The House of Hanfu, providing exquisite traditional Hanfu with various styles, from daily wear to festival celebrations, to meet the needs of different occasions, and let traditional culture shine with new brilliance.
The House of Hanfu, providing exquisite traditional Hanfu with various styles, from daily wear to festival celebrations, to meet the needs of different occasions, and let traditional culture shine with new brilliance.
Culture clubs dedicated to the study of Hanfu have also popped up in universities at home and abroad. Though Mochi is relatively new to this (she’s been creating content for just over a year), the movement has long been home to a myriad of social media and IRL devotees since it burst into the popular imagination in recent years. The part of this skirt that makes it different from the earlier poqun is the three inverted box kick pleats (工字摺) between the po of the skirt, one in the front center and two on either side, creating a unique silhouette with three pleated slits-sometimes a contrasting fabric is used for the inside of each slit for an added layering effect, other times it’s the same fabric. It’s my favourite game ever! You have the ability to live in a video game. After first learning about Hanfu in 2020, Chuyan has dedicated her life to reviving and sharing the history behind these garments that have long remained a relic of the past.
When Chuyan first learned about hanfu in 2020, she was impressed by the history, fabrics, and details of this historical fashion. Designers are experimenting with different cuts, fabrics, and embellishments to create modern interpretations of this traditional garment. The left side covered the right, and this upper garment would extend to a wearer’s waist. The word “You” is stressed, meaning everything must move to the right, cheongsam with skirt including how the front is closed. “The robe comes in a square-neck style with a bu on the front. The Ruqun (襦裙) style emerged during this period, featuring a cross-collar robe with a long, flowing skirt. According to the Shuowen Jiezi 《說文解字》, a form of paofu, known as xi (襲), was a robe with a zuoren closure. This form of clothing attire was most likely worn by peasants and labourers. This form of skirt was high-waist during the Sui and the Tang dynasties and were characteristics clothing for women during this time period. For Mochi, the inspiration behind these historically-inspired looks (which take four hours to put together, not counting research and compilation time) largely comes from other like-minded creators on apps like Xiaohongshu, but also historical lore, artifacts, and paintings.
Don’t miss out on this opportunity to immerse yourself in the world of hanfu like never before! Just like a dragon lady in hanfu would be a look. Mochi Hanfu: I think I would want to replace my skin with dragon scales. I would love to be a lil cyberpunk hanfu princess – I think my make-up look that I did for the DIY tutorial would fit right in! I love that game so, so, so much. After he awoke and mounted his horse, it veered in a different direction than Xuanzang intended and arrived at a much needed oasis, which was apparently provided by Guanyin (Huili & Li, 1995, p. Apart from this, Xuanzang was forced to defend himself against critiques on two fronts. Although there were influences from the previous dynasties, the clothing worn in Silla period was gradually altered during the Joseon dynasty until its forms became what is now known as hanbok. For millennia, Chinese hanfu influenced the trends of many Eastern Asian traditional fashions such as Japanese kimonos and Korean Hanbok. Join us for a month-long celebration and re-imagination of Chinese hanfu and traditional clothing! Hanfu is referred to the pre-17th century traditional clothing of the Han Chinese.
Fu, (服): The character for “clothing” or “garment” in Chinese. Adorned in elaborate lacquered jewelry, a braided updo, and a Ming Dynasty-inspired Hanfu (汉服) to match, @MochiHanfu, a 22-year-old “hanfluencer,” shares her latest look to her over 530,000 fans on TikTok. “han” (漢) and “fu” (服). Han (漢): The Han people, or the Han Chinese, are the majority ethnic group in China, Taiwan, Hong Kong and many Chinese communities oversea. The zhiduo was also introduced in both Japan and Korea where Chinese Buddhism had been spread. The chang-ao was actually developed from zhiduo during the Ming Dynasty, and is worn over a skirt. The skirt has some embellishment prints of flowers and swallows, which are sure to attract you instantly. Yet, when people look around cities today and at special events, there are many models and younger individuals wearing this unique style of dress. Join for £5/month today. Join Dazed Club and be part of our world!
The fengguan xiapei (Chinese: 凤冠霞帔) is a type of wedding set of attire categorized under Hanfu. So, when you ponder about what the use will be, you should keep in mind what type of seasonal wear it will be, what weather it should be prepared to face, and if the design elements/colours you plan on using will complement it or oppose your wishes. The Dummies’ Guide to the Shenyi: A basic tutorial to the composition of the earliest full-length robe design as prescribed by the Zhou Book of Rituals. The design of Zhongshan suits combines traditional Chinese and Western clothing styles. Compared to men’s clothing, women’s clothing had more ornaments, items, and styles. The colors of Beijing-style qipaos are much brighter and their decoration is more complicated than other styles’. Wearers choose different colors for different situations. 48-50 The front closing, collar, hem, and sleeves cuff have edging of contrasting pipings and side slits. There are five central buttons on the front and three smaller buttons on each sleeve. The Tang suit is a duijin (对襟, a kind of Chinese-style jacket with buttons down the front) with a Mandarin collar (a band collar) and “frog” buttons (knobs formed of intricately knotted cord).
The collar is secured with a button, and a crossed-collar undergarment must be worn. It is wide sleeved, has black edges, and has a round collar secured with a button. Ordinary round necked robes are distinguished by the length of the clothes and the size of the sleeves, with the older ones being respected. 81 Tang dynasty scholars and government officials wore long, red panling lanshan with long sleeves, accompanied by headwear called futou. 13 The inside of the hat however was red in colour; there was a knot on the top of the hat which was typically made of red threads. The mass people mostly wore red at weddings. As the Tang Empire was famous for being prosperous and powerful in the world, foreigners called the overseas Chinese people “the Tang people” and the clothes they wore were called “Tang suits” (which has been translated as Tangzhuang 唐装). Nowadays, people seldom wear Hanfu except on special occasions, such as festivals and wedding ceremonies, or by young girls who want to show off or taking photos.
According to the Random Expatiations of Oju written by Yi Gyu-gyeong in the 18th century, “In the Chinese Han dynasty, many kings and the nobility admired the attire of scholars and considered wearing the bokgeon an elegant way of dressing. Consequently, the bokgeon which used to be worn by people of humble origins, became part of scholarly attire by the end of the dynasty”. Be as eccentric as you want to with it, but try to ensure that at the end of the day, it will still be something you want to wear. In the Qing dynasty, it was popular for women to wear green, traditional cheongsam translucent jade jewelries; pendants which were carved in the shape of a curving dragon was popular. It is a form of formal wear in the Ming Dynasty. The daopao was one of the most common traditional form of outer robe worn by men. Zhiduo (直裰), or Zhishen (直身), is the traditional Chinese attire for men.
In the Wengong temple in Hanzhong, the cross-collar daopao is the standard form of attire and is referred as daogua (Chinese: 道褂; lit. It is a form of casual wear, and is the most common form of attire for men in the Ming Dynasty. Daopao/Xingyi (道袍/行衣) is the traditional Chinese attire for men. Chinese philosophy and beliefs and which hold an important place in every aspect of Chinese culture and life. This led to a cultural shift in the Tang dynasty where gallantry culture rose in popularity. Tang dynasty emperor and officials from Mogao murals from AD 642, located in Cave 220, Dunhuang, Gansu. It was also the uniform of government officials. Underneath the Yuanlingshan is worn the Da Hu(褡護, sleeveless or half sleeve vest with side panels) and the Tie Li(貼裏，men’s inner dress, sometimes replaced with the Zhi Shen). Men’s yuanlingshan (regardless of civilian’s/officials’) have side panels (暗擺) at the side slits to conceal the undergarments. Nowadays, Tang suits have become a kind of formal dress worn on some special occasions, such as Chinese New Year, wedding ceremonies, or important events. Founder of the famous brand Huajianxi offered a telling glimpse in a post online, which they have since deleted.
It is also currently used as a form of fashion accessory used by hanfu enthusiasts. This form of Taoist priests’ daopao is not cross collared and instead looks like a beizi in terms of construction and design; a clothing artefact showing this style of daopao is now stored in museums such as the Rhode Island School of Design Museum. While some Hanfu followers like the clothes for the fashion statement, some say its significance is greater. Takchitas are worn with a belt called Mdamma made of silk or gold or silver and is decorated with valuable stones like ruby, diamonds, emeralds, and sapphires. Do you think a lot of people are inspired to wear Hanfu after watching popular period dramas? At present, tourist attractions have become the first use of Hanfu scene, and Hanfu also adds a new way for scenic spots, cheongsam modern successfully attracting many young people to punch in. The first subsection celebrated the French literature that inspired two Disney films: Beauty and the Beast (adapted into the 1991 animated film of the same name) and The Hunchback of Notre-Dame (adapted into the 1996 animated film of the same name). The frog was first developed in China; the origin of its later spread, into Europe and beyond, is uncertain.
In the Ming dynasty, the practice of wearing a single earring on the ear was not customary for Chinese men, and such practices were typically associated with the non-Chinese people living along the northern and north-western borders; however, there is an exception: young Chinese boys would wear a single ring-shaped earring attached to their ear as an amulet to protect them against evil spirits. Since its birth and popularization by the Hans, it has been adored and worn by other ethnic groups and under all dynasties: Yuan, Qin, Ming Dynasty, Shang Dynasty, Liao and many more. 94 Traditionally, jade jewellery especially often expressed positive sentiments and good wishes; and, jade itself were often gifted on important and/or special occasions such as wedding and child birth. Khitan people of the Liao dynasty. It is hoped that through the advantages of the exhibition, more people can understand and accept the diversified Chinese costume culture, and arouse more people’s interest and love for Chinese costumes. In recent years, renewed interest in traditional Chinese culture has led to a movement in China advocating for the revival of hanfu.
International interest in Hanfu workshops, academic conferences, and exhibitions underscores its potential as a global cultural phenomenon. Chinese hanfu inspired outfit with a big flower on my head. Its elegance, history, and cultural significance make it a fascinating aspect of Chinese culture for travelers. Fond of history, he feels sad for the decline of hanfu and decided to popularize hanfu in his daily life. Discuss Chinese traditional hanfu clothing, stylish ways to wear hanfu, makeup and hairstyles to go with hanfu, and share photos of your outfits or anything else related to hanfu. Even when the golden age was over, the implementation of the Mongolian culture would continue to use the Chinese Hanfu, but allow for more traditional collars and shorter lower garments. 16 Manual labourers tended to be wear even shorter upper garment and lower garment as due to their convenient use for work. Discover how to wear Hanfu, its accessories, festivals, events, and influences in fashion and design. 1-2 The upper classes of Vietnam in Northern Vietnam tended to wear clothing which mirrored and was influenced by the fashions of the Chinese, and this style of clothing persisted even after the end of the Chinese rule in the independent kingdom of Đại Việt and in Champa.
For them, the utilitarian impulse was preceded by their attachment to traditional Chinese familistic values. This change occurred during the Chinese medieval era with the bareness completely disappearing in the Cao Wei period. Lu, Yang. “Chinese Clothing – Five Thousand Years’ History”. Chatterjee, Saheli. “Anthropology in Fashion: Cultural Clothing in Southeast Asia”. Chatterjee, Saheli. “Anthropology in Fashion: Cultural Clothing in Central Asia”. Chatterjee, Saheli. “Anthropology in Fashion: Cultural Clothing in Southern Africa”. Chatterjee, Saheli. “Anthropology in Fashion: Cultural Clothing in India, Bangladesh, and Pakistan”. Shiro and Kuro Lolita are a Lolita outfit made entirely of either white (shiro) or black (kuro) clothing. Old School Lolita is still frequently worn in this day and age, much to the delight of nostalgic veterans. Light blue Qi Lolita dress with mandarin collar. It is especially used on the cheongsam, where the pankou represents the cultural essence of the dress. McDonald, Hamish (January 18, 2023). “Papua New Guinea’s ‘bilums’ weave together function, fashion”. Béni, Alexandra (January 18, 2018). “Get to know the invaluable Hungarian folk costumes”. Welin, Matilda (January 10, 2023). “The Scandinavian Folk Clothing Right for Now”. Al Mamun, Abdullah (May 28, 2023). “Traditional Dress of Bangladesh That Reflect Our Culture and Heritage”.
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The exquisite embroidery, intricate patterns, and delicate fabrics used in Hanfu production highlight the mastery of Chinese artisans. 213 These symbols often reveal the Chinese traditions which have guided the Chinese civilization for thousands of years and which currently continue to remain in use in present-days. The mangfu was characterized by the use of a python embroidery called mang (Chinese: 蟒; pinyin: mǎng; lit. The mangfu falls under the broad category of mangyi (Chinese: 蟒衣; pinyin: mǎngyī; lit. Chinese: 蟒袍; pinyin: mǎngpáo; lit. Mangfu (Chinese: 蟒服; pinyin: mǎngfú; lit. Chinese: 花衣; pinyin: Huāyī; lit. Chinese: 团领; traditional Chinese: 團領; pinyin: tuánlǐng; lit. Liulongsan fengguan (Chinese: 六龍三鳳冠) is the 6-dragons-3-phoenixes crown. Long Guan (籠冠) “Basket hat”. Rev. of Kimono: Fashioning Culture. Dalby, Liza. (Mar 1995) “Kimono: Fashioning Culture”. Bulletin of the School of Oriental and African Studies, University of London 58 (1995): 419-20. JSTOR.
Oxford: Oxford University Press. Black, Daniel. “Wearing Out Racial Discourse: Tokyo Street Fashion and Race as Style.” Journal of Popular Culture 42, no. 2 (April 2009): p.241. Fassbender, Bardo; Peters, Anne; Peter, Simone; Högger, Daniel (2012). The Oxford Handbook of the History of International Law. Rybalko, Svitlana (June 2012). “JAPANESE TRADITIONAL RAIMENT IN THE CONTEXT OF EMERGENT CULTURAL PARADIGMS”. Yamaka, Norio. (Nov 9 2012) The Book of Kimono. 18,20 As an official clothing, hanfu winter cloak the mangfu were worn by officials during celebration occasions and ceremonial events. 18,20 The mangfu was worn in the Ming and Qing dynasties. Chinese Emperor (or by the Empress Dowager on the behalf of the Emperor) in the Ming and Qing dynasties, becoming “a sign of imperial favour”. In Hong Kong, where many Shanghai tailors fled Chinese costume, Asian costume and oriental costume after the Chinese clothing Communist takeover Chinese clothes, Asian clothes and oriental clothes the Chinese clothing Mainland, the Chinese clothing word chèuhngsàam may refer Chinese costume, Asian costume and oriental costume either male or female garments. Badgley, Joshua L. “Women’s Garments”.
Women’s clothing styles in the middle and late Tang dynasty tend to be more and more loose and elegant, so most of them are decorated with pibo. 9 Moreover, as Vietnam has multiple ethnicities, there are many distinctive styles of clothing which reflect their wearer’s ethnicity. The Ming Dynasty, celebrated for its rich cultural tapestry, further developed the Hanfu, introducing varied styles and designs. The appearance of yuanling collars in Hanfu, including those used in the round collar robe, occurred during the Eastern Han dynasty where clothing with round collars started to be used as an inner garment under the Hufu of the Donghu people. The Chinese yuanlingpao was developed under the influences of the Hufu worn by the Donghu people and by the Wuhu (including the Xianbei). Wuhu, including the Xianbei people, during the Six Dynasties period. Emperor is allowed to wear the long, five-clawed dragon, while his subjects wear mang. In ancient China, there is a clear difference between monarchs and subjects; therefore, the Emperor wears the long, Chinese dragon patterns, on their clothing called longpao (龙袍; 龍袍; lóngpáo; ‘dragon robe’) while the officials, being the subjects of the Emperor, wear the mang (蟒; mǎng; ‘python’).
It was not uncommon for women to wear garments that bared the chest and arms, a style reminiscent of modern evening wear but more modest in its coverage. Later garments incorporate multiple pieces with men commonly wearing pants and women commonly wearing skirts. Qing demanded Zheng Chenggong and his men to abide to the Tifayifu policy in exchange for recognizing Zheng Chenggong as a feudatory. In Tang dynasty, the trousers which were worn by men were mainly worn with a form of paofu known as yuanlingpao. Qin dynasty hanfu clothing went to the public, the commoners and laborers wore crossed-collared hanfu robes with narrow sleeves and trousers. Some women also wore banbi under their yuanlingpao. This is a ruqun-style Hanfu outfit for women in a vintage design. Since then, it has been worn as an official outfit for government officials until the end of Joseon. They were worn by members of the imperial family below of crown prince, by military and civil officials, and by Official wives.
Diyi (Chinese: 翟衣; lit. Ming Dynasty. The diyi also had different names based on its colour, such as yudi, quedi, and weidi. It is a formal wear meant only for ceremonial purposes. It is a form of shenyi (Chinese: 深衣), and is embroidered with long-tail pheasants (Chinese: 翟; pinyin: dí or Chinese: 褘; pinyin: hui) and circular flowers (Chinese: 小輪花; pinyin: xiǎolúnhuā). It was first recorded as Huiyi in the Zhou dynasty. It is worn with guan known as fengguan (lit. The diyi has been worn by empresses and other royal noblewomen (differs according to different dynasties) since the Zhou dynasty. Diyi also has several forms, such as yudi (Chinese: 褕翟) which was dyed in indigo (Chinese: 青; pinyin: qing), quedi (Chinese: 闕翟; lit. The diyi follows the traditional Confucian standard system for dressing, which is embodied in its form through the shenyi system. The garment known as shenyi is itself the most orthodox style of clothing in traditional Chinese Confucianism; its usage of the concept of five colours, and the use of di-pheasant bird pattern. The pattern of paired pheasant on the diyi is called yaohui. The di-bird pattern forms part of the Twelve Ornaments and is referred as huachong (simplified Chinese: 华虫; traditional Chinese: 華蟲). The di-bird pattern is symbolism for “brilliance”; and the bird itself is a type of divine birds of five colours which represents the Empress’ virtue. The small circular flowers known as xiaolunhua (Chinese: 小輪花; pinyin: Xiǎolúnhuā), also known as falunhua (Chinese: 法轮花), which originated from the Buddhism’s Rotating King and from the era of the Maurya dynasty. These five colours (i.e. blue, red, black, yellow, white) also correspond to the five elements; and thus, the usage of di-bird pattern aligns with the traditional colour concept in Confucianism. They are placed between each pair of di-bird pattern on the robe. The little flowers looks like a small wheel-shaped flower. The use of shenyi for women does not only represent its wearer’s noble status but also represents the standard of being faithful to her spouse undo death. The shenyi was the most appropriate ceremonial clothing style of clothing for the Empress due to its symbolic meaning: it represented the harmony between Heaven, earth, and space. The shenyi consists of an upper garment and a lower garment which represents the concept of Heaven and Earth (Chinese: 两仪; pinyin: Liangyi); the upper garment is made of 4 panels of fabric representing the four seasons, and the lower garment is made of 12 panels of fabric which represents the time of the year. The wide cuff sleeves are round-shaped to symbolize the sky and the Confucian’s scholars’ deep knowledge and integration while the right-angled collar is square shaped to represents the earth warning Confucians that they should have integrity and kindness; together, the sleeves and the right-angled collar represents space as the circle and the square of the world. The huiyi in Zhou dynasty was worn by the Empress as ceremonial clothing to pay respect during the ancestral shrine sacrifice which was the most important sacrificial event in which they could participate in. Following the Zhou dynasty, the subsequent dynasties perceived the huiyi as the highest form of ceremonial clothing. The huiyi is an ancient system which was first recorded in the Zhou dynasty (c. According to the Zhou dynasty rites, there were two types of black and blue clothing; however, there is currently no proof that the huiyi in the Zhou dynasty was black in colour. The huiyi in Sui and Tang dynasties was also blue in colour. In the Song dynasty, the huiyi was the highest form of ceremonial clothing worn by the Empress; it was worn on important ceremonial occasions such as wedding, coronations, when holding court, and during ancestral shrine sacrifices. 110 When empress wears the huiyi, she also needs to wear a phoenix crown, a blue inner garment and a dark blue bixi, with blue socks and shoes, along with a pair of jade pendants and other jade ornaments. The early Song dynasty sanlitu (Chinese: 三礼图) shows illustration of the huiyi as being a form of shenyi (Chinese: 深衣), being deep blue and is decorated with di bird patterns. The Huiyi was made out of dark blue zhicheng (a kind of woven fabric). There is a bixi (a knee covering) which hangs in the central region of the front skirt; the colour of bixi has the same colour as the bottom of the lower skirt. In the Records of Chariots and Horses and Clothes written in the Yuan dynasty, the Song dynasty huiyi is described as being dark blue in colour and there are 12 lines of di birds which stand together in pair. Di bird patterns can decorate the black, red collar edge in 3 lines. The literature which describes the Song dynasty huiyi however does not always provide details (e.g. variations) which can be found in the Song dynasty court painting and some discrepancies can be found between the text and the paintings. The socks are dark blue in colour; the shoes are also dark blue but decorated with gold ornaments. From the several court portrait paintings of the Song dynasty, it is found that the huiyi was cross-collar closing to the right, with large and wide sleeves, and with cloud and dragons patterns ornamenting the collar, sleeves and placket, with a belt worn around the waist; and while all the huiyi were depicted as being deep blue in colour, they differed in shades of dark blue showing variation. The Huiyi was also the ceremonial dress of the empress in the Ming dynasty. Instead of being in three lines as described in the Yuan dynasty’s records, in the Song paintings, the di bird pattern which decorates the belts is denser. In the Ming dynasty, there are however different kinds of phoenix crowns depending on the ranks of its wearer: the one for the empresses is decorated with 9 dragons and 4 phoenixes, and the ones for the imperial concubines had 9 multicoloured pheasants and 4 phoenixes, and the other for the titled women was called a coloured coronet, which was not decorated with dragons or phoenixes but with pearls, feathers of wild fowls and flower hairpins. 150 In the Ming dynasty, the huiyi was composed of the phoenix crown, the xiapei, an overdress and long-sleeved blouse. The quedi is dyed in red instead of blue. Empress xiaoduan wearing quedi. Illustration of huiyi (褘衣) from the Chinese encyclopedia Gujin Tushu Jicheng, between 1700 and 1725 AD. Illustration of a woman wearing huiyi (褘衣) from the Chinese encyclopedia Gujin Tushu Jicheng, between 1700 and 1725 AD. Goryeo adopted the official ceremonial attire of the Ming dynasty. In Japan, the features of the Tang dynasty-style huiyi was found as a textile within the formal attire of the Heian Japanese empresses. In the Joseon dynasty, the official dress worn by queens was wearing the jeokui which was adopted from the Ming dynasty’s diyi. The jeokui was a ceremonial robe which was worn by the Joseon queens on the most formal occasions. It was worn together with jeokgwan (Korean: 적관; Hanja: 翟冠) in the late Goryeo and early Joseon, hapi (Korean: 하피; Hanja: 霞帔), pyeseul (Korean: 폐슬; Hanja: 蔽膝). According to the Annals of Joseon, from 1403 to the first half of the 17th century the Ming dynasty sent a letter, which confers the queen with a title along with the following items: jeokgwan, a vest called baeja (Korean: 배자; Hanja: 褙子), and a hapi. However, the jeokui sent by the Ming dynasty did not correspond to those worn by the Ming empresses as Joseon was considered to be ranked two ranks lower than Ming. Instead the jeokui which was bestowed corresponded to the Ming women’s whose husband held the highest government official posts. The jeokdui worn by the queen and crown princess was originally made of red silk; it then became blue in 1897 when the Joseon king and queen were elevated to the status of emperor and empress. In early Joseon, from the reign of King Munjong to the reign of King Seonjo, the queen wore a plain red ceremonial robe with wide sleeves (daehong daesam; Korean: 대홍대삼; Hanja: 大紅大衫, also referred as daesam for short). The daesam is believed to be similar in form to the Ming dynasty’s daxiushan, which was worn by the titled court women of the first rank. In the late Joseon, the daesam was modified to feature pheasant heads and a rank badge. Following the fall of the Ming dynasty, Joseon established their own jeogui system. In the Korea Empire, the blue jeokui was established for the Korea Empress. An example of the jeokui worn by the Korean empresses in Joseon can be seen in the Cultural Heritage Administration website. The xiaolunhua (小輪花) motif are known as ihwa motif in Korea. By the Korea Empire, the ihwa motif was revised and became one of the primary emblem of the Korean empire. The jeokgwan was the Chinese crown decorated with pheasant motifs; it was worn by the queens and princesses of the Ming dynasty. The jeokgwan originated from the bonggwan (Korean: 봉관; Hanja: 鳳冠) which was worn from by the Chinese empresses. The Korean ihwa motif were likely designed in 1750 when Joseon established their own jeokui system, and may have used The Collected Statutes of the Ming Dynasty (大明會典) as reference. Joseon until the early 17th century. It stopped being bestowed after the fall of the Ming dynasty. In the late Joseon, the jeokgwan was changed into a big wig, called daesu which consisted with a gache and binyeo, following extensive reforms. 2 variations of the diyi had been developed in Korea during the Joseon dynasty, and later in the Korean Empire. The daesu was then worn until the end of Joseon. During the Joseon dynasty, the diyi was known as “Chijeok-ui” (Korean: 치적의; Hanja: 雉翟衣) or jeokui, and is characterized as a predominant red outfit with a similarity to the wonsam. Princesses Consort on their marriage to the Crown Prince and on major ceremonies (Korean: 대례복; Hanja: 大禮服; RR: daeryebok). Queens Consort on their coronation ceremony and on major ceremonies (Korean: 대례복; Hanja: 大禮服; RR: daeryebok). During the Korean Empire, the chijeok-ui was later changed into the (original) blue with red trim similar to its Chinese model. It was also worn by the queens and princesses when they visited the Royal Ancestors Shrine and when they were receiving morning visits from their retainers. According to the book, Weaving a Realm (Dệt nên triều đại) published by Vietnam Centre, the diyi (Sino-Vietnamese: Địch Y; 翟衣) was recorded as Huy Địch (褘翟) in Vietnam and was recorded in the book, Tang thương ngẫu lục 桑滄偶錄. 粵考成周之遺制、宜加太妃之新封、于以彰保佑之功、于以盡哀榮之禮。 於戲，褘翟命服，流輝無間其存亡，馬鬣漏泉、賁飭有光於溟漠。 Việt khảo Thành Chu chi di chế, nghi gia Thái phi chi tân phong, vu dĩ chương bảo hựu chi công, vu dĩ tận ai vinh chi lễ, ư hi huy địch mệnh phục, lưu huy vô gián kỳ tồn vong mã liệp lậu tuyền, bí sức hữu quang ư minh mạc. Than ôi, áo xiêm (chữ Hán: Vi Địch) dâng tiến, vinh quang chẳng cứ khi mất còn; nấm đất vun bồi, rực rỡ đến tận cõi minh mạc. Vậy xét theo phép của nhà Thành Chu, tôn phong bà làm bực Thái phi, để tỏ công phù trì, để hợp lễ thương kính. Following Zhōu dynasty’s rites to honour the new Grand Concubine’s coronation, in order to display the utmost appreciation of her services and to perfect the great ceremony. As for Huy Địch dress, the shining glories stay in the fine-grained texture, and this shall be continuously succeeded. Liu, Heping (2003). “Empress Liu’s “Icon of Maitreya”: Portraiture and Privacy at the Early Song Court”. Wang, Yuanfei (2021-07-03). “What Hangs On a Hairpin: Inalienable Possession and Language Exchange in Two Marriage Romances”. Zhang, Shuhua; Shanat, Musdi bin Hj; Abdullah, Qistina Donna Lee (2021-03-31). “The Expression of Religious Elements and Factors of Religious Thoughts in the Empress’s Ceremonial Costume “Hui Yi” of Song Dynasty”. The imperial cemetery and bureaucracy, could glow even in the most remote and darkest of places. International Journal of Service Management and Sustainability. Research Bulletin of Osaka Shoin Women’s University. 6 (1): 89-108. doi:10.24191/ijsms.v6i1.12880. 5000 years of Chinese costumes. NATIONAL MUSEUM OF KOREA. Zhongguo fu zhuang shi yan jiu zu. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. Lee, Samuel Songhoon (2013). Hanbok : Timeless fashion tradition. Han’guk Kukche Kyoryu Chaedan. San Francisco, CA: China Books & Periodicals. Encyclopedia of Korean Folk Culture. The King at the Palace Joseon Royal Court Culture at the National Palace Museum of Korea. Ro Myounggu, Park Suhee. Encyclopedia of Korean Folk Culture. Encyclopedia of Korean Folk Culture. Encyclopedia of Korean Folk Culture. In the event that the first Queen Consort had died. Cultural Heritage Administration. “Hwanghu-jeogui(Empress’ Ceremonial Attire) – Heritage Search”. Cultural Heritage Administration – English Site. This page was last edited on 23 November 2024, at 07:42 (UTC). 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Daopao (Chinese: 道袍; pinyin: dàopáo; lit. Hanfu and is also one of the most distinctive form of traditional clothing for the Han Chinese. Initially the daopao was a form of casual clothing which was worn by the middle or lower class in the Ming dynasty. The daopao was one of the most common traditional form of outer robe worn by men. In the middle and late Ming, it was one of the most common form of robes worn by men as casual clothing. The daopao was also a popular formal wear by the Ming dynasty scholars in their daily lives. 181 In the late Ming, it was also a popular form of clothing among the external officials and eunuchs sometimes wore it. 77 It was also the daily clothing for the literati scholars in the Ming dynasty. The daopao can also refer to a type of Daojiao fushi, which were worn by practitioners of taoism, when the term is used in its literal form. The daopao was also introduced in Korea during the Joseon period, where it became known as dopo and was eventually localized in its current form. This form of daopao worn taoist practitioners and taoist monks continued to be worn in the Qing dynasty as they were exempted from the Tifayifu policy. Some sources posit that a form of daopao without a cord had evolved from the kuzhe, which refers to the military-style garments which had supposedly been influenced by the northern nomad warriors from the north in the past. 181 The daopao of the Taoist also continue to be worn by modern taoist priests, although it may come in different names. The yesa of this period was a type of new garment which only appeared in the Ming dynasty and was likely localized from and developed under the influence of the jisün the Yuan dynasty. According to Antonia Finnane who noted the Gubu gulu《觚不觚錄》of Wang Shizhen (1526-1590), the three robes which evolved from the kuzhe-style was the yesa, the chengziyi (程子衣) worn with a chord around the waist, and the daopao worn without chord. In the same ancient text, Wang Shizhen also noted that the daopao was also called zhiduo. The chengziyi was developed in the late Ming and bore some similarities with the yesa. However, the zhiduo was another kind of paofu which had predated the Yuan dynasty and can be traced back to the Tang dynasty. After the year 960 AD, the belted daopao was worn by the Taoist priests in order to distinguish themselves from others. The broad and elegant robes which were initially worn by Taoist priests were known as the daofu (Chinese: 道服; pinyin: dàofú; lit. In the Northern Song dynasty, Taoism was highly revered. 21 Some scholars, such Shi Manqing (994 -1041), who was a celebrated scholar in the Northern Song dynasty, would often wore a daofu with a scarf worn in a free style. 21 The Shi Manqin-style daofu was liked by some officials who were in their retirement; and therefore, they dressed in this form of daofu. 94 During this period, the daofu also became very popular and was greatly appreciated by some hermits and scholars during the Song dynasty and was mentioned in some poems written by Wang Yucheng and Fan Zhongyan. In the Southern Song dynasty, it was Neo-Confucianism which arose and flourished; a new form of daofu became fashionable; this form of daofu was the garment worn by the scholars which followed the Daoxue (道學) Confucianism. 22 In the book Rules of Moral Teaching study by Zhu Xi, Zhu Xi stressed on the importance of dress code as being the first step for a person to be a “decent person”. 5 Since Zhu Xi put so much emphasis on the dress code, the literati eventually gradually developed their own dressing style as an accepted custom, which included the daofu which was worn as a form of leisure clothing. 22 In Volume 2 of the chapter Xuezhai zhanbi《学斋占毕》in the Yinshi yifu jinjiebiangu《飲食衣服今皆變古》, Shi Shengzu reported that the daofu had been made popular by the use of guan and the shoes called lü; he associated the reason behind the popularity of daofu with the attire style of the Taoist priests, which he observed, had remained unchanged for centuries. 5 Contemporary observers living in the Southern Song dynasty, such as Shi Shengzu (1192-1274), also noted that the return of the classic-style apparel in the Song dynasty had made the daofu popular. Men wearing daopao, from paintings of the Southern Song dynasty. During the Ming dynasty, the traditional clothing system of the Han Chinese, the Hanfu, was restored following the fall of the Mongol-led Yuan dynasty. The daofu and the daopao continued to be worn in the Ming dynasty; the daopao was similar to the daofu in the Ming dynasty, with the presence of decorative border trims on the daofu as an exception. 22 He also concluded that the apparel system of the three ancient Chinese dynasties, referred collectively as the Sandai (三代), could still be found among the attire-style of the Taoist priests. The shape of the Ming dynasty daopao, and its colours, was strictly regulated by the political systems, rules and regulations of the time. 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. The Ming dynasty daopao is a full-length. A man wearing daopao (left) and another man wearing daofu (right), Ming dynasty portraits. There is a pair of ties at the small placket and two pairs of ties on the large placket which is used for closing the garment. It has a large frontal outer placket and smaller frontal inner placket. It characterized by a cross collar, which closes at the right side in the front, in a style called jiaoling youren. It is also not completely stitched at the two sides and allows for side slits to begin below the waist level. At the sides of the robes, there are side panels in the form of concealed swing or pendulum structure (i.e. a front and back swings at each sides of the robe). The sleeves are large but are narrower around the wrists. These side panels at these slits, are called anbai (Chinese: 暗擺; pinyin: ànbǎi), and they were designed to conceal undergarments. The neckline of the robe is often decorated with white or plain collars. However, the collar is generally the same colour as the hems. The collar can be either the same or a different colour to the main pieces of fabric. The huling either be white or dark in colour. A belt called dadai (simplified Chinese: 大带; traditional Chinese: 大帶; pinyin: dàdài; lit. An optional additional protective collar called huling (simplified Chinese: 护领; traditional Chinese: 護領; pinyin: hù lǐng; lit. In the Ming dynasty, the daofu was a wide-sleeved, crossed-collar robe which closes to the right in a style called jiaoling youren; it also had dark edging at the edges of the collar, sleeves, and placket. In total, the structure of the Ming dynasty daopao was made up of 10 parts. In the collar edge, the huling was sometimes inserted. Belts, like the dadai (simplified Chinese: 大带; traditional Chinese: 大帶) and the sitao (simplified Chinese: 丝绦; traditional Chinese: 絲絛; pinyin: sītāo; lit. The Ming dynasty daofu was similar to the daopao, except for the addition of edges decoration on the robe. 77,181It is also a derivative of the jiaolingpao which dates back from the Zhou dynasty. The xuezi (Chinese: 褶子) which is a costume in Xifu, is a derivative of the Ming dynasty daopao which was worn by the Ming dynasty scholars as an every day formal attire. Therefore, the xuezi was therefore allowed to be worn and continues to be worn even in present days, where it is now one of the most common form of costumes worn on stage. 31-32 and the wenxiaosheng. 3 Performers playing female roles could also wear a xuezi called nüxuezi, which was also used as an informal robe. In the Qing dynasty, actors who performed in Chinese opera performance were allowed to wear Hanfu and Hanfu-style Xifu as they were exempted from the Tifayifu policy. 54,276-294 a style which can be referred as duijin. The xuezi is structurally different from the jiaolingpao: the xuezi has a trapezoid body, narrower sleeves which is tubular in shape, the sleeves are longer than the wrists, and water sleeves are also added; there is an asymmetrical closure where the right side is right below the shoulder and neck intersection while the left crossing over is tied right under the right arm in a style called jiaoling youren. The wenxiaosheng often wears xuezi of pastel colours, which is embroidered with flowers and has water sleeves. In this period, the intellectual current which had been popularized in Joseon was the Zhuzi studies (viz. According to the Joseon literati, Sŏng Tae-chung, who visited Japan in the 1764 at a time when the Ming dynasty had already fallen, when asked what he wore as a robe and headwear by Ryūzan, Sŏng Tae-chung answered that he was wearing the dopo and the bokgeon which were the attire of the ancient sages 《冠幅巾衣道袍, 乃古聖賢所着》; the dopo and bokgeon were both Confucian attire and dressing style which had been adopted in Joseon. The daopao was imported from the Ming dynasty to Korea during the Joseon period, where it became known as dopo and was eventually localized in Korea gaining its current form. The traditional clothing worn by the Taoist community is connected to pre-modern Chinese clothing and styles. Tradition-based taoists will often wear the traditional robes and liturgical clothing for formal religious and ritual occasions while Zhengyi priests and taoists priests outside mainland China tend to wear Western clothing in their daily lives. The traditional taoist robes can also be worn as a daily lives clothing by the Quanzhen monastics in mainland China. There were many forms of daojiao fushi in the ancient China. The Taoist’s priest daopao are commonly worn by the Taoism priests. Some forms of taoist robes are also referred as crane robes (hechang, 鶴氅). Theses motifs decorations can include, the bagua and cranes. It is worn by middle-ranks Taoist priests; it is red in colour and has motifs at the back and front, on the sleeves. Jiangyi (Chinese: 絳衣; pinyin: jiàngyī), also known as “robe of descent” which refers to either the descent of a priest from the altar or of the spirits to the altar, is a common form of Taoist priest’s clothing. Wang Changyue, Qing dynasty. The jiangyi is a sign of the higher priestly rank and is worn by grandmasters. It was worn at least since the Ming and Qing dynasties. It is made of embroidered silks and is composed of a large square of satin fabric folded into two to form the shoulder line; the shoulder lines continues to the hem of the sleeves. The robe is slashed in the middle to form the collar of the robe. Taoist’ priest; it is usually fastened across the front with two silk ties which are sewn just above the waist level. It is typically trimmed with border decorations. Zhengyi taoist priest wearing jiangyi, Ming dynasty. Daoist priest’s robe (jiangyi), China, 20th century. The Quanzhen monastic taoist priests and nuns wear a wide-sleeved, cross-collared gown called daoyi (道衣; lit. In the Quanzhen order, the dagua is worn as one of the ordinary clothing while the deluo is a formal clothing. The deluo (得罗) is a cross-collared gown with large sleeves. The sleeves of the daoyi is referred as “cloud sleeves”; they are wide, open at the ends, and their sleeves are so long that it is past the fingers when extended but can be even longer. It is worn by Taoist priests of the Quanzhen order is a formal ritual dress which is indigo in colour. The blue colour is a symbolism for the east and represents having been descended from the first patriarch of the Quanzhen school, Donghua dijun. In large temples (e.g. Baiyunguan in Beijing), the deluo would be worn by monastics on festival days; the deluo would have wide sleeves which could reach 45 cm. Their daopao is cross-collared at the front, and the sleeves are so long that only the fingers can escape from the sleeves. It is made of thick garments and is blue or black in colour. The daogua can be found in 3 types: dagua (Chinese: 大褂; lit. Long buddhist robes abbot. In the Wengong temple in Hanzhong, the cross-collar daopao is the standard form of attire and is referred as daogua (Chinese: 道褂; lit. Hai Qing (海青) – Buddhist ritual garment. Zhiduo, also known as zhishen (直身) – a style similar to the daopao except that it was decorated with outside pendulums. Ye, Tan (2020). Historical dictionary of Chinese theater (Second ed.). Pi lu si bi hua. Wang, Guojun (2020). Staging personhood : costuming in early Qing drama. Dianfeng Kang, 康殿峰. Song, Ma; yue, Li; xiaogang, Wang (2021-07-01). “Research on the Ming Dynasty Dao Robe Modeling Method Based on 3D Simulation Technology”. Shijiazhuang Shi: Hebei mei shu chu ban she. Journal of Physics: Conference Series. 1965 (1): 012040. Bibcode:2021JPhCS1965a2040S. Gwynne, Paul (2017). World religions in practice : a comparative introduction (Second ed.). Herrou, Adeline (2016). A World of Their Own : Daoist Monks and Their Community in Contemporary China. St Petersburg: Three Pines Press. Yuan, Zujie (2007). “Dressing for power: Rite, costume, and state authority in Ming Dynasty China”. Journal of the Korean Society of Costume. Frontiers of History in China. New York: Oxford University Press. Wang, Richard G. (2012). The Ming prince and Daoism : institutional patronage of an elite. Antonia Finnane (2007). Changing clothes in China: fashion, history, nation. Columbia University Press. pp. Wang, Zhishen. “Gubu Gulu” 觚不觚录. Wei, Luo (2018-01-02). “A Preliminary Study of Mongol Costumes in the Ming Dynasty”. Social Sciences in China. Studies in Conservation. 59 (sup1): S177-S180. Wang, Chen (2014-09-01). “Conservation study of Ming dynasty silk costumes excavated in Jiangsu region, China”. Cheng, Fung Kei (2020-07-28). “Intertwined Immersion: The Development of Chinese Buddhist Master Costumes as an Example”. Zongze. Honolulu: University of Hawaii Press. Yifa (2002). The origins of Buddhist monastic codes in China : an annotated translation and study of the Chanyuan qinggui. Hoboken: Taylor and Francis. Snodgrass, Mary Ellen (2015). World Clothing and Fashion : an Encyclopedia of History, Culture, and Social Influence. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Chengyu, Fang, Alex (2016). The Language and Iconography of Chinese Charms Deciphering a Past Belief System. Springer Singapore, Imprint: Springer. Bonds, Alexandra B. (2008). Beijing opera costumes : the visual communication of character and culture. Su, Wenhao (2019). “Study on the Inheritance and Cultural Creation of Manchu Qipao Culture”. Honolulu: University of Hawaiʻi Press. Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Vol. Li., David C. S. (2022). Brush Conversation in the Sinographic Cosmopolis Interactional Cross-border Communication Using Literary Sinitic in Early Modern East Asia. 368. Atlantis Press. pp. David Li; Reijiro Aoyama; Tak-sum Wong. Zhuo, Xinping (2018). Religious faith of the Chinese. Komjathy, Louis (2013). The Daoist tradition : an introduction. The encyclopedia of taoism. Fabrizio Pregadio. Richmond: Curzon. This page was last edited on 27 November 2024, at 11:26 (UTC). Victoria and Albert Museum: Explore the Collections. By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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Mamianqun article, here’s a little summary of all the most popular hanfu skirt (qun or 裙) types and what the difference between them is! I’m not going to go into as much detail as the previous article since my goal is to go through them all quickly and teach you the differences between them, but I’ll be including some brief details on their name, history, construction, and features so that you can better understand the huge variety of skirts in hanfu. Let’s start off with some basics rules hanfu skirts tend to follow. Skirts are made up of one or two pieces of fabric, usually, and they take the shape of a flat piece of pleated or non pleated cloth that gets wrapped around the body and tied in place by ribbons/ties. There are very few exceptions to this, except in hanyuansu, which is modified hanfu for convenience and style. The waistband of the skirt is usually 6-8cm wide and made with a different piece of fabric than the body of the skirt, which the body of the skirt is then attached to-this is referred to as the skirt head (裙頭). But even with all of these rules, there is a HUGE variety of hanfu skirts throughout the dynasties! This skirt consists of straight knife pleats (順摺) going from the skirt head down to either half or full length of the skirt, with pleats usually ranging from 2-4cm wide, and are often made with thin chiffon with one solid layer or two layers, one solid white underlayer and one sheer outer layer. The classic pleated skirt is undoubtedly the one that you’ve heard of the most. This is the most basic kind of skirt that you’ll get, and it’s the kind that most people start out with-unisex, easy to put on, and very intuitive. The history’s a bit blurry since they’ve been popular since forever, and it’s a very versatile style that comes up in hanyuansu. There isn’t much else to say about this one, honestly. Technically the po, 破, in poqun is a word that means broken. I don’t doubt that you’ve all seen this one and are probably already pretty familiar with it and don’t need me to flood you with pictures, so let’s move on to the other ones. Well, that’s not what that word always meant. So why are we wearing broken skirts? You see, in this context, a po is a piece of fabric cut into a long trapezoid-like shape. When worn, this creates a sort of A-line, circle skirt effect, with loose folding around the edges-it’s known to a lot of enthusiasts as the most slimming style of skirt out there. A poqun is made of an even number of these pieces of fabric, usually 4-12 but going up to as much as 32, sewn together lengthwise to create a skirt that is wider on the bottom than the top. Each piece is called a po, or 破, tang dynasty hanfu and they come in pairs. Like I said before, each of these pieces of fabric is a long trapezoid. A poqun with three pairs would be a six-po skirt or 六破裙, four pairs would be an eight-po skirt, etc. Typically they say the more po the more slimming it looks! Poqun can be made solid and out of one kind of fabric like the other skirts, but the unique thing about it is that because of its pieced-together construction, it’s really common for poqun to be striped, alternating colors every po. This style of skirt was probably most popular all the way from the Wei and Jin dynasties to the Tang Dynasty. When you lay the skirt out, it doesn’t lay flat, but if you hang it spread out from the waistband it’ll naturally fall into even waves because of its trapezoidal shape. Once the Song Dynasty rolled around, though, lots of other skirts became more popular and this flowy, unstructured shape started dying out. It would’ve been the main form of skirt earlier on, when skirts first began to show up instead of full-body robes, while it became popular to wear striped poqun in chest-high styles in the Tang Dynasty, so they’ve been dominating the skirt industry for quite a while! Well, I didn’t mean immediately! One example of how the poqun evolved over time is the 四破三襉裙, often shortened as the sanjianqun. As you might be able to guess from the logic above, since this is a 四破 or four-po skirt, it’s made up of four long trapezoidal pieces of fabric sewed together along the edges, making it wider at the bottom than it is at the top. Did I say that poqun started dying out in the Song Dynasty? The part of this skirt that makes it different from the earlier poqun is the three inverted box kick pleats (工字摺) between the po of the skirt, one in the front center and two on either side, creating a unique silhouette with three pleated slits-sometimes a contrasting fabric is used for the inside of each slit for an added layering effect, other times it’s the same fabric. This skirt is a favorite of hanyuansu enthusiasts, as it looks really similar to a modern skirt with a less flashy silhouette-it doesn’t end up being much of a poofy skirt, draping mostly straight down on the hips, and is easy to modernize. If the Tang Dynasty favored a beautiful full figure like the bright round moon that became the muse of so many poets, the Song Dynasty was known for a preference for willowy elegance, long and thin like bamboo. The only thing that I would note is that this skirt is notorious for showing even a little bit of a belly, as a lot of Song Dynasty skirts tend to do, but if you don’t mind then this is a great choice for a daily outfit! This was absolutely reflected in their clothing choices as well! One of the simplest skirts of the lot is called the xuanqun, roughly translating to wrapped skirt, also known as the 兩片裙 or two-piece skirt. This skirt is unique for having no pleats, instead being constructed out of two flat rectangular pieces of fabric overlapped with each other and connected at the skirt head. It’s made of two pieces of fabric, hence the second name, and wraps more closely to the body than any of the other skirt types. Xuanqun can be split into the narrow and wide versions. Narrow versions will be made up of less fabric, and so when wrapped around the body will hug the hips and legs more tightly, resembling a long pencil skirt or straight skirt-essentially a cylindrical shape. The two pieces of fabric can be the same color or contrasting patterns. Wider versions have more fabric and are a little looser on the body, allowing for more free leg movement. Narrow versions are also known for being unfriendly to the curvier of us because of its tighter silhouette, since the fabric can be uncomfortable on the hips if your waist is a lot smaller, but sizing the skirt right should take care of most of your problems! They’re very convenient for riding horses and other things requiring you to move your legs around, and were popular from the Song dynasty all the way to the Ming dynasty. Again, for more detail you can skim the article I linked-it goes into a lot of depth! For those of you who want a quick overview, mamianqun are made of two pieces of fabric with a flat skirt door on each end but pleated in the middle, overlapped to form two visible flat parts at the front and back, and a pleated part and the sides when worn. Let’s meet the much lesser known cousin of the mamianqun: the manzhequn, or full-pleat skirt! From the outside, when worn, the manzhequn looks a lot like your typical zhequn, pleated skirt, with wider pleats than usual, usually around 3-5cm. But like the mamianqun, the manzhequn is actually made of two different pieces of fabric, overlapped at the sides when worn. The difference is that while the mamianqun’s two pieces of fabric have a flat part called the skirt door at each end, with 工字摺 in the middle, the two pieces of fabric of a manzhequn are pleated all the way through with straight knife pleats all facing the same direction. When sewn together, this creates a skirt that looks pleated all the way around but can still be spread from side to side because the two pieces of fabric are only connected at the top, not the bottom. Also a popular Ming-dynasty style, despite there being artifacts in this silhouette it’s hard to find many shops that make this kind of skirt, as it’s much lesser known than the mamianqun, but it offers the same mobility as the mamianqun without the flat skirt doors. Still, if you’d like to switch up your Ming dynasty outfits, consider getting one of these instead! Consequently this skirt has a full, rich look unbroken by skirt doors, but it can be less convenient than mamianqun since its folds are easy to displace and harder to organize when sitting down. I’m not sure why there are so many Song Dynasty skirts, but this is the last of them-the baidiequn, or hundred-change skirt. Made of one piece of fabric, these narrow pleats fill the center of the fabric while each end of the fabric has a smooth unpleated section called a 光面 or smooth face, which overlap each other when the skirt is worn-the result is a similar look to the mamianqun, but with only one visible smooth face. They’re characterized by very narrow pleats of 1-2cm, usually made of softer and thinner fabrics to allow this. Baidiequn can be split into three categories: the full baidiequn, the encircling baidiequn, and the high-low baidiequn. This face can be worn in the front, the back, or even the sides-there’s no official place for it, it’s all up to you. The full baidiequn is the most commonly seen kind, usually worn alone. It’s a full-length skirt, pretty intuitive: just wrap it around your body so that the smooth faces overlap, and turn the smooth face to the front, back or side. The encircling baidiequn, or the hewei baidiequn, 合圍 baidiequn, is an overskirt usually worn on top of another skirt or a pair of pants. Because of the thin pleats, baidiequn usually stay closer to your body than the usual zhequn. It’s shorter than a full skirt, usually reaching down to mid-calf, and can be wrapped around the body on top of an underlayer with a similar or contrasting color. These types of skirts can be sheer or solid since they don’t have to worry about your legs showing through. They’re less common than the full baidiequn, but there are a number of merchants that still sell these. Last is the high-low baidiequn, or the 前短後長 baidiequn, which I unfortunately didn’t get a picture of (above is another hewei baidiequn). Very rare these days, these types of skirts always have their smooth faces worn in the front, because the smooth faces are cut shorter than the rest of the pleated skirt, creating a T-shape when laid out. But wait, some people may say, what about the chest-high and waist-high skirts? When worn, the smooth face in front will be significantly shorter, while the pleated sides and back will still be floor-length. Why isn’t there a category for that? Aren’t those two different kinds of skirts? Well, I’ve got some news for you-chest-high and waist-high skirts aren’t different kinds of skirts at all! The only difference is that sometimes people prefer to make their chest high skirts a little longer so they still touch the floor when worn over the bust-and of course typically men didn’t wear skirts this way. Chest-high and waist-high are two different methods of wearing skirts, not different kinds of skirts. Designers may take into account whether the skirt will be worn at the chest or waist when designing so that they know what a full set will look like or what kind of top to use in the set, and the sizing chart for skirt length might also vary based on whether it’s supposed to be worn at the chest or at the waist, but in concept there is zero difference between chest-high and waist-high skirts! Wearing the skirt at the chest was really popular in the Tang dynasty for women, for example, but the chest-high skirt wasn’t some new invention of a different skirt pattern, most were either pleated zhequn or striped poqun tied at the chest, just… It’s just a matter of how you choose to wear your skirts. Same deal with heziqun-essentially what it is is a skirt with an exceptionally wide skirt head, wide enough for it to basically cover your torso. In fact, if you feel like you want a shorter skirt that won’t drag on the ground sometimes, but also like the floor-length look for other occasions, you can absolutely just pull a waist-length skirt up to your chest and wear it like that. The skirt part of the heziqun can take on multiple forms, usually a poqun or zhequn since we only see these in the Tang dynasty, not to mention that since there are no surviving artifact of heziqun it can only technically be counted as hanyuansu. You won’t be misappropriating history or even modifying it at all-this is exactly what people did. Then again, a lot of designers have taken steps to modify skirts that they mean for you to wear at your chest to make them easier to hold up-straps, for example, would prevent you from wearing something as a waist-high if it was originally a chest-high skirt. But more often than not the straps are removable! Just make sure you know the difference between a type of skirt and a way of wearing a skirt.
It is a form of yichang (i.e. a set of attire composed of upper and lower garment). It was worn since the Western Zhou dynasty. During the Ming dynasty, under the reign of Emperor Jiajing, the xuanduan became a model for the regulations reforms related to yanfu (casual or leisure clothing) worn by the emperor and officials. During the Western Zhou dynasty, it was a form of a daily clothing which was worn by the emperor and ordinary commoners. The character xuan (玄) can literally be translated as ‘dark’ or ‘black’. In the Zhou dynasty, it was worn by emperor when they were not at court, on sacrificial occasions by princes, and by scholars when they would pay their respects to their parents in the morning. During the reign of Emperor Jiajing of Ming, sartorial reforms took place. Emperor Jiajing reformed yanfu (i.e. daily casual or leisure clothes, worn at home by the emperor, the officials and by the appointed ladies of the court), especially those he, himself, had to wear when he was not engaged in official duties. According to the Liji in the section Yuzao, it was also a form of ritual clothing for the emperor, who wore it to salute the appearance of the sun outside the eastern gate and when he would listen to notification on the first day of the first month outside the southern gate; and by the Princes of States who wore xuanduan when sacrificing (诸侯玄端以祭). There have never been clear regulations on the leisure dress of ranked officials, and followers of the outlandish compete in their eccentric dressing, thereby causing greater disorder. I beg that it be modelled on the ancient xuanduan and put in a separate statue to be disseminated throughout the empire, so that noble and base are distinguished.’ The emperor then ordered the creation of the ‘Illustrations of the Loyal and Tranquil Hat and Dress’, to be promulgated by the Board of Rites, together with an imperial edict stating, ‘The Ancestors learned from antiquity and established regulations, so that the court and sacri- ficial dress of ranked officials each had distinctions. Emperor Jiajing therefore sought the help of Grand Secretary Zhang Zong (1476-1539) to investigate the dress regulations which were governing the casual clothing in ancient time. But the ordinary people are more cautious toward that which is clear, negligent of that which is obscure. The ancient sage kings were attentive to this, and ordered the xuanduan as the leisure dress for officials. Recently clothing styles have been outlandish, with no distinc- tion between superior and inferior, so that the people’s proclivities are without restraints. We have made pictures to instruct on the styles and construction. ‘Thinking of utmost loyalty when entering, thinking of amending one’s faults when retiring’. Officials in the capital above the seventh rank, members of the Hanlin Academy, the Imperial Academy, officials in the Messenger’s Office above the eighth rank; in the provinces, Regional Supervisors, Senior Officials of each prefecture, chief officials of each sub-prefecture and county, and the education officials of Confucian schools are to wear it. According to the new regulations, the emperor’s xuanduan (yanbian guanfu, lit. 143 dragons, including a large dragon medallion at the front of the garment; it was also decorated with a green trim border. Military officials of the rank of commissioner-in-chief or above may wear it. The royal princes had to wear a green xuanduan which was decorated with a green trim and decorated with two ranks badges of dragon design (baohe guanfu, lit. Officials of the third rank and above had xuanduan decorated with cloud patterns while the xuanduan worn by the officials who ranked fourth and below wore plain xuanduan. The xuanduan used as the yanfu of the officials (zhongjing guanfu, 忠靖冠服, lit. The xuanduan is a form of yichang, which is composed of an upper garment called yi and a lower garment called chang (skirt). According to the Zhouli, the standard xuanduan had sleeves and body of equal size (two chi, two cun long) and the sleeve opening was made of one chi, two cun. The colour of the skirt (chang) which matches with the upper garment varied depending on rank: i.e. Shi (士) officials of high rank wore black lower garment, middle-rank Shi officials wore yellow lower garment, while the low-rank Shi officials wore lower garment in motleys. 2017). Origins of Chinese political philosophy : studies in the composition and thought of the Shangshu (Classic of Documents). Martin Kern; Dirk Meyer, eds. Yan, Ying (2015). The Spring and autumn annals of Master Yan. KIM, HONGKYUNG (2021). ANALECTS OF DASAN a korean syncretic reading. Translated by Olivia Milburn. Zhang, Qizhi (2015). An introduction to Chinese history and culture. OXFORD UNIV PRESS US. Zhengming Du. Newcastle upon Tyne: Cambridge Scholars Publishing. Feng, Ge (2015). Traditional Chinese rites and rituals. 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. Tong Xiao. Princeton: Princeton University Press. Knechtges, David R. (2014). Wen Xuan or Selections of Refined Literature, Volume I : Rhapsodies on Metropolises and Capitals. 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Hanfu has been through thousands of years of evolution. Abstract: Hanfu Gang is a project aimed at educated, young fashion lovers (primarily 16 to 26 years old) who are interested in Hanfu, the traditional clothing of ethnic Han Chinese people who ruled China for most of its history. After many years of promoting Hanfu as an important part of the ethnic culture, more and more people have started wearing it, and some daily. Now the national tide has entered the 3.0 era, the national tide is no longer limited to the new national goods, but also includes culture, science and technology and other fields behind the comprehensive rise of China’s power. The production of silk threads and fabrics gave rise to the art of Chinese embroidery, and the embroidered works have become highly complex and exquisite. A few years ago, Hanfu was a small group, but now it has become popular among young people with the rise of national fashion. The cheongsam also had a significant impact on international fashion centers in the 1950s and 1960s, such as Paris, Rome, and New York, due to its perceived exoticism and its slim line silhouette which was also fashionable in Europe at those times.
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. The Manchu are an ethnic minority that founded the last of China’s imperial dynasties, the Qing dynasty, which lasted from 1644 to 1911. When the dynasty was first established, dress regulations were implemented as a way of expressing their identity as a people and creating social order. Ming dynasty Empress Xiaoduan wearing xiapei. On the Chinese mainland, the hanfu movement was kickstarted by Wang Letian, a power worker in the central Chinese province of Henan, who attracted widespread media attention after wearing traditional clothing in public in 2003. From there, hanfu appreciation quickly spread among young Chinese involved in the country’s early online communities. Among the upper dominating classes, only the Emperor was assigned the color yellow and the dragon emblem on traditional Chinese imperial dress as an exclusive affirmation of their power. Pattern, In ancient feudal society, people’s rank and social status could easily be figured out from their daily dress, especially for ordinary people and the upper class. The Royalgirl Gelert has a hennin much like the Acaras and Aishas, while the Royalboy stands out in his foppishly coloured clothes.
For example, for women, only an empress or official wife could wear true red, while the color was prohibited for concubines. Qiyao ruqun (齐腰襦裙; waist ruqun) is tied at the waist while qixiong ruqun is tied under the armpit. The traditional tying methods of Hanfu garments, such as sashes and knots, might require more time to put on compared to contemporary clothing, posing a challenge for those with a busy schedule. In contemporary China, the meaning of cheongsam has been revisited again. The meaning of the two terms Lào zi and Tāo zi are quite similar. Not only received thousands of praise, the majority of Internet users are directly with actual consumption to express support. The skirts are pleated, giving a distinctive and surprisingly rigid and severe look. As for short clothes, they fall into two types: trousers and skirts. Demi-train – A short train formed by having the back of the garment slightly longer than the front. People usually wear a hat and boots to match their long gowns or headcloths, and shoes to match short clothes. Mourners often wear plain white Hanfu or white armbands as a sign of their grief and respect. 3 The use of white makeup powder made of freshwater pearls can be traced back to the Northern Song dynasty.
The common people mostly wore white at weddings. Color, People normally wear light-colored clothing in daily life. Gender, Women’s clothing was more diverse than men’s. Gradient tulle makes your princess more charming and lovely. At the same time, the tourism industry should think more about how to create more intimate “links” with the new youth with the wind of cultural confidence. Hongxing Erke how also did not think of, so accidentally sealed “god”. The sudden surge of orders, so that the unexpected Hongxing Erke online system broke down, store shelves sold out of the grand situation. In this hongxing Erke event, “domestic goods” is one of the key factors out of the circle. Marketing insiders say that behind this wave of wild spending is the presence consumers get from brands, a deep emotional attachment to domestic goods. At the same time, it also shows that at all times, marketing is the transmission of positive values. The truth is that Hongxing Erke donated 50 million yuan of materials to support the disaster in Henan despite a loss of 220 million yuan in 2020. The netizens were moved at the same time, but also showed their support with actual consumption actions.
During the Qing Dynasty, Hanfu embodied the aesthetics of elegance and modesty, two crucial values deeply rooted in Confucian culture. 317 The Kuzhe (袴褶) of the late Northern dynasties was a creation of Han culture which was developed through the assimilation of non-Han culture. The generic term kuzhe (Chinese: 袴褶; lit. The term duanda (Chinese: 短打), duanhe (Chinese: 短褐; lit. Chinese: 竖褐; lit. The term daxi (Chinese: 大褶; lit. According to the Collins English Dictionary, the term samfu (pronounced: /ˈsæmfuː/) originated from the combination of the Chinese (Cantonese) words sam (dress) and fu (trousers). Chinese characters (袴褶), is typically used to refer to military or riding style attire which is composed of a jacket or coat and trousers. Chinese upper garment which typically overlaps and closes on the right side which could be called shan (衫), ru (襦), ao (袄; 襖), chinese cheongsam qipao and a pair of long trousers ku (裤; 褲). Shanku (simplified Chinese: 衫裤; traditional Chinese: 衫褲; pinyin: shānkù; lit. Shanku is sometimes referred as aoku (simplified Chinese: 袄裤; traditional Chinese: 襖褲; pinyin: ǎokù; lit.
Double-overturned lapel kaftan-like robe were called kuapao and were referred as hufu in the Tang dynasty; kuapao was characterized with tight sleeves and double overturned lapels with short overlap which closes at the front in proximity to the centre of the body (or with a front opening). 45 According to the Shiming, the coat, xi (褶; sometimes referred as zhe), typically used as part of the kuxi, was a xi (襲). A xi (襲) was a paofu with a zuoren closure according to the Shuowen Jiezi (說文解字).趙惠文王 ， 武靈王 子也。 I’m a big fan of lolita fashion and qi-lolita in particular although I prefer hanfu over it. Now it is her passion to share and educate the world on this beautiful and previously unknown fashion of China. Li points out that previous crisis in China were not due to popular participation, but power struggles and corruption, and that an authoritarian state does not usually separate powers. The separation of the political and economic spheres lays a foundation for a further separation of powers, thereby negating autocracy despite the centralizing tendency of the state.
Although the Chinese state is seen as legitimizing democracy as a modernization goal, economic growth is seen as more important. Wu considered social developments like liberal democracy unable to proceed simply from new authorities. During the Ryukyu Kingdom period, the colour, fabric, and design of the ryusou, alongside the style of headgear, was used to distinguish the social status and rank of the wearer. Style Congruence: Choose accessories that match the formality of your outfit. Your choice of belts, sashes, headgear, and even shoes should harmonize with your Hanfu, both in color and style. You can commonly find Pao made of luxurious materials like silk, brocade, black cheongsam dress and even embroidered with gold thread for especially grand occasions. Hanfu can be divided into three styles: jacket with skirt, jacket with trousers, and one-piece dress. As Asian clothing and oriental clothing result, people are Chinese ancient clothing and Chinese traditional clothing often Chinese dress, Asian dress and oriental dress Asian clothing and oriental clothing loss what Chinese costume, Asian costume and oriental costume choose when facing the Chinese clothing vast sea Chinese clothes, Asian clothes and oriental clothes fashions. Here’s a brief overview of its historical development: Ancient Origins.
Gohan then returns to Earth and confronts Boo for a second time, and temporarily defeats him. The shenyi consists of an upper garment and a lower garment which represents the concept of Heaven and Earth (Chinese: 两仪; pinyin: Liangyi); the upper garment is made of 4 panels of fabric representing the four seasons, and the lower garment is made of 12 panels of fabric which represents the time of the year. The beizi also developed with time. Peter Moody (2007), p. Moody, Peter R. (2007). Conservative Thought in Contemporary China. Qi Silk, on the other hand, was heavier and more durable, often used for more functional attire. 23-26 Although the kuxi/kuzhe attire were oftentimes associated with Hufu, some of these garment items and styles were in fact Chinese innovations. While the Cheongsam tend to be used as the representative of the national identity in the previous generation of the overseas diaspora, nowadays, the young people within the overseas Chinese diaspora are more incline in the use of hanfu.
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Culture clubs dedicated to the study of Hanfu have also popped up in universities at home and abroad. Though Mochi is relatively new to this (she’s been creating content for just over a year), the movement has long been home to a myriad of social media and IRL devotees since it burst into the popular imagination in recent years. The part of this skirt that makes it different from the earlier poqun is the three inverted box kick pleats (工字摺) between the po of the skirt, one in the front center and two on either side, creating a unique silhouette with three pleated slits-sometimes a contrasting fabric is used for the inside of each slit for an added layering effect, other times it’s the same fabric. It’s my favourite game ever! You have the ability to live in a video game. After first learning about Hanfu in 2020, Chuyan has dedicated her life to reviving and sharing the history behind these garments that have long remained a relic of the past.
