A yuanlingshan (Chinese: 圓領衫; pinyin: yuánlǐngshān; lit. The yuanlingpao is an article of formal attire primarily worn by men, although in certain dynasties, such as the Tang dynasty, it was also fashionable for women to wear. Wuhu, including the Xianbei people, during the Six Dynasties period. 185-186 Such garments were typically worn by government officials. When a yuanlingpao or yuanlingshan is decorated with Chinese dragons called long (simplified Chinese: 龙; traditional Chinese: 龍) or decorated with mang (蟒; ‘python’) decorations, including roundels or square rank badges, the generic term longpao or mangfu is applied respectively depending on the number of dragon-claws used and the time period. In the Tang dynasty, the yuanlingpao could be transformed into the fanlingpao using buttons. The yuanlingpao and yuanlingshan were both common forms of clothing for the Hu people. During the Eastern Han dynasty, some forms of Hanfu started to be influenced by the Hufu of the Hu people, leading to the emergence of garments with round collars, or yuanling. In this period, the yuanlingpao was primarily used as an undergarment. It was also during the early years of the Han dynasty that the shape of the yuanlingpao worn in the later dynasties, such as in the Ming dynasties, started to develop. Wuhu, who founded the minority nationalities regime in the Wei and Jin dynasties. The collars of the Han dynasty yuanlingpao were not turned on both sides and their edges were similar to the styles worn in the Sui and Tang dynasties. It is also during the Six Dynasties period that the yuanlingpao started to be worn as formal clothing. Hence, these ethnic minorities played a significant role in laying the foundation for the popularity of the yuanlingpao in the subsequent dynasties. These northern nomads, including the Xianbei, also introduced new clothing styles, including the quekua (缺胯), a type of crotch-length long jacket. When the Wuhu migrated to the Central Plains, their dressing culture influenced the clothing culture of the Han people in the region. The Northern Wei dynasty was marked by cultural integration between the Xianbei and the Han Chinese. The quekua had either a round or snug (plunged) collar, tight sleeves, and less overlap than the traditional Hanfu, which allowed for greater freedom of movement, especially for horse riding, and strongly impacted Chinese fashion. 183,185-186 In this period, the yuanlingpao worn by unearthed terracotta warriors were closed in the zuoren-style instead of youren-style, reflecting its Hufu characteristics. Since the Northern Wei dynasty, the shapes of the Han Chinese’s paofu also started to be influenced by the yuanlingpao-style robe, which originated in Western Asia and was then spread to the East through the Sogdians of Central Asia. In the Northern and Southern dynasties, the yuanlingpao of the Xianbei was localized by the Han Chinese, resulting in a loss of its association with Hufu and developed into a new form of Hanfu, called panling lanshan. The Xianbei ruling elites adopted Chinese clothing and Chinese customs, while the Han Chinese started to integrate some of the Xianbei’s nomadic style clothing, including high boots and narrow-sleeved yuanlingpao and yuanlingshan into Han clothing. This evolution was achieved through the addition of a new seam structure called lan (襕; lán), which aligned with the traditional Hanfu style and followed the Han Chinese’s shenyi robe. Due to the influence and the demands of the Chinese population, most Sogdian attire in China had to be closed to the right in the youren-style. Their kaftan would often be buttoned up to the neck, forming a round collar. Chinese: 翻领袍; pinyin: fānlǐngpáo; lit. The Sogdians and their descendants, mostly from the merchant class, who lived in China during this period also wore a form of knee-length, yuanling-style kaftan that retained their own ethnic characteristics but also showed some influences from East Asia, including Chinese and early Turkic influences. In the Tang dynasty, the descendants of the Xianbei and the other non-Chinese people who ruled northern China from 304 – 581 AD lost their ethnic identity and became Chinese; the term Han referred to all people of the Tang dynasty instead of describing the population ruled by the Xianbei elites during the Northern dynasties. This dressing custom of wearing fanlingpao-style robes was later inherited and developed into the yuanlingpao of the subsequent Tang and Sui dynasties. Tang dynasty, as it was fashionable for women to dress like men in this period. Both the yuanlingpao and yuanlingshan of this period had a long, straight back and front with a border at the collar. Both garments became the main form of clothing for men as well. The front and back of the garments each had a piece of fabric attached for tying the clothing around the waist. The sleeves could be tight or loose, with tight sleeves designed to facilitate ease of movements. Trousers were worn under the yuanlingpao. Some women also wore banbi under their yuanlingpao. One distinctive feature of men’s clothing during the Tang dynasty was a horizontal band, which could also be attached to the lower region of the yuanlingpao. 81 Tang dynasty scholars and government officials wore long, red panling lanshan with long sleeves, accompanied by headwear called futou. 81In the Kaiyuan era (713 – 741 AD), slaves and the common soldiers also started to wear the scholar’s panling lanshan. In 630 during the 4th year of Zhen Guan, colour regulations for the panling lanshan of the officials were decreed: purple for the 3rd and 4th rank officials; bright red for the 5th rank officials; green for the 6th and 7th rank officials; and blue for the 8th and 9th officials. In the Tang dynasty, it was also popular for people to use fabrics, including brocade, to decorate the collars, sleeves and front of the yuanlingpao; this practice of clothing decoration is known as “partial decorations of gowns” and was influenced by the Sogdians of Central Asia, who had entered China since the Northern and Southern dynasties period. A Tang dynasty man (middle) wearing a panling lanshan, notice the large horizontal band at the bottom of the robe. Central Asian roundels which would run down at the center of the robe as a form of partial decoration. Almost all figurines and mural paintings depicting female court attendants dressed in men’s clothing are wearing Hufu. It was also popular to wear Hufu. During this period, the yuanlingpao could be turned into a fanlingpao under the influence of Hufu by unbuttoning the robes, while the fanlingpao could be also be turned back into a yuanlingpao when buttoned. Robes with double overturned lapels and tight-fitting sleeves were known as kuapao, which originated from Central Asia. In some unearthed pottery figures wearing fanlingpao dating from the Tang dynasty, it was found that the yuanlingpao had three buttons on the collar. During the Song dynasty, the official attire worn by Song court officials was the yuanlingpao with long, loose and broad sleeves. After the High Tang dynasty period, the influences of Hufu progressively started to fade and the clothing started to become increasingly loose. 3 The colours of the yuanlingpao were also regulated based on the official’s ranks. 3and a long line which divided the front part of the gown. Khitan men wore the Khitan-style yuanlingpao with a belt at their waist and trousers tucked into felt boots. 275 Kerchief (typically futou), leather belt, and yudai (Chinese: 魚袋; lit. Khitan-style yuanlingpao had both back and side slits, with the side slits located in the lower region of the robes. Some of them had no slits. The back slits facilitated horse-riding and protected wearers’ legs from the cold. After the establishment of the Ming dynasty, the emperor restored the old system of the Tang and Song dynasties. A Khitan guard wearing tight-sleeved yuanlingpao, Liao dynasty. During the Ming dynasty, the yuanlingpao and yuanlingshan were also the most common form of attire for all genders, including officials and nobles. The yuanlingpao and/or yuanlingshan were not typically worn alone; a sleeveless vest called dahu and an inner robe (either the tieli or zhishen) was commonly worn underneath. 64) and the fabric materials used. During an Imperial Funeral, Ming officers wore a grey-blue yuanlingshan without a Mandarin square, wujiaodai (Chinese: 烏角帶; pinyin: wūjiǎodài; lit. This set was known as Qingsufu (Chinese: 青素服). The Ming dynasty yuanlingpao and yuanlingshan were typically characterized by the “cross-plane structure”, with the back and front being bounded by the middle seam of the sleeves. It has a round collar without a high-standing collar which is secured with a button; it overlaps on the front side and closes at the right side in the youren-style, which follows the traditional Hanfu system. The front and back were symmetrical and the left and right were also largely symmetrical; there is a central line acting as the axis of this symmetry. It also has side slits on the right and left side. The sleeves of the yuanlingshan are mostly in a style called pipaxiu (Chinese: 琵琶袖; pinyin: pípáxiù; lit. Men’s yuanlingpao and yuanlingshan also have side panels called anbai (Chinese: 暗擺; pinyin: ànbǎi; lit. These side panels are also referred to as “side ears” which are unique to the Ming dynasty’s yuanlingpao; this specific structure reflects the combination of Hanfu and attire of the Mongols, the ethnic minority. The “side ear” also allows for greater ease of movement and can increase the looseness of the robe. Ming Emperor wearing round-collar robes decorated with dragon roundels. During the Qing dynasty, the Manchu rulers enforced the tifayifu policy along with 10 exemptions. This form of dress is called the longpao (i.e., the dragon robes). Among the exempted people were the Han Chinese women, who were allowed to continue wearing the Ming-style Hanfu, and on-stage theatre performers. A woman’s wedding yuanlingshan, also known as mangao, closes with buttons on the right side. While qizhuang was worn in the dominant sphere of society – ritual and official locations, Hanfu continued to be worn in the subordinate societal sphere, such as in women’s quarters and theatres. The yuanlingpao of officials and nobles also served as a form of wedding attire for commoners. It was typically worn together with a skirt known as mangchu. The bride wears a type of headwear known as fengguan and a red yuanlingpao or yuanlingshan with a xiapei of a noblewoman. During the rule of Queen Jindeok of Silla, Kim Chunchu personally travelled to the Tang dynasty to request for clothing and belts and voluntarily accepted the official uniform system of the Tang dynasty, which included the dallyeong among many other clothing items. Since then, the dallyeong continued to be worn until the end of Joseon. In the late Goryeo period, under the reign of King U, the dallyeong was adopted as an official gwanbok when the official uniform system of the Ming dynasty was imported. The groom wears a type of headwear known as wushamao and a yuanlingpao of a 9th-rank official. In Japan, the formal court attire for men and women was established by the start of the 8th century and was based on the court attire of the Tang dynasty. According to the Ming dynasty’s Government letter against Toyotomi Hideyoshi, the Ming Government bestowed on him a set of changfu (Chinese: 常服羅) containing a red yuanlingpao with qilin mandarin square (Chinese: 大紅織金胷背麒麟圓領), a dark blue dahu (Chinese: 青褡護), and a green tieli (Chinese: 綠貼裏). The initial shape of the wonsam worn by women from the 15th to 16th century was similar to the dallyeong and included the use of a collar which was similar to the dallyeong-style collar. However, this fashion gradually faded away from their daily lives due to the clothing reforms decreed by the Nguyen lords. A Chinese dragon can be found with 3, 4 or 5 claws. From the Ming dynasty, a Chinese dragon was defined as having 5 claws while the 4-clawed dragon was referred to as mang (python). 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