, hairstyles, makeup, and scenes, all supported by historical sources.

And here, I present Part 5, which is the final section of the Qi Luo 绮罗 (Clothing).

(#ZhangRuying’sNotes for the previous notes)

晚唐五代：忆昔花间相见后

Late Tang Dynasty (晚唐) and Five Dynasties: Recalling The Past After Meeting Among Flowers

With the《花间集》(Huā Jiān Jí) as a representation, this refined and graceful style of poetry developed during the Late Tang dynasty and reached its peak during the Five Dynasties period.

It originally consisted of a collection of lyrics intended for singers, containing popular lyrical works from the late Tang dynasty and the Five Dynasties.

This melancholic melody carries the sound of sorrow from a fallen country, with much grief caused by separation and longing, as well as a sense of loss of the homeland, which can only be momentarily alleviated by the imagery of “scattered flowers and almost finished wine,” weaving personal sadness into words that transform softly, like silk and elegant fine cloth.

In terms of clothing, the《花间集》also serves as an excellent reference text for understanding women’s fashion and makeup trends during the Late Tang dynasty and the Five Dynasties period.

To trace the various garments and jewelry mentioned in these poems, we can refer to archaeological findings and paintings from the same era.

Archaeological discoveries at the Famen Temple (法门寺 ; Fǎmén Sì) also provide an opportunity to compare physical objects with descriptions found in poetry and paintings, allowing for a clearer understanding.

At Famen Temple, many garments were discovered, most of which came from royal offerings during the Late Tang dynasty. Although most of these silk fabrics were damaged and charred when they were found, the process of cleaning and revealing them was very difficult. However, textile archaeologists were able to extract seven pieces of clothing worn by noblewomen from one of the piles of garments found, including two pairs of trousers, two long skirts, one top with a wide collar and short sleeves, and two pieces of long dresses worn in layers. Additionally, some garments were as thin as locust wings.

All of these findings provide a glimpse into the beauty of the flowers.

Based on the records in the《随真身衣物帐》(suí zhēn shēn yī wù zhàng) found at Famen Temple, at that time, among the palace women who offered clothing were Empress Dowager Hui’an (惠安皇太后 ; Huì’ān huáng tài hòu), Zhaoyi (昭仪 ; Zhāoyí), and Lady Jin (晋国夫人 ; Jìn guó fū rén).

Empress Dowager Hui’an, Zhaoyi, and Lady Jin each had seven sets of clothing:

• For Empress Dowager Hui’an, there were five sets of red silk garments, each with five pieces, as well as three pieces of lace silk fabric covering the lower part.
• For Zhaoyi, there was one set of clothing consisting of four pieces.
• For Lady Jin, there were two sets of clothing, each with eight pieces.

From these records, we can learn that “裙衣一副 (qún yī yī fù, a set of clothes)” consists of “四事 (sì shì, four pieces)” or “五事 (wǔ shì, five pieces)”.

Based on the garment findings extracted from the piles at Famen Temple, a set of women’s clothing at the end of the Tang dynasty should include trousers, skirts, “Shan (衫 ; shān)” (which could consist of one or two pieces worn in layers), and “Pei (帔 ; pèi)”, which exactly includes four or five parts.

With these garment findings and combining them with descriptions in poetry and paintings, we can conduct a brief study of women’s fashion styles during the Late Tang dynasty and the Five Dynasties period.

Pi Shan (披衫 ; pī shān)

For the noblewomen of the Late Tang dynasty and the Five Dynasties, the most popular style of top was known as 披衫 (pī shān), 披袍 (pī páo), or 披袄子 (pī ǎo zi).

According to records from Famen Temple, in the《衣》(Yī) collection, it is mentioned that the temple once kept “披袄子 (pī ǎo zi) embroidered with gold and silver thread”, and in the 15th year of Xiantong (874), there were records of “披袍 (pī páo) five sections with wide-shaped silk” and “披衫 (pī shān) five sections with corn pattern”.

During that time, the poet He Ning (和凝 ; Hé Níng) described this type of clothing:

柳色披衫金缕风，纤手轻拈红豆弄， 翠蛾双效正含情。
桃花洞，瑶台梦，一片春愁谁与共？
————————《天仙子》

The willow-colored clothing wrapped in golden thread,
Delicate hands plucking red beans at play,
Eyebrows like green leaves, her partner conveying emotions.
The peach blossom cave, a dream of a gem palace,
A lump of spring sorrow, who can share it?
————————《天仙子》

披袍率地红宫锦，莺语时转轻音。
碧罗冠子稳犀簪，凤凰双贴步摇金。
——《临江仙》

The red palace brocade sweeps the ground, with beautiful palace silk,
The sound of turmeric birds occasionally spinning gently.
The blue silk crown paired with a rhinoceros horn hairpin,
Phoenixes perch on either side, with gold ornaments that move with each step.
——《临江仙》

云行风静早秋天，竟绕盆池蹋采莲。
罨画披袍从宰地，更寻宫柳看鸣蝉。
———————《宫词》

The clouds move, the wind is calm in the autumn morning,
Circling the pond, stepping on the lotus flowers being plucked.
The beautifully embroidered robe covers the ground,
Searching for the palace willow tree, while listening to the sound of crickets.
———————《宫词》

The specific design of this clothing should be as described by Feng Jian (冯鉴 ; Féng Jiàn), a figure from the Later Shu during the Five Dynasties period, in his book 《续事始》(xù shì shǐ): “According to the《实录》(shí lù), Pi Shan (披衫), its covering comes from Yu Di (榆翟 ; yú dí). It only takes the colors red and purple without decoration or patterns, and its length is aligned with the body, with wide sleeves and a collar that does not fasten but hangs straight down in front of the chest, used as summer attire.”

Pi Shan (披衫) originates from Di Yi (翟衣 ; dí yī), the formal clothing for noblewomen, which later evolved into a more casual and practical everyday wear, aside from its formal function in state ceremonies.

The length of this garment is equal to the length of the wearer’s body, with a collar that does not overlap and only hangs straight in front of the chest, designed for comfort during the summer.

This clothing is made from light fabric and is not adorned with intricate or luxurious patterns, thus giving an impression of simplicity and comfort.

The Pi Ao (披袄) or Pi Pao (披袍) has a similar design to the Pi Shan but is made from embroidered silk or multicolored silk, which is heavier.

As recorded in《中华古今注》(zhōng huá gǔ jīn zhù) by Ma Gao (马缟 ; Mǎ Gǎo), “The palace women wear Pi Ao Zi (披袄子), which is inherited from the Pao (袍)… Many are made with five-colored embroidered silk or use brocade silk, and it was only recently known by this name.”

In the clothing excavated from Famen Temple, there are two pieces of long garments with the same design, featuring wide collars and long sleeves, with the length of the garment reaching down to the feet.

The inner garment is made from thin, lightweight fabric, sewn into a single layer, which should be the Pi Shan (披衫), while the outer garment is made from Luo (罗 ; luó) as the surface material, with the inner part using Juan (绢 ; juàn), which should be the Pi Pao (披袍).

Both of these garments have ties sewn at the center of the neck and sleeves, shaped squarely.

By comparing these two pieces of clothing, we can also find details not mentioned in the literature—both of these long garments have long slits on the sides of the body.

These slits were originally designed to facilitate horseback riding.

Before the Wei and Jin, in the Zhongyuan (中原, Central Plains), people had to tuck the ends of outer garments, which did not have slits, into the waistband at the back to free the hips for riding.

However, since the Northern Dynasties, Sui, and Tang dynasties, men more frequently wore robes with side slits, a style that originated from the clothing of the Western Regions (西域 ; Xīyù). The Hufu (胡服 ; hú fú) became everyday wear to facilitate horseback riding.

Noblewomen’s everyday clothing at the end of the Tang dynasty adopted this style, but, when looking at the trends of women’s fashion at the time, with long and wide dresses, the slits had long departed from their original purpose of facilitating horseback riding, transforming into purely decorative elements.

Under the influence of a luxurious lifestyle, the trend of Pi Shan (披衫) continued to develop, so much so that in the painting《引路菩萨图》(yǐn lù pú sà tú), discovered in the Dunhuang Treasury Caves, even the “devout followers/faithful believers” offering tributes are depicted wearing Pi Shan with wide sleeves that hang long, and wide skirts that sweep the ground.

Meanwhile, in the Central Plains, Emperor Zhuangzong of the Tang dynasty even felt the need to issue a special decree in the second year of the Tongguang era (924) to limit this: “In recent years, women’s clothing has become excessively wide and extravagant, wasting too much money. Able families, regardless of status, wear silk and brocade clothing. Immediate inspections should be conducted.” (《旧五代史 . 唐庄宗纪》jiù wǔ dài shǐ . táng zhuāng zōng jì).

15th year of the reign of Xiantong Emperor Tang Xizong (874)

Reconstruction of costumes excavated from the underground palace of Famen Temple

Hairstyles and makeup: Illustrated based on murals from the same period.

Clothing: Combination of original excavated clothing

1. Pi Pao / Pi Shan (披袍/披衫): The items successfully recovered by the experts are two pieces of clothing with similar designs and sizes, joined together. With straight sleeves, a long body, and a central fastening with tie straps, the outer layer has an inner lining, which should be Pi Pao (披袍), while the inner layer has no lining, which should be Pi Shan (披衫). The original color of the clothing has faded, and the colors and patterns restored here are designs made separately.
2. Ku (袴 ; kù): When worn, it should be inside the skirt, with straight pant legs, an open slit, and a waistband at the top.
3. Silk Skirt with Silver and Clay Painting (银泥彩绘罗裙 ; yín ní cǎi huì luó qún): There are no slanted seams on the body of the skirt, but instead, six pieces of silk material are sewn together and then folded at the waist of the skirt. At the top, there is a string of gold and silver thread forming patterns of phoenixes and flying birds at the waist. The ties of the skirt are hung at both ends. On the skirt, silver lines are used to fill in colors and depict various patterns of butterflies, birds, and flowers as decoration. The original color of this skirt has faded, and the restored colors and patterns here are designs made separately.

Ke Dang (衤盖裆 ; kè dāng)

Along with the trend of Pi Shan (披衫), there is a specific style of clothing used as formal attire for women, known as Ke Dang (衤盖裆 ; kè dāng).

The name of this garment first appeared in the《霍小玉传》(huò xiǎo yù chuán) from a Tang dynasty legend: “Suddenly, she saw behind the jeweled curtains, her face beautiful and charming, looking as usual. She wore a pomegranate-colored skirt, a purple Ke Dang (衤蓋裆), and a red-green Pei. Standing sideways, her hands pulled an embroidered ribbon.”

In Dunhuang documents, many also mention Ke Dang (衤蓋裆), and from the years recorded in these documents, it is known that this type of clothing became popular from the middle of the Tang dynasty to the early Song dynasty.

Additionally, a document written in the ninth year of the Taiping Xingguo era (984), titled《邓家财礼目》(dèng jiā cái lǐ mù), which is a list of gifts sent by Yan Zhangwu (阎章仵 ; Yán Zhāngwǔ), the military leader of Dunhuang, to his relative named Deng (邓 ; Dèng), it mentions six sets of clothing given to a bride. From this, we can understand that one set of formal clothing consisted of a skirt, Ke Dang (衤蓋裆) or Shan Zi (衫子), and Li Jin (礼巾 ; lǐ jīn) or Pei Zi (帔子).

碧绫裙一腰、紫绫禚档一领、黄画被子一条，三事共一对。
红罗裙一腰、贴金衫子一领、贴金礼巾一条，三事共一对。
绿绫裙一腰、红锦禚档一领、黄画被子一条，三事共一对。
紫绣裙一腰、紫绣谥档一领、紫绣礼巾一条，三事共一对。
又红罗裙一腰、红锦禚档一领、黄画被子一条，三事共一对。
又紫绣裙一腰、绣强档一领、绣礼巾一条，三 事共一对。
又绿绫裙一腰、红锦福档一领、银泥礼巾一条，三事共一对。

One blue-green silk skirt, one purple Ke Dang (衤盖裆), one yellow embroidered Peizi, three pieces form one set.
One red silk skirt, one golden-layered Shan Zi (衫子), one golden-layered Li Jin (礼巾), three pieces form one set.
One green silk skirt, one red brocade Ke Dang (衤盖裆), and one yellow embroidered Peizi, three pieces form one set.
One purple embroidered skirt, one purple Ke Dang (衤盖裆), one purple embroidered Li Jin (礼巾), three pieces form one set.
Also, one red silk skirt, one red brocade Ke Dang (衤盖裆), and one yellow embroidered Peizi, three pieces form one set.
Also, one purple embroidered skirt, one embroidered Ke Dang (衤盖裆), one embroidered Li Jin (礼巾), three pieces form one set.
Also, one green silk skirt, one red brocade Ke Dang (衤盖裆), one Li Jin with silver lines, three pieces form one set.

Additionally, since Ke Dang (衤盖裆) is aligned with Shan (衫), its shape is likely similar to that of Shan.

What is referred to as Dang (裆 ; dāng) refers to the inner garment that covers the chest and back, namely Liang Dang (裲裆 ; liǎng dāng); the name Ke Dang (衤盖裆) is likely derived from its function of covering the front of the clothing, outside the main layer of garments.

From the clothing found in the underground palace of Famen Temple, there is a type of upper garment that is different from the long Pi Shan (披衫) and also different from the short Shan (衫) typically worn by the Tang people in daily life.

This garment has a straight design with sleeves aligned with the body, and the length of the front and back is almost the same, just enough to cover the inner clothing. When worn, sometimes the collar is left open with folds in the front, or it could be folded and the sleeve portions pulled into the waist of the skirt. This is very likely the type of Ke Dang (衤盖裆) used at that time.

Restoration of costumes excavated from the underground palace of Famen Temple in the 15th year of the reign of Xiantong Emperor Tang Xizong (874)

Hairstyle and makeup: Referring to the figure statues from the same period.

Clothing: Based on the combination of clothing found.

1. Wide-Sleeved Top: The body length of the garment is almost aligned with the length of the sleeves. The collar portion of this garment has been damaged, so its exact shape cannot be determined. Currently, its form is estimated based on wall paintings from the same period. The original color of this garment has faded, and the restored colors and patterns here are a redesign.
2. Ku/Trousers (袴 ; kù): It is assumed that these trousers have the same shape as those previously mentioned, still featuring an open design with straight legs.
3. Long Skirt with Gold and Silver Embroidery, with Butterfly and Bird Motifs: The silk fabric was cut into twenty-four long pieces, narrow at the top and widening at the bottom, then sewn together to form the skirt. On this skirt, a silver clay lining technique was used, filled with colors, and decorated with various butterfly and bird patterns. At the top of the skirt, there are patterns of clouds and a Qilin (a mythical creature) made of gold and silver threads. Two additional ties are sewn on the sides of the waist of the skirt. The original color of this skirt has faded, and the restored colors and patterns here are a redesign.

Ku/Trousers (袴 ; kù) and Long Skirt

As part of the upper garment, during the late Tang dynasty and the Five Dynasties, women’s lower garments consisted of trousers and long skirts.

From《花间集》, we can see that at that time, women wore trousers underneath and covered the outer layer with a long skirt, creating a layered clothing style.

Ku (袴), also written as Ku (绔 ; kù), has a design similar to the two pairs of trousers found in the clothing bundle from Famen Temple.

The top is open, while the bottom features two large holes in the trousers. This is a style of southern trousers, which gradually replaced the small-mouthed trousers worn in the Hufu (胡服) fashion (from the north), popular in the early Tang dynasty after the An Lushan Rebellion. These southern-style trousers eventually became the dominant style for women’s inner trousers.

In the late Tang dynasty and the Five Dynasties, women’s clothing generally consisted of wide, pleated, and long skirts.

One sentence in Hua Jian (花间 ; Huā Jiān) that accurately describes this is: “The six-layered silk skirt sweeps the ground, moving slowly with the blue waves.”

The clothing found in Famen Temple shows two different types of long skirts.

One of them has no diagonal seams, only combining six pieces of silk fabric in a straight position, then folded into twelve straight pleats along the body of the skirt. At the waist, there is a decoration featuring patterns of flying birds and wind, woven with gold and silver threads. The other skirt is cut into twenty-four pieces of fabric, narrower at the top and widening at the bottom, then sewn together. At the waist, there is a decoration adorned with cloud and Qilin patterns woven with gold and silver threads. An additional belt is sewn on the left and right sides of the waist of the skirt. After the skirt is sewn, the top part of the skirt is decorated with butterfly, bird, and flower patterns drawn with silver clay and painted with color.

Although the original color of the skirt has faded with age, many references to the colors of women’s skirts can be found in《花间集》, which helps us imagine them.

Some references to the color of these skirts include:

“Remember the green silk skirt, loved everywhere by the grass and flowers,”
“Small fish-holding jade on their heads, the pomegranate skirt dipped in light silk,”
“Yet prefer the blue silk skirt, which makes the slim waist appear more beautiful.”

Because of the double-collar design of Pi Shan (披衫), women might have exposed a tube top (抹胸 ; mò xiōng), which they commonly used as innerwear. However, visible undergarments were eventually considered improper.

Therefore, women in the Tang dynasty began to add wide decorative panels at the waist of their long skirts. During the Five Dynasties, this style became a strong trend. These decorative panels often used the same colors and patterns as the body of the skirt, shaped in curved arches.

As seen in the painting《簪花仕女图》(zān huā shì nǚ tú), the second person from the right, some were even made more intricate with flower-petal shapes, as seen on the servant’s waist in the tomb mural of Wang Chuzhi (王处直 ; Wáng Chùzhí) in the second year of the Tongguang era, Five Dynasties, Late Tang (924).

Hua Chanqun (花襜裙 ; huā chān qún) (Knee-Covering Skirt (花蔽膝 ; huā bì xī))

Between skirts and pants, women at the end of the Tang dynasty and the Five Dynasties had a special layer of clothing, called the “Chanqun (襜裙 chān qún)”.

Perhaps because at that time, when women rode horses outside, the undergarments visible from their pants were considered inappropriate, so an outer garment was added to cover the front of the body.

In Bai Juyi’s poem《同请客嘲雪中马上妓》(tóng qǐng kè cháo xuě zhōng mǎ shàng jì), there is a line: “Stable silver ornaments and black hat, flower petals fit for riding a horse.” This clearly explains it.

The Chanqun 襜裙, also known as 蔽膝 (bì xī, knee cover), is described in Han Bao’s (韩保 ; Hán Bǎo) poem as: “The fragrance of flowers touches the knees on a cold night, hearing the rain makes the spring dream unrealized.” (《闻雨》wén yǔ), “The distant night surely avoids the fragrance hidden at the knees, when asked the time, she shakes her head with jade.” (《青春》qīng chūn)

These poems also indicate that this garment originally came from the brothel at Pingkang (平康妓馆 ; píng kāng jì guǎn), while noblewomen traveling by carriage did not need to wear it, which is why this garment was not found in the clothing records discovered at the Famen Temple.

Since the end of the Tang dynasty, frequent wars caused women to travel more often, and thus the Chanqun 襜裙 became very popular.

As found in the tomb of King Zhao Tingyin (赵廷隐 ; Zhào Tíngyǐn) of Later Shu, where more than twenty ceramic figurines depicting musical servants and singers were discovered, although the outer skirt worn had an open pant style at the side of the body, showing the inner pants, there was nothing at the front between the pants and the skirt that did not show an angle or flower shape of Bi Xi (蔽膝, knee cover).

Additionally, it is worth noting that the compiler of《花间集》was Zhao Chongzuo (赵崇祚 ; Zhào Chóngzuò), the eldest son of Zhao Tingyin.

This style spread to the imperial court, resulting in more luxurious styles.

Around the time of the Five Dynasties, during the Southern Tang period, in the painting《簪花仕女图》, the fashion of the imperial women is displayed.

At the beginning of the painting, a woman holding a fan in her left hand is playing with a puppy, while her right hand moves the red skirt she is wearing, perfectly revealing the flowing trousers and ceremonial skirt adorned with flower paintings.

Since the end of the Tang dynasty and the Five Dynasties, the Chanqun (襜裙) remained popular in regions under the rule of the Liao and Jin dynasties.

This garment was found in a Liao tomb in Mount Tuerqi, Inner Mongolia, where the body of the skirt was made from three pieces of fabric that formed the lower part of the skirt, with three flower-shaped pieces. At the top, there was embroidery using gold and silver threads, depicting windflower motifs.

When discovered, the skirt was worn under six outer garments with a left-side closure (左衽 ; zuǒ rèn) and over a skirt made of four layers of silk fabric.

The tent-style skirts worn outside also appear in wall paintings depicting servants in the Feng Hui (冯晖 ; Féng Huī) tomb from the Later Zhou fifth year of the Xiande era, as well as in paintings of servants on the wooden coffins in a Liao tomb in You’ai Village, Sumu, Barin Right Banner, Inner Mongolia (内蒙古巴林右旗都希苏木友爱村).

However, in the Central Plains, the fashionable skirt style gradually disappeared during the Song dynasty.

Initially, in the city of Bianjing, prostitutes refused to wear wide trousers and tent skirts and instead created skirts that could be opened at the front and back to make it easier to ride donkeys.

Later, many women in noble families began to imitate this style. Although officials of the time, such as Sima Guang, considered it to be “barbarian customs” and “shameless,” they were ultimately unable to change this fashion trend.

Women’s Makeup in the Five Dynasties of the Southern Tang

References from the painting《簪花仕女图》

Hairstyle and makeup: Hair in a high bun, sideburns, hairpins with hibiscus flowers, and faces painted with Beiyuan (北苑妆 ; běi yuàn zhuāng) makeup.

Clothing: Women wear an outer garment of Pi Shan (披衫, a wide-sleeved garment made of silk) and a long skirt, with an inner layer of 礼裙 (lǐ qún, a traditional ritual skirt) Wearing a long-sleeved Pi Shan (披衫) and a long skirt (lined with Chanqun 襜裙)

And there you have it—

It’s hard to believe, but we’ve already completed 5 journeys on Qi Luo 绮罗 (Clothing)! Next, we’ll move on to the next chapter, Lin Lang 琳琅 (Accessories). Stay tuned!

I hope these notes have been insightful and encourage you to dive deeper into the world of traditional Chinese clothing, particularly from the Tang dynasty. If you come across any incorrect word / translation, or you have suggestions for improvement, please don’t hesitate to reach out to me via email.

Thank you for taking the time to read, and I’ll continue to update these notes as we move on to the next part. #ZhangRuying’sNotes

See you in the next notes. And thank you 谢谢!

张儒英 Zhang Ruying