Hanfu vs ruqun
In recent years, the popularity of Hanfu has surged across China, particularly evident during events like the Jinhu Hanfu Cultural Consumption Season. People flock to ancient capitals like Hedou, clad in exquisite Hanfu attire, to indulge in traditional foods, capture memorable moments against iconic landmarks, and eagerly share their experiences on social media. Hanfu, by definition, refers to traditional Chinese attire that dates back to ancient times. Hanfu has become more than just a garment; it’s a cultural statement, often eclipsing even the weather in conversations. Each dynasty in Chinese history contributed unique styles to Hanfu, reflecting the era’s aesthetic and social norms. As Professor Huang Qiang, a renowned expert in clothing history, explains, references to Hanfu can be found in ancient texts dating back to the times of the Yellow Emperor and Yao-Shun era. From the deep-collared “Shenyi” of the Qin and Han dynasties, which symbolized modesty and hierarchy, to the flowing “Baoyi” robes of the Wei and Jin periods, which exuded elegance and freedom, Hanfu evolved alongside China’s rich history. However, the Hanfu worn today differs significantly from its historical predecessors. The Tang dynasty introduced a color-coded system where the hue of one’s attire indicated social status-a system vividly captured in Bai Juyi’s poetry lamenting the tears staining the green robes of a lowly official. It lacks the precise historical accuracy of its predecessors and is more of a reinterpretation guided by modern sensibilities. Modern Hanfu, often labeled as “imitation traditional clothing” by experts like Professor Huang Qiang, blends traditional elements with contemporary influences. According to Professor Huang, distinguishing between authentic historical attire and modern replicas can be challenging. Many modern Hanfu designs lack clear historical markers, such as specific dynastic influences or social hierarchies, and are tailored more for aesthetic appeal than cultural fidelity. This shift raises questions about the authenticity and educational value of modern Hanfu as a cultural artifact. Guo Zaiquan, founder of Qifengge Hanfu, notes a significant shift in Hanfu’s popularity over the past two decades. Hanfu’s appeal extends beyond mere fashion; it embodies a cultural revival driven by national pride and historical nostalgia. Guo observes regional preferences in Hanfu sales, with Southern styles from the Song and Ming dynasties proving more popular among buyers. This regional variation underscores Hanfu’s adaptability and enduring allure across different demographics within China. Despite its growing popularity, the modern Hanfu movement faces challenges, particularly concerning authenticity and cultural representation. As Hanfu becomes more commercialized, there’s a risk of diluting its historical and cultural significance for the sake of market trends and consumer appeal. What started as a niche interest has blossomed into a mainstream cultural phenomenon, with sales skyrocketing annually. Looking ahead, the future of Hanfu appears promising yet uncertain. As China continues to assert its cultural identity on the global stage, Hanfu serves as a powerful symbol of the nation’s rich cultural heritage and artistic achievements. Its evolution-from ancient attire to contemporary fashion statement-reflects broader societal shifts towards cultural revival and appreciation. Balancing preservation with commercialization is crucial to ensuring Hanfu retains its educational and cultural value. This resurgence underscores the importance of balancing tradition with innovation, ensuring that Hanfu remains a vibrant and meaningful expression of China’s cultural legacy for generations to come. As Hanfu gains mainstream popularity, concerns about its commercialization and authenticity become increasingly pertinent. While this adaptation has introduced Hanfu to a wider audience, it has also sparked debates among scholars and enthusiasts about the fidelity of these representations. Modern interpretations of Hanfu often prioritize aesthetic appeal over historical accuracy, leading to a diluted understanding of its cultural significance. Scholars like Professor Huang Qiang emphasize the importance of educational initiatives to promote a deeper understanding of Hanfu’s historical context. Public events and exhibitions that accurately depict historical attire can play a crucial role in bridging the gap between modern interpretations and authentic historical garments. Such initiatives not only educate the public but also foster a sense of cultural pride and heritage appreciation. Moreover, the commercial success of Hanfu has led to a burgeoning industry that encompasses design, production, and retail. These efforts not only stimulate economic growth but also contribute to the preservation and dissemination of Hanfu culture. Entrepreneurs like Guo Zaiquan have capitalized on Hanfu’s popularity by establishing cultural centers and online platforms dedicated to promoting traditional attire. However, with commercialization comes challenges of cultural appropriation and misrepresentation. It underscores the need for cultural sensitivity and respect for intellectual property rights in the global fashion industry. The mass production of Hanfu-inspired clothing by non-Chinese manufacturers, often without proper acknowledgment of its cultural origins, raises ethical concerns. International interest in Hanfu workshops, academic conferences, and exhibitions underscores its potential as a global cultural phenomenon. Furthermore, Hanfu’s revival has sparked interest beyond China’s borders, attracting enthusiasts and scholars worldwide. Sustaining Hanfu’s cultural integrity requires a balanced approach that embraces innovation while safeguarding authenticity. This cross-cultural exchange not only promotes cultural diversity but also enriches global understanding of traditional Chinese attire. Collaborations between historians, designers, and educators can ensure that modern Hanfu designs are rooted in historical accuracy and cultural significance. Additionally, fostering a community of informed consumers who appreciate Hanfu beyond its aesthetic appeal is crucial for its long-term preservation. In conclusion, Hanfu’s resurgence represents more than a fashion trend; it symbolizes a cultural revival driven by historical pride and artistic expression. As China continues to assert its cultural identity on the world stage, Hanfu serves as a powerful emblem of the nation’s enduring legacy and global influence. By navigating the complexities of commercialization and globalization with cultural sensitivity, Hanfu can transcend borders and generations, ensuring its place as a cherished cultural heritage for years to come.
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Feiyufu (simplified Chinese: 飞鱼服; traditional Chinese: 飛魚服; pinyin: fēiyúfú; lit. Chinese: 飞鱼蟒衣; pinyin: Fēiyú mǎngyī; lit. It is also specific name which generally refers to a robe (generally tieli) decorated with the patterns of flying fish (although the flying fish is not the flying fish defined in the dictionary). Han Chinese clothing which first appeared in the Ming dynasty. The flying fish decoration looks very similar to the python (mang) pattern on the mangfu (Chinese: 蟒服; lit. The feiyufu worn by the Ming dynasty imperial guards reappeared in the 21st century following the hanfu movement and is worn by Hanfu enthusiasts of both genders. The early flying fish ornament were characterized by the presence of double wings while in the middle and late Ming dynasty, the flying fish could only be distinguished from the python pattern by the presence of its fish tail instead of a dragon tail. The feiyufu is typically in the form of tieli (a robe with a y-shaped cross collar, with either broad or narrow sleeves and pleats below the waist) decorated with the feiyu pattern. Despite the repeated prohibition of Mongol-style clothing, especially during the reign of the Hongwu Emperor, some Mongol clothing from the Yuan dynasty remained. After being adopted in the Ming dynasty, the tieli became longer and its overall structure was made closer to the shenyi system in order to integrate Han Chinese rituals. The feiyufu appeared in the Ming dynasty and was unique to the Ming dynasty. The tieli (Chinese: 贴里) originated in the Yuan dynasty in a form of Mongol robe known as terlig. It is a form of tieli decorated with flying fish patterns. Chinese: 蟒服; lit. Under the rule of the Yongle Emperor (r. The feiyfu was also a type of cifu (Chinese: 赐服; lit. In 1447 AD during the reign of the Zhengtong Emperor, the Ministry of Works issued an edict which would put artisans to death and send artisan’s families to frontier garrisons as soldiers should the artisan produce feiyufu among other prohibited clothing for commoners. The edict was issued to stop the transgressing of dress regulations. Emperor Zhengde (r. 1505 – 1521 AD) bestowed a feiyufu to Song Suqing, a Japanese envoy, in an unprecedented act. He also wrote in “the beginnings of the bestowals of dragon robes to Grand Secretaries” that the feiyufu was bestowed to the six ministers, the grand marshals with the mission to inspect troops, and to the eunuchs who were servicing in the houses of princes. Shen Defu (1578 -1642 AD) also noted the emperor would could bestow a red feiyufu to a guard which was promoted to court guard. Harvard Journal of Asiatic Studies. 65 (1): 133-158. doi:10.2307/25066765. Volpp, Sophie (2005). “The Gift of a Python Robe: The Circulation of Objects in “Jin Ping Mei””. Welch, Patricia Bjaaland (2012). Chinese art : a guide to motifs and visual imagery. Boston, US: Tuttle Publishing. Zhao, Feng (2015), Lu, Yongxiang (ed.), “Weaving Technology”, A History of Chinese Science and Technology, Berlin, Heidelberg: Springer Berlin Heidelberg, pp. Ding, Ying; Li, Xiaolong (2014). “On the Decoration and Symbolization of Chinese Ancient Official Uniform in Ming and Qing Dynasties”. Vol. 5. Atlantis Press. Proceedings of the 2014 International Conference on Mechatronics, Electronic, Industrial and Control Engineering. Yuan, active Liu. Cambridge, Mass. The right to dress : sumptuary laws in a global perspective, c. 1200-1800. Giorgio Riello, Ulinka Rublack. Burkus, Anne Gail (2010). Through a forest of chancellors : fugitive histories in Liu Yuan’s Lingyan ge, an illustrated book from seventeenth-century Suzhou. Cambridge, United Kingdom. 2019. p. Acta Orientalia Academiae Scientiarum Hungaricae. Cho, Woohyun; Yi, Jaeyoon; Kim, Jinyoung (2015). “The dress of the Mongol Empire: Genealogy and diaspora of theTerlig”. Shea, Eiren L. (2020). Mongol court dress, identity formation, and global exchange. Huang, Ray (1981). 1587, a year of no significance : the Ming dynasty in decline. New York, NY. p. New Haven: Yale University Press. Frontiers of History in China. Yuan, Zujie (2007). “Dressing for power: Rite, costume, 
