Cheongsam vs qipao vs hanfu

    Studio Tour 2020 - Arts Society KingTerlig, also known as tieli (simplified Chinese: 帖裡; traditional Chinese: 貼裏; pinyin: tiēlǐ) or bianxianao (simplified Chinese: 辫线袄; traditional Chinese: 辮線襖; pinyin: biànxiànǎo; lit. Chinese, or commonly referred as Mongol dress or plait-line robe, is an archetypal type of Mongol clothing for men. It was sometimes decorated with cloud collar (Chinese: 雲肩; pinyin: yunjian; lit. The terlig was initially developed to accommodate the culture, the equestrian and nomadic lifestyle of the Mongols, and to protect their bodies from the cold temperature of steppe regions. 49-51 As the terlig gained symbolic meaning with time and as it spread into different regions, its shape and design evolved. The terlig was worn in China, Central Asia, Korea, and in the Mughal Empire in India. Hybrid forms of the terlig was developed as it came in contact with other local cultures. It is still worn as Mongol ethnic clothing in some regions. The origins of the term terlig are debatable. It may have come from the Turkic word tärlik. The terlig is of Mongol origins. According to a paper published in 2003, no terlig were found in Han Chinese nationalities and in other nationalities in Northern China prior to the establishment of the Yuan dynasty. 75-76 It was made with animal hides. Originally, the Mongol terlig was a type of long, knee-length coat with a front-opening coat with voluminous folds along the waistline and side vents at the side to provide ease of movement; it also has long and tight sleeves, tight-fitting bodice, a wide waistband and the coat is fastened at the side. In modern times, the term terlig is still used to describe Mongolian ethnic clothing. The Buryats wear a coat called tyrlyk which can refer to a coat which can come with or without folds at the waist. 50-51 The terlig became more established and symbolized the attire of people of higher social status. The jisün clothing was itself a variation of the terlig. 50-51 the social status markers was the fabric quality. The waistband was large and typically 15 cm in width. These two features were the biggest advantages of the coat which made it suitable for riding horses. The robe was also calf-length, had long narrow sleeves, and had a cinched waist which was created by the waist-thread; it also had a side closure which was fastened at the right side with ties. It could be decorated with flowers and could come in various colours. From the early to later periods of the Yuan dynasty, the basic form of terlig remained relatively unchanged, although some variations of the ribbon (i.e. ribboned vs braided waist) most likely coexisted together. The collar could either be cross-collared or round-collared. Some Mongol clothing from the Yuan dynasty was continued in the Ming dynasty despite the repeated prohibition of Mongol-style clothing, especially during the reign of the Hongwu Emperor. Keqi period; “During Keqi, they wear head-wraps and colourful waist-thread coats decorated with eagles and sparrow-hawks at front and back”. 147 The jisün, a type of Yuan dynasty terlig, continued to be worn in Ming dynasty, where it was known as zhisun robe. In the Ming dynasty tomb of Prince Zhu Tan (1370 – 1389 AD), a tieli with tight sleeves and has the waistband characteristics was excavated; this robe was almost similar to the terlig found in the Yuan dynasty. After being adopted in the Ming dynasty, the tieli eventually became longer, and its overall structure was made closer to the shenyi system in order to integrate Han Chinese rituals; it also lost its “waist-thread” characteristics in the process. Localized forms of Mongol terlig continued to be called tieli (Chinese: 貼裏). The tieli could also be decorated with ornate patterns, such as the feiyufu (simplified Chinese: 飞鱼服; traditional Chinese: 飛魚服; pinyin: fēiyúfú; lit. The tieli continued to be worn in the Ming dynasty by high-ranking eunuchs. The lower hem of the zhezhiyi had numerous dense and narrow pleats (with little space between each pleats) and kept more features akin to the Mongol terlig than the yesa robe. One of the main characteristics of the yesa was the absence of waistband and the absence of fold on the central front and back of the robe. The yesa robe, a new Ming dynasty style of clothing, has some of its mixed-elements either developed from the Yuan dynasty Mongol terlig or from jisün clothing, which is itself a type of terlig. Ming dynasty Tieli (i.e. terlig). It was also longer than the Yuan dynasty’s terlig. Ming Emperor and his servants wearing yesa, a derivative of the Mongol terlig, c. In the Qing dynasty, the terlig evolved into a form of ceremonial dress (Chinese: 朝服; pinyin: chaofu), a robe with folds at the waist. Ming dynasty Yesa, a derivative of the Yuan dynasty Mongol’s terlig. The Manchu element can be seen from the slim-fitting sleeves and horse-hoof-shaped cuffs, which are the vestiges of the Manchu clothing worn when people were hunting in cold weather. Qing dynasty chaofu, second half of the 19th century. It features a fully pleated skirt. The Qing dynasty chaofu was also a Manchu adaptation of the Han Chinese court dress. The term terlig can be written in several ways in Korea, such as t’yŏllik (텰릭 or 텬릭), ch’ŏllik (철릭), or ch’ŏnik (천익), or ch’ŏmni (帖裡, 帖裏, 貼裏) or ch’ŏnik (天益, 天翼, 千翼). The earliest records of the term terlig in Korea date from the 15th century AD. The terlig was introduced in Korea from the Yuan dynasty during the later period of the mid-Goryeo dynasty as daily clothing or as yangbok (i.e. military clothing). The term cheolick (철릭) is derived from the Mongolian term terlig; the term was introduced in Korea through China along with Chinese characters but continued to maintain the Mongolian sound. 110 In the Goryeosa, Mongol clothing were typically referred as hobok (胡服; ‘barbaric outlander’s clothing’) and sometimes as ilsaek (一色; ‘clothing of one-colour’) for jilson (質孫 or 只孫) banquets. 50-51 Some artefacts of Goryeo-period terligs have survived time. In Joseon, the terlig was written as ch’ŏmni (帖裡; possibly pronounced tieli in Middle Korean) in a book on music called Akhak gwebom and was possibly pronounced as tieli in Middle Korean; there is an illustration of a coat with folds and a waistband in the same book. The terlig became more and more common in Korea due to the close relationship between the Goryeo and Mongol court through political marriages, and Mongol clothing was adopted in the Korean court in the late 13th and early 14th centuries AD. The term terlig was written as ch’ŏmni (帖裏) in the Annals of the Joseon dynasty from 1424 AD to describe presents given from China’s Ming dynasty or to describe military uniforms. Some forms of terlig in Joseon were bestowed clothing from China. In 1444 during the reign of King Sejong, a set of daily clothing was bestowed to the King by the Ming dynasty which included the dapho, cheolick, and gollyongpo. The Joseon court also bestowed cheolick to its official, including dallyeong, dapho, and cheolick. In Joseon, the terlig developed further with the disappearance of the waistband along with the increase in sleeve width. In Joseon, the cheollik was a form of court clothing (gwanbok); it was worn by the kings and by civil and military officials. After the 17th century, the bodice of the terlig became shorter than the length of the skirt and formed a high-waistline style. The terlig worn in the Ilkhanate were slightly different from the ones in the China’s Yuan dynasty despite some similarities in terms of shapes and while some were also decorated with Central or East-Asian motifs (e.g. cloud collar designs, Central or East Asian-style dragons, phoenixes and flowers such as lotus, chrysanthemum) which were introduced in West Asia during the Mongol period. The terlig worn in the Ilkhnate regions had a combination of both Mongol and Islamic culture characteristics, such as roundel patterns and pseudo-Kufic inscription. The terlig appears to have been fashionable in the Ilkhanate court. The main differences from the Yuan dynasty terlig is the presence of tirāz bands in the forms of strips and in the way some of the clothing were worn together. 101 The Islamic influences led to the implementation of bands (possibly reinforcement strips) along the shoulders and the arms. The waist-decoration also appears to have been less common in the Ilkhanate than in the Yuan dynasty. The terlig in the Ilkhanate was worn as an inner garment under a short-sleeved, outer coat. Mongol clothing and Mongol-style clothing continued to appear in Timurid art, such as illustration; this may indicate that Mongol clothing or Mongol-style clothing may have been adopted or worn in the Central Asian Timurid Court. 147-148 However, this subject needs to be studied further. The collars could also be found in different shapes, such standing collars; this marked another difference from those on the terligs worn in the Yuan dynasty. The jama was later renamed to sarbgati (which means ‘covering the whole body’) by Emperor Akbar himself. In the Mughal Empire, the terlig was called jama (also written as jamah). The jama was initially worn by the Muslim ruling class at the Mughal court. The jama was developed as part of the introduction of the Islamic culture in India and was perceived as being part of the new appropriation of Islamic identity rather than Mongol culture. Prior to the reign of Emperor Akbar, Mughal clothing was only influenced by geographical conditions and the differences in climate and was not influenced by Indian culture. It only at the time of Emperor Akbar that alteration of Mughal clothing started to take place. Emperor Akbar encouraged all of his citizens to wear the jama and created new clothing regulations in order to integrate the Muslim and local Hindu populations; the direction of the coat fastening differentiated the Indus and the Muslims. The jama was a clothing which showed hybridity with the local culture of India. The Indus fastened their jama to the left side while the Muslims fastened it to the right side, similarly to the Mongols. The jama was a long coat with folds around the waistline without the waistband; it had very long, tight sleeves and the waistline was higher than the original Mongol terlig. The jama was long and could either be knee-length or ankle-length. The translated English version of the web page wrote ‘dopo’; however dopo is another kind of robe. Acta Orientalia Academiae Scientiarum Hungaricae. Shea, Eiren L. (2020). Mongol court dress, identity formation, and global exchange. Cho, Woohyun; Yi, Jaeyoon; Kim, Jinyoung (2015). “The dress of the Mongol Empire: Genealogy and diaspora of theTerlig”. Metropolitan Museum of Art. Y., Watt, James C. (2010). The world of Khubilai Khan : Chinese art in the Yuan Dynasty. Wei, Luo (2018-01-02). “A Preliminary Study of Mongol Costumes in the Ming Dynasty”. Social Sciences in China. Baohai, Dang; 党寶海; Dang, Baohai (2003). “The Plait-line Robe. A Costume of Ancient Mongolia”. Frontiers of History in China. Joo, Lee Eun (1988). “A Study on the Term ‘Cheolick'”. Chinese (China)). Retrieved 2022-05-18. 刻期、冠方顶巾。 衣胸背鹰鹞花腰线袄子。 诸色阔丝匾绦。 象牙雕花环。 行縢八带鞋。 皂隶、冠圆顶巾。 Yuan, Zujie (2007). “Dressing for power: Rite, costume, and state authority in Ming Dynasty China”. Journal of the Korean Society of Clothing and Textiles. Encyclopedia of Traditional Korean clothing. Vol. VI (English ed.). Seoul: National Folk Museum of Korea. Acta Orientalia Academiae Scientiarum Hungaricae. Oka, Ildikó (2015). “Mongol Clothing in the Yuan Period”. Jahan, Isharat (2016). Socio-Cultural life in Medieval History. Laxmi Book Publication. p. Cambridge University Press. p. Sind University Research Journal. Sind University Press. 1985. p. The University of California; University of Sind, Faculty of Arts. Research Journal of Philosophy & Social Sciences. Sharma, K.D.; Sharma, Swati (2017). “The Imperial Costumes of Mughal Era”. This page was last edited on 1 November 2024, at 19:16 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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    Hanfu nsfw

    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. 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 Western Zhou dynasty, it was a form of a daily clothing which was worn by the emperor and ordinary commoners. 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). 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. During the reign of Emperor Jiajing of Ming, sartorial reforms took place. 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. 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. 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. The ancient sage kings were attentive to this, and ordered the xuanduan as the leisure dress for officials. But the ordinary people are more cautious toward that which is clear, negligent of that which is obscure. ‘Thinking of utmost loyalty when entering, thinking of amending one’s faults when retiring’. 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. 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. Military officials of the rank of commissioner-in-chief or above may 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. The xuanduan used as the yanfu of the officials (zhongjing guanfu, 忠靖冠服, 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 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. 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. Martin Kern; Dirk Meyer, eds. 2017). Origins of Chinese political philosophy : studies in the composition and thought of the Shangshu (Classic of Documents). Yan, Ying (2015). The Spring and autumn annals of Master Yan. Translated by Olivia Milburn. OXFORD UNIV PRESS US. KIM, HONGKYUNG (2021). ANALECTS OF DASAN a korean syncretic reading. Zhang, Qizhi (2015). An introduction to Chinese history and culture. Feng, Ge (2015). Traditional Chinese rites and rituals. Zhengming Du. Newcastle upon Tyne: Cambridge Scholars Publishing. 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. Knechtges, David R. (2014). Wen Xuan or Selections of Refined Literature, Volume I : Rhapsodies on Metropolises and Capitals. Tong Xiao. Princeton: Princeton University Press. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, hanfu han dynasty you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

    Hanfu quora

    From my understanding, the word 汉服 hanfu in the meaning we know it as today was first used in the 1990s, when some nationalist historical costume enthusiasts decided to start a movement to revive “traditional Chinese clothing” (in quotation marks because the definition is kind of vague), giving birth to the Hanfu Movement. “Han” is the majority ethnicity in China, and “fu” just means “clothing”, “garb” or “costume”, therefore “hanfu” linguistically refers to clothing worn by Han Chinese people. The controversy surrounding this view is that while it is true that the term “hanfu” was used in some historical texts, they were often used in opposition to clothing worn by foreign peoples or 胡服 hufu (literatlly “foreign garb”) and not as a standalone term. Kind of like how we humans wouldn’t refer to our clothing styles as “Earth clothing” unless we come into contact with alien peoples whose ethnic dress is significantly different to ours. A common explanation for why they picked the word hanfu was that it was selected from ancient texts describing clothing worn by Han Chinese people. Ok forget about aliens, there’s a better analogy. If you asked a Chinese person from, say, the 1580s to describe their fashion, they would probably go into detail about whatever garment or style was trendy at the moment and not respond with a simple “I wear hanfu”. The word “kimono” or 着物 just means “clothing” in Japanese, and it wasn’t until Japan came into contact with the West, whose clothing styles were very different, that kimono came to refer to Japanese clothing specifically. This is not how we use this word today, though. Whereas if you asked the same person to describe the differences between Chinese fashion and Spanish fashion, they might use the term hanfu. Another idea I’ve been fascinated by is the theory that hanfu was invented to make a catchy term for historical Chinese clothing comparable to kimono or hanbok. This was probably true to some extent, since there was quite a bit of nationalism among early hanfu enthusiasts and I can see where the need to be “on a par” with Japan and Korea on this matter of representation comes from. Since the inception of the Hanfu Movement in the 90s, there have been multiple mainstream definitions for the term, and hanfu is a pretty decentralized and leaderless movement nowadays so everybody could attribute to it the meaning they like. Some people considered hanfu to be specifically clothing worn during the Han Dynasty, which isn’t a common view anymore. Most people consider it every type of Han Chinese clothing worn from Antiquity to the end of the Ming Dynasty, though some people expand hanfu to include Han clothing of the Yuan or early Qing. Some people consider tv and film costumes which aren’t exactly historically accurate hanfu as well. On a side note, hanfu doesn’t appear to be a common word used in academia, where scholars usually just say “historical Chinese clothing”, or refer to specific garment styles by name, further adding to the confusion. I personally just use it to refer to anything related to the community or Chinese historical clothing pre Qing in general. Nowadays people commonly use hanfu to refer to the community that developed from the 1990s Hanfu Movement and the clothing styles produced and worn by hanfu enthusiasts, and its exact definitions really depend on who you ask. Although hanfu styles are drawn from history, the original aim of the Hanfu Movement was to revive traditional Chinese clothing not conserve, making the concept of hanfu a relatively new one. Throughout the Qing and 20th century, people did have an idea of how Han clothing was a unique system different to Manchu or Western dress, but they just went with the flow and let Han clothing do whatever was considered fashionable. Han clothing was more commonly referred to as 汉装 hanzhuang (also “Han garb”) in this period, not hanfu. When hanfu came along, it challenged this established notion and proposed a different approach to “traditional clothing”–looking for older clothing styles prior to the absorption of Manchu influence. Clothing styles with a 大襟 dajin or curved front closure which are commonly considered “too Manchu” in modern hanfu discourse, such as changshan, cheongsam, aoqun and aoku, were the poster children for Han clothing for most of the 20th century. Because most hanfu styles popular nowadays are reproductions made by companies established in the 2010s and not directly passed down to us from older generations, we can’t guarantee that they’re 100% authentic. This means that hanfu isn’t so much as a traditional or conservationist community, but rather a modern, revivalist one. Some people get offended by this notion, which I don’t quite understand because it’s not a bad thing at all. TLDR, the word itself is older, but the use of this term as a standalone word not in opposition to foreign dress is a modern thing. I’ll paraphrase this quote about Gothic Revival architecture I read which also fits the Hanfu Movement quite nicely: “it went in search of origins but came back with originality”. I really like that last quote – “it went in search of origins but came back with originality” – definitely captures the current spirit and trajectory of the hanfu revival movement. There’s been plenty of debate (and still ongoing) on what the term “hanfu” does and doesn’t include ever since the beginning of the hanfu movement, but it has never been considered to be just the clothing worn during the Han dynasty, at least among revivalists (x). This incorrect definition was mainly used by uninformed journalists (both Chinese and foreign) who didn’t bother to do research on the topic, thereby spreading the misconception even further. TV and film costumes which aren’t exactly historically accurate are typically called guzhuang/古装 (“ancient costume”) or yinglouzhuang/影楼装 (“photo studio costume”) (1, 2), and they are not considered hanfu by revivalists (who are fond of criticizing the historical inaccuracies of guzhuang). Thankfully these days I see less of it, but for a long time it was the number one misunderstanding people had regarding hanfu. Still there is significant overlap, as modern hanfu are often inspired by guzhuang, and many hanfu shops aim to recreate guzhuang looks from popular media. Hanbok rose up in opposition to Wafuku. Wafuku/Kimono came up in opposition to Western fashion. Hanfu rose up in opposition to Wafuku & Hanbok. Việt phục then rose up in opposition to Hanfu.

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    Han dynasty officer hanfu

    Silver Coin Stack On Left Of ImageNew Citation Alert added! You will be notified whenever a record that you have chosen has been cited. To manage your alert preferences, click on the button below. Hanfu, which embodies the exceptional artistry of dying, weaving, and embroidery, is the emblematic traditional garment of Han nationality in China. AbstractImmersive technologies have the potential to significantly improve the way of presenting cultural heritage storytelling and conveying the results of the archaeological research to a wide generalist audience. We present the design and implementation of a virtual graveyard accessible through an immersive virtual reality (VR) experience. However, traditional chinese clothing hanfu there is a lack of convenient and immersive promotion methods for Hanfu. View or Download as a PDF file. Check if you have access through your login credentials or your institution to get full access on this article. View online with eReader. Please download or close your previous search result export first before starting a new bulk export. By clicking download,a status dialog will open to start the export process. Preview is not available. You may continue to browse the DL while the export process is in progress. The process may takea few minutes but once it finishes a file will be downloadable from your browser. We will inform you here when the file is ready. Your file of search results citations is now ready. Your search export query has expired.

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    Hanfu and kimono similarities

    Obrázek 6 z 8On the right: Foreign-influenced or foreign-style cross-collared robes closing to the left side instead of the right side. Traditionally, Chinese style upper garment closes to the right. China and its surrounding regions by non-Han Chinese people. The introduction of Hufu-style garments and attire in China occurred by the time of King Wuling of Zhao. This term is also used to refer to clothing of foreign origins in ancient China. 284 the Sasanid Persian, the Turkic people (Tujue), Uyghur (Huihe or Huihu), Tibetans (Tufan), and the Khitans (Qidan) who lived in the north and west regions of the empire. The traditional way to distinguish between Hufu and Hanfu, Chinese clothing, is by the direction in which the garment collar closes. The youren collar is an important symbol of the Han Chinese, and traditionally Chinese robes and Chinese jackets must cover the right part of the body. However, the Chinese did also wear clothing which overlaps in the front and is closed on the left side, in a style known as zuoren (Chinese: 左衽). Shang dynasty in China. The coat known as zhe (褶; sometimes referred as xi), typically used as part of the kuzhe, was also a xi (襲) according to the Shiming. Left: Figure of a warrior, wearing a form of kuxi which closes to the left (左衽), a feature associated with Hufu-style clothing, Northern Qi. Right: Figure of an officer wearing a type of kuxi which closes to the right (右衽) in a typical Chinese way, Northern Wei. According to the Shuowen Jiezi 《說文解字》, a form of paofu, known as xi (襲), was a robe with a zuoren closure. The use of zuoren, however, was typically associated with funeral practices. According to ancient Chinese beliefs, the only moment a Han Chinese was supposed to close their clothing in the zuoren-style is when they dressed their deceased. Based on this belief, the left lapel needs to be outside (i.e. youren) to indicate that the power of the yang is suppressing the yin, and was thus reserved for the clothing of living people. This funeral practice stemmed from ancient Chinese beliefs in the yin and yang theory, where it is believed that the left represents the yang aspect and stands for life, whereas the right represents the yin aspect, which stands for death. However, if the yin aspect surpasses the yang, which is represented by the zuoren, then this form of clothing is to be worn by the deceased. Therefore, it was taboo in ancient China for a living person to wear zuoren. Yuan dynasty, left lapel ru continued to be worn in some areas of the Ming dynasty despite the dynasty being led by Han Chinese. Based on Confucius’ sayings, pifa zuoren (simplified Chinese: 被发左衽; traditional Chinese: 被髮左衽; pinyin: bèifà zuǒrèn; lit. During his time, unbound hair and clothing closing to the left were the clothing customs of the northern nomadic ethnic groups which were considered as barbarians by the Han Chinese. By the Han dynasty, since Confucius himself was the first person to use the phrase pifa zuoren to refer to Non-Zhou dynasty people, this phrase became a common metaphor for primitiveness. 103 When used by the ancient Chinese literati, the concept of pifa zuoren became a phrase, which held the symbolic of foreign people who were living a barbarous and civilized lifestyle; this concept also became a way to emphasize the customs differences between the Han people and other ethnic minorities and draw the line to distinguish who were considered as civilized and barbarians. Moreover, from the standpoint of the Huaxia culture, pifa was a way to reject refined culture and being turned into a barbarian. 267 and in the female clothing of the Yuan dynasty when it was a common practice for some Chinese women to change the direction of their collar to the left side. During the Warring States period, King Wuling of Zhao (r. Some non-Chinese ethnicity who adopted Hanfu-style sometimes maintain their left lapels, such as the Khitans in the Liao dynasty. Hufuqishe (Chinese: 胡服騎射; lit. Hufu to facilitate horse riding. During this period, the term ‘Hufu’ was coined after the ‘Hu’ people, who were northern nomadic people. In the Shiji《史記》, Zhao Shijia (lit. King Wuling undertook those sartorial reforms in the 19th year of his reign in 307 BCE. However, according to the Bamboo Annals, an annalistic history of Wei unearthed from a Wei King tomb in 279 BC, the Zhao court had ordered commanders, officers, and their families, and garrison guards to adopt Hefu (Chinese: 貉服) in 302 BC. Under this sartorial and military reform, all the soldiers of King Wuling had to wear the uniforms of Donghu, Linhu, and Loufan in battles. 257 The choice to adopt cavalry and the departure from the chariot warfare from the 8th to 5th century BC showed the influence of the Xiongnu, who were the northern neighbour of the Zhao state. The reality or the extent of King Wuling’s reforms is a disputed subject among historians. The term ‘He’ used in the Bamboo Annals is a synonym of the term ‘Hu’ which refers to the northern nomadic people. The Hufu adopted by King Wuling can be described as shangxi xiaku (Chinese: 上褶下袴; pinyin: shangxi xiaku; lit. Chinese: 靴; lit. Left: Figurine of the foreign Hu wearing what appears to be a round collar garment, Warring States period. Right: Bronze belt Hooks, Warring States period. However, the Hufu-style trousers introduced by King Wuling were characterized with loose rises and differed from the indigenous ku (Chinese: 袴) of the Chinese; the Hufu-style trousers could be described as form of kun (Chinese: 裈); the kun were trousers which had rise to cover the crotch areas. A conical cap which resembles Scythian hats was also adopted as part of the Hufuqishe. For example, the hat adopted by King Wuling was less pointy that the Scythian hat and were decorated with a marten tail. In the Warring States period, the wearing of short upper garment worn by the Chinese which is belted with a woven silk band and had a right-opening also influenced the Hufu; this form of attire was worn together with trousers allowing greater ease of movement. This form of clothing attire was most likely worn by peasants and labourers. As the kun-trousers did not conform to the traditional culture of the Han, the kun was mainly worn by warriors and servants, but kun were not used by the general population as people found it hard to adjust the use of kun in their daily activities. The kun however influenced the development of jingyi by transforming the jingyi into becoming longer, stretched up to the thighs regions, and the waist become enclosed however the rise and rear of those trousers were open which allowed for the purpose of urinating and defecting; this then became the pattern of ku-rousers. Of note of importance, although the Hufu-style attire adopted by King Wuling appears to be similar to Scythian clothing, the Hufu which appears in classical Chinese text were actually different from the historical Scythian clothing. This form of ku-trousers was more accepted in the Han tradition than the kun, and evolved into other forms of ku trousers of the later dynasties, such as qiongku (trousers with hip and rise area closed in the front and tied at the back with multiple strings) which was designed in the Western Han dynasty. Kun trousers introduced by King Wuling later developed into other forms of trousers in the later period, such as dashao (trousers with extremely wide legs) which appeared in the Han dynasty and dakouku (trousers which were tied under the knees). These forms of trousers were Chinese innovations. Some forms of hanfu worn in the Eastern Han dynasty started to be influenced by the costumes of the Hu (胡) people and the gown with round collar started to appear. However, in this period, the round collar gown was more commonly used as an under-garment. This was a period of cultural integration and cultural exchange between the Han Chinese and the other ethnic groups. The Han Chinese living in the South liked the driving clothing of the Northern minorities which was composed of trousers and xi (a close-fitting short robe with round neck and tight sleeves). 317 For example, the trousers tied with chords below the knee worn in the kuxi (褲褶; lit. Six dynasties were Chinese inventions and were not nomadic clothing. 317 However, not all stylistic innovations in clothing came from the Northern minorities in this period. The round collar robe introduced by the Xianbei had tight sleeves which allowed for greater ease of riding when horse riding. 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 Xianbei were originally a branch of the Donghu which were defeated by the Xiongnu but they later claimed to be descendant of the Yellow Emperor as the Chinese. Since the Northern Wei dynasty, the shapes of the Han Chinese robes started to be influenced by the round collar robes. 317 However, the other figures found in the tomb of Lou Rui are dressed in styles closer to the traditional Hanfu style, showing wide sleeves and lapels closing to the right side. 183,185-186 In the murals of Lou Rui tomb of Northern Qi (dated to 570), a procession of riders appear to be clothed in quekua and wearing boots and headgear. Xianbei clothing had zuoren opening (i.e. closed on the left side). Xianbei women typically wore a long robe under a jacket instead of trousers and boots. The cape and hood was another nomad outfit which was distinctively Xianbei. A form of kuxi. The cross collar closing to the left showing foreign influence or style instead of the right closing. The cape and hood was another nomad outfit which was distinctively Xianbei. The trousers are however Chinese trousers. Riders from the murals from the Tomb of Lou Rui appear to be wearing quekua. The Xianbei rulers continued to wear own distinctive Xianbei clothing in order to maintain their ethnic identity and avoid merging with the Chinese majority population. This ban of Hufu also included the ban on Xianbei clothing. 284,319 However, under the sinicization policies under Emperor Xiaowen of Northern Wei, Hufu (Northern barbarian clothing) was banned. Many members of the Tuoba Xianbei adopted Han Chinese clothing, language, surnames and customs. The ban also included non-Han language at Northern Wei court, and the changing of the royal family surname Tuoba to Yuan. 131 After the fall of the Northern Wei, male figures started to reappear wearing Xianbei-style clothing on Buddhist monuments and tomb murals; however, the Xianbei-style clothing worn by women are no longer seen in the art of China after the year 500 AD. 131 However, this sinicization policies were also met with opposition by other ethnic minority groups. These re-emerging Xianbei clothing following the fall of the Northern Wei also showed minor changes. In the tomb of Xu Xianxiu (d. 407-409 After the year 500 AD, women would appear in Chinese-style clothing while men could be found dressed in either Xianbei-style or Chinese-style clothing. Some female servants depicted on the tomb mural of Xu Xianxiu appear to be dressed in clothing which looks closer to the Xianbei style garment than the Chinese-style clothing due to the use of narrow sleeves; however, this form of clothing is not representative of the Xianbei style clothing worn before the year 500 AD. Xu Xianxiu, a Northern Qi aristocrat, is depicted wearing Xianbei-style tunic, trousers, and boots and what appears to be a cloak of Central Asian fashion while his wife is wear a Chinese-style robe. Under the influence and the demands of the Chinese population, most Sogdian attire in China had to be closed to the right. Their robes would often be buttoned up the neck forming the round collar but occasionally the collar (or lower button) would be undone to form lapel robes (Chinese: 翻领胡服; pinyin: Fānlǐng húfú; lit. The Sogdians were also called Hu (Chinese: 胡) in Chinese. The Sogdians living in Central Asia and China wore turned-down lapel robes which was popular the Sogdian region of Central Asia in the Western Asia. Qiuci and Gaochang but originated in Western Asia but spread eastwards through the Sogdians in Central Asia. The Sogdians in China and Sogdia had both lapels down following the Iranian tradition or the tradition of the Saka people living in the Khotan Oasis. It was also not rare for Chinese Sogdians to wear their robes with only the left lapel which was a distinguishing feature as the only left lapel robe was rarely found in Sogdia. This dressing customs of wearing lapel robe was later inherited and developed in the subsequent dynasties, in the Tang and Sui dynasties. The foreign influences prevalent during Tang China included cultures from Gandhara, Turkestan, Persia and Greece. The stylistic influences of these cultures were fused into Tang-style clothing without any one particular culture having especial prominence. The Tang dynasty also saw the ready acceptance and syncretization with Chinese practice, of elements of foreign culture by the Han Chinese. An example of foreign influence on Tang’s women clothing is the use of garment with a low-cut neckline. In the Tang dynasty, the descendants of the Xianbei and the other non-Chinese people who ruled northern China from 304 to 581 AD lost their ethnic identity and became Chinese; the term Han was used to refer to all people of the Tang dynasty instead of describing the population ruled by the Xianbei elites during the Northern dynasties. 272 However, just like women in the Tang dynasty period incorporated Central Asian-styles in their clothing, Central Asian women also wore some Han Chinese-style clothing from the Tang dynasty and combined elements of the Han Chinese-style attire and ornament aesthetic in their ethnic attire. The round-collar jacket and gown, tied with a belt at the waist, became a typical form of fashion for both Tang dynasty men and women as it was fashionable for women to dress like men in the Tang dynasty. 2 was brought from the Silk Road. 1 In the early Tang dynasty, the influence of hufu was described as a pastiche of Turkic, Uyghur, Sogdian and Sasanid Persian clothing. Hufu-style in this period included jacket with open-front with narrow-fitting sleeves, striped, tapered trousers, woven boots, and weimao (i.e. wide-brimmed hat with an attached gauze veil). Other forms of Hufu included: mili (羃䍦), a burqua-like headwear, veil-less hat called humao. Almost all figurines and mural paintings depicting female court attendants dressed in men’s clothing are wearing Hufu. During this period, the yuanlingpao could be turned into a lapel robe (influenced by those worn by the Sogdians) by unbuttoning the robes and the lapel robes could be turned into the yuanlingpao when buttoned. In some unearthed pottery figures wearing lapel robes dating from the Tang dynasty, it found that the yuanlingpao had three buttons on the collar. The lapel robes worn during the Tang dynasty was categorized as Hufu instead of Hanfu; the use of these styles of robes showed the popularity of Hufu during the Tang dynasty, especially during the Wuzetian period (684-704 AD). It also popular for people to use fabrics (such as brocade) to decorate the collars, sleeves and front and their gowns; this clothing decoration customs 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. 27 The Yuanlingpao however was categorized as Han clothing. It was also fashionable for noble women to wear Huihuzhuang (回鶻装; Uyghur dress, which is sometimes referred as Huihu-style), a turned-down lapel voluminous robes with tight sleeves which were slim-fitting, after the An Lushan Rebellion (755-763 AD). In 840 AD, the Uyghur empire collapsed, the Uyghur refugees fled to Xinjiang and to the Southeast of Tang frontier to seek refuge, and in 843 AD, all the Uighur living in China had to wear Chinese-style clothing. Central Asian roundels (i.e. a form of partial decoration) which would run down at the centre of the robe. 2 and more traditional Han style clothing was restored. The Jin dynasty was founded by the Jurchens. After the High Tang dynasty period, the influences of Hufu progressively started to fade and the clothing started to become more and more loose. In 1126, the Jurchen orders all Chinese people living in the conquered areas to shave their hair on the front and to dress only in Jurchen style. 281 The order to adopt Jurchen hairstyle and clothing style was an Inner Asian practice of forcing people who were living on conquered lands to show their subservience to their conquerors. 281 Under Hailing Wang, who was Pro-Chinese emperor, Chinese people in Honan were allowed to wear Chinese clothing. 281 Under Emperor Shizong, the Jurchen were prohibited to be dressed in Chinese fashion and were forbidden from adopting Chinese personal and last names; this was because during his time (1161-1189), many Jurchen appeared to have adopted Chinese behaviours while the Jurchen had forgotten their own national traditions. 281 This order however does not appear to have been observed in a strict manner. The rulers of Jin gradually abandoned their own customs, including clothing and language for Chinese ones, especially after having moved their capital to Kaifeng. 281 By 1170, Chinese men had adopted either Jurchen or mixed Jurchen-Han clothing; Chinese women, especially elite women, however maintained Han-style clothing although the clothing were outdated according to the standards of the Song dynasty. The Mongol of the Yuan dynasty impacted the clothing worn by the Chinese. However, Han Chinese clothing continued to co-exist along with Mongol clothing. Different styles of Mongol clothing were shared and used among different social classes. Example of Mongol clothing and hats which influenced the Han Chinese were the boli hat (Chinese: 钹笠帽), terlig, jisün, Mongol-style dahu. The customs of Goryeo clothing became popular at the end of the Yuan dynasty among Mongol rulers, aristocrats, queens and imperial concubines in the capital city. During this period, men’s casual clothing follows those of the Han Chinese; aristocrats women mainly worn Mongol clothing while common women wore ruqun and banbi. 2005 study by senior researcher Choi. Following the fall of the Yuan dynasty, Emperor Taizu promulgated an imperial edict to restore Tang-style clothing and hats in the first year of his reign. In the twenty fourth year of Hongwu (1391), there was an imperial edict which banned the wearing of Hufu; this was specifically for women of gentry. Several other bans were made regarding the wearing of nomad clothing, which was recorded in the Ming dynasty historical records (for example, in 1442, 1491, etc.). King Huiwen of Zhao. Throughout the Ming dynasty period, there were several prohibitions on Mongol style clothing; however, certain clothing of the Ming dynasty influenced or derived from the Mongol clothing continued to be used, such as yesa and dahu. King Huiwen wore the same guan as his father, King Wuling of Zhao, which was a hufu-style hat decorated with marten tail. Paul van Els; Sarah A. Queen, eds. 2017). Between history and philosophy : anecdotes in early China. Albany: State University of New York Press. Abramson, Marc Samuel (2008). Ethnic identity in Tang China. Philadelphia: University of Pennsylvania Press. LINGLEY, KATE A. (2010). “NATURALIZING THE EXOTIC: On the Changing Meanings of Ethnic Dress in Medieval China”. Chen, Buyun (2019). Empire of style : silk and fashion in Tang China. Silberstein, Rachel (2020). A fashionable century : textile artistry and commerce in the late Qing. Seattle: University of Washington Press. Seattle: University of Washington Press. China : a new cultural history. New York: Columbia University Press. Dien, Albert E. (2007). Six dynasties civilization. New Haven, Conn.: Yale University Press. Xu, Jing (2016). Sem Vermeersch (ed.). 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The River, the Plain, and the State: An Environmental Drama in Northern Song China, 1048-1128. Cambridge: Cambridge University Press. Shi, Songge (2021). Travelling With Hanfu: A Social Media Analysis of Contemporary Chinese Travelling for Artistic Photographs (Thesis). The Museum of Far East Antique Bulletin 70. Östasiatiska museet. Dien, Albert E.; Knapp, Keith N., eds. 2019-11-07). The Cambridge History of China. Shea, Eiren L. (2021-12-15). “Intentional Identities: Liao Women’s Dress and Cultural and Political Power”. Vol. 2: The Six Dynasties, 220-589 (1 ed.). Xun Zhou; Chunming Gao, eds. 1987). 5000 years of Chinese costumes. Lee, Samuel Songhoon (2013). Hanbok : Timeless fashion tradition. San Francisco, CA: China Books & Periodicals. Seoul, Korea: Han’guk Kukche Kyoryu Chaedan. Kang, Chae-ŏn (2006). Suzanne Lee (ed.). The land of scholars : two thousand years of Korean Confucianism (1st ed.). Shoshana-Rose Marzel; Guy Stiebel, eds. Paramus, New Jersey: Homa & Sekey Books. 2015). Dress and ideology : fashioning identity from antiquity to the present. Tse, Wicky W. K. (2018). The collapse of China’s later Han Dynasty, 25-220 CE : the northwest borderlands and the edge of empire. Kuhn, Dieter (2009). The age of Confucian rule : the Song transformation of China. Zhang, Qizhi (2015). An introduction to Chinese history and culture. Cambridge, Mass.: Belknap Press of Harvard University Press. Singapore: World Scientific Publishing Co. Pte. Rui, Chuanming (2021). On the ancient history of the Silk Road. Traditional Chinese rites and rituals. Newcastle upon Tyne: Cambridge Scholars Publishing. Feng, Ge (2015). Zhengming Du (ed.). Xu, Rui; Sparks, Diane (2011). “Symbolism and Evolution of Ku-form in Chinese Costume”. Research Journal of Textile and Apparel. Sheng, Angela (1995). “The Disappearance of Silk Weaves with Weft Effects in Early China”. 15 (1): 11-21. doi:10.1108/rjta-15-01-2011-b002. Ho, Wei; Lee, Eun-Young (2009). “Modem Meaning of Han Chinese Clothing(漢服)”. Wang, Fang (2018). “Study on Structure and Craft of Traditional Costumes of Edge”. Journal of the Korea Fashion and Costume Design Association. 유, 혜영 (1992). 돈황석굴벽화에 보이는 일반복식의 연구 (Doctoral Thesis). Proceedings of the 2nd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2018). Atlantis Press. Zhao, Qiwang (2020). “Western Cultural Factors in Robes of Wei, Jin, Southern and Northern Dynasties as Well as Sui and Tang Dynasties”. Ulbe Bosma; Kh Kessler; Leo Lucassen, eds. 2013). Migration and membership regimes in global and historical perspective : an introduction. Holcombe, Charles (2013-12-01). “The Xianbei in Chinese History”. Dien, Albert E. (2007). Six dynasties civilization. Thomas S. Mullaney, ed. New Haven, Conn.: Yale University Press. Berkeley, California: University of California Press. 2012). Critical Han studies : the history, representation, and identity of China’s majority. Patricia Buckley Ebrey; Ping Yao; Cong Ellen Zhang, eds. Seattle: University of Washington Press. 2019). Chinese funerary biographies : an anthology of remembered lives. Valenstein, Suzanne G. (2007). Metropolitan Museum of Art (ed.). Cultural convergence in the Northern Qi period : a flamboyant Chinese ceramic container : a research monograph. Lingley, Kate A (2014). “Silk Road Dress in a Chinese Tomb: Xu Xianxiu and sixth-century cosmopolitanism” (PDF). New York: Metropolitan Museum of Art. Yatsenko, Sergey A. (2012). “Sogdian Costume in Chinese and Sogdian Art of the 6th-8th centuries”. Serica – Da Qin, Studies in Archaeology, Philology and History on Sino-Western Relations (1 ed.). Yoon, Ji-Won (2006). “Research of the Foreign Dancing Costumes: From Han to Sui-Tang Dynasty”. In G. Malinowski; A. Paron; B. Szmoniewski; Wroclaw (eds.). The Korean Society of Costume. Shea, Eiren L. (2020). Mongol court dress, identity formation, and global exchange. Russell-Smith, Lilla Bikfalvy (2003). “Wives and Patrons: Uygur Political and Artistic Influence in Tenth-Century Dunhuang”. New York, NY: Routledge. Acta Orientalia Academiae Scientiarum Hungaricae. Holcombe, Charles (2018). A history of East Asia : from the origins of civilization to the twenty-first century. Cambridge University Press. pp. Cambridge, United Kingdom: Cambridge University Press. Wang, Xinyi; Colbert, François; Legoux, Renaud (2020). “From Niche Interest to Fashion Trend: Hanfu Clothing as a Rising Industry in China”. Hua, Mei (2011). Chinese clothing (Updated ed.). International Journal of Arts Management. Chen, Bu Yun (2013). Dressing for the Times: Fashion in Tang Dynasty China (618-907) (Thesis). James C. Y. Watt; Prudence Oliver Harper; Metropolitan Museum of Art, eds. New York: Metropolitan Museum of Art. 2004). China : dawn of a golden age, 200-750 AD. Zhao, Qiwang (2019). “The Origin of Partial Decorations in Gowns of the Northern Qi and Tang Dynasties”. Benn, Charles D. (2002). Daily Life in Traditional China: The Tang Dynasty. Greenwood Publishing Group. p. Chen, BuYun (2017). “Material Girls: Silk and Self-Fashioning in Tang China (618-907)”. Fashion Theory. Greenwood Press “Daily life through history” series (illustrated ed.). Chen, Buyun (2013). Toward a definition of “fashion” in Tang China (618-907 CE): BuYun Chen (PhD thesis). 臧, 迎春 (2003). 臧, 迎春; 李竹润 (eds.). 五洲传播出版社. 中国传统服饰. Dardess, John W. (2010). Governing China, 150-1850. Indianapolis: Hackett Pub. Proceedings of the 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press. Wan, Li (2016). “The Implicit Beauty and Open Beauty of Tang Dynasty’s Aesthetic Taste from Tang Dynasty Noble Women’s Clothing Features”. Perkins, Dorothy (2013). Encyclopedia of China : History and Culture. Mote, Frederick W. (1999). Imperial China, 900-1800. Cambridge, Mass.: Harvard University Press. Hoboken: Taylor and Francis. Franke, Herbert; Twitchett, Denis C., eds. 1994). The Cambridge History of China: Volume 6: Alien Regimes and Border States, 907-1368. Vol. 6. Cambridge: Cambridge University Press. Lanham: Rowman & Littlefield. McMahon, Keith (2016). Celestial women : imperial wives and concubines in China from Song to Qing. Wei, Luo (2018-01-02). “A Preliminary Study of Mongol Costumes in the Ming Dynasty”. Social Sciences in China. Shaorong, Yang (2004). Traditional Chinese clothing costumes, adornments & culture. Acta Orientalia Academiae Scientiarum Hungaricae. Long River Press. p. Choi, Hai-Yaul (2007). “A Study on the Design of Historical Costume for Making Movie & Multimedia -Focused on Rich Women’s Costume of Goryeo-Yang and Mongol-Pung in the 13th to 14th Century-“. Journal of the Korean Society of Costume. Wallace, Leslie (2020). “Does a feather in your hat barbarian make? Headgear and hairstyles in Han dynasty tomb murals in the Ordos”. Serruys, Henry (1957). “Remains of Mongol Customs in China During the Early Ming Period”. The art and archaeology of bodily adornment : studies from Central and East Asian mortuary contexts. In Sheri Lullo; Leslie V. Wallace (eds.). Abingdon, Oxon: Routledge. pp. This page was last edited on 2 November 2024, at 08:38 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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    Welcome to the Hanfu Topic Mainpage. Below is the historical outline of Hanfu, blue hanfu or Han Chinese Clothing.

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    Pink Flowers And Green Leaves Of A Large BushTraditional clothing has always been an important aspect of cultural identity and heritage. Hanfu, Hanbok, and Kimono are three traditional clothing styles from China, Korea, and Japan, respectively. Many countries around the world have their unique clothing styles, and East Asia is no exception. In this blog post, we will explore the similarities and differences between these clothing styles and appreciate the cultural significance behind them. According to historical records, Hanfu has a rich history that dates back over 4,000 years. Hanfu consists of a top (ruyi) and a skirt (ruqun) for women, and a robe (changpao) for men. Additionally, a range of accessories, including headwear, footwear, belts, jewelry, yupei, and handheld fans, complement the ensemble. Legend has it that the consort of the Yellow Emperor, Leizu, was the first to make clothes using silk, which eventually became an integral part of Hanfu’s design and construction. Hanfu is known for its loose, flowing lines and is often made from silk. Hanfu is a representation of the rich history, elegance, and wide-ranging temperament of the Chinese people. It embodies the cultural values of harmony with nature, while also showcasing the diverse creativity of Chinese culture. Hanfu also has variations for different occasions and social statuses. Furthermore, Hanfu reflects traditional Chinese customs, including respect for social order, and provides insight into the unique customs and traditions of China. It was initially designed to allow wearers to move freely. The hanbok has been an important part of Korean culture for centuries. The hanbok is believed to have been created during the Goguryeo Kingdom (37 BCE-668 CE) and was worn in various materials and styles by everyone. The Korean Peninsula has been influenced by the Scythian culture, a nomadic group from the Scythia region of Eurasia since ancient times. The basic structure of the hanbok has remained the same, but changes in culture, beauty standards, and historical periods have resulted in modifications in design and structure. The hanbok worn by Koreans today is most similar to the hanbok from the mid to late Joseon Dynasty (1392-1910), with tight tops and looser bottoms. Like other clothing styles in various cultures, the hanbok has undergone numerous alterations based on current trends. This influence led to the hanbok being divided into two separate parts – the top and bottom. In the process, neighboring countries like China and Japan have influenced each other. During the Joseon Dynasty, studying abroad was highly valued, and royal and official garments incorporated elements from the Ming Dynasty (1368-1644), while the clothing’s patterns and details reflected traditional Korean style and grace. However, in recent years, it has been used specifically to describe traditional Japanese clothing. The kimono we know today took shape during the Heian period, which lasted from 794 to 1185. Throughout ancient times and the Nara period, which spanned from 710 to 794, Japanese people commonly wore ensembles consisting of separate upper and lower garments, such as trousers or skirts, or one-piece garments. Originally, the Japanese word “kimono” referred to clothing in general. Kimono is known for its elaborate patterns and designs, and the fabric used is often silk or other high-quality materials. Kimono consists of a T-shaped robe (kosode) and a wide belt (obi) tied around the waist. Kimono represents the refined and elegant aesthetic of Japanese culture and reflects the value placed on simplicity, harmony, and respect. Despite the differences, there are some similarities between these traditional clothing styles. All three styles have a long history and cultural significance in their respective countries. Kimono also has variations for different occasions, such as formal or casual wear. Each style has variations for different occasions and social statuses, such as a wedding or other formal events. Additionally, all three styles represent the unique culture and history of their respective countries. They are often made from high-quality materials such as silk and require a lot of time and effort to make. Construction: Hanfu and Hanbok are made up of separate top and bottom pieces, while Kimono is a one-piece garment. There are also some notable differences between these traditional clothing styles. Sleeves: Hanfu sleeves are wide and long, while Hanbok sleeves are typically shorter and fuller. Silhouette: Hanfu and Hanbok feature loose, flowing lines, while Kimono has a more structured silhouette. Patterns: Hanfu and Hanbok feature intricate embroidery and patterns, while Kimono features more simplistic patterns or designs. Kimono sleeves are wide and can vary in length. Fastening: Hanfu is typically fastened with a waistband or sash, while hanbok has a long ribbon-like sash called an otgoreum, and kimono has a wide, contrasting sash called an obi. Why is Cultural Appreciation Important? Cultural appreciation is important for several reasons. Firstly, it promotes diversity and understanding among different cultures, fostering mutual respect and tolerance. This, in turn, can help to break down stereotypes and prejudices and promote social harmony. It allows us to learn about and appreciate the unique customs, traditions, and beliefs of others. It can broaden our horizons and challenge our assumptions, helping us to become more open-minded and empathetic. Lastly, cultural appreciation can help to preserve and protect cultural heritage. By recognizing the value and significance of cultural practices and artifacts, we can work to ensure that they are not lost or forgotten over time. Secondly, cultural appreciation can enrich our own lives by introducing us to new ideas, perspectives, and experiences. This can help to promote cultural diversity and ensure that future generations have access to the richness and complexity of the world’s cultures.

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    Hanfu stock photo

    elderly people standing next to each other holding wine glasses while smiling at the cameraThe foundation of “Ink Elegance” is deeply rooted in the traditional Ming Dynasty Hanfu, known for its refined simplicity and flowing lines. The option of black or white for the upper garment provides versatility and the opportunity to make a subtle or bold statement, depending on the wearer’s mood or the occasion. The design has been thoughtfully updated to suit modern tastes while preserving the dignified silhouette characteristic of this historical period. The skirt, a stunning Mamian skirt, features a gradient color base, evoking the depth and fluidity of ink wash paintings. It is adorned with calligraphy and ombré print, combining the artistry of traditional Chinese writing with the aesthetic of modern dyeing techniques. The combination of the Mamian skirt with the shirt creates an ensemble that is not only visually striking but also practical for daily wear and travel. The versatility of “Ink Elegance” lies in its ability to transition smoothly from casual to formal settings, making it a suitable choice for a variety of social scenarios, from a day at the office to an evening cultural event. “Ink Elegance” is an exquisite expression of fusion fashion, where the past and present converge to create a garment that is both historically inspired and fashionably modern. It invites the wearer to embrace their cultural roots while expressing individuality through a contemporary lens.

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    2001What Is A Chinese Hanfu? Many young people in China have embraced this traditional outfit as a form of cultural expression. The hanfu is a fashion trend gaining popularity in China and surrounding countries. China is famous for preserving its traditions over the years and is proud of its culture. If you would like to try out this clothing, mens hanfu you should first understand more regarding it. Reports reveal that more than 20 million people purchase hanfu in a year. What is hanfu clothing? The Han Chinese have been wearing hanfu since the 17th Century. Different Chinese groups have their styles of dressing. It is the largest group in China since it makes up more than 90 percent of the Chinese population. This is the Chinese ethnic group located in East Asia. This clothing is made up of different types of garments. Hanfu is not complete without a robe. The Chinese wear a jacket as the upper garment of hanfu and a skirt on the lower body. Some of the common accessories that go well with this traditional outfit include footwear, jewelry, and headwear. The ornaments that people use to decorate this garment are referred to as peo.Due to the popularity of hanfu, neighboring countries such as Korea, Japan, and Vietnam have also embraced it. The Chinese also wear some accessories with hanfu to boost its appearance. This type of clothing has evolved. Nowadays, most people wear this type of clothing during special occasions while others wear it daily. Neighboring cultural clothing also influenced some of the elements of the Hanfu. Feel free to wear it while attending a wedding or festival. This is a crucial type of clothing that reflects China’s traditional aesthetics. Though this form of clothing disappeared for a while, Young Chinese are nowadays putting on hanfu to promote their traditional culture. This trend is not only popular on the internet, but it has also become one of the major cultural themes in China. We mentioned that hanfu is a type of clothing that the Han Chinese initially wore. There is even a hanfu festival that is held every year and attended by over a hundred thousand people. The Han Chinese started wearing hanfu over three thousand years ago. The Yellow Emperor, a king of ancient China, was among the first people to wear hanfu. The left side covered the right, and this upper garment would extend to a wearer’s waist. During those times, every dynasty had its own unique style of dressing.The Han Chinese wrapped the upper hanfu garment over the front during ancient times. This style was referred to as jiaoling youren. This was a style that was used to dress people who passed on. The hanfu first appeared in the time of this dynasty from 1600 BC to 1000 BC. During this period, the hanfu was made up of a chang which was an ankle-length skirt, a yu which was a tunic. A sash also formed part of this clothing, and it was used to tie the tunic. Some of the minority groups in the country used Zuoren. The Chinese used silk material to make hanfu, and this type of clothing was unisex. Hanfu was also common during the Zhou Dynasty, which was between 1045 BC and 771 BC. During this period, the Chinese used hanfu clothing to show the distinction between different classes in society. In the Shang Dynasty, people used to wear hanfu with a bixi that reached the knees. During this period, highly ranked people such as senior officials and emperors wore hanfu with more decorations than the rest.The hanfu was also made from different materials and painted in different colors. The tunic was also designed with jade decorations. Unlike in the Shang Dynasty, hanfu clothing in the Zhou Dynasty featured wider sleeves. Just like in the Shang Dynasty, people used to tie a sash around the waist after putting on hanfu. They also put different ornaments on this clothing. While the men used to wear hats with the hanfu, the ladies wore headpieces. People with higher social stature wore more decorations. This happened because the people who founded the dynasty were not the Han Chinese that used to wear hanfu. A semi-nomadic ethnic group called Manchus founded the Qin Dynasty. During the start of the Qing Dynasty, hanfu disappeared. After this, the western style of dressing was introduced, and most people embraced it. Though this group introduced the Manchu dress, it disappeared as soon as the dynasty fell. Since China established a Hanfu movement in the 21st century to promote its culture, the hanfu became a fashion trend. This soon gained public attention, and many people started imitating him. Reports reveal that by 2019, there were more than 1000 hanfu stores on Taobao and Tmall. The hanfu is divided into three main styles. You can either wear a one-piece dress hanfu, jacket with trousers or a jacket with a skirt. The traditional hanfu is made up of a yi, a knee-length tunic that features a narrow cuff. In November 2003, Wang Letian put on a shenyi in public, and his story got published in a newspaper. This hanfu also consists of chang, which is a skirt that reaches the ankle. A stash is used to tie the yi. The chang is often worn with a bixi which is a fabric that is designed to reach the knees. One of the styles of hanfu that is common among men is shenyi. The hanfu is a unisex garment that looks good on women and men. Men started wearing this style of hanfu from the Zhou dynasty. Men can wear this long belted robe that comes with wide sleeves. The Han Chinese considered footwear as part of accessories. Other countries such as Vietnam and Japan have even come up with their versions of this style of hanfu. Shoes were referred to as iu during the Han Dynasty and ju during the Qin Dynasty. The men accompany their hanfu garments with cloth or leather shoes. It is a form of attire that consists of a longer outer skirt and an upper garment that is often a short jacket. The traditional hanfu dress that Han Chinese ladies wore was referred to as Ruqun. This type of clothing has evolved in that modern designs are more gender-neutral. Modern hanfu male consist of multiple pieces. Men nowadays wear pants as part of the hanfu instead of the long belted robe that was common in ancient times. After going out of fashion for hundreds of years, the hanfu is back. This is why many young ladies today enjoy taking photos wearing the modern hanfu dress. Nowadays, hanfu dresses come in elegant and stylish designs. Modern hanfu dresses also accentuate the natural curves in women since they are fitting. Ladies nowadays wear the hanfu dress as fashion pieces. One can confuse the two since they both originated from China, and are considered traditional types of clothing in this country. They, however, differ in that hanfu is the main style of clothing associated with the Han Chinese while Qipao is the style of clothing for the Manchu.A group called Manchu introduced a style of dressing called Qipao in China during the Qin dynasty. Though Qipao is popular in contemporary China, it is not similar to Hanfu since it is not derived from the Han culture. While some find the Qipao more convenient to wear, others prefer hanfu. Many people believe that hanfu better represents the country’s history than Qipao since it existed for many years and even came back in the 21st century. Apart from their origins, these two traditional Chinese costumes also differ in style and characteristics. Qipao comes with flat and straight lines. The body of this type of clothing is often loose. Hanfu, on the other hand, hanfu winter comes with an upper and lower garment that may be sewn together or are separated. Hanfu is much richer compared to Qipao. This type of clothing is a symbol of Chinese culture. The hanfu is among the oldest traditional types of clothing in China. You can consider wearing this garment the next time you attend a traditional Chinese festival. Though wearing hanfu was common in the past, the trend is back, and many people are nowadays wearing this garment in unique styles. Your email address will not be published.