Shape: Men’S Hanfu Is Characterized By Wide Robes And Large Sleeves, Showing A Chic And Elegant Demeanor. This Design Not Only Conforms To The Traditional Chinese Aesthetic Concept, But Also Shows The Stability, Confidence And Calmness Of Men. These Fabrics Are Breathable And Comfortable, Making The Wearer Feel Comfortable And At Ease. Fabrics: Men’S Hanfu Is Also Very Particular About The Choice Of Fabrics, And Mostly Uses Natural Materials Such As Silk And Linen. At The Same Time, Light Colors Such As White Are Also Often Used In Men’S Hanfu To Create A Fresh And Refined Temperament. Color: Men’S Hanfu Is Usually Dominated By Dark Colors In Color Matching, Such As Black, Navy Blue, Dark Green, Etc. These Colors Are Not Only Durable And Atmospheric, chinese traditional hanfu dress But Also Can Show The Calmness And Restraint Of Men. Accessories: Men’S Hanfu Is Also Very Particular About Matching. It Is Usually Matched With Traditional Shoes, Accessories, Such As Cloth Shoes, Jade Pendants, Fans, Etc. These Accessories Not Only Add A Sense Of Layering And Sophistication To The Overall Look, But Also Show The Wearer’S Taste And Style.
After the Jin dynasty (1115-1234 AD) was founded, the Jin dynasty rulers imitated the Song dynasty and decided to establish their own carriages and apparel system. 85 The Liao dynasty eventually subdued the Heishui Mohe who lived along the Heilongjiang river, the Songhua river, and in the Changbai mountains. 85 The Jurchens, therefore, emerged from the Mohe tribes who lived south and west of the Changbai mountains and north to the Bohai kingdom. 338 they were referred as such by the Khitans who had founded the Liao dynasty. Chinese: 熟; pinyin: shú; lit. The Jurchen were classified into two categories based on their lifestyles; they were either sheng (Chinese: 生; lit. 13 The sheng Jurchen lived a relatively primitive and indigenous lifestyle based on hunting and herding similarly to the lifestyle of their ancestors. 56 By the 10th century, the sheng Jurchen were subdivided into two categories based on their geographical location: those living in the north and took their identity from the Heilongjiang river and were called the “Black Jurchens” while those in the south took their identity from the Changbai mountains were called the “White Jurchens”; the white Jurchens considered themselves as being more “civilized” and being kin people of the Bohai kingdom. 13 Being influenced by Chinese culture was perceived as “cooking” while non-Chinese “barbarians” were considered as being “raw”. 212 Some remnants of the Bohai people became the subjects of the Jin after it overthrew the Liao dynasty; and by the mid-Jin dynasty, the Bohai people lost their distinct identity having been assimilated. 55 By the 13th century, the Jurchens of Jin considered the sheng Jurchens as outsiders, barbarians, and sometimes even as their enemies. The Jurchen founded the Jin dynasty in 1115 by Wanyan Aguda by overthrowing the Liao dynasty. 56,68 and by the late 12th century, Hanfu had become the standard form of clothing throughout the Jin society, in particular by the elites. 56 Soon after having founded the Jin dynasty, the Jurchen elites abandoned their sheng ways of life having been first influenced by Bohai and later on by gaining much of northern China and the former Song dynasty population which were large in numbers. In 1125, the Jin dynasty destroyed the Liao dynasty, and in 1127, the Jin invaded Northern Song and sacked the capital city, Kaifeng. In the early period of the Jin dynasty, the Jin dynasty court first attempted to impose Jurchen hairstyle and clothes on the Han Chinese population in 1126 AD and in 1129 AD. 281 The Han Chinese style clothing was prohibited and the people had to wear a short scarf and left-lapelled clothing; if they did not obey, they were put to death. After having conquered northern China, in 1126, a proclamation was issued by the Grand Marshal’s office stipulating that the Jurchens had conquered all and it would be therefore appropriate to unify the customs of the conquered people to make them conform to the Jurchen norms; therefore the Chinese men living in the conquered territories were ordered to shave their hair on the front of their head and to dress only in Jurchen-style attire under the threat of execution to display their submission to the Jurchens. This shaving hair order and adopting Jurchen clothing was however cancelled just a few months after it was stipulated as it was too difficult to enforce. There was about 30 million Han Chinese living under the rule of the Jin dynasty. The shaving hair and adoption Jurchen clothing imposition order on the Chinese was once again reinforced in 1129; however, it does not seem to have been strictly been enforced. In 1127, the Jin dynasty occupied the Northern Song capital and the territories of the Northern Song; the Han Chinese who were living in Northern Song territories became the majority population of the Jin dynasty while the Jurchen became an ethnic minority in the Jin dynasty; this led the Jurchen to make political concessions allowing the Han Chinese to practice their own culture. In the 1150, Emperor Hailing established a sinicization policy. In 1138 AD, the Jin court adopted the Chinese robes for the emperor and the officials. 281 Under his reign, the Chinese in Honan were allowed to wear Chinese clothing. 92 The shaving the hair and adopting Jurchen clothing order was taken back under the Emperor Hailing who was Pro-Chinese allowing the Han Chinese to wear their Han clothing by lifting the ban in 1150 AD. The Jin dynasty court had also banned intermarriage, but this ban was also lifted in 1191 AD. 40 However, despite his efforts, the influence of the Han Chinese living in the Northern Song territories had a significant influence and by the mid-twelve century, the Jurchens were sinicized so much that they were almost indistinguishable from the Han Chinese in terms of dress, literacy and social customs. Between 1161-1189 AD, many Jurchens appear to have begun adopting Han Chinese behavior and forgetting their own traditions and languages; therefore, the Emperor Shizong of Jin prohibited the Jurchens from dressing like the Han Chinese in 1191 AD (which they had been doing for forty years) and from adopting Chinese family and personal names as he wanted to revitalize the old Jurchen culture. 92 and to preserve the Jurchen’s cultural identity. 281 By his time, many Jurchens appeared to have adopted Chinese customs and have forgotten their own traditions. Jurchen material culture dating about 1162 were found from the coffin of the Prince of Qi, Wanyan Yan, and his wife, where Wanyan Yan and his wife were dressed in layers of clothing in the duplicate style as those worn by Lady Wenji and the warriors who accompanied her in the painting Cai Wenji returning to Han. 281 As a result, Emperor Shizong also prohibited the Jurchens from adopting Han Chinese attire. 61The Prince of Qi wore earrings, drawers, padded leggings, jerkings, boots, a padded outer jacket with medallion designs at the back and front jacket; soft shoes and socks, and a small hat while his wife wore a short apron, trousers, leggings, a padded silk skirt, a robe with gold motifs, silk shoes with soft soles and turned-up toes. 62 These forms of Jurchen clothing were in the styles of the old Jurchen nobility; a style which may have been typical of the clothing of the Jin imperial elite at some point in the late 12th century during the reign of Emperor Shizong, who emphasized the values of the old sheng Jurchen and attempted to revive Jurchen culture and values. 57,61-62 The tribeswomen in the painting Cai Wenji returning to Han wear Jurchen attires consisting of leggings, skirts, aprons made of animal hide, jackets, scarves, hats made of fur or cloth; Wenji also wears Jurchen-style attire consisting of a ochre-yellow jacket, silver yunjian (a symbol of high rank), boots, and fur hat with ear flaps; the tribesmen wear typical sheng Jurchen clothing with the exception of a Han Chinese official. 58-59 However, the Prince of Qi and his wife clothing were not made of rough-woven wool, felt, and animal-skin that the sheng Jurchen wore; instead, they wore clothing made of fine silks with some decorated with gold thread; they also did not wear boots. According to Fan Chengda who visited the Jin dynasty in 1170 following the Jin conquest of the Northern Song dynasty, he noted that the Han Chinese men had adopted Jurchen clothing while the women dressing style were still similar to the Hanfu worn in the Southern Song dynasty (although the style was outdated). After the death of Emperor Shizong, the policy of Jurchenization was abandoned and sinicization returned quickly. 92 By 1191, the rulers of the Jin dynasty perceived their dynasties as being a legitimate Chinese dynasty which had preserved the traditions of the Tang and Northern Song dynasties. In the early history of the Jurchen, the Jurchen liked to wear white clothing and shaved the front of their head above the temples while the rest of their hair hanged down to their shoulders. 40 They could also shave their hair at the back of the head and bundled it with coloured silk; they also wore golden locks as their ornaments. 40 Jurchen women braided their hair and wound them into a hair bun without wearing a hat. 40 The wealthy Jurchen used pearls and golds as ornaments. 40 The Jurchen weaved hemp as they did not raise silkworms; they used the fineness of hemp cloth to indicate their wealth. 40 In winter, fur coats were used by both the rich and the poor to keep themselves warm. They also wore clothing which were suitable to their daily lifestyles (e.g. horse riding, hunting, and herding) and weather on the Steppe, especially those made of felt, leather, and furs. 14 However, in the court, they would wear more luxurious materials, especially silk fabric woven with gold. These forms of clothing continued to be worn after the Jurchen had founded the Jin dynasty. In general, the Jin dynasty Jurchen clothing were similar to those worn by the Khitans in Liao, except for their preference for white colour. Yuanlingpao with tight sleeves (closing to the left side, with pipa-shaped collar) were worn by men with leather boots and belts. 136-137 It is also recorded in the section Carriages and Costumes of the History of Jin dynasty that Jurchen clothing were decorated with bears, deer, mountains and forest patterns. 136 Jurchen women liked to wear jackets (either dark red or dark purple) which closed to the left side with long flapped skirts. 21 Unlike the tonsure of the Tangut Western Xia, the Jurchen hairstyle of wearing the queue combined with shaving the crown was not the invention of an emperor of the dynasty but was an established Jurchen hairstyle which showed who submitted to Jin rule. This Jurchen queue and shaving hairstyle was not enforced on the Han Chinese in the Jin after an initial attempt to do so which was a rebuke to Jurchen values. Based on Han Chinese tombs of the Jin dynasty, it appears that ordinary Jurchen clothing may have been a symbol of lower class status as servants and lower-class women tend to be portrayed as wearing modified Jurchen-style clothing whereas women from the upper class wear Han Chinese-style clothing. The Jurchen hairstyle was the Jurchen queue, called bianfa (辮髮). Yet despite the Han Chinese influence on Jurchens, travellers from the Southern Song dynasty who visited the former territories of the Song dynasty noted that there have been changes in the people’s culture and that the Han Chinese’s clothing style had also been influenced by the Jurchens in terms of adoption of items; they also noted that the only thing which had not changed much was the women’s clothing style. However, the clothing-style of the Han Chinese women living the Jin dynasty was outdated compared to the Han Chinese women in the Southern Song territories. The yunjian was worn in the Jin dynasty and was adopted in the Yuan dynasty as a signature pattern on men’s and women’s clothing. Standing official with tablet, China, possibly Handan, Hebei, Jin dynasty, early 1200s AD. The use of clothing made of felt, leather, and furs were also used by the Khitans, the Tanguts, and Mongols. These clothing would protect its wearer from the low temperatures and high winds of the Steppe. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Zhu, Ruixi (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Lang Ye, Zhenggang Fei, Tianyou Wang. China : five thousand years of history and civilization. Johnson, Linda Cooke (2011). Women of the conquest dynasties : gender and identity in Liao and Jin China. Kowloon, Hong Kong: City University of Hong Kong Press. The rise of the Mongols : five Chinese sources. Honolulu: University of Hawaiʻi Press. Mote, Frederick W. (1999). Imperial China, 900-1800. Cambridge, Mass.: Harvard University Press. Christopher Pratt Atwood, Lynn A. Struve. Encyclopedia of Chinese history. Shea, Eiren L. (2020). Mongol Court Dress, Identity Formation, and Global Exchange. Michael Dillon. New York, NY. Native peoples of the world : an encyclopedia of groups, cultures, and contemporary issues. Routledge Research in Art History (illustrated ed.). Franke, Herbert; Twitchett, Denis C.; Fairbank, cheongsam sexy John King (2008). The Cambridge history of China. Steven Laurence Danver. London: Routledge. Vol. 6 Alien regimes and border states, 907-1368. Cambridge: Cambridge University Press. Victor Cunrui Xiong, Kenneth James Hammond. Routledge Handbook of Imperial Chinese History. Roberts, John A. G. (2011). History of China (3rd ed.). Khun, Dieter (2011). The Age of Confucian Rule: The Song Transformation of Chin. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. Zhongguo fu zhuang shi yan jiu zu. 5000 years of Chinese costumes. San Francisco, CA: China Books & Periodicals. Cambridge University Press. p. Tackett, Nicolas (2017). The Origins of the Chinese Nation: Song China and the Forging of an East Asian World Order. This page was last edited on 13 January 2024, at 22:25 (UTC). Keay, John (2011). China: A History (reprint ed.). 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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I wish this was a post like what Clarkinks produces. Hopefully it can become that with others input. I have this planted and am hopeful it is as good as it is marketed to be. Many searches result in some clothing fashion out of china… Genetic testing, maybe not much practical there anyhow. But I would like to find more information, if anyone has acces behind these paywalls and there is anything interesting within to share I would like to hear about it. ’s disease resistant and eating quality. Hanfu apple is the main cultivar grown in the cool areas of Northeast, Northwest, and North China. Here, we proposed a chromosome-level Hanfu genome assembly using PacBio, Illumina and Hi-C sequencing data.
Its purpose is to act as a fastener as well as providing a decorative closure for the garment. It is especially used on the cheongsam, where the pankou represents the cultural essence of the dress. The frog was first developed in China; the origin of its later spread, into Europe and beyond, is uncertain. Loop-and-knot fasteners may have developed independently in other cultures. In the design of a garment, frogging is the use of braided frog fasteners as a detail of the overall design of the garment. Frog fasteners are usual to garments of Asian design, such as a shirt or coat with a mandarin collar, which features frog fasteners at the shoulder and down the front of the garment. The frog is the end-product of thousands years of traditional Chinese knotting craft, which is itself rooted in the Lào zi culture. The braided buckles of the Song dynasty continued to be used in the Yuan dynasty. Song dynasty when fabric was braided into braid buckles to create the loop and the button knot. However, in the Ming dynasty, interlocking buckles known as zimukou (Chinese: 子母扣; lit. The zimukou also became one of the favourite fashion accessory items of the Ming dynasty Chinese women. The development of the zimukou of the Ming dynasty had a significant impact on the history of Chinese fashion as they did not only laid the foundation of the subsequent usage of a large number and variety of frog but also led to the emergence and the popularity of the Chinese high-standing collar (and its derivative, the Mandarin collar) along with a variety of duijin yi (upper garment with central front closure) which uses the frog on the front over the succeeding centuries. Frogs and frogging became an important decorative feature on military uniforms from the 17th-19th centuries. These interlocking buckles were not only functional as garments fasteners or as garment ornaments; they also expressed and symbolized the wishes and inspirations of its wearer, such as the longing of a better life; the wishes for a sweet and loving marital relationship through the theme of butterflies and flower (Chinese: 蝶采花); the wishes for a rich and wealthy life with the use of double silver ingots (Chinese: 双银锭), and to express wishes for a long and healthy life with the theme of “Furong Flowers and Shou” (Chinese: 芙蓉捧寿), which uses Furong flowers and the Chinese character shou《壽》, as it is a homonym for the Chinese characters fushou《福壽》which can literally be translated as “prosperity and longevity”. This was particularly evident for prestigious regiments, especially cavalry or hussars, and gave rise to the German term for frogging in general, Husarentressen. With the wide-reaching campaigns of Napoleon, the French military was often in extensive contact with different cultures and styles. These dolman jackets were tight-fitting and dominated by extensive frogging, often in luxurious materials such as gold, silver or brass metallic cording or brocades. The French were influential in the spread of frogging throughout Europe and into the Americas. Observing the use of frog closures in the Hungarian military and other eastern cultures, the French Military adopted them for own military garments. The frogging was often far more than was necessary for fastening. In some cases it even became non-functional, with a concealed opening beneath it and the original jacket opening becoming a false detail. By the later 19th century, for lower grade uniforms down to postal deliverers, telegraph boys and hotel pages, the frogging cordage would be retained as a decoration but there would be no corresponding toggle or opening with it. The frog or pankou is composed of two parts: a Chinese button knot or other decorative knot (or even a toggle) on one side; and a loop attached on the opposite side, through which the knot is passed and which holds it in place. The knot is perceived as the male element, while its paired loop is considered the female. In the United States, the frog fasteners were adopted during the War of 1812; however when the army regulations tried to promote a less European look, it was decided that the elaborate and complex frog fasteners would be replaced with more simple cotton cord loops. Ready-made frogs are available for purchase, traditional chinese clothing for men but the range of styles is generally narrow. Braid, cord-filled bias tubing, or fabric-covered wire is used to fashion the customized frogs or pankou. Sewers may make their own, in a variety of styles, customizing them for their end use. They can be made from self-fabric to match, but many are chosen to be a contrasting colour: they serve as decorative structural elements on the garment. Frogs can be made by looping and interlocking the cording or fabric tube into the desired design, then securing the places where the cords touch by hand-sewing. When a fabric tube is used, the fabric is cut on the bias. This allows the fabric tube to remain smooth and flex easily when bent into curves. The frog is then stitched onto a garment, usually by hand. To create the more elaborately-shaped buttons, a method called wiring is used to construct the desired shape. The frogs which are used in the making of the cheongsam, are typically made from silk or from the same materials as the dress. Floral frog Panhuapankou (simplified Chinese: 襻花盘扣; traditional Chinese: 襻花盤扣; pinyin: pànhuāpánkòu) A generic term for any forms of frog which are more elaborate than the straight frog. Elaborate form of floral pankou used as a decorative fastener in cheongsam. The frog used in the Beijing-style cheongsam are typically handmade by skilled artisans; the process of their making is complex and can take up several days of work. These procedures include brushing silk four times with a paste to harden it, as well as the cutting of the hardened silk into strips, the stitching of the silk strips before the wiring procedure with copper wire, and the ironing of the silk strips under high temperature as its final stage. It can typically take up to 26 procedures for the silk to be turned into eligible strips of fabric which can then be turned into the fastening. Also called huaniu (Chinese: 花纽; pinyin: Huāniǔ; lit. Condra, Jill, ed. (2008). The Greenwood encyclopedia of clothing through world history. Vol. 3: 1801 to the present. Westport, Connecticut (US): Greenwood Press. Condra, Jill, ed. (2008). The Greenwood encyclopedia of clothing through world history. Vol. 1: Prehistory to 1500CE. Westport, Connecticut (US): Greenwood Press. Asian Diasporic Visual Cultures and the Americas. Metzger, Sean (24 February 2015). “‘La Cabine d’Essayage’ (‘The Fitting Room’): Cheryl Sim”. 101 sewing secrets. Singer sewing reference library. Minnetonka, Minnesota (US): Cy DeCosse Inc. 1989. pp. 刘冬. “The Beauty of Beijing-Style Cheongsam”. Yarwood, Doreen (1992). Fashion in the Western world 1500-1990. London: B. T. Batsford. Ballinger Fletcher, Zita (7 August 2023). Brian Walker (ed.). Lee, Jaeil (2014). Technical sourcebook for designers. Camille Steen (Second ed.). Hao, Xiao’ang; Yin, Zhihong (2020). “Research on Design Aesthetics and Cultural Connotation of Gold and Silver Interlocking Buckle in the Ming Dynasty”. Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press. Angus, Emily (2015). The fashion encyclopedia: A visual resource for terms, techniques, and styles. New York: Fairchild Books. Hauppage, New York: Barron’s. Abler, Thomas S. (Thomas Struthers) (1999). “Hussars: Horsemen of the Eastern Frontiers”. Hinterland warriors and military dress: European empires and exotic uniforms. Newark, Timothy (1998). Brassey’s book of uniforms. Oxford; New York: Berg. London; Herndon, VA, (US): Brassey. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. This page was last edited on 15 October 2024, at 08:28 (UTC). 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.
Hanfu, an abbreviation for “Han ethnic clothing,” is a time-honored traditional attire that holds a significant place in Chinese history and culture. It embodies the unique charm and essence of the Han nationality, captivating people with its grace and splendor. The origins of Hanfu can be traced back to the Yellow Emperor period, over 4,000 years ago. Throughout the long course of Chinese history, Hanfu has continuously evolved and developed through different dynasties. During the Han Dynasty, Hanfu reached a pinnacle of popularity and sophistication. It was widely worn by people from all walks of life, playing an essential role in both daily life and ceremonial occasions. Each era has bestowed its own distinctive styles and characteristics upon Hanfu. The elaborate designs and fine craftsmanship of Hanfu during this period reflected the prosperity and cultural achievements of the dynasty. The ruqun, consisting of a top and a skirt, is known for its delicate embroidery and vivid colors. Hanfu comes in a wide variety of styles, each with its own unique charm. The shenyi, a long robe, exudes simplicity and elegance. It often showcases intricate patterns that symbolize different meanings and wishes. With its flowing lines and loose fit, it gives off an air of grace and tranquility. The aoqun, a combination of a jacket and a skirt, is another popular style. Shenyi is often made of high-quality fabrics, such as silk and satin, adding to its luxurious feel. In addition to these main styles, there are also many other variations of Hanfu, such as the bijia (a short jacket), the pao (a long gown), and the yaoqun (a skirt with a train). It features a more structured design and can be adorned with various accessories to enhance its beauty. Each style has its own specific features and details, reflecting the creativity and artistry of ancient Chinese clothing designers. Hanfu is much more than just a piece of clothing. Wearing Hanfu can help people establish a connection with their cultural roots and experience a sense of pride and belonging. It is a profound carrier of Chinese culture, reflecting the values, aesthetics, and traditions of the Han nationality. It serves as a reminder of the glorious history and rich heritage of the Chinese nation. For example, during weddings, many couples choose to wear Hanfu to pay homage to traditional Chinese marriage customs and express their respect for ancient culture. Hanfu also plays an important role in traditional ceremonies and festivals. Moreover, Hanfu has inspired countless forms of art and literature throughout history. Poetry, painting, dance, and other art forms have often depicted the beauty of Hanfu, further enhancing its cultural significance. In recent years, there has been a remarkable resurgence of interest in Hanfu among young people in China. Many young people are actively involved in Hanfu-related activities, such as wearing Hanfu for festivals, cosplay events, and historical reenactments. They also form Hanfu clubs and organizations to promote the culture and exchange ideas. This trend is not only a fashion statement but also a cultural movement aimed at reviving and preserving traditional Chinese culture. Designers are constantly creating new styles and designs, while manufacturers are producing high-quality Hanfu products to meet the growing demand. The popularity of Hanfu has also led to the development of a thriving Hanfu industry. Chinese Hanfu is a magnificent traditional clothing that holds great cultural value. Its long history, diverse styles, and profound cultural significance make it an important part of China’s cultural heritage. As more people become aware of and interested in Hanfu, it is expected to continue to play a vital role in promoting Chinese culture and enhancing national identity.
Weimao (Chinese: 帷帽; lit. The weimao was a popular form of head covering during the Tang dynasty. By the end of the Sui dynasty, the mili, which was previously worn, became less conservative and evolved into the weimao as it was no longer required to conceal the entire body and instead only the face had to be concealed. In the early and middle Tang dynasty period, it was fashionable for aristocratic women to wear weimao when they went on excursions, a practice which these women borrowed from the northwestern nomadic men. It was invented during either the Sui or the early Tang dynasty, according to Liu Zhiji and Zhang Yanyuan. By the time of Wu Zetian’s ascendancy, the weimao was in fashion while the mili had gradually disappeared. The fashion of wearing weimao eventually declined and disappeared in the 8th century before being revived in the 10th century in the Song dynasty. The weimao-style hat was revived in the 10th century when women started to wear mianyi (Chinese: 面衣; lit. In the Song dynasty, some scholar officials, such as Sima Guang, advocated that women should cover their faces when going out. It is likely that the practice of wearing veiled hats, which was continued by these Song dynasty women, was due to them being unaware of its foreign and masculine origins. Chinese: 蓋頭; lit. Instead of a veil, the rider would wear a black balaclava under the hat. A variation of the weimao is a hat lacking the necessary holes to attach a veil. The gaitou was a veil hat where a whole piece of purple gauze would hang from the hat from the front to the back sides with 4 ribbons of different colours hanging down the shoulders. China : dawn of a golden age, 200-750 AD. The Song dynasty gaitou (蓋頭), also known as mianyi (面衣; veils or “facial clothes”), follows the style of the Tang dynasty weimao; the gaitou was worn by women when riding donkeys and horses or when they would walk on the streets. New York: Metropolitan Museum of Art. Yang, Shao-yun (2017). “Changing Clothes in Chang’an”. James C. Y. Watt, Prudence Oliver Harper, Metropolitan Museum of Art. Xu, cheongsam dress wedding Man (2016). Crossing the Gate : Everyday Lives of Women in Song Fujian (960-1279). Albany. China Review International. 24 (4). University of Hawai’i Press: 255-266. doi:10.1353/cri.2017.0064. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. You can help Wikipedia by expanding it. This clothing-related article is a stub. This article related to the history of China is a stub. You can help Wikipedia by expanding it. This page was last edited on 21 June 2023, at 03:50 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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Hanfu clothing was formed through the natural evolution, and based on unique Han style and personality. The traditional Chinese clothing and accessories system, Hanfu, obviously different from that of other ethnic groups in China, is the embodiment of traditional Chinese etiquette culture, and Han Chinese culture — the dominant idea for most dynasties in Chinese history. It carries the outstanding handicrafts and aesthetics of the Han nationality, such as dyeing, weaving and embroidery, and inherits more than 30 Chinese intangible cultural heritages as well as the protected Chinese arts and crafts. Han Chinese Clothing, Hanfu originated from the Yellow Emperor’s crown dress, which was prepared by Yao and Shun (the following emperors after Yellow Emperor). It was formed in the Zhou Dynasty, and developed through the Han Dynasty, when a complete system of crown and clothing was created and recorded in the Four Books and Five Classics. Thereafter the emperors of the successive Han dynasties all considered inheriting the clothing of the Han Dynasty as a national event when ascending the throng. Hanfu costumes then also became a part of the sacrifice rituals. Traditional costumes of some Asian countries, such as Japan, Korea, Vietnam, Mongolia, and Bhutan, all borrowed the characteristics of Hanfu clothing. Hanfu has also influenced the entire Han cultural circle through the Chinese legal system. What is China’s Traditional Clothing – Hanfu? But when talking in the narrower sense, it refers to the dress and etiquette system of the Han Dynasty, thus also named Chinese Han dynasty clothing. The denotative meaning of Hanfu is the costume of the whole Han nation. Han clothing is made of a piece of cloth with a width of 2 chi 2 cun (about 50cm), and it can be divided into ten parts: collar, lapel, gusset, label, skirt (the full front of a Chinese gown), sleeve, cufflinks, belt, cross straps, and ba (a ceremonial dress in ancient China). Among them, the shape of the coat and the skirt was thought to follow the will of heaven, therefore was sacred and the most ceremonious and formal dress for the kings and the royals. The robe (shen yi) was worn by officials and scholar-officials, while the skirt was worn by women. The shapes and systems of Hanfu mainly include “Shen Yi (深衣)” system (the coat and dress are sew up), “Xia Chang (下裳)” system (separating the coat and lower skirt), and “skirt (襦裙)” system (short coat). For a piece of Hanfu, the left front of the garment crosses the right front of the garment across the chest, it naturally forms the cross of the neckline, so it is called “crossed collar”. The ordinary working people usually wore short clothes and trousers. Compared with the western clothing of the same period, Hanfu has indisputable excellence in human nature. The two straight lines intersecting in the middle of the garment represent the symmetry of traditional Chinese culture, showing a unique charm of fair and justice. There are two kinds of hidden buckles: with and without buckles. In general, there is no button for hanfu. While westerners restrict the development of female body with breastplate and skirt, the wide hanfu costumes allowed the body to stretch freely. Even if buttons are used, the buttons are hidden. The outfit is usually tied with a knot using straps. The belts can be used to make knots, fastening the clothing, or are simply decorations symbolizing power. There are usually wide belts and long belts around the waist, made of the same cloth that was used to make the costume. The cloth of Hanfu is mainly brocade, silk, cloth, cotton, linen, hemp, yarn, and printing and dyeing cloth. Hanfu consists of clothes, hair dress, hairstyle, face decoration, shoes, accessories and other accessories to make it an integrated clothing system. Each cloth is used in different ways. For instances, grass cloth was usually used to make clothes for mourning and sacrifice. Noble dress was made of embroidery cloth, brocade and silk. The ancient Han men and women tied their hair into a bun, put it on your head after reaching adulthood. Men often wore crowns, scarves or hats to fix hair. Women’s buns can be combed into a variety of styles, and wear jewels, step shake, hairpins and other ornaments on the bun. They also wore curtain hat and cover on head. There are also other accessories for Hanfu such as knee covering, silk wraps, silk scarf socks, sachets, swords, ivory plate, leather belt, jade belt, etc. The furniture for storing Hanfu was a garment suitcase called yī qiè (衣箧), and the hanger on which Hangfu was hung was called a yī héng (衣桁). Women’s Hanfu clothing of Jin Dynasty style was in accordance with the way of the Qin and Han dynasties, the overall clothing was relatively loose. An important feature of the decoration of the Hanfu clothing is that people like to wear jade pendant. The upper part of this kind of hanfu looked simple, while the lower part was the long pleated skirt, and looked complicated. Women at that time did not have any special headwear, but would cover the head with a scarf or jade silk. The first type was the short skirts in the early Tang Dynasty. There are mainly two types of Hanfu in Tang Dynasty. The main feature of short skirts is that the sleeves of the upper section are small and narrow, and the lower body is matched with a tight skirt, usually with silk ribbon to fasten the skirt. In the middle and late Tang Dynasty, the clothing strengthened the traditional aesthetic concept of Chinese culture, so loose clothes with big sleeves of Qin and Han Dynasties were popular again, but more elegant and sexier. The Hanfu in Song Dynasty was mainly based on the old style of the Sui and Tang dynasties. Compared with Tang Hanfu clothing, the skirt of Song Hanfu is narrower and has more pleats. The upper jacket was usually worn at the front of the skirt. Simply put, Hanfu in the Song Dynasty was simple and elegant. At that time, woman’s hair ornaments were also relatively simple. Although they followed the noble hair style of the late Tang Dynasty, but they usually had their hair decorated with only hairpins or flowers, without many expensive ornaments. Mamianqun or Mamian Qun (马面裙, literally horse face skirt) was the most typical style of female Hanfu clothing during the Ming and Qing dynasties. The Chinese horse face skirt is made of two large pieces of fabric sewn together by a single waistband, creating an overlapping look. There are four panels of fabric in total called “qunmen” (skirt doors). The outer skirt door is decorated, while the inner skirt door is not. Moreover, the unsewn doors give women enough mobility to ride horses without revealing any underwear. The Mamianqun originated in the Song Dynasty, became popular in the Ming Dynasty, stayed popular during the Qing Dynasty, and was still worn by people in the Republic of China (1912 to 1949). Wearing the traditional Chinese Mamian skirt has become a fashion craze again in recent years, especially among young people. The horse-faced skirt is pleated on the sides, while flat on the front and back. The texture, decoration, and color of Mamianqun skirts vary significantly among different social classes. The style of Mamianqun was comparatively simple and elegant during the Ming Dynasty. During the Chenghua period (1465-1487) of the Ming Dynasty, women in the capital were all fond of the Mamian skirt. The Mamianqun gradually developed into the daily attire for women in the Qing Dynasty, and became the iconic skirt style for women of the Qing Dynasty. There are several theories about how the horse-face skirt got its name. One theory is that the shape of the Mamianqun looks like the mamian fortress of an ancient city wall in China. During this period, the Mamianqun style was more luxurious. Wearing hanfu has become a trend in recent years. Another saying is that the front of the Mamianqun is similar to a long horse face. In the streets, parks, scenic spots, bookstores, and museums, such as the Palace Museum of Forbidden City, you can always see fans of Hanfu wearing this kind of Han Chinese traditional clothing, with their hair tied in a bun. Previously Hanfu was mainly used for traditional festivals and special occasions. These days, with the popularity of Hanfu and the deepening understanding of Hanfu among the public, especially the youngest, more and more people hope to wear Hanfu in their daily life. Hanfu is one of the many clothes of choice today, just like suits, cheongsam, and tunic suits.
The Hanfu, literally translating to the clothing of the Han people, chinese hanfu pink and green is not just a garment-it’s a cultural icon encapsulating the ethos of ancient Chinese society. Hanfu has traversed time, from its origins during the prime of imperial dynasties to its repression in a China eager to modernize, and now its remarkable revival. In its fabric, weave, and flow lies a story of a civilization that has influenced the modern fashion world profoundly. This cultural phoenix’s rise in the 21st century is more than a fashion statement; it’s a blend of heritage and aesthetic, of old-world charm and contemporary sensibility. A vestige of grandeur, the hanfu has played a pivotal role in China’s tapestry of tradition for centuries. Yet, Jul 24, 2023, marked a turning point in the life of hanfu, as China made choices that zipped the nation forward, leaving behind the weighty cloak of empire and its most tangible artifact-the hanfu. Through social movements like Hanfu Hong Kong, younger generations find solace in the elegance of their ancestral threads-a reclamation that’s about cultural identity and personal expression. Come 21st century, this garment has experienced a renaissance as a symbol of cultural pride. Hanfu today isn’t just for the occasional costume play; it has seeped into weddings, festivals, and, surprisingly to some, everyday attire. Purple, lending a regal and enchanting aura to anyone who wears it. The delicate sheer top gracefully flutters with every movement while the distinct tube dress design pays homage to the classic Qixiong style, which was revered for its flattering high-waisted silhouette and flowing lines. Indulge in the elegance of ancient Chinese fashion with the Women’s Chinese Hanfu Qixiong Ruqun Sheer Top Tube Dress Outfit, an exquisite embodiment of Tang Dynasty traditional apparel. Sized in Large (L), this traditional outfit is tailored to fit comfortably while accentuating the beauty of feminine curves. Crafted from premium materials, the Hanfu outfit ensures both durability and a soft, comfortable fit, making it ideal for cultural festivals, historical reenactments, or theatrical performances. Intricate detailing and authentic patterns adorn the dress, showcasing meticulous craftsmanship and a deep respect for historical accuracy. Whether you’re attending a themed event or simply appreciate the rich cultural heritage of the Tang Dynasty, this Hanfu costume is sure to turn heads and bring the opulence of ancient China to life. The sheer fabric of the top layer adds a touch of mystique, allowing for a subtle play of light and shadow to enhance the overall aesthetic. Any hanfu connoisseur will tell you that fabric choice and design are far from mere aesthetic decisions-they are narratives woven in silk and brocade. In the kaleidoscope of hanfu designs, each pattern-whether it be the noble dragon, the nimble phoenix, or the serene lotus-speaks volumes. Delving into hanfu’s fabrics, one resurfaces with stories of mulberry-harvested silk and the shimmer of satin, each material selected with purposed intent to confer status, occasion, or even ethereal beauty to the wearer. They are not just decorations; they are emblems of philosophy, nature, and myth, turned motifs that adorn individuals with more than just garb, but stories and ideals. Emperors would dazzle themselves in dragon-embroidered longpao, while scholars might prefer the simplicity of the shenyi-a wraparound robe that emanates scholarly austerity. Today, hanfu enthusiasts revel in the panoply of styles that echo ancient mores, yet speak a contemporary language. Ancient China’s wardrobe was an open lexicon of one’s societal pedestal. Modern hanfu renditions remain loyal to their hierarchical roots while allowing for personal touches. From the regal robes fit for a sage-born ruler to the artfully tailored attire of a merchant-class fashionista, hanfu’s aesthetic continues to expand and include a spectrum of identities in present-day fashion dialogues. Amidst a burgeoning global interest in China’s past, pioneering designers and brands have taken up the mantle to navigate hanfu through the waters of international haute couture. Brands like Guzhuang have not just reinvented tradition-they have catapulted it onto the world stage, effortlessly being spoken of in the same breath as shifts in global fashion trends, such as those involving Demna Gvasalia’s geometrical valiance or Stella McCartney’s eco-conscious purity. The Ez sofei Women Chinese Traditional Ancient Stage Performance Costume Hanfu Dress is a beautifully crafted attire that embodies the elegance and cultural heritage of ancient China. Gia Kim, a celebrated hanfu creator, contours the classic lines with modern tailoring, sewing history onto the global catwalk, her collections being a testament to the fact that ancient beauty transcends time and place. This exquisite green Hanfu dress, available in size large, is designed to capture the grace of traditional Chinese fashion, making it an ideal choice for stage performances, cultural festivals, and historical reenactments. Crafted from premium quality fabrics, the Ez sofei Hanfu dress is both comfortable to wear and visually stunning. Accented with intricate patterns and delicate embroidery, the dress features a flowing silhouette that allows for graceful movement, echoing the poise of ancient Chinese nobility. Thoughtful details such as the wide sleeves and tie closures add authenticity to the costume, ensuring wearers will stand out in their portrayal of Chinese tradition. Whether you’re an actress, dancer, or enthusiast of historical attire, this Hanfu dress is designed to offer a true sense of immersion into the world of ancient Chinese culture. The ensemble typically includes a full-length skirt and a coordinating top that highlights the distinctive cross-collar design, which is synonymous with Hanfu clothing. The digital age has acted as a catalyst for the hanfu movement, knitting together an intricate tapestry of enthusiasts that span the globe through social media and online forums. Offline, events like the Hanfu Culture Festival, bringing together legions of aficionados, showcase the rich history and ongoing evolution of these garments. This resurgence has also been galvanized by new celebrations and rituals where people deck out in hanfu and partake in recitals of ancient poetry, tea ceremonies, and traditional music gatherings that were once at the brink of fading into silence. It’s a melodic and visual ode to the past, harmonized perfectly with today’s cultural fabric. Yet, the equilibrium they’ve found has led to something spectacular-modern hanfu that complements the cosmopolitan lifestyles of today’s trendsetters. This is not just about keeping the spirit alive; it’s about letting it dance fervently to the rhythm of innovation. Today, one might find hanfu spun with eco-friendly fibers, or patterns that pay homage to classical art intermingling with designs that capture the pulsating life of modern cities. Striking the right balance between staying true to tradition and embracing the new has seen designers walking a tightrope. It’s where the whisper of history meets the bold declamations of the contemporary-a stance that resonates deeply with a demographic forging a future in respectful nod to the past. Explorations within film, like those where The Witcher season 3 cast dons fantasy garments, speak to a wider audience of hanfu’s potential. Each stitch in a hanfu serves as a delicate spindle, spinning yarns of epic tales and epochal lore. In the halls of fiction and drama, hanfu has clothed not just the characters but also the very essence of narrative. Costume designers, from small theatres to the sprawling sets of international blockbusters, approach hanfu as both a challenge and a chance to connect with a legacy that extends beyond borders. Their craft becomes a conduit through which history is not only retold but also reimagined-resurrected anew in each scene and act. The KUFEIUP Women’s Ancient Chinese Traditional Hanfu Dress is a beautifully crafted ensemble that exudes elegance and historical charm. The set includes a cardigan top and a flowy long skirt, each piece designed to pay homage to the exquisite traditional attire of ancient China. Sporting a delicate pink and light blue color scheme, this outfit is made from premium fabric that promises both comfort and style, transporting anyone who wears it back to the dynastic periods of Chinese history. Attention to detail is evident in every aspect of the Hanfu dress, with the cardigan featuring traditional Chinese knot buttons and flowing sleeves that enhance the outfit’s historical authenticity. The long skirt complements the top with its broad waistband that ensures a secure fit while allowing ease of movement. Perfect for cultural events, festivals, or as a unique addition to your wardrobe, the Medium size is tailored to fit gracefully, providing an authentic and flattering silhouette. It is not merely a costume but a celebration of cultural heritage, offering wearers a chance to experience the beauty and grace of ancient Chinese fashion. Whether you’re performing a classical dance, attending a cosplay event, or just appreciating traditional outfits, this Hanfu dress by KUFEIUP will turn heads with its timeless elegance and vibrant palette. Weddings arrayed in hanfu forge connubial imagery that is nothing short of a time-traveling experience, where couple and guest alike are ensconced in the elegance of bygone eras, allowing tradition to bless and bear witness to modern love narratives. The sanctity of marriage and the jubilance of celebrations find a reflective surface in hanfu. First-hand testimonies from newlyweds who chose hanfu, show a penchant for incorporating something uniquely personal and culturally resonant into their special day-a fitting homage to the threads that bind individuals not just in matrimony but in the fabric of an extensive cultural tapestry. From the hairpins reminiscent of a moonlit walk in ancient courtyards to the modern iterations of the elizabethan collar, accessories carry on the dialogue between the old and the new. Lavish garments like hanfu deserve equally remarkable complements-and the panoply of accessories serves just that purpose. They reinterpret traditional ornaments with a modern twist, crafting pieces that can adorn a hanfu or a blazer with equal grace. As the threads of globalization grow ever tighter, the hanfu trend shows no sign of unraveling. Contemporary jewelers and accessory designers look to hanfu for a muse, seeing it as a wellspring of inspiration that’s both inexhaustible and intriguing. Thought leaders and fashion futurists foresee hanfu breaking from its niche cocoon and fluttering into the broader sartorial consciousness. The fascinating intersection of hanfu with emerging technologies in textile manufacturing, injected with the genius of avant-garde designers, promises a vibrant kaleidoscope for the hanfu future. Predictive models envisage hanfu adapting ergonomic design, incorporating smart textile technology, and more importantly, shaping an inclusive narrative that transcends ethnicity and geography. The hanfu is more than a sum of its fabrics, patterns, and cuts-it is a testament to cultural resilience. It may well become a wearable symbol of human heritage, a conversation between the arcs of history and the lines of latitude and longitude that map our world. The spread of hanfu from emperors to enthusiasts and onto the global stage speaks of an allure that’s transcendent, dynamic, and unequivocally timeless. Through the resurgence of hanfu, we glance back at the rich tapestry of Chinese civilization and forward to how heritage can interlace with future aspirations. With each hem and fold, hanfu continues to wrap history around the present, nourishing a legacy that endures and evolves-one knot, one stitch, one robe at a time. Hanfu, with its graceful flow and rich cultural heritage, seems to dance through the annals of history. This resurgence of the hanfu is a tapestry of triumph for tradition amidst modernity, a silhouette of the past casting a graceful shadow ahead into the future. Imagine for a moment, swapping out the glitz of a possible hangover 4 adventure for the serene elegance of hanfu-inspired costumes weaving through a tale of historical intrigue. Such a sartorial choice could certainly lend a story a regal air akin to the sagas of dynastic China. As you dive deeper into the folds of hanfu’s timeless fabric, consider the unexpected parallels drawn with the unpredictable outcomes of gripping sports clashes. In an engaging twist of trivia, did you know that the traditional attire, while steeped in centuries of tradition, can still hold its own in the face of modern cinematic appeal? This spontaneity in history mirrors the exhilarating suspense one feels in the final minutes of a tied match, keeping spectators on the edges of their seats. And just when you thought you had hanfu pinned down, it surprises you with its versatility; capable of embodying the dramatic flair of Madea family funeral cast characters, or the steadfast determination of a seasoned lawyer like Creighton waters. Much like the thrilling unpredictability of man city Vs liverpool, every stitch and pattern of hanfu tells a unique story of its own, sometimes revealing social status or regional distinctions in its intricate designs. So next time you see the delicate silk of a hanfu robe, remember the multifaceted stories it carries, as rich and diverse as the history of China itself. The Oligage Hanfu Wig Headband is an exquisite accessory designed for women who wish to embrace the elegance of traditional Chinese hairstyles with a modern twist. This hair piece embodies the essence of antique Chinese hair styling, perfect for cosplay events, cultural festivals, or themed parties. There’s no denying the magnetism of hanfu’s aesthetic, something that rising stars and legal eagles like Dasha Nekrasova could attest to, embodying both dramatic presence and a deep-rooted sense of tradition. Its premium black fibers are intricately woven to create a sophisticated and authentic look, matching effortlessly with a variety of Hanfu dresses and classical attire. Crafted for comfort and ease of use, the Oligage Hanfu Wig Headband comes equipped with a discreet and adjustable cosplay pad that securely fits around the head, providing a stable base for the hairpiece. This headdress is not only a fashion statement but also a nod to historic Chinese beauty standards, allowing wearers to showcase a unique and artistic hairstyle without the need for professional styling skills. The FG color variant complements a range of complexions, ensuring that the headband adds a touch of grace to any ensemble. Its durable materials ensure longevity and repeated use, making it a go-to accessory for any occasion that calls for a dash of cultural flair. Whether used for performance or as a distinctive addition to an outfit, this hair accessory is sure to turn heads and enhance the beauty of anyone who wears it.
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Made for April 2011 China Trip. One of my dreams for a while was to cosplay at a really cool location… Chinese hanfu inspired outfit with a big flower on my head. AJ, Judy, Marcus and I went to Beijing and we figured while we were there, we should try to cosplay. People sometimes rent costumes and do it, or they even take bridal photos there! We asked some Chinese cosplayers online and it seemed like a lot of the tourist locations (like the gardens and palaces) didn’t really mind if you showed up in costumes and took photos. This attitude is very different from the typical attitude in the USA about taking photos in similar locations. Most places in the USA either won’t let you do it or will charge you hundreds of dollars. ’re really just dorks, perhaps we are elaborate dorks, but still dorks. They often assume you’re doing it for some professional thing,… We chose the Summer Palace, which was easily one of the most lovely and interesting places we visited on our trip. None of the staff gave us any trouble about dressing up! In fact, they really liked us and some wanted to get photos with us. Every corner we turned was a more beautiful thing to see! We seemed to be pretty popular with the Chinese tourists, too. ” to positive comments about our costumes first and wondering if our hair was real (it wasn’t) and THEN “She’s so tall! Marcus said that the order of comments changed from “She’s so tall! You’d hear them call our “names” as we passed. ” Ha! Some people even knew who AJ and I were supposed to be! She’s been wanting to make Green Snake’s outfit for years! AJ is Green Snake from The Legend of White Snake, Green Snake. Yang Guifei was one of the Four Beauties of ancient China. My outfit was inspired by tvdrama version (Yang Gui Fei Mi Shi) of Yang Guifei. My patterns were drafted from scratch and I didn’t have much information on what actual hanfu were made like way-back-when. The outfits we made are not trying to be strictly historical, just mostly “inspired-by”. I was just going for a pretty look that was inspired by hanfu. The phoenixes on the collar are machine embroidered (by me) from a set of files that AJ had used for her Asian Steampunk. Phoenixes, from what AJ and what we learned while we were in China, were the symbol often used by the empresses and consorts (basically the imperial females). The dragon was used for the emperor. The collar I made was heavily inspired by the tvdrama version of Yang Guifei. There are three layers of sleeves, the longer two being floor-length and peachy-pink, while the shorter one is pink-pink.The sleeve-less underbodice is a blue on blue floral and has an appliqued ruyi tou arabaseque (sacred fungus) that I learned about in my Beijing Opera Costumes book. The skirt is two layers of off-white with multiple layers of pink “petals” and a blue tabbard. Some of the faux-extra-layer-collars are brocade, some are solid-colored. The tabbard is made of the same fabric as the underbodice and has an applique design inspired by the ruyi tou arabaseque, but I’m not sure if it still counts as one. The obi is a faux obi that snaps in the back. The dangling charms; one was from China Town in LA and the other I got at the Forbidden City in Beijing. My hair is my own except the large bun in the back which is just pinned on. It’s a full pack of the yacky-type extension hair braid drawn into a bun.
The majority of people are convinced that the Japanese and Chinese look the same, and there is a weak chance to differentiate their appearance. Apart from being similar in the context of appearance, their cultures have significant resemblances too. They are united by moderation, hard-working nature, and respect for elderly people. Their languages sound identically for foreigners, as well as the hieroglyphs, which both the Chinese and Japanese use. However, both these cultures are independent and worth exploring, as they contain a great number of interesting aspects. This way, the purpose of this paper is to contrast the mentalities, worldviews, religion, traditions, habits, and everyday routines of both countries and prove that they are different and appealing in their own way. The major religions in China are Buddhism, Daoism, and Confucianism, and Buddhism and Shintoism in Japan. It may seem that these countries and their specialties cannot be compared to each other, as a person usually cannot mention even five differences between them. Interestingly, citizens of both countries consider it normal when a person relates to several confessions, and they are tolerant of all religions. From the beginning of Chinese history, there was no dominant religion, and there was no requirement of unconditional devotedness. Buddhism unites the spiritual message of both cultures, though there are some differences in this respect. An individual was capable of choosing several confessions at the same time (China Highlights, n. On the contrary, Shintoism is the national religion of Japan. The Japanese people are convinced that everyone and everything, who or which surrounds them, has spirit, even if it is a stone. In addition, Shintoists believe that in magic, totemism, and fetichism. Chinese do not bow in case they are willing to greet someone or say goodbye. Chinese bow only if they are determined to show respect during a special ceremony or holiday. In the times of dynasties, whether a guest visited the Imperator, he or she had to bow deeply and touch the floor by the head nine times (China Highlights, n. Other forms of bows and reasons to do it did not exist. Interestingly, Japanese bow during a telephone conversation even without noticing it. Moreover, there is a special classification on the principle of depth and duration. For instance, a greeting bow is 15 degrees, a respectful one is 30 degrees, the most respectful one is 45 degrees, and the deepest one implies touching the floor. Wushu is Chinese gymnastics, which has united all types of martial arts. On the contrary, a bow is an integral part of the Japanese everyday routine. Therefore, kung fu implies self-development and self-improvement from the perspective of the Chinese worldview. As for Japan, the art of killing, namely budo, is the historical base of all martial arts. The term “kung fu” is frequently used to describe martial arts, too, though Chinese means any kind of activity, from martial arts to cooking, which includes self-perfection. In the past, ninjas and samurais used to learn budo. The main goal of this kind of martial arts is as fast as the possible and effective counteraction of an opponent. Other kinds of martial arts, which are popular in Japan, are sumo, judo, aikido, karate, and ju-jitsu. The traditional Chinese dress is called hanfu and involves a selection of clothes, from underwear to a dressing gown with a belt. This is the fight without rules, where all the means were useful, and killing, instead of shaking hands, is the complete final. After the Manchus invasion in the 17th century, changshan became traditional clothes for men, and cheongsam for women. These types of traditional dressing had been worn for three centuries by the time Mao established the uniform. It is worthy of note that wearing traditional clothes is becoming increasingly popular in China. In general, Chinese costumes are brighter and more extravagant as compared to Japanese options. Both men and women used to wear hanfu, and this garish and luxurious garment demonstrated the magnificence of silk fabrics. Kimono is a traditional Japanese dressing, and hanfu was its base. It is evident that these days, it is not an example of casual clothes. Kimono highlights the waist and shoulders, as the ideal Japanese beauty implies minimizing the parts, which are gibbous. However, every female citizen has some costumes for special occasions, such as holidays, weddings, and prom (Inside Japan, n. Kimono was considered to be traditional clothes at the beginning of the 19th century. Although the entire world is acquainted with five types of tastes, Chinese cuisine contains even eight ones. Apart from sweet, sour, bitter, salty, and spicy ones, Chinese are capable of distinguishing an aromatic taste, as a dish, which is cooked correctly, has a particular smell. Other ones are bland, which is similar to that tase of rice and bread, and golden, which reminds kumquat. Chinese traditional dishes include Peking Roast Duck, dim sum, roast rice, century eggs, and turtle soup. The main delicacy of traditional Japanese food are dishes with raw fish, and rolls and sushi are the most popular option. During the cooking process, fish is not heat-treated in order to maintain its natural taste. In addition, the Japanese enjoy the meals, which consist of a great number of small courses (Inside Japan, n. Rolls and sushi are well-known worldwide, and they are the primary example of Japanese cuisine. In the classical option of Japanese aristocrat’s meal, there are from 15 to 20 positions. This way, they are capable of assessing the chief’s mastery and prevent overeating. The most demanding option in Chine is acupuncture or needle therapy. For instance, if a person has problems with a lever, needle therapy is applied to his or her ears and feet. A body has approximately 700 points, and each of them has its own title and meridian. Specialists of acupuncture suppose that each organ matches a particular zone in the body, which is called a meridian. Using needles, specialists stimulate a person’s energy and relieve the pain in an organ. Shiatsu appeared in the 40s years of the 20th century when a medical worker Tokujiro Namikoshi noticed that his mother has rheumatoid arthritis, was pressing the painful points and massaging them. Such movements and pressing were beneficial for relieving her pain (Professional Shiatsu School, n. As for Japan, the population sticks to shiatsu, which implies pressing a body with hands. Tokujiro Namikoshi started to explore this issue and developed a treatment methodology, which was based on pressing painful points with fingers. The history and geography of a particular country have a considerable impact on its development. That results in specialties of people, who reside on the territory of a state and pass their traditions. Such a process is characteristic of the Celestial Empire too. China is situated in inland Asia, while Japan locates on the islands of the Yellow Sea. It is a habitual event for Japanese to live in a cramped apartment and incur some natural disasters, such as tsunami, earthquakes, and volcanic erosion. Furthermore, the Celestial Empire has a rich 3-thousand-year history, and during this period, red cheongsam there were several powerful dynasties. This was the history of appearing shiatsu, which is one of the types of manual therapy. It is also worth mentioning that the Chinese presented the world with significant inventions, such as gunpowder, paper, and tea. In the 18-19th century, Mongolia and Tibet obeyed the Empire, and other Asian countries, which are Myanmar, Siam, Vietnam, and Nepal, paid tribute to China (Index Mundi, n. The entire world had to respect the interests of China. Despite this fact, this country opened its bordered only 150 years ago, and for this reason, it stayed reserved and undiscovered. On the contrary, allusions of Japan appeared in 3-5 centuries A.D. Both of them have their specialties, which are explained by the specifics of their geography and historical development. It is also worthy to note that the traditions, including food preferences and clothes, are diverse. However, nowadays, people tend to get tangled in differentiating these Asian cultures due to their reservedness and lack of knowledge. In summary, although Chinese and Japanese cultures are highly likely to seem similar at first glance, there are significant differences between them. Chinese Culture (n. d.). Nevertheless, they are worth exploring, as they contain a significant number of exciting aspects. Japanese Culture (n. d.). Tokujiro Namikoshi (n. d.). Professional Shiatsu School. Web. China vs. Japan (n.
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