Dostoevsky Moodboard Challenge ( 11 / Infinite ) : Demons

Dostoevsky Moodboard Challenge ( 11 / infinite ) : Demons

Character Aesthetic: Pyotr Stepanovich Verkhovensky

“Listen. I’ve seen a child of six years old leading home his drunken mother, whilst she swore at him with foul words. Do you suppose I am glad of that? When it’s in our hands, maybe we’ll mend things… if need be, we’ll drive them for forty years into the wilderness…. But one or two generations of vice are essential now; monstrous, abject vice by which a man is transformed into a loathsome, cruel, egoistic reptile. That’s what we need! And what’s more, a little ‘fresh blood’ that we may get accustomed to it. Why are you laughing? I am not contradicting myself. I am only contradicting the philanthropists and Shigalovism, not myself! I am a scoundrel, not a socialist. Ha ha ha! I’m only sorry there’s no time. I promised Karmazinov to begin in May, and to make an end by October. Is that too soon? Ha ha! Do you know what, Stavrogin? Though the Russian people use foul language, there’s nothing cynical about them so far. Do you know the serfs had more self-respect than Karmazinov? Though they were beaten they always preserved their gods, which is more than Karmazinov’s done.”

“Well, Verhovensky, this is the first time I’ve heard you talk, and I listen with amazement,” observed Stavrogin. “So you are really not a socialist, then, but some sort of… ambitious politician?”

“A scoundrel, a scoundrel! You are wondering what I am. I’ll tell you what I am directly, that’s what I am leading up to. It was not for nothing that I kissed your hand. But the people-must believe that we know what we are after, while the other side do nothing but 'brandish their cudgels and beat their own followers.’ Ah, if we only had more time! That’s the only trouble, we have no time. We will proclaim destruction….. Why is it, why is it that idea has such a fascination. But we must have a little exercise; we must. We’ll set fires going…. We’ll set legends going. Every scurvy 'group’ will be of use. Out of those very groups I’ll pick you out fellows so keen they’ll not shrink from shooting, and be grateful for the honour of a job, too. Well, and there will be an upheaval! There’s going to be such an upset as the world has never seen before…. Russia will be overwhelmed with darkness, the earth will weep for its old gods….. ”

Translated by Constance Garnett

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4 years ago

Can you tell me more about fabric flower hair pins used in hanfu? I saw a lot of Japanese-style kanzashi in “The Empress of China”, but I couldn’t find any info of that sort of hair ornament used in Chinese history.

Hi, thanks for the question!

Yep, you’re right - the Cdrama “The Empress of China” sometimes uses Japanese-style fabric flower hairpins (see example below) that are culturally and historically inaccurate (then again, Chinese costume dramas are notorious for being loose with sartorial historical accuracy…):

So let’s now take a look at actual Chinese fabric flower hairpins:

The umbrella term for Chinese flower hair ornaments is Zan Hua/簪花 (lit. “flower hairpins”), which includes fresh flowers as well as artificial ones made from fabric, paper (Zhi Hua/纸花), beads (Zhu Hua/珠花), etc.

Traditional Chinese fabric flower hairpins used with Hanfu include (but are not limited to!):

1) Juan Hua/绢花: “Silk flowers” - flower imitations made from silk fabrics of various colors. Dates back to more than 1,700 years ago, and was the main ornament for women during the Tang Dynasty. In 2008, Beijing Juanhua was officially designated as an intangible cultural heritage of China.

2) Chan Hua/缠花: “Wrapped flowers” - using colorful silk threads to wind flower art onto fixed frames. The technique of wrapping flowers originated during the Ming dynasty and flourished in the Qing dynasty. Notable for being small, delicate, and lifelike. Has been designated as an intangible cultural heritage of China.

3) Rong Hua/绒花: "Velvet flowers” - made from fine silk on twisted wire frames. Dates back to the Qin Dynasty, and was a marker of nobility. Eventually became popular among the common people during the late Ming and early Qing dynasties, and was mainly worn during festivals and weddings. In 2006, Nanjing Ronghua was officially designated as an intangible cultural heritage of China.