The Hanfu or 漢服 literally means the traditional clothing of the Han Chinese people. Prior to the establishment of the Qing Dynasty, China was ruled by the Ming Dynasty under ethnically Han (majority ethnicity in China nowadays) rulers since 1368. A collection of Jurchen tribes from what is now northeastern China and parts of Siberia, who later called themselves the Manchus, conquered China in 1644. In order to solidify their power, the new Manchu rulers forced Han Chinese men to adopt Manchu style clothing and hairstyles, but Han women were allowed to continue wearing Han style clothing, which is why the second half of the 17th century appears to be the continuation of the late Ming Dynasty aesthetic. The Qing government, led by the Manchu rulers, established stringent dress codes as a means of consolidating their rule over the Han majority. This fusion has led to a vibrant and diverse range of colors in Hanfu, while still respecting the cultural significance of the traditional hues. To distinguish government officials, specific colors like pure purple, red, cyan, and green were designated for their uniforms. During the Lunar New Year, red, as in weddings, dominates the scene, promoting good luck and warding off evil spirits.

A little later, the heir of the ancient Huaxia ethnic group became Han dynasty around 206 BC democratizes it for good. Dramatic changes took place during the Ming Dynasty (1368-1644). Qing Dynasty’s clothing were not have limitation to style and advocating natural beauty during designing. Before conquering all the countries of the world, hanfu graduation the hanfu has occupied and still occupies a great place in the Chinese culture. 3,6 In 1644, on the first day when the Manchu penetrated the Great Wall of China in the Battle of Shanhai Pass, the Manchu rulers ordered the surrendering Han Chinese population to shave their heads; however, this policy was halted just a month later due to intense resistance from the Han Chinese near Beijing. It has served different tribes, it has been there for thousands of years, it is a bit like the great wall of China, but for the wardrobe. The petticoat or rather the long dress can be provided with straps, a dress that is worn a bit like an apron. Although it can be worn on a daily basis, it is the most important garment for the most important celebrations and ceremonies in China. It can be provided with a bodice with ribbons, a cape or sold with a shawl for example.

It then served as an example for other Asian countries and various civilizations. It takes care to bring out the Asian elegance and immediately evokes us the country of the Forbidden City. In Qing dynasty, Han Chinese women wore a single earring at each ears which contrasted from the Manchu women who had to wear three earrings at each ear. I will only discuss civilian fashion and not court dress because 1) Qing court dress is well documented and there are plenty of other people/blogs/articles that explain it better than I ever could 2) court dress doesn’t really count as fashion because it serves ceremonial/religious/political purposes and is not supposed to change. The ongoing evolution of Hanfu colors is not just a change in aesthetics but a reflection of the shifting cultural landscape, where tradition and modernity coexist and enrich each other. This evolution in color use reflects the dynamic nature of Hanfu, showcasing its adaptability and relevance in the modern world. These festivals, rich in color and tradition, highlight the vibrant cultural tapestry of China and the deep-seated significance of Hanfu colors in reflecting and enhancing the spirit of these celebrations. Similarly, during the Mid-Autumn Festival, brighter colors like yellow and pink symbolize the full moon and the joy of family reunions.

It would have been invented by the Yellow Emperor, whereas his wife, the empress Leizu, discovered the breeding of the silkworm in the same time. When shenyi hanfu clothes are popular in this time are square sleeves, sloping necklines, red clothes, flat shoes and cicada-like hats. From early TV adaptations of Chinese classics like “Dream of the Red Chamber” and “Romance of the Three Kingdoms” to contemporary retellings such as “The Empress of China,” and adaptations of popular online historical fictions like “Langya Bang,” a new generation of young Chinese have grown up seeing traditional Hanfu on their screens daily. Liberating themselves from past constraints, women have grasped a decision-making power to wear what pleases them. As a result, this casual 3-piece set Songku style fall Hanfu is ideal for women to wear on practically any occasion. During the Wei and Jin Dynasties, influenced by social politics, economy, and culture, the style of Hanfu was free and easy, simple and elegant, and light and elegant. These lesser-known fabrics offer a window into the daily life and social structure of ancient China, underlining the era’s ingenuity and resourcefulness.

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Social media has catapulted the profile of Hanfu aficionado Nanzhi999, who has 1.1 million followers. He has 1.1 million followers on the Douyin short video social media platform. The length of the cheongsam can vary; it can be either long or short. The Republican period is the golden age of the cheongsam. Led from the top down by Communist Party chairman Mao Zedong, the period purged China’s old traditions to realise the leader’s socialist revolution. It was a Han official from Shandong, Sun Zhixie and Li Ruolin who voluntarily shaved their foreheads and demanded Qing Prince Dorgon impose the queue hairstyle on the entire population which led to the queue order. For instance, the only time the Huns ever actually attacked China was during the Qin and Han dynasties (between 221 BCE and 220 AD), and the Emperor’s palace bears a strong resemblance to the Forbidden City, which was completed in 1420. Still, after researching Chinese fashion a bit, I couldn’t help but see all the similarities between Wei Dynasty fashion and the clothing worn by Mulan and the other females in the movie. With our extensive range, cheongsam top 3xx there’s something for everyone who appreciates the beauty and tradition of Chinese fashion.

Join the journey of embracing and reviving the beauty of traditional Chinese culture through our traditional Chinese dress hanfu available at AliExpress. Two years ago, Haiyun decided to dress in hanfu every day. Hanfu enthusiasts take photos at the China Hanfu Day event in the Old Summer Palace, or Yuanmingyuan, in Beijing. You might already had a glance of the costume dramas played across many TV stations in China. Over the past decade the Hanfu movement has grown in China and among the global Chinese diaspora. For those interested in enhancing their knowledge of Chinese history and heritage, AliExpress can be an invaluable resource, providing a platform to access a wide range of educational and cultural items. AliExpress’s global shipping network ensures that these items reach customers worldwide, allowing individuals from various backgrounds to explore and appreciate the richness of Chinese culture. One of the most significant advantages of AliExpress is its ability to offer these unique and culturally significant items at affordable prices, making the world of traditional Chinese culture accessible to a broader audience. The history of Hanfu can be dated back to about 2700 B.C, as the outcomes of traditional culture and spirit of Han nation.

This is because the Han nation takes the right for honour. Generally, collars are diagonally crossing each other with the left crossing over the right. He looks more like a member of the nobility than a King – a member of the court rather than ruling over it. According to the CIA World Factbook, Han make up 91.6 per cent of the country’s total population, or over 1 billion people. This happened because the people who founded the dynasty were not the Han Chinese that used to wear hanfu. In fact, in China, there are a lot of people wearing Hanfu, Cheongsam,Ruqun and so on. We invite you to experience the timeless elegance and sophistication of ancient China, making every outfit a statement of your unique personal style. WeChat is a central part of life in China, used for almost everything from transferring money to booking hotels. The cuffs and stitching of the dress often carry exquisite embroidery, which may be floral, bird and animal, or other auspicious patterns, reflecting women’s pursuit of beauty and love for life. Takchitas are a two-piece dress. Brisbane Sydney, Melbourne, and Adelaide are all home to Hanfu associations.

Haiyun joined traditional cultural associations at high school, and showed her clothes to teachers and students, as well as organised hanfu publicity activities on campus. This would tie in well with the rise of guochao, or “China chic.” For the moment, however, the low-end hanfu market is all but saturated. A Stunning, Well Made, Show Stopper! On an occasion when a group of educational experts from the US visited the school, she seized the opportunity to show them hanfu with Chinese dancing and music. Long sleeves and ropes are commonly designed in order to show the agile and elegant mien. The main features of Hanfu can be summarized as collar crossing, belts fastening, long sleeves and robes. The Chinese gave the Koreans the Chinese script, which became Korea’s main writing script (Hanja) until the Joseon Dynasty. The mangfu is also used as a form of xifu, theatrical costume, in Chinese opera, where it is typically found in the form of a round-necked robe, known as yuanlingpao. The traditional form of ruqun worn in the previous dynasties was maintained in the Tang dynasty, but the “V” collar of the ru was deepened to the point that the cleavage was exposed. Some of the movement’s most popular styles are from the Ming, Song and Tang dynasties – garments often clad in silk, bright colours and detailed embroidery.

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Black Hanfu serves as a powerful tool for individuals to rediscover and reclaim their cultural identity. Black Hanfu represents an enchanting fusion of tradition, elegance, and cultural heritage. It represents a way for individuals to reconnect with their roots and contribute to the preservation and celebration of Chinese heritage. If you’re looking for unique, high-quality pieces that mix traditional Chinese culture with modern fashion, this brand is definitely the way to go. As black Hanfu evolves to meet the demands of modern fashion, there exists a delicate balance between preserving its traditional essence and embracing innovative approaches. These artistic depictions not only capture the visual appeal of black Hanfu but also commemorate its cultural significance. Its aesthetic appeal and cultural significance make it an ideal choice for those seeking a touch of elegance and tradition in their celebratory attire. Black Hanfu enthusiasts are actively shaping a modern narrative of cultural identity by blending tradition with contemporary expression and paving the way for the future of Hanfu.

Designers have seamlessly integrated black Hanfu with contemporary silhouettes, fabrics, and accessories, creating a harmonious blend of tradition and innovation. Through these representations, black Hanfu has gained further recognition and served as a catalyst for cultural discussions and exchanges. With modern adaptations, black Hanfu has gained popularity in the fashion industry, not only in China but globally. While black Hanfu possesses its distinct charm, it is essential to recognize the vast array of colors and styles that exist within the realm of Hanfu. For example, for women, only an empress or official wives could wear true red while the color was prohibited to concubines. In New York, for example, Ming said Qixiong Ruqun, a style of flowing, high-waist traditional dress worn by women during the Sui, Tang, and Five dynasties, is very popular among young girls. There are really so many patterns and colors of hanfu costumes nowadays, and a large number of young people who are super obsessed with them. Did you know that different colors of hanfu are worn on different occasions? From vibrant reds to serene blues and playful greens, the diversity of Hanfu colors reflects the multifaceted nature of Chinese culture and its long history.

These movements aim to promote and preserve traditional Chinese clothing, symbolism, and cultural practices. Its elegance, cultural symbolism, and historical significance make it a captivating attire that continues to inspire and intrigue individuals around the world. With its elegance, symbolism, and cultural relevance, black Hanfu continues to captivate the hearts of people around the world, forging a connection between ancient traditions and the modern world. Can I wear a Chinese black hanfu dress? They organize events, exhibitions, and gatherings where enthusiasts can showcase their Hanfu attire, exchange knowledge, and deepen their understanding of Chinese traditions. There was about 30 million Han Chinese living under the rule of the Jin dynasty. Made of precious metals and jade; they were less ornamented in the Jin dynasty compared to the ones worn in the Han dynasty. Chen, BuYun (2019), Riello, Giorgio; Rublack, Ulinka (eds.), “Wearing the Hat of Loyalty: Imperial Power and Dress Reform in Ming Dynasty China”, The Right to Dress: Sumptuary Laws in a Global Perspective, c.1200-1800, Cambridge: Cambridge University Press, pp. By wearing black Hanfu, individuals break free from preconceptions about traditional attire, showcasing its beauty, sophistication, and adaptability. Because black is considered to be the power of God and nature, vintage qipao the black hanfu is deemed suitable for the robes of the emperor.

Floral and Nature-inspired Patterns: Drawing inspiration from nature, these designs feature intricate floral patterns and motifs that are reminiscent of traditional Chinese art. When Balhae established peaceful diplomatic relations with the Tang dynasty, Chinese culture was vigorously introduced by the Balhae court. The precursors of both the changshan and the qipao were introduced to China during the Qing dynasty (17th-20th centuries). After the 1930s, these forms of upper garments lost popularity and decreased in use, as they were replaced by qipao and Western dress. Black Hanfu, along with other forms of Hanfu, challenges stereotypes and expands cultural boundaries. Black Hanfu has evolved beyond its traditional forms and merged with modern fashion elements. The “Dance of the Divine” collection showcases the harmonious blend of “Shanhe Yinghua,” “Diancui,” and “Jiyang Zhizhi” elements. The resurgence of interest in Hanfu, including black Hanfu, showcases an evolving cultural landscape where ancient traditions are cherished and integrated into modern life. Would you feel differently wearing a black hanfu now, knowing that historically it belongs to the King? Wearing black Hanfu is an act of celebration and appreciation of Chinese culture. In history, black hanfu has symbolized power, wealth, and social status, and it was also associated with the highest rank during the ‘color and rank’ system.

Moreover, the revival of Hanfu serves as a catalyst for reimagining traditional craftsmanship and artistry. This preservation of traditional craftsmanship is essential in maintaining cultural diversity and fostering a sense of pride in Chinese cultural heritage. Hanfu’s meaning goes beyond its aesthetic appeal; it represents a profound connection to Chinese history, culture, and identity. The meaning of Hanfu extends beyond its physical form. This form Chinese clothes, Asian clothes and oriental clothes dress is cheongsam and qipao mostly used in sacrificial ceremonies such as Ji Tian and Ji Zu, etc but is cheongsam and qipao also appropriate for Chinese Shoes (Kung Fu Shoes or Clothes Shoes) State occasions. A traditional Chinese bride often wears a red Qipao or a red Hanfu, adorned with intricate gold embroidery, signifying a wish for a prosperous and happy marriage. By examining the evolution of Hanfu, researchers gain insights into the socio-cultural fabric of ancient China and the influence of clothing on individual and collective consciousness.

Ming Dynasty inspired Hanfu clothing for both men and women authentically recreated using traditional patterns and fabrics. Han men and women were still allowed to wear the hanfu under some circumstances and/or if they fell under the exemptions of the Tifayifu policy. 218-219 Only after the Manchu captured Nanjing, the southern capital, from the Southern Ming in 1645 was the Tifayifu policy resumed and enforced severely. Similarly to the Ming dynasty, the waistcoat xiapei was worn by the queens as a daily form of attire while the wives of senior official as a formal attire. Our collection of modern Hanfu dresses, robes, and accessory sets will have you feeling like royalty, evoking memories of ancient chinese scholar officials and elegant imperial court life during the golden age of the Ming Dynasty. One of the main reasons that the Hanfu has made a comeback is not because of the older generations who have returned to their heritage, but the younger girls who long to have something traditional to wear. Designers are finding ways to modernize Hanfu designs, making them more accessible and appealing to younger generations.

The use of silk did not disappear but became more strategic, often reserved for garments indicating higher social status or for special occasions. And yet, there are others who take a more critical view of Hanfu’s popularity, seeing it as a reflection of a monoethnic nationalist surge under President Xi Jinping, who has repeatedly promoted “traditional virtues” and patriotism. With increasing recognition and support, there are efforts to incorporate Hanfu into mainstream fashion, entertainment, and tourism industries. When it comes to choosing your blue hanfu dress, there are many different options, like male blue hanfu and female blue hanfu to consider. I am a big fan of the blue hanfu costume. Hanfu should not be reduced to a mere fashion trend or exotic costume. The popularity of Hanfu is not just a passing trend but a manifestation of a deep-rooted longing to reconnect with the past and preserve the traditions that have shaped Chinese society. Beyond its cultural and historical significance, Hanfu has also garnered attention from scholars and researchers who study the broader implications of clothing in society.

The diversity of Tang Dynasty clothing is striking, with numerous totems of mythical creatures and animals, long sleeve cheongsam alongside intricate floral and arboreal embroidery. In 1373 AD, the clothing of the imperial body guards was changed to the zhisun, a solid colour robe which had been inherited from the Yuan dynasty. Central Asian roundels (i.e. a form of partial decoration) which would run down at the centre of the robe. With a casual Chinese hanfu blue outfit, you can turn any frown upside down. Improved Light Blue Hanfu Female Chinese Style Dance Dress. Magazines such as LingLong also gave women access to dressmaking knowledge and normalized it for women to make their dresses in their style. Women wearing jacket (ru) under their skirts. By wearing Hanfu, individuals pay homage to the wisdom and teachings of their ancestors, carrying forward the spirit of their heritage into the modern world. Intended as the long-term replacement for IllumiNations: Reflections of Earth, Harmonious showcased and celebrated the cultures and stories of the world that have inspired various Disney films and music, and how it can unite us all, overcoming any language or border. The global Chinese diaspora also means the opportunities to see Hanfu outside of China have increased significantly over the last decade.

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In recent years, there has been a noticeable resurgence of interest in traditional Chinese clothing known as “hanfu.” Hanfu, meaning “Han clothing,” refers to the traditional attire worn by the Han ethnic majority in China for centuries. This revival not only celebrates the rich history of Chinese culture but also reflects a growing movement to reclaim and embrace traditional identities. Let’s explore the fascinating history of hanfu and its contemporary revival. Hanfu has a deep-rooted history dating back over three millennia. The Hanfu style was characterized by its loose, flowing robes, intricate embroidery, and distinctive layered designs, reflecting the philosophical and aesthetic values of ancient Chinese culture. It was the predominant clothing style in China until the Qing Dynasty (1644-1912) when it gradually fell out of favor. However, the subsequent centuries saw the influence of foreign fashion and cultural shifts, leading to the decline of hanfu in favor of more modern attire. During the Tang (618-907) and Song (960-1279) dynasties, hanfu experienced its zenith, with various styles for different occasions and social classes. The revival of hanfu gained momentum in the early 21st century, driven by a desire to reconnect with China’s cultural heritage and express a sense of national pride. Social media platforms played a pivotal role in popularizing hanfu, with enthusiasts sharing images of themselves wearing traditional garments, attending events, and participating in cultural activities. Contemporary hanfu is not a strict replica of historical clothing but rather a modern interpretation that blends traditional elements with contemporary fashion sensibilities. Designers and enthusiasts have embraced a diverse range of styles, fabrics, and colors, making hanfu accessible and appealing to people of all ages. The resurgence of hanfu is more than a fashion trend; it represents a cultural movement seeking to redefine Chinese identity. The wearing of hanfu has become a form of cultural expression and a way for individuals to reconnect with their heritage. Many see it as a means of breaking away from Western-centric fashion norms and embracing a unique, distinctly Chinese aesthetic. Hanfu enthusiasts often organize events, including fashion shows, tea ceremonies, and historical reenactments, creating a sense of community and fostering a deeper appreciation for China’s cultural legacy. The movement has gained international attention, with hanfu festivals and events attracting participants and admirers from around the world. Critics argue that the movement can sometimes oversimplify or romanticize history, ignoring the diverse and complex nature of China’s cultural evolution. While the hanfu revival has been largely celebrated, it has not been without controversy. The resurgence of hanfu represents a captivating journey of cultural rediscovery and self-expression. Additionally, concerns have been raised about cultural appropriation and the potential political implications of embracing traditional attire. As Chinese individuals and communities worldwide embrace this movement, it not only highlights the beauty of traditional attire but also serves as a reminder of the importance of preserving and celebrating cultural heritage in a rapidly changing world. Whether as a form of artistic expression or a means of reconnecting with one’s roots, the revival of hanfu reflects the enduring allure of China’s rich and diverse cultural tapestry.

Qizhuang (Chinese: 旗裝; pinyin: qízhuāng; lit. Manfu (Chinese: 滿服; pinyin: Mǎnfú; lit. Manchu clothing in English, is the traditional clothing of the Manchu people. Qizhuang in the broad sense refers to the clothing system of the Manchu people, which includes their whole system of attire used for different occasions with varying degrees of formality. In the Manchu tradition, the outerwear of both men and women includes a full-length robe with a jacket or a vest while short coats and trousers are worn as inner garments. The term qizhuang can also be used to refer to a type of informal dress worn by Manchu women known as chenyi, which is a one-piece long robe with no slits on either sides. The Manchu people have a history of about 400 years; however, their ancestors have a history of 4000 years. The Qing dynasty was a period when the Manchu’s clothing development stage reached maturity. The development of qizhuang, including the precursor of the cheongsam, is closely related to the development and the changes of the Manchu Nationality (and their ancestors) throughout centuries, potentially including the Yilou people in the Warring States Period, the Sushen people in the Pre-Qin period, the Wuji people in the Wei and Jin period, the Mohe people from the Sui and Tang dynasties, and the Nuzhen (known as Jurchen) in the Liao, Song, Yuan, and Ming dynasties. In the Qing dynasty, the clothing culture of the Manchu people contradicted and collided with the clothing culture of the Han Chinese due to their cultural differences and aesthetic concepts. 42 The Qing dynasty officials also wore court dresses, which were variants of Manchu clothing at the court. Some Qing dynasty court dress preserved features and characteristics which are distinct from the clothing worn by the Manchu prior to their conquest of the Ming dynasty. Manchu clothing contrasted to the Hanfu, Han Chinese clothing, worn in the Ming dynasty; “in contrast to the ample, flowing robes and slippers with upturned toes of the sedentary Ming, the Manchu wore the boots, trousers, and functional riding coats of nomadic horsemen”. Manchu of both sexes wore trousers to protect their legs from the horse’s flanks and from the elements. 40 The Manchu people also wore hoods which provided insulation and were essential to protect the wearer from the cold Northeast Asian winters. 40 Their boots had rigid soles to facilitate archery on horseback by allowing the riders to stand in the iron stirrups. The Manchu’s robes were overlapping in the form of a lute-shaped (or slant/curved) front, a Manchu innovation which was used, distinguished the Manchu robes from similar-looking clothing worn by the Mongol and by those worn by the Han Chinese. Chinese: 马蹄袖; pinyin: mǎtíxiù; lit. Manchu robes were fastened with loop and toggle buttons at the centre front of the neck area, right of the clavicle, under the right arm and along the right seam; this ways of closing their clothing differed from the Han Chinese who fastened a knotted button at the right neck opening near the shoulder line. Their male traditional hairstyle is the queue, which is called bianzi in Chinese and soncoho in Manchu language. 40 Manchu clothing allowed greater ease of movement while the Han Chinese wide and long-sleeved robes limited movements. The Manchu elites perceived themselves and the emperor as being Manchu first with a long tradition rooted in riding horses, shooting arrows, and hunting; they saw their clothing as having been designed to be suitable for their lifestyles and practices. The Manchu elites saw these characteristics of the Manchu culture as very important features which needed to be preserved, fully emphasized and expressed in their rule. 147 Therefore, in the early Qing dynasty, the Manchu rulers emphasized that the Han Chinese had to follow the dress code of the Manchu. However, not every Han Chinese were required to wear Manchu clothing under the Tifayifu policy due to another mitigation policy adopted by the Qing court typically referred as the “ten rules that must be obeyed and ten that need not be obeyed”, advocated by Jin Zhijun. According to the Documents of History of Qing Dynasty by Yufu zhi: “Manchu people are good at riding and shooting. If we adopt Han people’s clothes easily and gradually lose the skill of archery and horse riding and no longer worship martial arts, isn’t that a pity that we will keep these weapons but have no reasons to practice them”. Through a mitigation policy to the Tifayifu, Han Chinese women were allowed to keep the style and characteristics of the Ming dynasty’s women clothing; allowing the coexistence of both Manchu and Han Chinese women’s clothing. Manchu and Han Chinese women differed from each other in their dress style. Liangjie chuanyi-style clothing became one of the ethnic markers of the Han Chinese women’s identity. On the other hand, Manchu women wore a one-piece long dress. Han Chinese women followed the long tradition of liangjie chuanyi (Chinese: 两截穿衣; pinyin: liǎngjié chuānyī), which refers to the wearing of two-part top-bottom garment style, when wearing their hanfu. However, they borrowed some elements from each other in the Qing dynasty, for example, wide robe sleeves which are typical features in the Han Chinese women’s clothing was adopted in the informal daily outfits of the Manchu women. Manchu women’s clothing was therefore influenced by the Han Chinese clothing culture. Manchu women also had natural feet and did not engage in foot binding as opposed to the Han Chinese women. Their clothing culture was influenced by their productivity and geographical environment; the Sushen people lived on fishing and hunting; therefore, their clothing were made out of wild animal fur. In the Shang and Zhou dynasties, the earliest ancestors of the Manchu were the Sushen people who lived in the Songhua river basin in China. According to Guo Pu’s commentary in Shanhaijing, the Sushen people resided north of the Liaodong Commandery lived in caves and only wore pig hides for clothing and in winter, they would smear grease on their bodies to protect themselves from the wind and cold. According to the Book of Jin, the Sushen (also known as Yilou) lived north of the Changbai Mountain; a Sushen man would stick feathers in a woman’s hair and if the woman accepted, he would propose her to be his wife and marry her in a formal and respectful way; a custom which was passed down to the Yuan and Ming dynasties. 55 a kingdom which was made up of a large number of Mohe tribesmen in terms of population while the ruling class was composed mostly of Goguryeo people. 36 Some Mohe people however managed to become part of the ruling elite of Bohai. In the 7th century Tang dynasty, the descendants of the ancient Sushen people were known as the Heishui Mohe (Chinese: 黑水靺鞨; pinyin: Hēishuǐ mòhé; Korean: 흑수말갈; Hanja: 黑水靺鞨; RR: Heuksu Malgal). The Heishui Mohe had the customs of using wild boar tusks and pheasant tail feathers for their headdress. 36 Bohai eventually fell under the Khitans in 926 and the Goguryeo elites of Bohai became refugees in Goryeo leaving the indigenous Mohe people behind, who then became the subjects of the Liao dynasty. 42 According to the Old Book of Tang, the New Book of Tang, and the Book of Sui, Mohe men wore clothing of leather and decorated their hats with pheasant feathers. 55, also fully reflected the characteristics of the Manchu people as nomadic people; their clothing were zuoren (closing to the left) and their sleeves had horse-hoof cuff. The Jurchen clothing also reflected some fusion of Han and Manchu culture. Throughout the Jin, Liao and early Qing dynasties, the Jurchen retained their traditional customs of wearing feather caps and coats. 138 The Mohe people, who lived in the northern regions and eastern regions of Bohai, lived through hunting and fishing and wore clothing made out of fur (including sable, bear, and tiger) to protect against the cold with fur attached to the clothing. 42 The young Jurchen girls would wear a tube-shaped, five-colour beads which were engraved with ornamental design made of bird-neck bone. 338 they were referred as such by the Khitans who had founded the Liao dynasty. 85 The Jurchens, therefore, emerged from the Mohe tribes who lived south and west of the Changbai mountains and north to the Bohai kingdom. 85 The Liao dynasty had subdued the Heishui Mohe who lived along the Heilongjiang river, the Songhua River, and in the Changbai Mountains. 40 They could also shave their hair at the back of the head and bundled it with coloured silk; they also wore golden locks as their ornaments. In the early history of the Jurchen, the Jurchen liked to wear white clothing and shaved the front of their head above the temples while the rest of their hair hung down to their shoulders. 40 Jurchen women braided their hair and wound them into a hair bun without wearing a hat. 40 The wealthy Jurchen used pearls and golds as ornaments. 40 The Jurchen wove hemp as they did not raise silkworms; they used the fineness of hemp cloth to indicate their wealth. 40 In winter, fur coats were used by both the rich and the poor to keep themselves warm. The sheng (Chinese: 生; lit. 56 The Jurchens founded the Jin dynasty in 1115 and eventually overthrew the Liao dynasty. 56 Some remnants of the Bohai people became the subjects of the Jin after it overthrew the Liao dynasty; and by the mid-Jin dynasty, the Bohai people lost their distinct identity with assimilation. Jurchens lived a relatively primitive and indigenous lifestyle based on hunting and herding similar to the lifestyle of their ancestors. 55 Soon after having founded the Jin dynasty, the Jurchen elites abandoned their sheng ways of life having been first influenced by Bohai and later on by gaining much of northern China and the former Song dynasty population which were large in numbers. 56,68 and by the late 12th century, Hanfu had become the standard form of clothing throughout the Jin society, in particular by the elites. After having conquered northern China, in 1126, a proclamation was issued by the Grand Marshal’s office stipulating that the Jurchens had conquered all and it would be therefore appropriate to unify the customs of the conquered people to make them conform to the Jurchen norms; therefore the Chinese men living in the conquered territories were ordered to shave their hair on the front of their head and to dress only in Jurchen-style attire under the threat of execution to display their submission to the Jurchens. This shaving hair order and adopting Jurchen clothing was however cancelled just a few months after it was stipulated as it was too difficult to enforce. Yuanlingpao with tight sleeves (closing to the left side, with pipa-shaped collar) were worn by men with leather boots and belts. 136 Jurchen women liked to wear jackets (either dark red or dark purple) which closed to the left side with long flapped skirts. 136-137 It is also recorded in the section Carriages and Costumes of the History of Jin Dynasty that Jurchen clothes were decorated with bears, deer, mountains and forest patterns. In general, the Jin dynasty Jurchen clothing were similar to those worn by the Khitans in Liao, except for their preference for the colour white. 68 The hair shaving and adopting Jurchen clothing imposition order on the Chinese was once again reinforced in 1129; however, it does not seem to have been strictly been enforced. In 1127, the Jin dynasty occupied the Northern Song capital and the territories of the Northern Song and the Han Chinese became the majority population of the Jin dynasty; the Han Chinese were allowed to practice their own culture. 92 Under his reign, the Chinese in Honan were allowed to wear Chinese clothing. In the 1150, Emperor Hailing established a sinicization policy. 281 By his time, many Jurchens appeared to have adopted Chinese customs and had forgotten their own traditions. 92 and to preserve the Jurchen’s cultural identity. 281 Jurchen material culture dating about 1162 were found in the coffin of the Prince of Qi, Wanyan Yan, and his wife, chinese traditional dress hanfu where Wanyan Yan and his wife were dressed in layers of clothing in the duplicate style as those worn by Lady Wenji and the warriors who accompanied her in the painting Cai Wenji returning to Han. 281 As a result, Emperor Shizong also prohibited the Jurchens from adopting Han Chinese attire. 61The Prince of Qi wore earrings, drawers, padded leggings, jerkins, boots, a padded outer jacket with medallion designs at the back and front jacket; soft shoes and socks, and a small hat while his wife wore a short apron, trousers, leggings, a padded silk skirt, a robe with gold motifs, silk shoes with soft soles and turned-up toes. 62 These forms of Jurchen clothing were in the styles of the old Jurchen nobility; a style which may have been typical of the clothing of the Jin imperial elite at some point in the late 12th century during the reign of Emperor Shizong, who emphasized the values of the old sheng Jurchen and attempted to revive Jurchen culture and values. 57,61-62 The tribeswomen in the painting Cai Wenji returning to Han wear Jurchen attires consisting of leggings, skirts, aprons made of animal hide, jackets, scarves, hats made of fur or cloth; Wenji also wears Jurchen-style attire consisting of an ochre yellow jacket, silver yunjian (a symbol of high rank), boots, and fur hat with ear flaps; the tribesmen wear typical sheng Jurchen clothing with the exception of a Han Chinese official. According to Fan Chengda who visited the Jin dynasty in 1170 following the Jin conquest of the Northern Song dynasty, he noted that the Han Chinese men had adopted Jurchen clothing while the women dressing style were still similar to the Hanfu worn in the Southern Song dynasty (although the style was outdated). After the death of Emperor Shizong, the policy of Jurchenization was abandoned and sinicization returned quickly. 58-59 However, clothes worn by the Prince of Qi and his wife were not rough-woven wool, felt, and animal-skin that the sheng Jurchen wore; instead, they wore clothing made of fine Chinese silks, with some decorated with gold thread; they also did not wear boots. By the 13th century, the Jurchens of Jin considered the sheng Jurchens as outsiders, barbarians, and sometimes even as their enemies. Manchu (and Jurchen) clothing initially looked similar to the clothing worn during the early dynasties of conquest in its core features. 92 By 1191, the rulers of the Jin dynasty perceived their dynasties as being a legitimate Chinese dynasty which had preserved the traditions of the Tang and Northern Song dynasties. 39 The Jurchens and Manchu were originally hunters who made their clothing from the hides of animals they hunted. They wore surcoats, such as magua. They also relied on trade to obtain the cloth required to make their horse-riding clothing; their cloth coats would then often be quilted or face with fur to increase protection against the cold. After 1630, their magua often reflected its wearer’s association to his banner through the colour of the garment or its trimmings. 28) had already been bestowed with dragon robes by the Ming court as diplomatic gifts and bribes. 6 Thus, Manchu rulers ordered to that silk Ming dynasty dragon robes be trimmed with sable. 25 During the time of Nurharci, the highest-ranking members of the Jurchen elites wore Manchurian pearls, sable, and lynx: the highest members of the elites wore plaited sable jackets and robes of black sable, they wore Chinese-style racoon-dog or lynx fur robes; 2nd rank men wore robes or coats made of plain raccoon-dog lined with sable; and the men of the 3rd rank would wear dragon robes lined with sable in the Jurchen style. 28 Lower noblemen were dressed in squirrel and weasel fur. 36 in an attempt to create a new identity and people who referred to them as Jurchen would be executed. Manju, Hada, Ula, Yehe, and Hoifa. Ignorant people call these “Jurchens”. But the Jurchens are those of the same clan of Coo Mergen Sibe. Uttering “Jurchen” will be a crime. Illustration of a Jurchen of the 14th century. What relation are they to us? Manju. A Jurchen man, Ming dynasty, 15th century. Late Ming dynasty depiction of a Jurchen tribesman. The Manchu invaded the late Ming dynasty and overthrew the Ming dynasty to establish the Qing dynasty. 40-41 and dress in Manchu-style; the Han Chinese women were part of the exempted people and were therefore spared from the policy. According to Chinese customs, Han Chinese men were supposed to comb their long hair and hide it under caps. Women in the Qing dynasty dressed accordingly to their husband’s ranks. The Qing imposed the shaved head hairstyle on men of all ethnicities under its rule even before 1644 like upon the Nanai people in the 1630s who had to shave their foreheads. However, the shaving policy was not enforced in the Tusi autonomous chiefdoms in Southwestern China where many minorities lived. There was one Han Chinese Tusi, the Chiefdom of Kokang populated by Han Kokang people. The men of certain ethnicities who came under Qing rule later like Salar people and Uyghur people already shaved all their heads bald so the shaving order was redundant. 40 Banner women were not allowed to adopt Chinese customs such as foot binding, wear single earrings, and wear Ming-style clothing with wide sleeves. All members of the Eight Banners, regardless of their ethnic origins, were required to wear Manchu dress. It was a Han official from Shandong, Sun Zhixie and Li Ruolin who voluntarily shaved their foreheads and demanded Qing Prince Dorgon impose the queue hairstyle on the entire population which led to the queue order. 41 Qing Manchu prince Dorgon initially canceled the order for all men in Ming territories south of the Great wall (post 1644 additions to the Qing) to shave. 25 In 1636, a proclamation was passed to guide the principles that the Manchu rulers had to avoid adopting the traditional clothing dress code of the Ming dynasty with the Manchu rulers reminding their people that adopting Han Chinese customs of the Ming dynasty would make their people become unfamiliar with shooting and horseback riding. Following their conquest of the Ming dynasty, the Manchu continued the wearing the Ming-style dragons robes but altered them by adding fur at the collar and cuff and sable at the skirts. 40 Manchu rulers also firmly rejected the adoption of Ming dynasty’s court clothing and led to the executions of people who suggest adopting the Ming dynasty court dress. Hong Taiji who developed a dress code after 1636 stipulated that there was a direct connection between the adoption of Han Chinese’s clothing, speech and sedentary lifestyle and the decline of the earlier Conquest dynasties (Liao, Jin, and Yuan). 40 In the same year, Manchu noblemen and women were ordered by the early Qing court to wear freshwater Manchurian pearls in their headwear, including hats and hairpieces. In 1637, Hong Taijji reminded his people that the “wide robes with broad sleeves” of the Ming dynasty were completely unsuitable to the Manchu lifestyle and expressed his worries that his descendants would forget the source of their greatness (i.e. Manchu conquests were founded on their horseback riding and their archery skills) and adopt Han Chinese customs. After 1644, new revisions were made on the clothing regulations: 1st rank princes had to wear 10 Manchurian pearls on their head; 8 pearls for the 2nd rank princes; 7 for the 3rd rank princes; the number of numbers were graded down until the lowest-ranking aristocrats who were only allow to wear one single pearl. In the early 1652, surcoats with insignia badges started to be worn to indicate the wearer’s rank. Early design of the Qing dynasty dragon robe, 17th dynasty. They were also wearing three-quarter length surcoats, called duanzhao, entirely lined with fur on cold weather days. During the Kangxi and Qianlong periods, the Manchu clothing system was continuously improved. The duanzhao were considered luxurious, and they were eventually restricted to the members of the elites (nobles and officials of the top three ranks) and to the imperial guards; the type of fur and the lining colour was according to rank. Qianlong Emperor had cited Hong Taiji’s earlier analogies. During the Qianlong reign, some banner women transgressed the ban of wearing Hanfu and Han Chinese jewelries (specifically earrings). 40 The Manchu women’s chanyi and chenyi (informal robes) both became popular in the reign of the Qianlong Emperor and were worn with a long neck ribbon called longhua. Portrait of Shang Zhixin, second half of 17th century. The Manchu rulers also established new dress code regulations codifying attire worn by the imperial family, the Qing dynasty court and their court officials to distinguish the members of the ruling elites from the general population. The Board of Rites worked on the standardization of the Imperial clothing of the Qing dynasty. It is however only in the Qianlong period, that Imperial clothing became an amalgamation of Manchu-style tailoring with adopted Chinese designs. 17th and early 18th centuries. 147 The new dress code was found in the Huangchao liqi tushi (lit. Qianlong Emperor by the year 1759 as he was concerned that the customs of the Manchu people would be diluted by the Han Chinese ways. The twelve ornaments were also reintroduced in 1759 and reappeared on the Qing dynasty court robes, first on the chaofu and later on the jifu. The Huangchao liqi tushi was therefore published and enforced by the year 1766; it contained a long section regulating the clothing worn by the emperors, princes, noblemen and their consorts, Manchu officials along with their wives and daughters, and also stipulated the dress code for Han Chinese men who became a mandarin and were serving the Manchu court, along with their wives and by the people who were waiting for an appointment. The stipulated clothing was divided into official and unofficial clothing and was then subdivided into formal, semiformal and informal categories: formal official clothing and semiformal clothing were worn at the court; informal official clothing was worn when travelling on official business, when attending court entertainment and on important domestic occasions; non-official formal clothing was worn on family occasions. In the Jiaqing and Daoguang period, Manchu clothing evolved and more decorations were used to adorn women’s clothing. Clothes were also regulated by the seasons. Manchu women’s robe became wider and the size of the cuff also became bigger, particularly on the formal festive coats worn by Manchu court women. By the mid-19th century, the matixiu (Chinese: 马蹄袖; pinyin: mǎtíxiù; lit. By 1911, the topple of the last Qing dynasty Emperor Puyi by Sun Yat-sen and the demise of the Qing court led to the extinction of the Qing dynasty sartorial regulations. According to the Manchu tradition, the outerwear of both men and women includes a full-length robe with a jacket or a vest while short coats and trousers are worn as inner garments. 34 When the Republic of China was established, men all over China cut their queues and wore Western-style clothing. During the Qing dynasty, new types of clothing with elements and features which referred to the Manchu tradition also appeared, leading to changes in the cut of the formal and semi-formal attire worn by both the Manchu and the Han Chinese; for example, the Manchu robes closed to the right side of their body, 4-slits at the bottom of their garments (while the Han Chinese only wore two) which facilitated horse riding, the shape of the sleeves were changed from long and wide to narrow. Some court dress of the Qing dynasty preserved features and characteristics which are distinct the clothing worn by the Manchu prior to the conquest of the Ming dynasty. 42 The Qing dynasty officials wore court dresses, which were also variants of Manchu clothing at the court. Some sleeves had matixiu cuffs. Five colours symbolism (e.g. the colour blue was adopted as the Manchu’s dynastic colour while red was avoided as it had been the dynastic colour of the Ming dynasty). 21-22and were the most conservative in preserving Manchu clothing features. They are worn by the emperors and court officials on the most solemn state ceremonies; such as on the day of the Emperor’s ascension on the throne, imperial weddings, birthdays, New Year, winter solstices, and sacrifices to Heaven and Earth. The Qing chaofu for men was developed based on the dress of the Ming dynasty court dress; it however had additional distinctive features, such as the Manchu matixiu cuffs in its chaopao, and plain cloth insertions at the sleeves, and the shape of the collar. Chaofu (朝服, lit. 22 The emperor, princes, noblemen and high officials wore hats, called chaoguan, which were regulated and worn accordingly to the seasons (winter and summer), ranks, and gender. The colours were bright yellow for the emperor, apricot yellow (杏黃 xinghuang) for the heir apparent (crown prince); golden yellow (jinhuang, which looks closer to orange in colour rather than yellow) for other sons of the emperor. The chaofu of for men consists of a robe, called chaopao (lit. Blue black was the colour worn by the lower-ranking princes, noblemen, and high-ranking officials. The first to fourth degrees princes and imperial dukes had to wear blue, brown or any other colour unless the Emperor bestowed them with a golden yellow robe. The first winter style is similar to the summer-style chaofu but has is trimmed with fur. It was trimmed with a deep band of fur round the hem. The second winter-style is lined with sable on cuff, side-fastening edge, and collar. It is typically bright yellow (the colour reserved for the emperor), but the emperor was allowed to wear other colours; other colours of chaofu is also used if the ceremonial occasions requires it. Between third degree prince and fourth degree official The mid-18th century sumptuary laws stipulated that only the emperor and heir apparent could wear robes with five-clawed dragons, but in the 19th century, these regulations were often not observed. Qing nobles, high-ranking civil officials and military officials, and imperial guards. Chaofu for women consisted of a chaopao, a chaogua (朝褂), and a skirt which is worn under the chaopao called chaoqun (朝裙). Other people were actually supposed to wear four-clawed dragons robes (mangfu). The chaopao, is a formal court robe for women, which is characterized with L-shaped seamed between the collar and the underarm fastening. 58 and opens in the front. It originated from a Ming dynasty vest worn by the Ming empresses; the deep cut arm openings and sloping shoulders however appears to have been derived from animal skin constructions. The chaogua is a long-length court vest worn over the chaopao. They were worn by the members of the imperial family and lower-ranking officials. Prior to the 1759 sumptuary regulations, the jifu followed the Manchu-style cut and had to comply to the laws regarding colours and the dragon-claws number; however, the distribution of dragon patterns on the jifu were not regulated and the early Qing dynasty’s robe followed the Ming tradition of having large curling dragons over the chest and back regions. Jifu (Chinese: 吉服; lit. Women also wore jifu dragon robes and python robes as a semiformal court dress. By the mid-19th century, the matixiu (Chinese: 马蹄袖; pinyin: mǎtíxiù; lit. The 5-clawed dragons were used for the emperor, his heir apparent, the high-ranking princes and some lesser officials whom the emperor would bestow the 5-clawed dragons to them. The 4-clawed dragons were worn by third ranking princes and anyone below this rank. Manchu women’s robe became wider and the size of the cuff also became bigger, particularly on the formal festive coats worn by Manchu court women. Those rules were eventually disregarded near the end of the Qing dynasty; and, jifu with five-claws dragons started to be worn by anyone regardless of ranks. The first to fourth degrees princes and imperial dukes had to wear blue, brown or any other colour unless the Emperor bestowed them with a golden yellow robe. The colours were bright yellow for the emperor, apricot yellow (杏黃 xinghuang) for the heir apparent (crown prince); golden yellow (jinhuang, which looks closer to orange in colour rather than yellow) for other sons of the emperor. Blue black was the colour worn by the lower-ranking princes, noblemen, and high-ranking officials. Longpao Emperor The emperor’s jifu were decorated with the 12 symbols and were embroidered with a 5-clawed dragon; thus making it a dragon robe. Imperial Crown prince 5-clawed dragon. It is apricot yellow (杏黃 xinghuang) in colour. Noblemen women and wives of officials would wear robes with eight roundels with the Chinese character shou (Chinese: 壽; pinyin: shòu; lit. It is bright yellow, but it can also come in other colours. 8 roundels with shou or floral patterns. Both the robe and surcoat could be decorated with or without lishui at the hem and cuffs. Roundels with crane and gourd (symbol of longevity), most likely used for birthdays. Longgua, also known as jifu gua (吉服褂), was the woman’s surcoat worn over a semi-formal dragon robe (jifu; i.e. the festive robe). Jifupao Noble women/ Wives of officials Eight roundels with the Chinese character shou (Chinese: 壽; pinyin: shòu; lit. When the Manchu established the Qing dynasty, they incorporated roundels with dragons in their official court dress. Jifu gua Wife of imperial prince/ high-ranking clan member/ Manchu official Roundels with 5 cranes were possibly worn by the wife of an imperial prince, a high-ranking clan member, or a Manchu official, possibly worn for birthdays. After the standardization of dress code in the mid 18th century, longgua with 8 dragon roundels became reserved for the empress dowager, empress, imperials concubines (first, second, and third ranks) and for the consort of the crown prince. Noble women/ Wives of officials Eight roundels with the Chinese character shou (Chinese: 壽; pinyin: shòu; lit. Roundels with crane and gourd (symbol of longevity), most likely used for birthdays. Gunfu was a form of surcoat with circular embroidered roundel, which was part of the official court dress since 1759; it was worn over the chaofu or jifu. It is calf-length and made of plain satin; it closes at the front. Four circular roundels (on the chest, back and shoulders). It was worn by the imperial family; people from the higher ranks would wear five-clawed dragons which face to the front while those from the lower ranks would wear five-clawed dragons in profile. The bufu was the man’s surcoat with a square-shape court insignia, called buzi. Civil officials typically wear rank badges with bird designs; military officials wore rank badges with beasts (or animals) designs, and the Censorate Civil Bureaucrats wear rank badges with xiezhi. The use of buzi on clothing is a continuation of the Ming dynasty court clothing tradition. There is one rank insignia on the front and one on the back of the bufu. 42 Women also wore bufu which would often be the mirror image found on the insignia used on her husband’s bufu; therefore, when they sat together, the animals would face towards each other symbolizing marital harmony. Lower-ranking noblemen who were not allowed to wear clawed dragons would wear buzi with hoofed dragon near the end of the 19th century. Dragon or python would be worn on the buzi of the imperial dukes and noblemen. Fur surcoats were typically worn by high-ranking officials over the winter jifu. Civil officials wore rank badges with bird designs. Portrait of Shi Wenying wearing a fur surcoat. 21-22 The informal official clothing was worn for occasions which are not major ceremonies or government business. Semiformal non-official dress for women were lavishly decorated with embroidery and used contrasting borders by the mid-19th century reflecting the influence of Han Chinese culture. 41 Changfu was typically characterized by matixiu cuffs. They typically did not feature matixiu cuffs. 41 used as everyday and leisure wear as casual clothing and were not regulated by the Qing court. They were mostly plain or self-patterned. Structurally, it looks similar to the jifu; it is typically blue, grey, and reddish brown in colour. Changfu pao (常服袍)/ Neitao Emperor Neitao is long-sleeved and have narrow matixiu cuffs and 4 splits (side of robes, front and back) which provided greater ease of movement when mounting and dismounting their horses; it was originally a Manchu garment, made of plain long gown of silk. There were no strict rules related to their colour. Changfu pao (常服袍) Imperial women Changfupao looked similar to the longpao jifu, with matixiu cuffs, mens traditional chinese clothing they were made of plain silk (some had with embroidered dragons at the neck opening and sleeves). Changyi (氅衣) Women A form of Manchu’s women informal dress and leisure dress worn by imperial consorts. It could be decorated with woven dragon roundels. They were worn with a long neck ribbon, called longhua. Chenyi Women Chenyi is a type of Manchu’s women informal dress and leisure clothing worn by imperial consorts; the dress is one-piece and has no slit on either sides. The changyi had slits on both sides which facilitated body movements. It is round neck, with a panel of fabric which crosses from the left to the right side; it is fastened at the right side with 5 buttons and loops; they are relatively straight body shaped in cut and have full sleeves. Phoenix robes Empress/Empress dowager The phoenix robe is worn by the Qing dynasty empress/ empress dowager. It was also worn with a long neck ribbon, called longhua. 180-181They were worn as an informal court dress. Magua Men An over jacket for Manchu men; in the late 17th century, it became widespread for non-Manchu men in China. Changfu gua (常服褂) Men A form of outerjacket with front opening which closes with button; it can be found in azurite blue colour (石青色) or black. It is worn over the changfu robes (常服袍). 299 The sleeves are elbow-length; the length of the magua could range from waist-length to knee-length; it has front opening. Xinfu (行服) are travel clothing which were typically used on surveying trips and hunting excursions which usually involves horse riding and archery. Most of xinfu are plain in colour and lacks elaborate decorations. Queue – It is the original male hairstyle of the Manchu; it was also a variant of the Jurchen queue. Dianzi (鈿子) – Informal festive Manchu headdress, used for on festive occasions such as birthdays, ceremonies, and New Year celebrations. The pipa vest is a common type of vest for Manchu women; its origins appear to be related to Manchu’s informal magua, which was cut short on the front left side to facilitate horse mounting. Hat worn by a 6th-rank civil official, China, Qing dynasty, late 19th to early 20th century AD. Jean Denis Attiret, with the subject (purportedly Step Empress) in winter-style (fur-lined) jifu. 341 Manchu shoes for Manchu women include Manchu platform shoes, which were used to emulate the bound feet gait of the Han Chinese. Chaodai: A man’s woven silk belt. 41although some Manchu women did transgress this rule. Earrings: Manchu and Banner women wore three earrings at each ear (which was reinforced by Qianlong’s edict of “一耳三鉗” (pinyin: yīěr sānqián; lit. Han Chinese women would wear a single earring. Piling (披领) – ceremonial collar. Lingtou: a small, plain, stiffed collar, which was worn over the collar of garments (such as surcoats, jifu and other informal clothing). Chaozhu, Qing dynasty court necklace. It thus adopted Manchu clothing elements by slimming their Ming dynasty’s changshan, by adopting the pipa-shaped collar, and by adopting the use of loops and buttons. Compared to the neitao, the changshan was adapted to a sedentary lifestyle and thus only had two slits on the side instead four. The changshan was worn by Chinese men who did not engage in labour work. The cheongsam was a derivative of the Manchu robe. A young Manchu man dressed in traditional clothes. The mitigation policy stipulates 10 rules which are not all related to clothing: 1. Men had to shave and braid their hair and wear Manchu clothes, while women could wear their original hairstyle and wear hanfu; 2. A living man had to wear Manchu clothing, but after his death, he was allowed to be buried in Hanfu-style clothing; 3. There is no reason to follow the customs of the Manchu people for the affairs of the Underworld and can continue to follow Buddhist and Taoist customs; 4. The officials must wear Qing official uniforms but the slaves can still wear Ming style clothing; 5. A child does not need to follow the rules of Manchu but when he grows up, he needs to follow the rules of the Manchu; 6. Ordinary people have to wear Manchu clothing, shave their hair and wear braids, but Monks are allowed to wear Ming and Hanfu-style clothing; 7. prostitutes have to wear clothing required by the Qing court, but actors are free to wear clothes of other clothes due to the role of the ancients; 8. Official management follow the system of the Qing dynasty, while marriage ceremony keep the old system of the Han people; 9. The State title changed from Ming to Qing, but the official title names remain; Taxes and official services follow the Manchu system but the language remains Chinese. The changshan, also known as changpao (lit. Liu Zhenyu was executed for urging the return of Ming style fashion under the reign of the Qianlong Emperor. This size of dragon compared to the garment is a continuation of the Ming dynasty design style. Although bright yellow was reserved for the Emperor, he was actually allowed to wear whatever other colours he wanted or wear the appropriate colours based on the occasions, e.g. the Emperor can wear blue robes when worshiping at the Altar of Heaven ceremony. Although bright yellow was reserved for the Emperor, he was actually allowed to wear whatever other colours he wanted or wear the appropriate colours based on the occasions, e.g. the Emperor can wear blue robes when worshiping at the Altar of Heaven ceremony. Prior to 1759, it was the symbol of both the 6th and 7th rank. In 1654, Chen Mingxia was impeached and executed for suggesting that the Qing court had to adopt Ming dynasty clothing in order to “bring peace to the empire”. Prior to 1759, it was symbolized by a panther. Neitao for military mandarin features an extra panel found at lower hem at the right side, which is fastened with loops and ball. 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Shenyi (Chinese: 深衣; pinyin: shēnyī; lit. 12 or “to wrap the body deep within cloth”. Liji and advocated in Zhu Xi’s Zhuzi jiali《朱子家禮》. The shenyi was then developed in Zhou dynasty with a complete system of attire, being shaped by the Zhou dynasty’s strict hierarchical system in terms of social levels, gender, age, and situation and was used as a basic form of clothing. As cited in the Liji, the shenyi is a long robe which is created when the “upper half is connected to the bottom half to cover the body fully”. By the Han dynasty, the shenyi had evolved into two types of robes: the qujupao (Chinese: 曲裾袍) and the zhijupao (Chinese: 直裾袍). The shenyi then became the mainstream clothing choice during the Qin and Han dynasties. 13-14 The shenyi later gradually declined in popularity around the Wei, Jin, and Northern and Southern dynasties period. However, the shenyi’s influence persisted in the following dynasties. The shenyi then became a form of formal wear for scholar-officials in the Song and Ming dynasties. The shenyi was also introduced in both Goryeo and Japan, where it exerted influences on Confucian clothing attire in Korea and Japan. Chinese scholars also recorded and defined the meaning of shenyi since the ancient times, such as Zhu Xi in the Song dynasty, Huang Zongxi in the Ming dynasty, and Jiang Yong in the Qing dynasty. The shenyi is called simui in Korean, it was worn by followers of Confucianism in the Goryeo and Joseon period. The term shenyi (Chinese: 深衣) is composed of two Chinese characters《深》which can be translated as ‘deep’ and《衣》which literally means ‘clothing’ in the broad sense. Combined, the term shenyi literally means “deep clothing”. The structure of the Hanfu system is typically composed of upper and lower parts; it also typically comes into two styles: one-piece garment (where the upper and lower parts are connected together), and two-pieces garments (where the upper and lower parts are not connected). And as stated by the Liji, the shenyi was one long robe as opposite to the combination of a top and a bottom. However, the structure of the shenyi is made of two pieces: an upper garment called yi (Chinese: 衣; pinyin: yī) and lower garment called chang (Chinese: 裳; pinyin: cháng), which are then connected together to form a one-piece robe. 12 Thus, the shenyi differ structurally from the paofu, which is a one-piece robe where the lower and upper part is cut in a single fabric. Moreover, a standard shenyi was also made up of twelve panel of fabric which were sewn together. However, in the Shang and Western Zhou dynasties, people prominently wore a set of attire called yichang, which consisted of a jacket called yi and a long skirt called chang. 260 From the Spring and Autumn period to the Han dynasty, the loose shenyi with wide sleeves was fashionable amongst the members of the royal families, the aristocrats, and the elites. The loose shenyi which wrapped around the body to back and lacked a front end slit and was designed for the upper classes of society, especially for women, who wanted to avoid exposing their body parts when walking. 16 The preoccupation of the elites with layered, loose-fitting clothing also displayed their desire to distance themselves from the labourers, signalling their high status. 12 it then further developed in the Han dynasty where small variations in styles and shapes appeared. Following the Han dynasty, the shenyi lost popularity in the succeeding dynasties until it was revived again the Song dynasty. This design of this wrap-style of shenyi was an important necessity in a period where the kun had yet to become popular amongst the general population. 255 The shenyi was also shaped by the Zhou dynasty’s hierarchical system based on social class, gender, age, and the situation. However, despite these complex regulations, the shenyi was still a basic form of garment which served the needs for all classes, from nobles to commoners, old to young, men to women; and people would therefore expressed their identities through recognizable objects, decorations, colours, and materials on their outer garments. The Western Zhou dynasty had strict rules and regulations which regulated the daily attire of its citizen based on their social status; these regulations also governed the material, shape, sizes, colours, and decorative patterns of their garments. Nobles would wear a decorated coat over the shenyi, while commoners would wear it alone. In the early Eastern Zhou dynasty period, there were still strict rules and regulations which regulated the clothing of all social classes and were used to maintain social distinction between people of different classes. Man wearing a shenyi, from the Silk painting depicting a man riding a dragon. In the Warring States period, the shenyi was a moderately formal style of clothing. 16-17 Both paintings unearthed from a Chu tomb, Warring States period, 5th century BC, Changsha, Hunan Province. Materials which were used in this period tended to be linen; however, when the shenyi was made into ceremonial garments, then black silk would be used instead. 13 The shenyi which was representative of the Warring States period, was designed to have the front stretched and wrapped around the body several times. 13 It was worn by both the literati and the warriors as it was both functional and simplistic in style. The design features of shenyi also match the ancient Chinese culture. 13 The shenyi was also tied right below the waist level in the front with a silk ribbon, called dadai (Chinese: 大带) or shendai (Chinese: 绅带), on which a decorative piece was attached to. In this period, the shenyi was also deeply rooted in the traditional Chinese ethics and morals which forbid close contacts between males and females. 12 In this period, the shenyi had to conform to the certain rules and regulations which were recorded in the special chapter called Shenyi《深衣》in the Liji. It was not made so short as to show any of the skin, nor so long as to touch the ground. The sleeve was joined to the body of the dress at the armpit, so as to allow the freest movement of the elbow-joint; the length of the lower part admitted of the cuffs being turned back to the elbow. The outside pieces of the skirt joined, and were hooked together at the side; (the width of) the seam at the waist was half that at the bottom (of the skirt). 《古者深衣，蓋有制度，以應規、矩、繩、權、衡。 短毋見膚，長毋被土。 續衽，鉤邊。 要縫半下；袼之高下，可以運肘；袂之長短，反詘之及肘。 帶下毋厭髀，上毋厭脅，當無骨者。 The same chapter described the shenyi as being made of twelve panels of fabric corresponding to the twelve months and all twelve robes are cut into one clothing style. The sash was put on where there were no bones, so as not to interfere with the action of the thighs below or of the ribs above. In the making (of the garment) twelve strips (of the cloth) were used, to correspond to the twelve months. The sleeve was made round, as if fashioned by a disk. The opening at the neck was square, as if made by means of that instrument so named. The cord-like (seam) at the back descended to the ankles, as if it had been a straight line. The edge at the bottom was like the steelyard of a balance, made perfectly even. For ornament, while his parents and grandparents were alive, (a son) wore the dress with its border embroidered. 《制：十有二幅以應十有二月；袂圜以應規；曲袷如矩以應方；負繩及踝以應直；下齊如權衡以應平。 12-13 and the explanation behind the function of these prescribed measurements, and the location of the belt referred as dai (simplified Chinese: 带; traditional Chinese: 帶). In the case of an orphan son, the border was white. The border round the mouth of the sleeves and all the edges of the dress was an inch and a half wide. If (only) his parents were alive, the ornamental border was blue. It was gathered in at each side (of the body). The sleeve could be turned back to the elbow. 《具父母、大父母，衣純以繢；具父母，衣純以青。 如孤子，衣純以素。 純袂、緣、純邊，廣各寸半。 In the morning they wore the xuanduan; in the evening, the shenyi. The collar was 2 inches wide; the cuff, a cubit and 2 inches long; the border, 1.5 inch broad. The outer or under garment joined on to the sleeve and covered a cubit of it. To wear silk under or inside linen was contrary to rule. The wearer’s skin should be appropriately covered to meet the first purpose. 《朝玄端，夕深衣。 深衣三袪，縫齊倍要，衽當旁，袂可以回肘。 長中繼掩尺。 袷二寸，祛尺二寸，緣廣寸半。 以帛裹布，非禮也。 There are two purposes for the loose-cut design: firstly, the body shape is less visible to others; the second reason is to allow the wearer to move the body as freely as possible. The waistband should only accentuate the outline of the waist; the outline of the rest of the body should be well hidden from view. Nonetheless, the second purpose, which engages more freedom of movement for the wearer’s body. Chinese: 矩; lit. In the chapter Shenyi《深衣》of the Liji, the making of the shenyi will match the compass called gui (Chinese: 規; lit. Chinese: 繩; lit. Chinese: 權衡; lit. In appearance, rounded cuffs of the shenyi to match the compass; squared neckline to match the squareness, the seams at the back part of the shenyi drop down to the ankle to match the straightness, and steelyard balance the bottom edge to match evenness. These four tools have normative connotations in Liji: The gui, ju, and sheng generally refer to the rules and standards people should follow; the quanheng defines the ability to balance all the advantages and disadvantages and result in the best solution. The terms “squareness,” “straightness,” and “evenness” can be used to describe both the physical properties of objects and the moral qualities of people. These wordplays tie the physical properties of tools to virtues. The Liji also explains how the shenyi helps construct its wearer’s character through the symbolic relationship between the tools, virtues, and each part of the shenyi. Every part of shenyi has the attributes of an instrument, which gives the text multiple moral meanings. The circular shape of the cuffs allows the user to raise his arms while walking, allowing him to maintain correct comportment (rong). The straight seams worn in the rear (fusheng) and the square neckline worn in the front (baofang) are intended to straighten one’s approach to political issues. The bottom edge is meant to seem like a steelyard balance to calm one’s thoughts and focus one’s aim. The evenness of the bottom edge is supposed to be able to keep the wearer’s thoughts “even” in the sense of “balancing,” allowing him to focus on a single goal. Liji emphasizes how each part of shenyi represents a moral trait, such as selflessness, straightness, and evenness. Nevertheless, the chapter Shenyi《深衣》also emphasizes the body effects on wearers. The body concealing and physical movement freedom are two significant reasons why shenyi was made in this design. The back seam of the shenyi is first linked to the physical characteristics of “straightness” in the sheng and then to the moral trait of “straightness.” When attention to political matters, the wearer of the shenyi will be straight in the sense of becoming “upright” the design of the square-shaped neckline indicates “making correct” correspondence to the wearer’s role performance. Body mobility is brought up again in Liji, which says that the cuffs are created round to allow the wearer to cultivate his physical comportments (rong), not because roundness indicates a certain moral quality. The shenyi allows the user to cultivate a person’s comportment while also cultivating one’s character by allowing a broad range of body mobility. The Liji also implies that the symbolic meanings of the shenyi which may be sensed by the wearer’s body, in addition to being accessed cognitively and mentally. In early Confucian ethics, having refined body comportment is regarded ethically significant. These two words are widely used to describe how the human body moves. The text implies that the wearer’s body carries and embraces the straightness and squareness. Therefore, it can be sensed through the tactile sensations when the shenyi contacts the wearer’s skin. Moreover, the evenness of the bottom border of the shenyi may be sensed when the wearer stretches it with his hands or when his thighs naturally meet it while walking. The users of shenyi may need to walk smoothly and firmly to keep its bottom edge even. Both the Chinese verbs “to carry” (fu) and “to embrace” (bao) employed regarding the straight seams and square-shaped neckline frequently indicate a close bodily relationship between its subject and object. The design of the shenyi also encourages its wearer to use their bodies in a certain way. By the Mid-warring states period, however, the rules and regulations started to disintegrate. The forms of these shenyi, however, were not standardized and show variations in cut and construction. 340 – 278 BC with twelve long robes which were all cut in the approximate style of shenyi whether they were padded with silk floss (mianpao), single in layer (danyi) or lined (jiayi). The shenyi found in the Mashan tombs had a straight-front which falls straight down. Moreover, some of the textiles and decorations used in making those robes were against the rules and regulations for her ranks and violated the rules which were stipulated in the Liji. The shenyi grew in popularity during the transition period from the Warring States period to the Western Han dynasty; and with its increased in popularity, the shape of the shenyi deviated further from its earlier prescriptions. During the Qin and Han dynasties, the shenyi dominated the connection method of the upper and lower parts and became the mainstream choice. In the Qin dynasty, Qin Shi Huang abolished the mianfu-system of the Zhou dynasty and implemented the shenyi-system specifying that third ranked officials and above were required to wear shenyi made out green silk while commoners had to wear shenyi which were white in colour. The Western Han dynasty also implemented the shenyi-system, which featured the use of a cicada-shaped hat, red clothes, and a collar in the shape of tian 《田》, and garments which were sewn in the shenyi-style with an upper and lower garment sewed together. 16 This system adopted by Qin Shi Huang laid the foundations of the Hanfu-system in the succeeding dynasties. By the Western Han dynasty, the shape of the shenyi had deviated from the earlier versions as it can be found in the Mawangdui tomb of the same period belonging to Lady Dai. The shenyi was also worn together with the guan and shoes as a form of formal attire in the Han dynasty while in ordinary times, shanku attire and the ruqun attire were born by men and women respectively. English, and the zhijupao (Chinese: 直裾袍; lit. The shenyi had evolved into two types of robe: the qujupao (Chinese: 曲裾袍; lit. The qujupao was more luxurious than the zhijupao as it required approximately 40% more materials than the zhijupao; and therefore the presence of more amount of wraps in qujupao indicates that the robes are more increasingly more luxurious. Moreover, the shenyi in this period, regardless of its cut, could also be padded, lined, or unlined. The qujupao directly evolved from the wrapping-style shenyi which was worn in the pre-Qin period and became popular in the Han dynasty. More examples of unearthed archeological artefacts of shenyi made of diverse cuts and materials from the Mawangdui tomb can be found in Museums, such as the zhijusushadanyi (Chinese: 直裾素纱襌衣; pinyin: zhíjūsùshādānyī; lit. Chinese: 曲裾素纱褝衣; lit. Chinese: 丝绵曲裾袍; lit. Hunan Museum. According to the Fangyan by Yang Xiong dating from the Western Han dynasty, the danyi (Chinese: 襌衣; lit. There were also gradual changes but clear distinctions in the form of the shenyi between the early and late period of the Western Han dynasty. Others wore qujupao with a flowing extended panels which would create a tiered effects at the back. In the early Western Han, some women wore body-hugging shenyi which was floor length with wide and long sleeves, long enough to cover the hand. 14 However, when the chanyu first appeared, it was considered to be improper to use it as a ceremonial garment; it was also improper to use it outside of the house, and it was also improper to wear it at home when receiving guests. 14 The disrespectful nature of wearing chanyu at the court was even recorded in the Shiji. Moreover, the design of the shenyi was closely related to the evolution of the Chinese trousers, especially the ku. A kun (Chinese: 褌) was a form of Chinese trousers with crotches as opposed to the ku. With time, when the kun became more popular, the zhijupao, which was shorter and easier to put on than the qujupao; the zhijupao then started replacing the qujupao which had been long enough to cover the ku. 32 The kun, however, were only popular for some people of certain occupations, such as warriors, servants, and the lower class, in the Han dynasty and was not widely used by the general population as it was not easily accepted by the traditional etiquette of the Han culture. Therefore, the kun was never able to replace the ku; moreover, the design of the ancient ku had also evolved with time becoming long enough to cover the thighs, with some parts even covering the upper parts of the hips, such as the qiongku which was especially designed for women in the Western Han dynasty court. Reasons why the wearing of chanyu was considered improper in those circumstances might be related to the wearing of the ancient ku, which were trousers without crotches; and thus, this form of zhijupao might not have been sufficiently long to cover the body which was a disgraceful act from its wearer. By the middle of the Western Han dynasty, the qujupao became nearly obsolete; and by the late Western Han dynasty, the shenyi were straight rather than spiralled. In the Eastern Han dynasty, very few people wore shenyi. In the Song dynasty, Neo-Confucian philosophies determined the conduct code of the scholars which then had a great influence on the lives of the people. 184 Zhu Xi and his Neo-Confucian colleagues developed a new cosmology, moral philosophy, and political principles based on intellectuals and elites sharing responsibility for the dynasty’s management. The Neo-Confucians also re-constructed the meaning of the shenyi, restored, and re-invented it as the attire of the Neo-Confucian scholars in order to distinguish themselves from other scholars who came from school of thoughts. Some Song dynasty scholars, such as Sima Guang and Zhu Xi, made their own version of the scholar gown based on the Liji, while other scholars such as Jin Lüxiang promoted it among his peers. In his Zhuzi jiali《朱子家禮》, Zhu Xi described the style of the long garment in considerable detail. However, the shenyi used as a scholar gown was not popular in the Song dynasty and was even considered as “strange garment” despite some scholar-officials appreciated it. Zhu Xi himself hesitated to wear it in public due to the social stigma which were associated to it; Zhu Xi was also accused for wearing strange garments by Shi Shengzu, who also accused Zhu Xi’s followers of defying the social conventions. Sima Guang, on the other hand, had the habit to wear the shenyi in private in his garden. According to philosopher and ancient scholar Lü Dalin (1044-91), noblemen and scholars used the shenyi for informality and ease, whereas commoners wore it as formal clothing. It was the traditional informal attire of the ancient nobility. The robe became the formal clothing of commoners in the ancient Chinese world, reversing this reasoning. The Song Neo-Confucians praised the robe not only for its elegance and simplicity but also because it represented an essential political function. The garment was worn by court officials, noblemen and noblewomen, palace ladies, scholars and their wives, artisans, merchants, and farmers. In the Song dynasty, the shenyi was made with white fabric. In the Ming dynasty, in line with the attempt of the Hongwu Emperor to replace all the foreign clothing used by the Mongols of Yuan, with the support of the Chinese elites who had supported the military campaigns against the Mongols. This form of shenyi had suddenly become a popular form of robe for the scholars in 1368 and also became the official attire of the scholars. Moreover, the shenyi had become a symbol of status and Han ethnicity as it was devoid of all foreign influence and also denoted Chinese intellectual pride and superiority. The scholar robe’s shenyi was a significant topic during the transition period between the Ming dynasty and the Qing dynasty. Huang Zongxi chose Huang Runyu’s research version to serve as his contrast. He said that the scholar’s robe’s style and function exactly matched the “great implication” (da yi) of literati values. According to Huang Zongxi’s research, the scholar’s robe shenyi represented the transfer of literati political values instead of dynastic politics and imperial orthodoxy. Ren was casually marked in the center of Huang Runyu’s rendition and referred to the entire front piece, folding over the other side. Identifying the specific portion known as ren is the main distinction between these two versions. The robe’s expanded bottom, known as xuren, was fashionable throughout the Ming dynasty and can be seen in numerous Ming paintings. On the other hand, Huang Zongxi called ren the collar on the right folding to the left. This definition of ren is narrow and particular, can you wear a hanfu for chinese new year referring to the collar that runs from the neck to the ground. The phrase xuren (continuing the ren) in Records of Rituals refers to the continuance of the collar. In the 19th century, some members of the gentry class still regarded the shenyi as a Chinese symbol and as having a proper status in society. The Catholic missionaries in the 19th century who visited China perceived Chinese religions (being constituted of the sanjiao) as a degeneration of “true monotheism”, widespread superstition, and idolatry while the Protestant missionaries perceived them as being religions with corrupted priesthood, mindless ritualism and idolatry in the Buddhist and Taoist worship. Xuren is no longer a name for a robe portion but rather a description of how ren is tailored, according to Huang Zongxi. The missionaries also viewed Christianity as being a higher civilizing force than Confucianism. Confucianism was defective when compared to Christianity. However, this view was not accepted by all the Chinese people, such as Kang Youwei and Cheng Huanzhang. Confucian texts to the educational curriculum and the official recognition of Confucianism as China’s national religion. Kang Youwei thus wrote a controversial book in 1897, called Kongzi gaizhi kao《 孔子改制考》(lit. He also listed 12 attributes which were associated with the religiosity of Confucianism: one of these attributes was about rufu, which according to him, was a specific form of attire consisting of the Confucian shenyi and a cap which had been designed by Confucius for his followers to wear. Thus, in the written by Cheng Huanzhang also wrote the Kongjiaolun, where he argued that the rufu was the clothing attire worn by the Confucianism religion priests. Confucianism as a ‘religion’ in both 1913 and 1916; the parliament gave official institutional status to five religions: Buddhism, Daoism, Catholicism, Protestantism, and Islam, and excluded Confucianism. The shenyi reappeared in the 21st century in China. The ancient-style shenyi in the form of both qujupao and the zhijupao reappeared and is worn by both men and women. The qujupao was a robe which was long enough to cover the ankles of its wearer; it has an overlapping front lapel which closed on the right side in a style called jiaoling youren; however, its right front piece was cut as a triangular front piece that crossed in front of the body and has rounded under hem. The collar of the qujupao was deliberately made in such ways to prevent any part of its wearer’s body from being exposed. In 2003, a man named Wang Letian wore a DIY raojinshenyi on the streets. Another version of the qujupao is raojinshenyi (Chinese: 繞襟深衣; lit. 16 The raojinshenyi is characterized by overlapping curved front lapel which is elongated enough to spiral around the entire body. Mawangdui tomb No.1 of the Western Han dynasty. 41-42 It typically has a silk belt which is tied closely around the waist and hips to prevent the garment from loosening; the position of the belt depends on the length of the garment. The front opening of the zhijupao would fall straight down instead of having a curving front. The shenyi in later dynasties directly descended from the shenyi worn in earlier dynasties The shenyi was originally made of ramie cultivated in China. 41 The raojinshenyi can have narrow sleeves or broad and loose sleeves. Ramie fabric needs to be bleached and produced 45 to 60 centimetre wide textile. The yi (衣, blouse) and chang (裳, skirt) of the shenyi is sewn together. Similarly to the shenyi worn from Zhou to Han dynasties, the shenyi designed in Song dynasty followed the same principles. The upper part is made up of 4 panels of ramie fabric, representing four seasons of a year. Another 2 panels of ramie fabric are sewn onto each side of the yi as two sleeves. 2 panels are fold and sewn to cover the upper body. Its sleeves are wide with black cuff. The lower part is made up of 12 panels of fabric sewn together (十二片縫合), representing 12 months a year. According to the Japanese scholar Riken Nakai’s shenyi template, there are four design features of the Shenyi dressing: upper and lower connections, square collar, length to the ankle, and additional coverage. It is also tied with a wide belt called dadai (大帶) is tied in the front. The Diyi was a set of attire which was worn as ceremonial clothing; a shenyi was also part of the diyi. In the Song dynasty, the shenyi was made with white fabric. In Korea, the shenyi is called simui (Korean: 심의; Hanja: 深衣). It was introduced from China in the middle of Goryeo; however, the exact date of its introduction is unknown. The simui was worn as an outer garment by the seonbi. The seonbi in Joseon imitated the clothing attire designed by Zhu Xi, i.e. the shenyi and the literati hat. The seonbi, who valued the simui greatly, embraced it as a symbol of Confucian civilization, and continued to publish treatise on the simui starting from the sixteenth century AD. The simui is white and in terms of design, it has wide sleeves and is composed on an upper and lower part which is attached together (衣裳連衣; Uisangyeonui) at the waistline; the lower part has 12 panels which represents 12 months. The simui also influenced other clothing, such as the cheollik, the nansam, and hakchangui. There were also various forms of simui which developed in the Joseon. The early Tokugawa period in Japan, some Japanese scholars, such as Seika Fujiwara and Hayashi Razan, who self-proclaimed themselves as followers of Zhu Xi wore the Confucian shenyi and gave lectures in it. Seika Fujiwara, was usually perceived as the patriarch of the Japanese Neo-Confucian movement during the Tokugawa period. It is a high-waist robe and a belt (大帶; dadae) is tied to the simui. 171 this event also marked the beginning of the popularity of Confucianism in Japan. This section does not cite any sources. Unsourced material may be challenged and removed. In the Le dynasty, there were some ancient statues left behind, showing Confucian scholars wearing shenyi. But shenyi was not only worn by Confucian scholars; it was also commoners. Until the Nguyen dynasty, shenyi was still seen in a number of photos. Please help improve this section by adding citations to reliable sources. The ‘shi’ was a social stratum in ancient China which ranked just above the class of commoners, see Sheng, 1995. After the Spring and Autumn period, it became a term for scholars and intellectuals, see Zhang, 2015, pp. Hua, Mei (2011). Chinese Clothing. Lynch, Annette; Strauss, Mitchel D. (2014). 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(September 2019). “Trailing Locks and Flowing Robes: Dimensions of Beauty during China’s Han dynasty (206 bc – ad 220)”. Costume. 53 (2): 231-255. doi:10.3366/cost.2019.0122. Ho, Wei; Lee, Eun-young (2009). “Modern Meaning of Han Chinese Clothing” (PDF). Journal of the Korea Fashion & Costume Design Association. Lüsted, Marcia Amidon (2017). Ancient Chinese daily life (1 ed.). Hunan Museum. “Plain Gauze Gown”. New York: New York : Rosen Publishing. An introduction to Chinese history and culture. China Academic Library. Heidelberg: Springer, Berlin, Heidelberg. Zhang, Qizhi (2015). “The Rich and Colourful Social Life in Ancient China”. Research Journal of Textile and Apparel. Xu, Rui; Sparks, Diane (2011-01-01). “Symbolism and Evolution of Ku-form in Chinese Costume”. 15 (1): 11-21. doi:10.1108/RJTA-15-01-2011-B002. Zang, Yingchun; 臧迎春. 李竹润., 王德华., 顾映晨. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. 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Xu, Guobin; Chen, Yanhui; Xu, Lianhua (2018), Xu, Guobin; Chen, Yanhui; Xu, Lianhua (eds.), “Clothing, Food, Housing and Transportation”, Introduction to Chinese Culture: Cultural History, Arts, Festivals and Rituals, Singapore: Springer, pp. LEONG, TAY WEI (2012-08-16). Saving the Chinese Nation and The World: Religion and Confucian Reformation, 1880s-1937 (Thesis thesis). Murray, Julia K (2014-08-28). “A heavenly aura: Confucian modes of relic veneration”. Journal of the British Academy. Chen, Hsi-yüan (2013). “RELIGIONIZING CONFUCIANISM AND THE RE-ORIENTATION OF CONFUCIAN TRADITION IN MODERN CHINA”. Religion and Secularity: Transformations and Transfers of Religious Discourses in Europe and Asia. In Eggert, Marion; Hölscher, Lucian (eds.). Blanchon, Flora; Park-Barjot, Rang-Ri (2007). La nouvel age de Confucius : modern Confucianism in China and South Korea (in French). Gao, Chunming (1987). Zhou, Xun (ed.). 5000 Years of Chinese Costumes (English translation ed.). Paris: Presses Paris Sorbonne. China Books & Periodicals. Nam, Min-yi; Han, Myung-Sook (2000). “A Study on the Items and Shapes of Korean Shrouds”. The International Journal of Costume Culture. Lee, Samuel Songhoon (2013). Hanbok : Timeless fashion tradition. Chinese). Hong Kong: The Commercial Press. Seoul: Seoul, Korea : Seoul Selection. Yunesŭk’o Han’guk Wiwŏnhoe (2005). Korea Journal. McCullen, James (2021). “Chapter 8 Confucian Spectacle in Edo Hayashi Razan and Cultural display”. The Worship of Confucius in Japan. Vol. 45. Korean National Commission for UNESCO. This page was last edited on 1 December 2024, at 18:48 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Köck, Stephan; Scheid, Bernhard; Pickl-Kolaczia, Brigitte (2021). Religion, Power, and the Rise of Shinto in Early Modern Japan. By using this site, you agree to the Terms of Use and Privacy Policy. 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Guzhuang (Chinese: 古装; pinyin: gǔzhuāng; lit. 189 and in the Wuxia and Xianxia genre. 189 refers to a style of Chinese costume attire which are styled or inspired by ancient Chinese clothing (typically Hanfu or Qizhuang). While the style of guzhuang is based on ancient Chinese clothing, guzhuang show historical inaccuracies. Chinese: 古装新戏; pinyin: gǔzhuāngxīnxì; lit. In Chinese opera, plays depicting guzhuang is called guzhuangxi (Chinese: 古装戏; pinyin: gǔzhuāngxì; lit. 81Mei Lanfang is also credited for having invented guzhuangbanxiang (Chinese: 古装扮相; pinyin: gǔzhuāngbànxiāng; lit. 48 Guzhuangxi is an important concept in both the field of Chinese opera and to early Chinese film. This form of guzhuang emerged in 1915 when new Chinese opera costumes had to be created for a new category of female role which had also been developed by Mei Lanfang. 48 His goal was to make his costumes more elegant instead of making it look ancient. 11and to ancient Chinese paintings, especially women in classical Chinese scroll paintings, often based on from mythological figures. 11His costume designs then became known as guzhuang due to their relationship with ancient China, in particular the pre-Qing dynasty period from which his costumes designs were based. 189,327 The guzhuang developed by Mei Lanfang different from the traditional Chinese opera costumes in some aspects: the skirts were longer; the skirt was worn under the jacket to make the character look slimmer; the water sleeves were longer and wider; and the accessories were less gaudy. The guzhuang designed by Mei Lanfang is characterized with fitted waist. 11 Other performers such as Ouyang Yuqian and Feng Zihe also contributed to the development of the guzhuang design. Guzhuang are typically used in Chinese television drama and movies. 66 Guzhuang is also depicted in animations, including donghua and Chinese-theme animations produced outside of China. Wuxia, and Xianxia genre. The first film produced in China was Dingjun Mountain in 1905 which depicted extracted scenes from a Beijing opera play performed by Tan Xinpei. In terms of genre, it can be classified as xiqupian (Chinese: 戏曲片; pinyin: xìqǔpiàn; lit. 289-290 The 1920s was marked by the adaptation of traditional Chinese indigenous genre into cinema. 289 The film was based on the 70th and 71st chapters of the Romance of the Three Kingdoms. 289 These genres were adapted from Chinese literature and from the Chinese opera stage play as a countermovement against the prevalence of European and American film products. 290 The Tianyi Film Company was a major studio which specialized in Chinese genres at that time; its succeeding company, the Shaw Brothers Studio in Hong Kong continued to produce indigenous Chinese genres, such as Huangmei opera films and guzhuang epics. 292 is indigenous genre to China and first emerged in the 1920s in China. Guzhuangpian (Chinese: 古裝片; pinyin: gǔzhuāngzpiàn; lit. This genre is similar to costume drama, period film, and historical film. However, by definition the term gu (Chinese: 古; pinyin: gǔ), which literally means “ancient”, does not refer to films and dramas which are set in the Republic of China as the Republican period is a symbol of modernity and the end of tradition. 189 Guzhuangpian also typically depict adaptations of traditional Chinese folktales, plays, and popular novels. 38 Liang Shanbo and Zhu Yingtai produced in 1953 by the Shanghai Film Studio. 41 As a distinct genre, it is characterized by its focus on ancient history and historical personalities. 290 The origins of Wuxia genre in cinema, however, is quite recent and emerged in the 20th century. The tradition of Wuxia is over two thousand years old having been passed through Chinese folklore, novels, historiography, and popular performing traditions (such as Tanci and Chinese opera). 290 In cinema, the Wuxia genre can be traced back to the guzhuangpian and shenguaipian genre as one of its derivatives. The shenguaipian (Chinese: 神怪片) genre, which often depicts Xian-immortals and demons, was also developed in the 20th century and was also a derivatives of the guzhuangpian. 292 and therefore, it did not always involve the wearing of guzhuang. 293 The Wuxia genre tends to dress its characters into guzhuang. 26 In the 21st century, the Wuxia genre can be a guzhuangpian and a shenguaipian movie. The Xianxia genre typically involves Xian-immortals and immortality cultivation. Most guzhuang used in the production of television dramas, movies and animations do not conform to historical facts and/or are fantasy-inspired. It is also possible for various ethnic Chinese elements to be mixed and matched when designing guzhuang; combining modern fashion elements and/or western-style clothing elements can also be done. When designing guzhuang for films and television dramas, costumes designers consider the modern aesthetic taste of its audience while also conforming and respecting the historical reality. Some guzhuang are based on different existing historical clothing worn in different dynasties, and/or inspired by Chinese opera costumes, and murals (e.g. Dunhuang frescoes); they would sometimes have features, or have attire, added, removed, simplified, to create a desired visual impact or to meet the production needs. Moreover, in most movies and television drama, the colours, style, and pattern of guzhuang are also based on the characters found in the script; these costumes characteristics are used to better shape the character’s image and to allow the audience better understand the character through his visual image and to allow for the distinction between characters. The guzhuang used in the Xianxia genre, for example, is based on the historical hanfu, but is modernized in terms of design resulting in the guzhuang being different from its historical version. It is also impossible for costume designers to fully restore garment and garment-related artefacts; and therefore, guzhuang designers need to innovate their costume designs based on historical facts. Characters wearing guzhuang, for example, can have a colour theme which reflect his initial personality; however, this colour theme may change throughout the character development. 286 it originally followed similar visual aesthetics as the Japanese shoujo manga in its early development before starting to develop Chinese characteristics between the 2000s and early 2010, after 2010s, shaonu manhua became distinct from the Japanese shoujo manga both in terms of visual aesthetics and storyline. 288 In the mid-2010s, gufeng manhua and gufeng shaonu manhua (i.e. stories adapted from Chinese history and legendary tales, and fictional love stories set in imperial China) became popular. Guzhuang can be found in Manhua, such as gufeng manhua (lit. 288 Chang Ge Xing by Xia Da, Gu Fang Bu Zi Shang (孤芳不自賞) by Feng Nong, etc. Guzhuang can also be found in manhwa, such as Bride of the Water God by Yun Mi-kyung, and in the Chinese-theme Japanese manga, such as Saiunkoku Monogatari by Yura Kairi. Guzhuang is often confused with or misinterpreted as Hanfu by most people who are not familiar with Hanfu. And, some Hanfu enthusiasts also wear it instead of wearing Hanfu. Guzhuang is, however, also a factor of influence (among many others) to the design of modern Hanfu; for example, the design of Wei-Jin style (Chinese: 魏晋风; pinyin: Wèijìnfēng; lit. Hanfu is a relatively modern design which was influenced by Chinese movies and television drama series and does not exist in history. Guzhuang found in Xianxia television drama have also left a deep impact on Chinese audience. Another guzhuang-style costume which has influenced modern clothing in modern-day China is the Xiuhefu designed by costume designer Ye Jintian in 2001 for the role of drama female character Xiu He, played by Chinese actress Zhou Xun, in the Chinese television drama Juzi Hongle (橘子紅了; ‘Orange turned red’), a drama set in the Republican era of China. Although the drama was set in the Republic of China, the costume was mainly inspired by the Hanfu of the Qing dynasty, especially those used in the late years of the Qing dynasty in the 1910s as part of the bridal attire. While basing himself on the clothing of the Qing dynasty, Ye Jintian, however, did not fully respected the historical accuracy of the dress and instead mixed several elements together from similar eras in his costume design. Many Xianxia fans also wear Hanfu in their everyday lives, which then promote the growing Hanfu industry. As the Xiuhefu gives a feeling of dignity and beauty to its wearer, the Xiuhefu designed by Ye Jintian became progressively popular and eventually became a form of traditional Chinese-style wedding dress chosen by many Chinese brides during their marriage nowadays. This new category of role was called huashan (lit. Guzhuang xinxi depicted plays which were adaptations of Chinese stories and folklores, such as Chang’e flies to the moon and Daiyu buries flowers. The Untamed: Design and Concept for more details. The costumes which are typically worn in Huangmei opera are typically guzhuang-style. The Wei-jin style should not be confused with the Hanfu worn in the Wei and Jin dynasties, see page Hanfu for more details. Honolulu: University of Hawaiʻi Press. Bonds, Alexandra B. (2008). Beijing opera costumes: the visual communication of character and culture. Gao, Yuemei (2020). “Research on the Innovative Design of Ancient Costumes in Chinese Film and Tv Plays in the New Era” (PDF). Yujuan, Jing (2021). Reconstructing Ancient Chinese Cultural Memory in the Context of Xianxia TV Drama (Master thesis). Zhang, Yingjin (1998). Encyclopedia of Chinese film. Zhiwei Xiao. London: Routledge. Xu, Jiaxuan (2019). Exploring Hanfu (Fashion Clothing and Textile Design thesis). Teo, Stephen (2019). Wong Kar-Wai. Tian, Min (2012). Mei Lanfang and the twentieth-century international stage : Chinese theatre placed and displaced (1st ed.). Li, Ruru (2010). The soul of Beijing opera : theatrical creativity and continuity in the changing world. Macdonald, Sean (2016). Animation in China : history, aesthetics, media. Hong Kong: Hong Kong University Press. Fan, Xing (2018). Staging revolution : artistry and aesthetics in model beijing opera during the cultural revolution. Ye, Tan (2020). Historical dictionary of Chinese theater (Second ed.). Yan, Yuqian (2019). The Ancient as Enchantment: Cinematic Representation of the Past in Republican China (Thesis). The University of Chicago. Zang, Na (2019). “The Application of National Elements in Animation Costume Design”. 319. Atlantis Press. pp. Proceedings of the 2019 5th International Conference on Humanities and Social Science Research (ICHSSR 2019). Vol. Xuelei, Huang (2014). Shanghai Filmmaking: Crossing Borders, Connecting to the Globe, 1922-1938. Leiden: BRILL. Yingjin Zhang, ed. (2012). A Companion to Chinese Cinema. Art, Politics, and Commerce in Chinese Cinema. Ying Zhu, Stanley Rosen. Hong Kong: Hong Kong University Press. Zhang, Yingjin (2004). Chinese national cinema. Eileen Cheng-yin Chow, Carlos Rojas. Teo, Stephen (2009). Chinese martial arts cinema: the Wuxia tradition. The Oxford handbook of Chinese cinemas. Rawnsley, Gary D.; Ming-Yeh T. Rawnsley (2010). Global Chinese cinema : the culture and politics of “Hero”. New York, NY: Routledge. 2020). Love stories in China: the politics of intimacy in the twenty-first century. Wanning Sun; Ling Yang, eds. Lorraine Lim; Hye-Kyung Lee, eds. Meaghan Morris; Siu Leung Li; Stephen Ching-kiu Chan, eds. 2005). Hong Kong connections: transnational imagination in action cinema. 2019). Routledge handbook of cultural and creative industries in Asia. Teo, Stephen (2010). “6 The Martial Arts Film in Chinese Cinema: Historicism and the National”. Durham: Duke University Press. Hong Kong University Press. Mondor, Brooke (2021-04-25). “Why Mulan’s Costume From The Live-Action Mulan Makes No Sense”. Art, Politics, and Commerce in Chinese Cinema. Proceedings of the 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016). Vol. 87. Atlantis Press. pp. Wang, WeiPeng (2017). “Research on application of Chinese culture in animated movie KungFu Panda”. Chang-Yau Hoon; Ying-kit Chan, eds. 2021). Contesting Chineseness: ethnicity, identity, and nation in China and Southeast Asia. Tang, Lian; Wang, Chenyi (2022). “The Research on the Comparison of Hanfu Fashion Short Videos on Douyin and Tik Tok”. 631. Paris, France: Atlantis Press. Li, Yuling (2019). New meaning in traditional wedding dresses – Xiu He Fu and Long Feng Gua – in contemporary China / Li Yuling (masters thesis). Proceedings of the 2021 International Conference on Social Development and Media Communication (SDMC 2021). Vol. This page was last edited on 18 November 2024, at 20:32 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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Han Chinese Clothing, Hanfu originated from the Yellow Emperor’s crown dress, which was prepared by Yao and Shun (the following emperors after Yellow Emperor). After the death of Emperor Shizong, the policy of Jurchenization was abandoned and sinicization returned quickly. Please see our privacy policy for more information. American Upper Midwest, Pacific Northwest, the northern portions of the Great Lakes Basin and northern New England (especially Maine) – Due to the cold weather, the garb in rural areas tends to more closely adhere to heavier materials, such as flannel shirts or Buffalo plaid mackinaw jackets, and a knit cap or, in the case of the Upper Peninsula, a Stormy Kromer cap. Various styles of Native American clothing; for example, traditional pow-wow regalia for Plains Indians: Moccasins, buckskins, glass beads, breech clouts, and war bonnets or roaches. Alaska – Kuspuks, worn with dark pants and mukluks, as well as parkas are traditional native wear.

Chief Anotklosh (Taku) wearing a Chilkat robe in Juneau, Alaska (c. A Surinamese woman wearing the traditional koto (c. Your career stability, life, work and family pressures, you can restore one of the true self to own, a woman was very lazy, like a cat soft. Woman from Ramallah wearing traditional Palestinian dress, including a taqsireh and smadeh (c. However, despite the restoration of the Hanfu-system by the Ming dynasty court, the shape of some garment, including the daopao, had some differences from the ones worn in the Tang and Song dynasties as the clothing in the Ming dynasty had undergone a series of adjustments to their shapes. American Southwest, Texas and rural areas in the Midwestern and Western US – Cowboy costume, derived from original Mexican vaquero and American pioneer garb is traditional dress in Texas, the Southwestern US, and many rural communities, including cowboy hats, Western shirts, cowboy boots, jeans, chaps, prairie skirts, and bolo ties. Many stereotypes that foreigners (non-Americans) have regarding American folk costume actually come from this region.

United States – Each region has its own traditional costume. The colored turban, Ghabanah, is a common inherited cultural turban in the regions of Hijaz, and it still the inhabitants costume of Mecca, Madinah and Jeddah in particular. The tabbard is made of the same fabric as the underbodice and has an applique design inspired by the ruyi tou arabaseque, but I’m not sure if it still counts as one. Argentina – Gaucho costume; every province has a specific design of poncho, with the poncho salteño being the most recognized. However, the early Qing court did not allow Han Chinese men to wear all forms of Manchu items as they prohibited Chinese men from wearing certain specific Manchu items, such as clothing made of fur. In the Qing dynasty, it was composed of an ao, a type of upper garment, called mangao (Chinese: 蟒袄; lit. 24-25 In the Han dynasty, women were not the only ones who used cosmetic powder, men also used it and this custom of men applying powder did not decline even during the Six dynasties period. It reflects a renewed interest in traditional arts, language, philosophy, and customs among younger generations who are eager to explore and embrace their cultural heritage in a rapidly changing world.

Many stereotypes that foreigners have regarding Brazilian folk costume (as well as other customs) actually come from the state of Rio de Janeiro. An Italian couple says the process of linking up to and using China’s payment apps was a challenge but that it was not insurmountable, though they add, with a laugh, that it is “much, much, qipao dress much easier” if you have a Chinese friend to help you. 🏮 Ninchanese is an incredible app for learning Chinese! Hunan Museum (in Chinese). The traditional Chinese clothing and accessories system, Hanfu, obviously different from that of other ethnic groups in China, is the embodiment of traditional Chinese etiquette culture, wedding qipao and Han Chinese culture — the dominant idea for most dynasties in Chinese history. South Carolina and Georgia – Gullah communities in the South Carolina Lowcountry and Sea Islands preserve the traditional African-style clothing and culture. Every indigenous tribe wears their tribal clothes during culture events or important occasions. Utah – Mormons may dress in 19th-century pioneer clothing for Mormon trek-related activities and events. Creole women used to historically wear the tignon, mostly in plain or madras fabrics, but it is now sometimes worn for heritage events or cultural reasons. Louisiana – The Cajun people of Louisiana traditionally wear the colorful capuchon for Mardi Gras celebrations.

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The popularity of Hanfu is not just a passing trend but a manifestation of a deep-rooted longing to reconnect with the past and preserve the traditions that have shaped Chinese society. Hanfu should not be reduced to a mere fashion trend or exotic costume. Fashion culture has become Asian clothing and oriental clothing point Chinese clothes, Asian clothes and oriental clothes intersection Chinese clothes, Asian clothes and oriental clothes social culture, reflecting economic developments, social progress and educational level. This revival can be attributed to several factors, including a growing interest in traditional culture, the influence of social media, and increased access to information about Hanfu. Hanfu’s meaning goes beyond its aesthetic appeal; it represents a profound connection to Chinese history, culture, and identity. With its rich heritage dating back thousands of years, cheongsam dresses Hanfu represents a unique aspect of Chinese civilization and serves as a symbol of national pride. This preservation of traditional craftsmanship is essential in maintaining cultural diversity and fostering a sense of pride in Chinese cultural heritage. The revival of Hanfu in recent years signifies a resurgence of interest and pride in China’s traditional clothing heritage.

VIII. Light Blue Hanfu in Pop Culture and Media: In recent years, light blue Hanfu has gained popularity not only within the Han Chinese community but also in mainstream pop culture and media. By embracing Hanfu, individuals are reclaiming their cultural identity and celebrating the rich legacy of the Han Chinese. By embracing Hanfu, individuals contribute to the preservation of cultural heritage, the promotion of traditional craftsmanship, and the fostering of cross-cultural understanding. While the increased interest in Hanfu presents opportunities for economic growth and tourism, there is a need for responsible and ethical practices to ensure the preservation of its integrity. The trousers with loose rise, kun, which was adopted from the Hufuqishe policy was mainly worn by the military troops and servants while the general population typically continued to wear the jingyi-style ku and the newly improved ku. WWD and Women’s Wear Daily are part of Penske Media Corporation. The formal wear is only dressed at formal rituals like important sacrifices or religious activities usually with long wear with long sleeves. Realistic depictions of flora and fauna replaced the previously dominant celestial and mythical themes, although traditional motifs like dragons and phoenixes remained prevalent. Another approach is the adaptation of traditional Hanfu patterns into accessories like scarves or bags, making them more accessible and functional for modern consumers.

Hanfu enthusiasts often face criticism or ridicule for being “outdated” or “backwards,” particularly from older generations or more conservative individuals. Designers are finding ways to modernize Hanfu designs, making them more accessible and appealing to younger generations. It has become a platform for artistic expression, with individuals incorporating modern elements into traditional designs, creating innovative and aesthetically stunning outfits. All Things Complete Outfits! Animal fibers, mainly wool and fur, though less prevalent, added diversity to the Song Dynasty’s textile collection. Emperor Xuanzu of Song wearing tongtianguanfu with a crimson bixi. From a domestic perspective, there is a need to overcome societal stereotypes and misconceptions associated with wearing traditional clothing. Black and blue are generally associated with dignity and integrity, making them common in garments intended for formal or ceremonial use. Hanfu dress – traditional Chinese garments reimagined. Hanfu emphasized modesty and symmetry, with loose-fitting garments draped elegantly over the body. While it is hard to pin down exactly what constitutes Hanfu – it is a form of dress that has evolved over thousands of years – the most popular styles seeing a revival are modern interpretations from the Tang, Song, and Ming dynasties, three of the most prosperous periods in Chinese history.

While cultural exchange is valuable, it is essential to approach it with respect, understanding, and sensitivity. Next to that, fans bring their exotic touches, while shawls and scarves accompany the movements of a folkloric dance. Improved Light Blue Hanfu Female Chinese Style Dance Dress. Style: Chinese Dance Dress Female Material: Polyester fiber 100% Use scenario: Folk dance Season of use: Spring and Summer Color: As Picture Dimensions: XS/S/M/L/XL Package: One Dress. Hanfu enthusiasts often participate in events and gatherings, where they can dress in elaborate costumes, engage in traditional arts and crafts, and learn about the history and symbolism behind Hanfu. Hanfu, which translates to “Han clothing,” refers to the traditional dress worn by the Han Chinese people in ancient times. During the Qin and Han Dynasties, Hanfu reached its pinnacle in terms of influence and design. The clothing styles evolved throughout different dynasties, embodying the distinct characteristics of each era. An example of foreign influence on Tang’s women clothing is the use of garment with a low-cut neckline. Chinese women often wore combs and fine-tooth combs in their hair buns. 81 Tang dynasty scholars and government officials wore long, red panling lanshan with long sleeves, accompanied by headwear called futou.

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