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As the dawn breaks over the thousand-year-old cityscape, heralding the start of a new day, and the tantalizing aroma of traditional cuisine fills the morning air, seize the opportunity to embark on a once-in-a-lifetime travel experience-wearing Hanfu in Xi’an. This elegant attire of ancient China will serve as your personal time machine, promising to transport you back to a bygone era of elegance and grandeur. Hanfu (汉服), literally translating to “Han clothing,” denotes the traditional clothing of the Han Chinese. It encompasses attire worn by the Han ethnic group throughout history, which goes beyond the common misconception of solely representing the Han Dynasty. Embodying centuries-old traditions and values unique to Chinese civilization, Hanfu has transcended mere a fashion statement. In recent years, there has been a remarkable revival of Hanfu among Gen Z, marking a significant cultural trend. Through Hanfu, you can forge a tangible connection to China’s past. Each garment narrates tales of bygone dynasties, offering insight into the elegance and sophistication of ancient Chinese society. As this trend continues to gain momentum, it underscores the enduring beauty and allure of Hanfu in today’s modern world. Whether exploring historical sites or mingling with locals, donning Hanfu offers a distinct opportunity to appreciate and honor China’s profound cultural heritage. Xi’an, the capital city of 13 dynasties in ancient China, serves as a gateway to the nation’s illustrious past. By wearing Hanfu, you can transport yourself back in time, envisioning the bustling markets and grand palaces of ancient China. From the iconic Terracotta Warriors and Big Wild Goose Pagoda to the majestic Ancient City Wall, every corner of Xi’an resonates with history. It’s more than just sightseeing; it’s a journey through centuries of civilization, where the past springs to life in vivid detail. Additionally, the resurgence of Hanfu in China has made it more affordable and accessible to a wider audience. Once immersing yourself in the vibrant colors and intricate designs of the traditional attire, you will undoubtedly deepen your appreciation for China’s enduring legacy. The affordability of Hanfu encourages tourists visiting Xi’an to partake in this cultural experience without financial constraints, ensuring everyone can fully engage with the beauty of Han Chinese heritage. If you are interested but don’t know how to start your Hanfu journey, no worries! In Xi’an, you will find numerous reasonably priced options that suit your preferences and budget. China Discovery has got you covered with all-inclusive packages, including costumes and optional hairstyling, makeup, props, and photography services. Just pick out your favorite outfit, and we’ll handle the rest. Engaging in the Hanfu experience in Xi’an involves more than just wearing the attire; it is a complete cultural immersion. You can expect professional hair styling and makeup services, complemented by traditional accessories. With ornate hairpieces and other accessories, participants can truly embody the elegance of ancient Chinese fashion. From historically accurate hairstyles to meticulously applied makeup, every detail contributes to an authentic portrayal of the Hanfu aesthetic. You will have the chance to learn the significance of different Hanfu styles for various occasions and master graceful movements and postures associated with wearing the attire. Understanding the nuances of Hanfu etiquette adds depth to the experience in Xi’an. Once you’re dressed in your attire, your hair and makeup are done, and you’ve mastered the etiquette and posture, you’re fully prepared to immortalize this moment through photography. Professional photoshoot services are always available upon request. Skilled photographers will capture the essence of visitors adorned in Hanfu against the backdrop of exquisite indoor settings, as well as Xi’an’s iconic landmarks and scenic vistas. Knowledgeable staffs and instructors will provide insights into the cultural customs and symbolism behind Hanfu etiquette, enriching the journey into China’s rich heritage. Whether it’s a solo portrait or a group shot, the photoshoot ensures that cherished memories of the Hanfu experience in Xi’an are beautifully preserved for years to come. Xi’an, steeped in millennia of history, beckons with its layers of cultural richness awaiting exploration beyond a picturesque backdrop for wearing Hanfu. Immerse yourself in the allure of iconic scenic spots, complemented by authentic Hanfu experiences carefully woven into your journey. Every destination and Hanfu service is entirely customizable, ensuring a tailor-made adventure that resonates uniquely with you. Ready to unlock the secrets of Xi’an’s ancient past? Check out the following itinerary to get inspired! With China Discovery’s comprehensive tour packages, you’re invited to uncover the city’s multifaceted charm. Our curated tour packages offer an immersive Hanfu experience in Xi’an alongside visits to other popular cities across the country. Looking to explore more about China’s rich cultural heritage? From the ancient Terracotta Warriors of Xi’an to the majestic Great Wall of Beijing, and the vibrant city life of Shanghai, our itineraries are crafted to immerse you in the rich cultural heritage of China. Join us on a captivating adventure that seamlessly blends traditional charm with modern marvels, providing you with a deeper understanding and appreciation of this fascinating country’s history and culture. Highlights: Touch the ancient heart of China to fully experience the history and culture of China; Experience the local lifestyle in traditional Hutongs with our local guide; Trace back to the past prosperous dynasties of China, be awed at those man-made ancient wonders. Highlights: Stroll leisurely along the Bund and enjoy the stunning skyline of Shanghai; Appreciate Lingering Garden, one of the four most famous classic gardens of China; Traverse through thousands years of history of ancient China and witness the masterpieces. Highlights: Embrace the two greatest capital cities of ancient China; Visit three famous World Heritage Sites (Terracotta Warriors, Longmen Grottoes and Shaolin Temple); Go hiking on Mount Hua, known as one of the most beautiful mountains in China. Highlights: Visit the highlights to savor the brilliant history and culture of Xian; Watch lovable giant pandas in person and enjoy laid-back life style in Chengdu, the City of Leisure; Experience the wowed fast speed and technologies on the Xi’an-Chengdu High Speed train. Highlights: Explore Xi’an, China’s ancient capital city with a splendid history over 3000 years; Witness the Avatar floating mountain in reality at Zhangjiajie National Forest Park; Enjoy the best cultural and natural feast at one time to broaden your horizon. Location: In Xi’an, many Hanfu stores are located near popular tourist attractions, catering to visitors looking to immerse themselves in the Hanfu experience while exploring the city’s renowned landmarks. Highlights: Explore Xi’an, the ancient capital city of China as well as the starting point of the ancient Silk Road; See amazing mural arts, impressive Buddhist statues, well-decorated caves and unique frontier landscape in Dunhuang; Enjoy the exotic custom and beautiful scenery in the Golden Triangle Cities -Urumqi, Kashgar and Turpan. Appointment: Most of the stores operate on a walk-in basis, allowing flexible visits at any time of the day or evening. Scheduling an appointment ahead of time can prevent long wait times during peak customer hours. Also, to safeguard against potential damage or loss of the clothing, stores usually request a deposit of several hundred RMB, which is refunded upon returning the clothing. Pricing: Prices vary from tens to hundreds of RMB, depending on the style of Hanfu and service package you choose. China Discovery Selected Recommendation: China Discovery offers a selected Hanfu store recommendation, conveniently located near the Grand Tang Dynasty Ever Bright City, cheongsam in mandarin enhancing a seamless cultural exploration. Rental Period: If customers require outdoor photoshoots, they are typically asked to return the clothing within 12 or 24 hours. For more information, please feel free to contact us. Before diving into the best places for Hanfu photoshoots, let’s acknowledge the significance of capturing these moments. Hanfu rental shops and photo studios often offer beautifully crafted indoor settings specifically designed for Hanfu photography. Beyond mere images, these photoshoots will enrich your Hanfu experience while immortalizing your connection to Chinese culture and tradition. Here are some iconic sites in Xi’an that harmonize perfectly with the grace of Hanfu attire. The Grand Tang Dynasty Ever Bright City is a cultural and entertainment complex inspired by the prosperous Tang Dynasty. Just a few minutes’ walk away lies another themed block named The Longest Day in Chang’an (长安十二时辰), China’s first immersive Tang-style city life district. While indoor setups provide controlled environments for stunning captures, venturing outdoors opens up a world of natural beauty and historical charm for your Hanfu pictures. With intricately designed architecture, bustling streets, and vibrant cultural performances, these two locations provide perfect settings for tourists to capture Hanfu photos and even interact with actors. Its towering structure and tranquil surroundings offer a majestic setting for Hanfu photography. Near the Grand Tang Dynasty Ever Bright City, the Giant Wild Goose Pagoda, a UNESCO World Heritage Site, stands as an iconic symbol of Xi’an. Visitors can wander through the pagoda grounds, capturing breathtaking photos amidst the pagoda’s grandeur and the lush gardens that surround it. The Bell Tower and Drum Tower stand as iconic landmarks in the heart of Xi’an’s bustling city center. Dating back to the Ming Dynasty, these ancient structures not only boast architectural beauty but also hold profound historical significance. Their timeless charm makes them ideal locations for capturing Hanfu photos, blending tradition with the city’s modernity. Xi’an’s Ancient City Wall, the largest and best-preserved existing ancient city wall in China, offers panoramic views of the city and serves as a unique backdrop for Hanfu photography. The well-preserved wall, embellished with watchtowers and gates, provides a historical setting that contrasts beautifully with the traditional attire, qipao sexy making it a great place for capturing stunning Hanfu photos. Color: Rich, deep colors like crimson, emerald green, and royal blue, showcasing a sense of opulence and refinement. Design: Simple yet elegant designs. Design: Evolved with structured and layered designs. Garment: Loose-fitting robes with wide sleeves and flowing silhouettes, emphasizing comfort and grace. Color: Vibrant hues such as vermilion, sapphire, and jade green were favored, with intricate embroidery adding luxurious detailing. Garment: More tailored, with the use of fitted jackets and layered robes creating a sense of sophistication and elegance. Garment: Voluminous sleeves and flowing silhouettes, accentuating the wearer’s stature and prestige. Color: Rich tones with strong contrast, such as deep purple, golden yellow, and ruby red, embellished with intricate embroidery, elaborate brocade patterns, and luxurious adornments. Color: Soft, pastel shades like blush pink, pale jade, and ivory dominated, with delicate embroidery adding subtle sophistication. Design: Embraced refined elegance. Garment: More streamlined, with fitted jackets and layered robes creating a sleek and graceful look. Color: Bold colors such as imperial yellow, deep crimson, and indigo blue, embellished with embroidery and opulent trimmings like gold thread and jade ornaments. Garment: Voluminous robes with wide sleeves and elaborate headdresses, symbolizing wealth and prestige. Beyond the enchanting world of Hanfu, a diverse array of traditional Chinese attire awaits your discovery, offering a deeper understanding of China’s rich cultural heritage. Explore this sartorial journey with us to experience the beauty of China’s traditional dress! Each piece of clothing tells a unique story and showcases the artistry and history of Chinese fashion. At Shufeng Yayun Sichuan Opera House, you can try on Sichuan Opera costumes and get hands-on with real theatrical props. Dive into the captivating realm of traditional Chinese opera costumes, such as those of Sichuan Opera, celebrated for their vivid colors and intricate craftsmanship. You will also have the opportunity to enjoy thrilling performances featuring face-changing and fire-spitting acts, all while engaging in interactions with the talented performers. From the vibrant attire of Tibetan festivals to the intricate weaving techniques of Miao embroidery, the clothing offers a deeper understanding of China’s diverse ethnic culture. Discover the rich cultural tapestry of China through immersive experiences with traditional costumes from ethnic minority groups in regions like Tibet, Guizhou, and Yunnan provinces. Engage in local activities and gain insights into the significance of these traditional costumes with our knowledgeable guides. Top 3 Xian tours chosen by most customers to explore Xian in the best way. Check the detailed itinerary, or tailor your own trip now with us. Start planning your tailor-made holiday to China by contacting one of our specialists.

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This information is derived from a larger write-up I did for an A&S Competition entry – you can read the final version of that entry in my documentation vault. The banbi was first worn by “maids of honour,” but the fashion trickled down to commoners.5 Strict families did not allow their women to wear the banbi at all, and its popularity declined as a result.6 The depictions we have of women wearing a banbi are all labeled as attendants and serving women, so these families likely did not want to be seen as of a lesser rank. I also made a short video about this project, which you can view on the Kingdom of Meridies’s YouTube channel. Click on the images in galleries to enlarge them. Late 7th – early 8th century, China. Figure 1: Detail of Standing Female Attendant (Figurine). Figure 2: Detail of Standing Female Attendant (Figurine), Late 7th – early 8th century, China. The Metropolitan Museum of Art. The Metropolitan Museum of Art. Figure 3: Detail of a wooden figurine found in the tomb of Zhang Xiong (d. 633) and Lady Qu (d. Figure 4: Detail of a mural painting of a dancer wearing a banbi outside of her skirt, from the tomb of Zhang Lichen (655-702), Astana Cemetery. 688), Astana Cemetery, wearing a polychrome jin silk jacket woven to scale and tucked into a silk tapestry belt. 701), Shaanxi Museum, Xi’an, Shaanxi, China. Princess Yongtai (永泰公主, d. Figure 6: Female entertainers in a mural on the north wall of the Tomb of Prince Li Xian, dated 742 C.E. Figure 7: Figure of a woman holding a bird and wearing a banbi over her skirt, dated to the early 8th century. These attendants are wearing their banbi outside their skirts, with the ties visible. Figure 8: Figurine of female attendant, wearing a banbi tucked into a striped skirt with a patterned belt or waistband and with a blue pibo (shawl), from the Tomb of Zhen Rentai (a military commander), dated 664 C.E. Figure 9: Female attendant from a mural on the tunnel’s east wall, the Wei Family Tomb, dated to the late 8th century.11 Her banbi, like her ru, has very wide sleeves and is worn tucked into her skirt. Freer Slacker Gallery. The sancai (“three colors”) glaze pattern on the jacket suggests a polychrome silk. China National Silk Museum. Hanpi (sleeveless coat) of bast-fiber cloth in the Shōsōin Repository. Astana Cemetery tomb 206, Astana, Turfan, Xinjiang. Housed at the Xinjiang Uygur Autonomous Region Museum, Urumqi. The cut of the fabric implies it is a fragment of a doll-sized banbi or ru (shirt). 14.1 centimeters from sleeve to sleeve. It was found in a box with a statue of a Bodhisattva and labeled with the year 871. Housed in the Famen Temple Museum, Shaanxi. In R. Schorta & A. D. H. Bivar (Eds.), Central Asian textiles and their contexts in the early Middle Ages (pp. Lin, C. (2006). The lotus motif on textiles from Famen Temple. There are visible seams just past the sharp curve of the armpit, and the garment is lined with a center back seam. There is a short-sleeved jacket from the Yuan Dynasty in the Gansu Provincial Museum (Figure 10) which may be a descendent of the Tang Dynasty’s banbi. It is 63 centimeters long and has an arm-span of 115 centimeters.16. There are no ties or visible evidence of previous ties. Gansu Provincial Museum, China. The banbi may have either influenced or been influenced by clothing worn by the Mongols; an entire mode of dress, called hufu (foreign clothing) was popular during the Tang Dynasty to the degree that there are an ample number of tomb figurines and paintings of women wearing such garments. The longer versions of short-sleeved coats that Halbertsma-Herold presents in artwork all have crossed collars. Both garments are lined and feature a center back seam. Halbertsma-Herold (2008) points to three garments from Inner Mongolia that are similar to the banbi (Figures 11 and 12).17 Unlike Mongol garments that feature a cross-collar design, these jackets have a parallel collar and either visible or the suggestion of previous ties. The lining in both garments may have shifted over time, resulting in it being visible beneath the hem of the outer fabric. Instead of the garment edges meeting in the middle in the front, the hanpi garments have a small overlapping piece stitched to the left edge and onto which the collar is extended to form a tie (Figure 13). The hanpi is a men’s undergarment,18 while the banbi was outerwear. While there are several short-sleeved upper garments (hanpi) in the Shōsōin Repository, these are men’s garments and neither serve the same purpose nor have the same stylistic features of the women’s banbi. Based on the figurines, paintings, and miniature extants, I concluded that the banbi’s construction was closer in similarity to a ru (襦, shirt) than the Japanese hanpi. Like the banbi, the ru has a straight, open collar, a slight curve at the underarm, and ties in the front. I based my banbi pattern on my ru pattern, which I designed for a fabric width of 24 inches, which was the standard fabric width during the Tang Dynasty.19 Because the banbi is a short-sleeved garment, no additional material is necessary to extend the sleeve length. As it is, the sleeve cuff of my banbi sits at my elbow, which corresponds with period artwork (Figures 4 and 9). The length of a banbi varied, but a few inches past one’s natural waist should allow for one banbi to be worn either tucked in or outside the skirt. The shirt is fairly straightforward, being very similar to a basic T-Tunic, without under-arm gussets or gores. There are no extant shirts from the Tang Dynasty, so we are limited to period depictions including reliefs, murals, paintings, and tomb figurines, though we can supplement this with extant garments from preceding and succeeding periods. The seam in the center back is described in the Book of Rites regarding the proper construction of the shenyi (深衣),20 and can be seen in upper-body extant garments. In terms of construction, the shirt likely had a center back seam. The China National Silk Museum has one shirt from the Northern Dynasty (386 – 580 C.E.) which appears to be lined, and it is difficult to see whether there is a center back seam (Figure 14).23 It may be that the lining does not have a center back seam and the outer fabric does, though this would be odd considering other lined garments have a visible center back seam in the lining. The Book of Rites24 calls for a “square-shaped collar” for the shenyi,25 but given how the garments appear to rest in statuary, as well as on a figurine wearing cloth garments, I believe the necklines for women’s shirts were curved. Given that the standard width of fabric in the Tang Dynasty was approximately 24 inches, a center back seam is necessary to produce an open-front garment that can go all the way around the body. I am only aware of one extant upper garment where the side seams are open and the textile is laid flat to show an angled collar, but it is unclear who wore this garment.26 Though they are usually displayed and photographed flat, it is arguable that extant upper-body garments from preceding and succeeding dynasties, as well as hanpi in the Shosoin Repository, have curved necklines. A textile fabric dated to the Tang Dynasty recovered from Astana tomb number 206 that appears to be part of an upper garment (either a shirt or jacket) made for a tomb figurine due to its small size, not unlike the two skirts found in another Astana tomb, looks to have a curved (if slightly) neckline (Figure 15).27 Juni L. Yeung translated an article by Hu Jingming, originally posted on Baidu Tieba (an online community that is integrated with a Chinese internet search engine), which was posted to the Toronto Guqin Society’s page. The article presents an argument for a curved Ming Dynasty neckline.28 I have made shirts with both a square neckline and a curved neckline, and I prefer the fit of the latter. The silk ties/tapes used as garment closures don’t get much attention in the literature: Zhao Feng mentions them as closures for Liao Dynasty garments, ranging from 1.5-2.5 centimeters in width for upper garments, with wider tapes used for pants and skirts. From a mathematical perspective, the calculation of pi (π) was known in China as early as the 3rd century.29 The miniature garment in Figure 16 also features an undeniably curved neckline. They are visible on extant garments, as well as in art throughout Chinese history (Figures 4 and 7 are particularly good examples). Seong Myeong Su Daegam suggested I look at Traditional Korean Costume30 to get more insight on the way the ties are made and attached to collars. The Tang Dynasty roughly corresponds to the Unified Silla period in Korea, and the majority of the garments in this book are not from that era. This being said, the methods of how to make and attach silk ties are likely very similar to what was used in the 7th-9th century, given the simplicity of ties as a closure method. For upper garments, no attention is given to the construction of the ties themselves, though they appear to be made by sewing strips of silk into tubes and pressing them flat, chinese traditional clothes for men with the narrow edges folded in and finished with an invisible slip/ladder stitch. You can move the collar in the cutting layout, or make it. The banbi is constructed similarly to the ru (襦, rū), or shirt. Alternatively, you can shorten the upper sleeve piece to your desired length. Notes for how to draft a ru pattern are on the pattern page for that garment. As seen in Figures 1-9, sleeves ranged from cap to elbow-length. Figure 18 is my pattern/cutting layout for the ru. This is for half of the pattern pieces – it would be mirrored for patterned fabric to accomodate for directional designs. Remember that this garment has no shoulder seam so if your design has a top and bottom, it will be upside down on the back. Finish the ends of the sleeves with a blind hem stitch before you attach them to the shoulders, finishing the seams as you go. I like use a backstitch, and I flat-fell my seams – we don’t have definitive information about what kind of seams and seam finishes were used in period.39 If you’re lining your banbi, a secondary line of stitches on your seam allowance should be enough. Stitch the center back and side seams. The collar consists of a single, straight piece of fabric that is 3 inches wide. To make ties for your banbi measure out strips 6 centimeters wide and 54 centimeters long (for ties that are 2 centimeters wide and 53 centimeters long when finished). Congratulations! You now have a lovely piece of outerwear for your early Tang Dynasty wardrobe. Fold and press the strips, then stitch them with an approximately 0.5 centimeter seam allowance (Figure 22). Turn the ties and fold in the narrow sides 0.5 centimeters and close the tubes with a slip stitch. 1. Zhou, X. & Gao, C. (1987). p.77. 2. Hua, M. (2011). p. 4. Chen, B. (2013). p. 3. Chen, B. (2013). pp. 9. Chen, B. (2013). p. 8. Watt, J. C. Y., Jiayao, A., Howard, A. F., Marshak, B. I. Su, B., Zhao, F. (2004). pp. 12. “妆花凤戏牡丹纹绫夹衫.” (Silk twill damask phoenix peony patterned jacket). 10. Chen, B. (2013). p. 13. Kessler, A. T. (1993). Empires beyond the Great Wall: the heritage of Genghis Khan. Los Angeles, CA: Natural History Museum of Los Angeles County. Gansu Provincial Museum, China. 14. Chung, Y. Y. (2005). Silken threads: a history of embroidery in China, Korea, Japan, and Vietnam. New York: Harry N. Abrams. 15. Zhao, F. (2012). Silks in the Sui, Tang, and Five Dynasties. 203-257). New Haven, CT: Yale University Press. 17. Halbertsma-Herold, U. (2008). p. 18. Parent, M. N. (2001a). Hanpi 半臂. In D. Kuhn, (Ed.), Chinese Silks (pp. 19. See Appendix in the larger write-up for more information on period textiles and tools. JAANUS: Japanese architecture and art net users system (Dictionary). I’ll eventually make a new page for that information on the site, too. 21. 小花菱纹罗单衣片. 20. Confucius. (475 B.C.E. 22. 花卉纹罗袍. China National Silk Museum, Hangzhou, Zhejiang, China. China National Silk Museum, Hangzhou, Zhejiang, China. 23. 绞缬绢衣. China National Silk Museum, Hangzhou, Zhejiang, China. 24. The Book of Rites is a compilation of the customs, administration, and rituals of the Zhou Dynasty (c. 221 B.C.E./2018) 深衣 – Shen Yi. China National Silk Museum, Hangzhou, Zhejiang, China. 25. Confucius. (475 B.C.E. In D. Kuhn, (Ed.), Chinese Silks (pp. 27. Zhao, F. (2012). Silks in the Sui, Tang, and Five Dynasties. 203-257). New Haven, CT: Yale University Press. 28. Hu, J. (2011, April 11). Understanding hanfu aesthetics mathematically: Curves of a robe. In Lu, Y. (Ed.), A history of Chinese science and technology (Vol.1) (C. 31. Lee, K., Hong, N., & Chang, S. (2005). Traditional Korean costume. 29. Gao, S. & Tian, M. (2015). Mathematics. Folkestone, Kent, United Kingdom: Global Oriental. 38. LLee, K., Hong, N., & Chang, S. (2005). Traditional Korean costume. 39. For what we do know or can extrapolate, see Zhao F. (2004). Liao Textiles and Costumes. Folkestone, Kent, United Kingdom: Global Oriental. Hong Kong: Muwen Tang Fine Arts Publication Ltd. Yong-i Y., Yeo-Kyung K., Su-jin S. (2016). Chimeson: Korean Traditional Sewing. Seoul: Korea Craft and Design Foundation.

In recent years, traveling to China has become more and more popular around the world. Many people come to enjoy the unique life of China, taste delicious food, visit beautiful scenery, and experience Chinese traditional culture. But you may find out it is rare to see Chinese people wearing traditional costumes in their daily life. It seems like the traditional clothing has been forgotten by them. So, you might have a question, what is Chinese traditional costume, Cheongsam, Qipao or Kimono? Each country’s traditional costumes are one of the symbols that reflect countries’ ancient cultures and how native citizens were influenced by the regional environment. China has a long history of more than 5,000 years. Undoubtedly, Hanfu as the most typical traditional costume of China, is a very important part of Chinese national culture. But compared with other traditional cultures, such as Chinese painting and calligraphy, Hanfu is not getting proper status and glory in Chinese Culture Circle. Clothing of Buddhism, Taoism and many minority nationalities in China still maintain the characteristics of Hanfu. Though with its disappearance in some ears, Hanfu still remains its typical features today due to its strong vitality. The journey of China is also a journey exploring traditional Chinese culture. In addition, Hanfu‘s elements can also be seen in some traditional important festivals, such as commemorative events, folk festivals, and Kung Fu TV programs. China is a united multi-ethnic country, 56 ethnic groups are like a big family. Now, let’s walk into the world of Hanfu, learn about its past and present; and unveil its beauty and mystery. And among them, Hanfu as the traditional costume of Han nationality, is like the eldest son of this big family. Each ethnic group has its own traditional costumes, so if you want to ask what is Chinese traditional clothing, then traditional costume of any ethnic group can be taken as Chinese traditional costume. As we know, China now has more than 1.4 billion people, and Han‘s population is close to 1.3 billion. Deriving from etiquette and culture of HuaXia period (5000 years ago), Hanfu is also called as “Hua Costume”. Consequently, Hanfu is widely regarded as the most representative one compared to other traditional costumes in China. With the alternation of dynasties in China, Hanfu has been continuously absorbing peculiarities of different dynasty. Hanfu also influenced the history of ancient Asia clothing through Confucianism which makes Hanfu one of the oldest costumes in the world. Unity between Human and Natureis the core of ancient Chinese traditional philosophy. Its concept and life pursuits are embodied in the design of Hanfu, which symbolizes the deep meaning of Hanfu and the aesthetic feeling of external forms. Many details in Hanfu, for example, “the long-wide sleeve” and “crossed-collar with Right Pattern”, reflect the modesty and inclusiveness of the eastern civilization. By the time of Han Dynasty (2000 years ago), it finally formed a complete costume system, and was popularized nationwide. The ancients tried to use woven linen to make clothes and began to wear clothes instead of animal fur. About 5,000 years ago, in the Neolithic period, the primitive agriculture and textile industry emerged in this land. Then they invented mulberry silkworms and silk spinning, those inventions contributed to the gradual formation of traditional Chinese clothing. Shang Dynasty about 1600 B.C. The Shang Dynasty was the first dynasty in China with written records. According to a large number of archaeological discoveries, the basic style of Hanfu has appeared in this period. Zhou Dynasty 1046 B.C. At this period, clothing system was initially established. It is also the earliest time to verify the existence of Hanfu. For instance, significant difference could be seen between formal and informal Hanfu. The politics, economy, ideology and culture of this period were undergoing tremendous changes. And Hanfu began to develop into diverse styles. Since then, Chinese traditional costume has been more detailed. Han Dynasty 202 B.C. At the same time, the way of dressing has been included in the criteria of etiquette and has become a manifestation of etiquette. From this point on, HuaXia people got their new ethnic name, and called themselves “Han People”. Hanfu’s status as traditional Chinese costume was officially identified at the meantime. Moreover, Hanfu began to attach more emphasis on clothing design, deriving hundreds of diverse costume styles to suit different occasions. The style of Hanfu in this period gradually increased. The Han Dynasty was one of the most important dynasties in ancient history. And Hanfu became a complete clothing system. In order to standardize Hanfu, people established a system of Hanfu, according to the occasion of wearing and the identity of people. The Tang Dynasty was the most open dynasty in ancient China, when Silk Road brought the collision of thoughts between Eastern and Western civilizations. Poetry and painting were especially popular in this era. The frequency of trade and cultural exchanges between China and other countries reached an unprecedented height. Based on that, Hanfu applied various embroidery and color-matching methods of that time into its designs. Through the Silk Road, Hanfu came to other countries and was deeply loved and spread in oversea regions. At this time, the government promoted Manchu costumes, and completely banned and abolished Hanfu. It’s like a big bolt from the blue, this traditional costume suddenly disappeared in China. The Qing Dynasty was the regime of the Manchu, which was another nationality of China. Hanfu is very easy to distinguish, it has very obvious characteristics. With the tie strings at left and right garment fronts, chinese horse face skirt people could easily tie the clothes. Crossed-collar means the left and the right lapels of Hanfu crossed together. This style of clothing exits in many countries in East Asia, but other ethnic groups have both Left Pattern and Right Pattern, while Hanfu only officially accepts the Right Pattern. Hanfu refers to the tie with string and hidden buckle. And the Right Pattern stands for the certain pattern with the left lapel covering in front of the right one. Some people think that Hanfu use the tie because button hasn’t been invented at that time, but it is not true. Unlike modern clothing, Hanfu has almost no buttons. Hanfu do has “buttons” which are what we call “Hidden Buckles”. Hidden Buckle, which cannot be seen from the surface, is actually a cloth knot button which we could usually find inside men’s shirt’s collar. In fact, Hanfu also has small and short sleeves that are convenient for daily work and study. The long-wide sleeves are generally the characteristics of Hanfu formal dresses. For example, the “Shenyi” style is required to be extend to the elbows, and the sleeves are four feet wide and nearly dragged to the ground. For this kind of dress, the sleeves of Hanfu are longer than the arms. Of course, such clothes are inconvenient to wear in a daily life, but wearing a Hanfu can help a person become elegant and behave in a dignified way. In terms of forms, Hanfu has 3 basic style. Though Hanfu has a great number of different styles, generally, according to when and how certain type of Hanfu should be wore, it could be classified into 2 main categories, formal and informal. Two-piece shirt and dress Hanfu has a very famous style which is called “Ruqun”, the top shirt is called “Ru”, and the bottom dress is called “Qun”. Generally, the shirt is short to the waist, and the dress is very long which dragged to the ground. As the basic style of women’s clothes, Ruqun was always the most popular style in different periods. The representative of the one-piece dress Hanfu is the “Shenyi” style, whose feature is covering the entire body of human, which makes people look elegant. Many modern humanist scholars suggest to promote Shenyi, as the typical Hanfu in Chinese regions, to be the representative of Han culture. Two-piece shirt and pants Hanfu means that the top shirt and bottom pants are made and worn separately. Even nowadays, in the remote rural areas of China, there are still a large number of farmers wearing such clothes. This type of Hanfu is very similar to the current modern clothing. ’s Hanfu dressing style attributes to a variety of their hairstyles and hair accessories; while man’s could attributes to the swords and folding fans they bring with them that makes them arty. In addition to the pattern of clothes, Hanfu also differs in hairstyle, dressing method and jewelry accessories. Cheongsam is also called as “Qipao” in mandarin, was formed in the 1920s. It was decided by the government to be one of the national dresses and became the most popular women’s clothing at that time. Cheongsam is the formal dress of modern China. Cheongsam is a one-piece dress, it must have the following typical appearance: made of a single piece of clothing, tight-fitting, stand-up collar with Right Pattern, split on both bottom side. We can see that the Cheongsam retains some elements of Hanfu, but it is quite different from Hanfu. Cheongsam is a kind of costume that belongs to the transition period in Chinese history, so in a strict sense, Cheongsam is not Hanfu. Kimono is a Japanese traditional costume. Since Tang Dynasty, the economic and cultural communication between China and the neighbor countries have been very close. The influence of Hanfu is very far-reaching. So now, you can still see the elements of Hanfu in these traditional costumes. Many countries such as Japan, Korea, Vietnam and other East Asian countries, came to China to learn the advanced approaches of textile technology and the advantages of Hanfu, and then combined with their national costumes to gradually develop their traditional costumes, such as Kimono, Hanbok. Hanfu had disappeared for more than 300 years and is still in a tough time of resurgence, far from being widely known. The Hanfu Movement is the abbreviation of Chinese Hanfu Culture Renaissance Movement. The Hanfu Movement has been more than 10 years. Even with the respect for objective history and the purpose to present Hanfu’s status, it’s inappropriate for us to deliberately ignore the fact that Hanfu is being forgotten by the majority. Compared with the population of 1.4 billion, the number is negligible. Today, there are more than 1 million Hanfu fans in China. There are 2 main reasons why Hanfu is difficult to promote on a large scale. However, people’s growing attention and like for Chinese traditional costumes will have a profound impact on modern clothes fashion. First, the cost is too expensive. Compared with modern clothes, Hanfu is more like a luxury. Second, Hanfu is not practical. Hanfu stands for an overall garment system, including clothes, hair style, face decoration, shoes, and accessories. Its long-wide sleeve clothing style also brings many inconveniences to people’s life, which is not compatible with fast-paced modern life. In this case, it is obviously too early to initiate nationwide campaign for Hanfu’s Renaissance. How to wear Hanfu is a problem for many people. If must give Hanfu some special meaning, it may be in the name of “Hanfu Interest” instead of the so-called “Hanfu Movement” or “Hanfu Revival” to attract attention. Finally, we also found a very shocking fact. At present Hanfu can only be popular with a few groups of people who like Chinese ancient culture, and if it want boost its visibility among the public, there is still a long way to go. Since the 21st century, Hanfu has been continually drawing on modern fashion clothing design. On the basis of traditional Hanfu clothes, it retains the advantages without suffering the disadvantages of Hanfu and designs more fashionable new Modern Hanfu. As worldwide Hanfu enthusiasts are constantly appearing, such traditional clothing is becoming more and more popular around the world. In particular, when you walk in the streets of Chinese cities, like Shanghai, Guangzhou, Chengdu, or Shenzhen, you will often see a lot of girls wearing Hanfu. Among the Hanfu fans interviewed, the idea ofwearing Hanfu clothes generally began with the fascination with the martial arts and the pop costume drama TV show. In fact, young people are under pressure from life and work, so a subculture that is simple and romantic, like Hanfu, is very attractive. Hanfu Fever does have a patriotic background, but most Hanfu fans are pursuing the beauty of costume and vintage elements. Hanfu is a Chinese traditional costume and a symbol of Chinese traditional culture. Although it was once lost, it’s just like the splendid long history of China, it continues to shine today and show its charm. It is delightful to have friends coming from afar.Today’s China, open and inclusive, welcomes everyone who travels to China. And hopes that Chinese traditional Hanfu costumes can bring you a new experience with Chinese characteristics.

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Hanfu (meaning clothing of the Han people) is a name for pre-17th century traditional clothing of the Han Chinese, which are the predominant ethnic group of China. Hanfu appeared in China more than three thousand years ago and is said that it was clothing of the legendary Yellow Emperor, a great sage king of ancient China. The basic of Hanfu was developed in time of Shang Dynasty, from 1600BC to 1000BC. Hanfu consisted of a yi, a narrow-cuffed, knee-length tunic tied with a sash, and a narrow, ankle-length skirt, called chang, worn with a bixi, a length of fabric that reached the knees. From the first appearing Han-Chinese clothing had changed and evolved with the fashion. They were made of silk and painted in red and green. Height of one’s rank influenced the level of decoration of a dress, length of a skirt and the wideness of a sleeve. With the beginning of Western Zhou Dynasty hanfu begins to be method of distinction between classes. Sleeves were also made wider than in the time of the Shang Dynasty and yi tunic is also closed with jade decorations or with a sash tied around the waist. The collar were crossed and tied to the right while skirts and trousers varied in length from knee-length to ground-length. Eastern Zhou Dynasty invented shenyi – “the deep robe”, which is a combination of tunic and skirt. It was cut separately but sewn as a piece of clothing with left side of the costume shaped into a corner which was used for closing the shenyi by fastening on the chest. Technology was advanced enough at the time that many complicated and magnificent patterns appeared on Hanfu. A complete Hanfu garment developed in time with addition of other parts of clothing. Now, it is considered that it consists of several pieces of clothing: Yi – which is any open cross-collar garment and is worn by both men and women; Pao – any closed full-body garment, it is worn only by men; Ru- open shirt with cross-collar; Shan – open cross-collar shirt or jacket which is worn over the yi; Qun or chang -a type of skirt which is worn by both women and men and Ku – a type of trousers or pants. Shenyi could be worn by anybody regardless of gender, profession or social class. Hats for men and hairpieces for women could also be traditionally worn in combination with Hanfu. It is also considered traditional to decorate hanfu with tassels and jade pendants or various ornaments hung from the belt or sash, which are known as pei. Hanfu disappeared at the beginning of the Qing Dynasty (1644-1911) which was founded, not by Han Chinese who form the majority of the population of China, but by the Manchus, a semi-nomadic people which first rose to prominence in Manchuria. This headwear also marked profession or social rank. Qing Dynasty fell in 1911 and Manchu dress disappeared quickly in favor of western-style dress. Most of the Han Chinese wear western-style clothing today and hanfu is worn rarely. The hanfu is now worn during some festivals, ritualistic ceremonies (such are coming of age or rite of passage), by historical re-enactors and by monks and priests.

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A hairpin or hair pin is a long device used to hold a person’s hair in place. The earliest evidence for dressing the hair may be seen in carved “Venus figurines” such as the Venus of Brassempouy and the Venus of Willendorf. It may be used simply to secure long hair out of the way for convenience or as part of an elaborate hairstyle or coiffure. Hairpins made of metal, ivory, bronze, carved wood, etc. were used in ancient Egypt. The creation of different hairstyles, especially among women, seems to be common to all cultures and all periods and many past, and current, societies use hairpins. Such hairpins suggest, as graves show, that many were luxury objects among the Egyptians and later the Greeks, Etruscans, and Romans. Major success came in 1901 with the invention of the spiral hairpin by New Zealand inventor Ernest Godward. This was a predecessor of the hair clip. The hairpin may be decorative and encrusted with jewels and ornaments, or it may be utilitarian, and designed to be almost invisible while holding a hairstyle in place. Some hairpins are a single straight pin, but modern versions are more likely to be constructed from different lengths of wire that are bent in half with a u-shaped end and a few kinks along the two opposite portions. The length of the wires enables placement in several designs of hairstyles to hold the nature in place. The kinks enable retaining the pin during normal movements. The finished pin may vary from two to six inches in last length. Hairpins (generally known as fa-zan; Chinese: 髮簪) are an important symbol in Chinese culture. Furthermore, hairpins worn by women could also represent their social status. In Han Chinese culture, when young girls reached the age of fifteen, they were allowed to take part in a rite of passage known as ji li (Chinese: 筓禮), or “hairpin initiation”. Particularly, before the age of fifteen, girls did not use hairpins as they wore their hair in braids, and they were considered as children. When they turned fifteen, they could be considered as young women after the ceremony, and they started to style their hair as buns secured and embellished by hairpins. This practice indicated that these young women could now enter into marriage. This ceremony marked the coming of age of young women. However, if a young woman had not been consented to marriage before age twenty, or she had not yet participated in a coming of age ceremony, she would attend a ceremony when she turned twenty. In comparison with ji li, the male equivalent known as guan li (Chinese: 冠禮) or “hat initiation”, usually took place five years later, at the age of twenty. While hairpins can symbolize the transition from childhood to adulthood, they were closely connected to the concept of marriage as well. In the 21st century hanfu movement, an attempt to revive the traditional Han Chinese coming-of-age ceremonies has been made, blue qipao and the ideal age to attend the ceremony is twenty years old for all genders. At the time of an engagement, the fiancée may take a hairpin from her hair and give it to her fiancé as a pledge: this can be seen as a reversal of the Western tradition, in which the future groom presents an engagement ring to his betrothed. After the wedding ceremony, the husband should put the hairpin back into his spouse’s hair. Hair has always carried many psychological, philosophical, romantic, and cultural meanings in Chinese culture. During the wedding ceremony, some Chinese couples exchange a lock of hair as a pledge, while others break a hairpin into two parts, and then, each of the betrothed take one part with them for keeping. If this couple were ever to get separated in the future, when they reunite, they can piece the two halves together, and the completed hairpin would serve as a proof of their identities as well as a symbol of their reunion. In Han culture, people call the union between two people jie-fa (Chinese: 結髮), literally “tying hair”. Fletcher Joann, University (2016). “The Egyptian Hair Pin: practical, sacred, fatal”. In addition, a married couple is sometimes referred to as jie-fa fu-qi (Chinese: 結髮夫妻), an idiom which implies the relationship between the pair is very intimate and happy, just like how their hair has been tied together. Internet Archaeology (42). doi:10.11141/ia.42.6.5. Canadian Patents Database. Canadian Intellectual Property Office. Sherrow, Victoria (2006). Encyclopedia of Hair: A Cultural History. CA patent 250155, Kelly Chamandy, “Hairpin / Épingle à cheveux”, issued 1925-06-02 See also “Hairpin / Épingle à cheveux”. Greenwood Publishing Group. p. Look up hairpin in Wiktionary, the free dictionary. Wikimedia Commons has media related to Hair pins. This page was last edited on 24 April 2024, at 19:25 (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., hanfu modern a non-profit organization.

The Daoist style hanfu robe, an integral part of Ming Dynasty Hanfu, holds a unique position in the realm of traditional Chinese attire. Not only was it a customary garment for men during their leisure hours, but it also found its place as an undergarment or even in the wardrobe of common men on their wedding days. Originating as a casual garment for daily wear, the Daoist Robe evolved into a symbol of refinement and sophistication. Contrary to its association with Daoist practitioners in modern perception, it started as a popular choice among men of various social strata, not limited to scholars or as ceremonial attire. The Daoist Robe, characterized by its straight collar, large lapels, side slits, and concealed pleats, secured with a tie, often adorned with a white or plain protective collar, reflects the distinctive style of the Ming era. The clever design allowed for dynamic movement without revealing the inner layers of clothing. The Daoist Robe’s distinctive features, such as its broad sleeves and the incorporation of concealed pleats, provided both comfort and convenience. In Ming Dynasty, the choice of colors for clothing was regulated by explicit guidelines. Red and yellow were reserved as imperial colors, while black, dark blue, and true green were prohibited. The Daoist Robe, as described in “Zhu Shunshui Talks About Silk,” had its own distinct color palette. This characteristic resonates with the modest and reserved nature ingrained in Chinese culture. It avoided the use of black, dark blue, and true green, opting instead for colors like moon white, emerald blue, sky blue, ivory, pine flower, soy sauce, lamb wool, and spring onion white. This diverse selection allowed for both aesthetic appeal and practicality in different weather conditions. Despite its early association with commoners, the Daoist Robe gained immense popularity among scholars and literati during the later stages of the Ming Dynasty. Moreover, Daoist Robes embraced a variety of fabrics, including flower-patterned gauze, plain gauze, damask, satin, machine-woven gauze, silk, machine-spun yarn, gauze with holes, autumn crepe, and water-twist crepe. Its wide sleeves and flowing design appealed to the sensibilities of the literati, embodying an aesthetic that was both graceful and timeless. The Daoist Robe’s versatility was further highlighted by its adoption in various contexts. The Daoist Robe’s cultural significance goes beyond its aesthetic appeal. Whether worn as an undergarment, an outer layer, or even as wedding attire, its adaptability and distinctive style made it a coveted choice across different social occasions. Literary works of the time, such as “The Romantic Fate of the World,” provide glimpses into the cultural importance of the Daoist Robe. In wedding ceremonies, Daoist Robes played a role in traditional customs, as highlighted in “The Romantic Fate of the World” when it describes the groom, Yanzheng, wearing a bright blue Daoist Robe for the auspicious occasion. This reflects the robe’s role not only as a fashionable choice but also as an attire carrying symbolic significance in life’s major milestones. The Ming Dynasty witnessed a rich variety in male hanfu, catering to different occasions, social statuses, and seasons. In Ming society, it became a symbol of the literati class, evoking images of refined scholars and gentlemen. Scholars, in particular, favored round-collared wide-sleeved robes, characterized by wide sleeves and dark-colored trims. The general male populace commonly adorned headwear, Daoist Robes, straight garments, fitted garments, pleated garments, and armored vests. Official attire, identified as cloud-patterned round-collared robes made of gauze, included an additional outer coat made of cloud-patterned silk. Emperors complemented their outfits with large red shoes, creating a distinguished and regal ensemble. From shorter lengths to longer ones, with sleeves ranging from a mere foot to extending up to three feet, the Daoist Robe boasted versatility in style, adapting to the preferences of the wearer. Intricately detailed by Ye Mengzhu in her work “Reading the World Compilation,” the Daoist Robe underwent variations in length and sleeve size, creating a captivating visual spectrum. Besides the Daoist Robe, two other prevalent styles during the Ming Dynasty were the “Yisa” and “Tie li.” The “Yisa” featured a front section with different cuts, and the back section was continuous, creating a pleated effect below the waist. “Tie li,” on the other hand, was crafted with a front section divided into two parts, creating a visual separation. These styles, including the Daoist Robe, exemplify the diversity and adaptability of Ming-era fashion, catering to the preferences and lifestyles of individuals from various walks of life. From its humble beginnings as casual wear for the common man, it ascended to become a symbol of elegance and cultural identity for scholars and literati. In conclusion, the Daoist Robe stands as a testament to the dynamism and sophistication of Ming Dynasty fashion. The Daoist Robe’s enduring legacy transcends time, reminding us of the rich tapestry of Chinese heritage woven into the fabric of its traditional attire. As we delve into the nuances of Ming Dynasty fashion, the Daoist Robe emerges as a timeless masterpiece, reflecting the artistry, practicality, and cultural richness of an era long past.

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Who wears Hanfu clothing when they travel? Who wears Hanfu clothing when they travel? Current Issues in Tourism. However, Han clothes (Hanfu) are little known outside of China. This research selected Xi’an, a famous historical city, as the case to collect data using the survey questionnaire method. The Han culture is the Chinese national culture as well as a significant part of the world’s costuming heritage. Two-step clustering was used to prepare a market segmentation of this form of cultural tourism. Factor analysis explored the variables involved in the cultural tourism experiences of wearing Hanfu clothing. Tourists who wore Hanfu clothing while travelling were classified into the four types of immersive cultural, aesthetic experience, culturally refined, chinese traditional dress hanfu and passing tourists. The experience of wearing Hanfu clothing was influenced by the five factors of entertainment, aesthetics, culture, escape, chinese traditional clothing and cosplay (costume play). These groups had dissimilar sociodemographic characteristics and experience priorities. This research expands the knowledge on Hanfu clothing and cultural tourism experiences and provides insights for the management of cultural tourism destinations.

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Every country prospers and grows forward with their precious and millennia old cultures and traditions that truly keep them alive all over the world. A country that forgets about its history and everything related to it, and blindly adapts to the modern world has no color left it in. China is one of the countries that are proud of their legendary history which include arts, museums, monuments, dresses, cultural days and festivities. China Hanfu was the name given to the traditional Chinese clothing of the ethnic group from the pre 17th century called Han Chinese. Hanfu traditionally consisted of two parts; Yi which was knee length tunic with narrow cuffs and Chang which is a full length skirt and is worn with a bixi. And one of the most famous traditional Chinese dresses is Hanfu, which is still, to this day, is part of their culture, history and legacy. From then to the present day, Hanfu has gone through multiple changes and evolved with various fashion statements. Alongside the changes in ruling dynasties over the centuries, Hanfu went through changes like people with high ranks and influence used to wear a more decorated and expensive Hanfu. They are usually stitched in a silk or chiffon material. Hanfu gained popularity in different dynasties as the manufacturers started creating and sewing Hanfu with multiple methods and cutting styles. Their waist belt used to be decorated with jades and the sleeves were wider than usual. As it was a loose dress, they didn’t have to create multiple sizes for it. It came a time when Hanfu had a huge impact on each living person in the ancient period and it became a form of art instead of being just an apparel. As the fashion evolved over the years, Hanfu also went out of fashion for a long time but it was hard to give up on such a precious tradition that holds much history. Fusing the Western elements into the classical and traditional piece of history was of course a difficult task because any mistake, like incorporating too many western elements could easily make Hanfu lose its traditional appeal. It came back into fashion again and the fashion industry experimented with it by incorporating the modern fashion trends to create a more comfortable and unique look. This would not only affect the efforts of creating a Hanfu dress for Gen Z customers but also disappoint the passionate Chinese people that adore their historical piece. But many designers and people successfully fused the modern elements into Hanfu, creating a comfortable and trendy cultural piece that can be easily worn as a fashion piece or a daily wear in the 21st century. As the modernization of Hanfu is increasing day by day, it is also increasing the interest of people from all over the country in China’s heritage, culture and traditions which is helpful for the fashion industry and China’s tourism. From being just the “clothing of Han dynasty”, hanfu dress became the cultural face and traditional statement of the history of China. There are multiple sites selling traditional and modern Hanfu dresses for women, men, and gender neutral dresses. It is actually quite normal to be suspicious of these online sites selling these dresses and products. Not all websites are scams and Hanfu is being sold on many reliable websites that offer great quality and designs for women, men and others. NewHanfu is a great website that sells beautifully designed hanfu dresses for both males and females along with modern hanfu that are a fusion of traditional hanfu with modern fashion elements. Hanfu is more than just a fashion statement; it embodies the etiquette of a 5,000-year civilization and displays China’s rich culture and character. But as many websites have been involved in various scams and frauds, people aren’t able to fully trust these websites. Hanfu is a clothing line combining classic and contemporary features. The brand features modern interpretations of traditional Chinese clothes, all of which are created in China. Fashion Hanfu consisted of a sash-tied limited knee-length coat and a chang, a small ankle-length dress used with a bixi, a length of material touching the knees. There are five different collections of Hanfu that anyone can select from. They were silk scarves in red and green. Traditional Chinese crafts and high-quality materials have a distinct ethnic flair. Since its inception, Han-Chinese attire has altered and grown with the times. Hanfu is constructed of a soft and breathable fabric that is both healthful and ecologically beneficial. Owning a fashion Hanfu is an excellent choice if you are interested in Chinese culture. The design is fresh and exquisite, giving you a one-of-a-kind look. Hanfu is a fun birthday or holiday gift, and it’s perfect for Chinese New Year, Halloween parties, role-playing parties, or as a Christmas or birthday present. It’s a movement aimed at making China’s fashion culture more varied, inclusive, and traditional. The Hanfu trend is a resurgence of the historic Hanfu clothing style. The Hanfu trend is a resurgence of the historic Hanfu clothing style. The Hanfu movement also aims to promote the virtues of simplicity, inclusion, and egalitarianism, as well as the preservation of cultural heritage. It’s a movement aimed at making China’s fashion culture more varied, inclusive, and traditional. Hanfu, which is characterized by broad sleeves and flowing robes, is commonly referred to as “traditional Chinese attire.” Males and women wore it, although men wore it the most. Many Chinese are urging the return of Hanfu as a trend that the people should be proud of their Chinese culture after a 400-year hiatus. Hanfu was traditionally worn as a formal dress in China. Many Chinese universities have Hanfu clubs, where members dress up in Hanfu to commemorate traditional Chinese holidays. Hanfu has been given a modern touch with the use of new textiles and colors thanks to current technology. They take advantage of the situation to introduce Hanfu to others. Many people like Hanfu’s simplicity and minimalism, especially in contrast to the contemporary Western culture of abundance. Hanfu is particularly acclaimed for its comfort, natural materials, and superior craftsmanship. However, a photograph of current Hanfu adopters should be utilized since it may show Hanfu’s most recent design and style. Types of Hanfu Dresses. Today, young Chinese men and women wear Hanfu, which has sparked renewed interest in the reemergence of Hanfu in China and across the world. Various cultural movements have attempted to resurrect the Hanfu as a traditional emblem in recent years. The Hanfu is now worn in a variety of cultural events, such as the Chinese New Year, religious celebrations, and historical reenactments. Collar, hem, sleeve, lapel, belt, hanfu male and so on are among the ten parts that make up these three layers. Hanfu comes in three different looks. There are three main layers to the Han Chinese Clothing: undergarments, inner garments, and topcoats. It can be also worn as a one-piece dress that you can pair with the jacket on the top of the pants. People often wear a shirt and then a jacket on the top. Basically, in Hanfu clothing a jacket or a shirt are the two basic styles. But, it has been seen that robes are getting more normal with Hanfu however, Chinese women still prefer wearing the old traditional style like pairing the dress with a skirt or the jacket on the top. NewHanfu is an extremely reliable and great website that offers beautiful traditional Chinese attire along with great offers, super customer support and secure checkout so you can get your favorite Hanfu without any doubts or worrying about scams and frauds. Their customer support is ideal that makes sure to guide and help you with any query like choosing a hanfu or taking tips to wear the dress. It also has an advanced security encryption system that ensures safe and reliable checkout and purchase. NewHanfu store offers endless options and varieties of Hanfu with gorgeous designs, colors, embroidery and patterns that are unique and fashionable in their own way. Women’s Hanfu dresses have evolved throughout different eras and dynasties. Let’s look at their hanfu categories and some products that are one of the bests on the store. From a formal dress to the flowing loose dress or the casual trouser suit, every kind of Hanfu is available here that will match your event, festive and aesthetic. It is a 3 piece set that is designed with classic Duijin style patterns that makes the dress formal and casual enough for every kind of event. The dress is based on casual color gradient with white orange and blue. The flower embroidery is the cherry on top and it gives the dress a very lovely look. The gorgeous Hanfu dress is an ideal summer season qiyao hanfu dress. It is made up of light and soft material that fits the summer season well. It consists of a tank top, a skirt and a shirt. The Lily flower has a special meaning in China. The blessings of lilies can bring good luck to single people so they can meet their real love. It is considered a sign of 100 years of a couple, deep love, happy family and lots of blessings. This beautiful hanfu dress is designed with gorgeous lily flower embroidery that is based on casual light green and apricot color. It is made up of soft chiffon and linen fabric that makes the dress breathable and light enough to wear. This traditional ruqun hanfu consists of a shirt and skirt that is casual and elegant. They were usually designed with thicker fabrics and less decoration, sober patterns, and little to no embroidery as compared to women’s hanfu. In ancient times, the waist belts of hanfu dresses used to be decorated with jades and multiple other jewels. Just like Women’s hanfu, men’s hanfu has also evolved along with the eras and dynasties. The traditional Hanfu dress is inspired by the swordsman master Hanfu dress for kungfu masters. This ruqun hanfu and two-piece set hanfu dress is based on red and black that giving it a graceful and handsome look. It is made up of soft polyester fabric that is not too casual or formal so it fits just right in every season and festive. It has simple cloud embroidery that looks sober and elegant on the color of the Hanfu. It includes one shirt and a skirt. The classic swordsmen style hanfu dress is really the epitome of grace. It uses the ancient Chinese landscape painting as its embroidery pattern that is delicate and elegant. The traditional three-piece ruqun hanfu set is ideal for martial arts immortal. The dress is based on a soft and cool color scheme which is light gray, white and yellow-gray color that provides a handsome look. It is made up of soft fabric that is comfortable and light enough to wear. This three-piece hanfu set consists of an inner shirt, a skirt and a robe. Modern Hanfu is a fusion between the 21st century fashion and the traditional Hanfu elements. It is the well adapted version of the classical dress. As compared to the traditional women’s hanfu, modern hanfu is tailored and designed with a close fitting tailoring and is available in multiple sizes. It is a combination of trendy and retro patterns, cuts and designs that creates the perfect westernized hanfu. Modern Hanfu is both functional and elegant, it is much easier to wear and wash as compared to the typical hanfu. This gorgeous piece at NewHanfu really represents the street fashion of China as it is inspired by the Songku hanfu dress. It is a casual yellow color outfit, ideal for summer. It is a modern hanfu that consists of the traditional hanfu style shirt along with pants, creating a jumpsuit look. It is designed with cool plant patterns that give it a trendy look. This set comes with a shirt and pants. This modern hanfu outfit is the most ideal outfit anyone could for in summer. Street fashion is made up of soft cotton blend material that is very light to wear. This three-piece set is a great outfit for casual and daily wear. The hanfu shirt and songku pants have cute designs that fit modern fashion perfectly. It consists of beautiful and gorgeous flower embroidery. It is made up of silk and chiffon fabric that is extremely comfortable to light to wear. The set consists of a tank top, shirt and pants.

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To promote his pre-fall 2022 collection, fashion powerhouse and Chinese American designer Alexander Wang has teamed up with the four qipao influencers behind @Simeizi, a viral account on Douyin, China’s version of TikTok. Wang, whose designs are coveted by high-profile celebrities such as Rihanna, Lucy Liu, Kylie Jenner, and Julia Fox, created his eponymous label in 2005 when he was just 21 years old. However, he has made a roaring comeback to the fashion scene, and April 2022 saw his first fashion show in three years. A controversial figure, traditional chinese women’s clothing Wang has been accused of sexual misconduct more than once in the past few years. As mentioned earlier, a famous foursome from China starred in three campaign videos for Wang’s pre-fall 2022 collection. The Alexander Wang brand, which is synonymous with androgynous fashion, elevated streetwear, and the color black, blends traditional Chinese style with contemporary American fashion for its latest collection, which includes qipaos with Wang’s signature minimalistic touch. The influencers, who have over 4.4 million followers on Douyin, are known for their short videos in which they carry out highly staged activities, from playing mahjong to dancing to traditional Chinese songs, all while wearing figure-hugging qipaos and high heels. While amassing more than 200,000 likes on Instagram and TikTok, the three videos have scored a dismal 200 likes in total on Douyin. Despite their popularity in China, the fashion campaign has received mixed reactions. Traditional Chinese fashion and beauty have experienced a surge of popularity in the West, where hanfu influencers like Mochihanfu and makeup brand Florasis have gained millions of views for their content. That said, it is fair to note that Wang has a larger following on Western social media. Online comments across different platforms range from “You spend too much time on Douyin, Wang,” to “Alexander Wang keeps doing tuwei stuff! It is true that Wang is not new to ‘memefication’ or featuring ‘uncool’ influencers in his fashion campaigns. She recently made waves again on the Chinese internet thanks to a bizarre video in which she strikes 40 poses in 10 seconds (see above). “The legitimization of tuwei killed me! Though Liang is only 29 years old, she has spent a decade modeling for brands that target middle-aged or older women. ” reads a comment on the video of Liang. History has a way of repeating itself, and Wang’s campaign featuring the Simeizi girls has also gone viral. Despite being roasted on the Chinese web, the campaign proves that short video platforms like TikTok and Douyin are increasingly influential in the world of high fashion.

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Guzhuang (Chinese: 古装; pinyin: gǔzhuāng; lit. 189 refers to a style of Chinese costume attire which are styled or inspired by ancient Chinese clothing (typically Hanfu or Qizhuang). 189 and in the Wuxia and Xianxia genre. In Chinese opera, plays depicting guzhuang is called guzhuangxi (Chinese: 古装戏; pinyin: gǔzhuāngxì; lit. While the style of guzhuang is based on ancient Chinese clothing, guzhuang show historical inaccuracies. Chinese: 古装新戏; pinyin: gǔzhuāngxīnxì; lit. 48 Guzhuangxi is an important concept in both the field of Chinese opera and to early Chinese film. 81Mei Lanfang is also credited for having invented guzhuangbanxiang (Chinese: 古装扮相; pinyin: gǔzhuāngbànxiāng; lit. This form of guzhuang emerged in 1915 when new Chinese opera costumes had to be created for a new category of female role which had also been developed by Mei Lanfang. 48 His goal was to make his costumes more elegant instead of making it look ancient. 11and to ancient Chinese paintings, especially women in classical Chinese scroll paintings, often based on from mythological figures. The guzhuang designed by Mei Lanfang is characterized with fitted waist. 189,327 The guzhuang developed by Mei Lanfang different from the traditional Chinese opera costumes in some aspects: the skirts were longer; the skirt was worn under the jacket to make the character look slimmer; the water sleeves were longer and wider; and the accessories were less gaudy. 11His costume designs then became known as guzhuang due to their relationship with ancient China, in particular the pre-Qing dynasty period from which his costumes designs were based. 11 Other performers such as Ouyang Yuqian and Feng Zihe also contributed to the development of the guzhuang design. Wuxia, and Xianxia genre. Guzhuang are typically used in Chinese television drama and movies. The first film produced in China was Dingjun Mountain in 1905 which depicted extracted scenes from a Beijing opera play performed by Tan Xinpei. 66 Guzhuang is also depicted in animations, including donghua and Chinese-theme animations produced outside of China. In terms of genre, it can be classified as xiqupian (Chinese: 戏曲片; pinyin: xìqǔpiàn; lit. 289 The film was based on the 70th and 71st chapters of the Romance of the Three Kingdoms. 289-290 The 1920s was marked by the adaptation of traditional Chinese indigenous genre into cinema. 289 These genres were adapted from Chinese literature and from the Chinese opera stage play as a countermovement against the prevalence of European and American film products. 290 The Tianyi Film Company was a major studio which specialized in Chinese genres at that time; its succeeding company, the Shaw Brothers Studio in Hong Kong continued to produce indigenous Chinese genres, such as Huangmei opera films and guzhuang epics. Guzhuangpian (Chinese: 古裝片; pinyin: gǔzhuāngzpiàn; lit. 292 is indigenous genre to China and first emerged in the 1920s in China. This genre is similar to costume drama, period film, and historical film. However, by definition the term gu (Chinese: 古; pinyin: gǔ), which literally means “ancient”, does not refer to films and dramas which are set in the Republic of China as the Republican period is a symbol of modernity and the end of tradition. 189 Guzhuangpian also typically depict adaptations of traditional Chinese folktales, plays, and popular novels. 38 Liang Shanbo and Zhu Yingtai produced in 1953 by the Shanghai Film Studio. 41 As a distinct genre, it is characterized by its focus on ancient history and historical personalities. 290 The origins of Wuxia genre in cinema, however, is quite recent and emerged in the 20th century. The tradition of Wuxia is over two thousand years old having been passed through Chinese folklore, novels, historiography, and popular performing traditions (such as Tanci and Chinese opera). 290 In cinema, the Wuxia genre can be traced back to the guzhuangpian and shenguaipian genre as one of its derivatives. The shenguaipian (Chinese: 神怪片) genre, which often depicts Xian-immortals and demons, was also developed in the 20th century and was also a derivatives of the guzhuangpian. 292 and therefore, it did not always involve the wearing of guzhuang. 26 In the 21st century, the Wuxia genre can be a guzhuangpian and a shenguaipian movie. 293 The Wuxia genre tends to dress its characters into guzhuang. The Xianxia genre typically involves Xian-immortals and immortality cultivation. Some guzhuang are based on different existing historical clothing worn in different dynasties, and/or inspired by Chinese opera costumes, and murals (e.g. Dunhuang frescoes); they would sometimes have features, or have attire, added, removed, simplified, to create a desired visual impact or to meet the production needs. Most guzhuang used in the production of television dramas, movies and animations do not conform to historical facts and/or are fantasy-inspired. It is also possible for various ethnic Chinese elements to be mixed and matched when designing guzhuang; combining modern fashion elements and/or western-style clothing elements can also be done. When designing guzhuang for films and television dramas, costumes designers consider the modern aesthetic taste of its audience while also conforming and respecting the historical reality. Moreover, in most movies and television drama, the colours, style, and pattern of guzhuang are also based on the characters found in the script; these costumes characteristics are used to better shape the character’s image and to allow the audience better understand the character through his visual image and to allow for the distinction between characters. The guzhuang used in the Xianxia genre, for example, is based on the historical hanfu, but is modernized in terms of design resulting in the guzhuang being different from its historical version. It is also impossible for costume designers to fully restore garment and garment-related artefacts; and therefore, guzhuang designers need to innovate their costume designs based on historical facts. Characters wearing guzhuang, for example, can have a colour theme which reflect his initial personality; however, this colour theme may change throughout the character development. Guzhuang can be found in Manhua, such as gufeng manhua (lit. 286 it originally followed similar visual aesthetics as the Japanese shoujo manga in its early development before starting to develop Chinese characteristics between the 2000s and early 2010, after 2010s, shaonu manhua became distinct from the Japanese shoujo manga both in terms of visual aesthetics and storyline. 288 Chang Ge Xing by Xia Da, Gu Fang Bu Zi Shang (孤芳不自賞) by Feng Nong, etc. Guzhuang can also be found in manhwa, such as Bride of the Water God by Yun Mi-kyung, and in the Chinese-theme Japanese manga, such as Saiunkoku Monogatari by Yura Kairi. 288 In the mid-2010s, gufeng manhua and gufeng shaonu manhua (i.e. stories adapted from Chinese history and legendary tales, and fictional love stories set in imperial China) became popular. And, some Hanfu enthusiasts also wear it instead of wearing Hanfu. Guzhuang is often confused with or misinterpreted as Hanfu by most people who are not familiar with Hanfu. Guzhuang is, however, also a factor of influence (among many others) to the design of modern Hanfu; for example, the design of Wei-Jin style (Chinese: 魏晋风; pinyin: Wèijìnfēng; lit. Guzhuang found in Xianxia television drama have also left a deep impact on Chinese audience. Hanfu is a relatively modern design which was influenced by Chinese movies and television drama series and does not exist in history. Many Xianxia fans also wear Hanfu in their everyday lives, which then promote the growing Hanfu industry. Another guzhuang-style costume which has influenced modern clothing in modern-day China is the Xiuhefu designed by costume designer Ye Jintian in 2001 for the role of drama female character Xiu He, played by Chinese actress Zhou Xun, in the Chinese television drama Juzi Hongle (橘子紅了; ‘Orange turned red’), a drama set in the Republican era of China. Although the drama was set in the Republic of China, the costume was mainly inspired by the Hanfu of the Qing dynasty, especially those used in the late years of the Qing dynasty in the 1910s as part of the bridal attire. While basing himself on the clothing of the Qing dynasty, Ye Jintian, however, did not fully respected the historical accuracy of the dress and instead mixed several elements together from similar eras in his costume design. As the Xiuhefu gives a feeling of dignity and beauty to its wearer, the Xiuhefu designed by Ye Jintian became progressively popular and eventually became a form of traditional Chinese-style wedding dress chosen by many Chinese brides during their marriage nowadays. This new category of role was called huashan (lit. Guzhuang xinxi depicted plays which were adaptations of Chinese stories and folklores, such as Chang’e flies to the moon and Daiyu buries flowers. The Untamed: Design and Concept for more details. The Wei-jin style should not be confused with the Hanfu worn in the Wei and Jin dynasties, see page Hanfu for more details. The costumes which are typically worn in Huangmei opera are typically guzhuang-style. Bonds, Alexandra B. (2008). Beijing opera costumes: the visual communication of character and culture. Honolulu: University of Hawaiʻi Press. Gao, Yuemei (2020). “Research on the Innovative Design of Ancient Costumes in Chinese Film and Tv Plays in the New Era” (PDF). Yujuan, Jing (2021). Reconstructing Ancient Chinese Cultural Memory in the Context of Xianxia TV Drama (Master thesis). Zhiwei Xiao. London: Routledge. Zhang, Yingjin (1998). Encyclopedia of Chinese film. Teo, Stephen (2019). Wong Kar-Wai. Tian, Min (2012). Mei Lanfang and the twentieth-century international stage : Chinese theatre placed and displaced (1st ed.). Li, Ruru (2010). The soul of Beijing opera : theatrical creativity and continuity in the changing world. Xu, Jiaxuan (2019). Exploring Hanfu (Fashion Clothing and Textile Design thesis). Hong Kong: Hong Kong University Press. Fan, Xing (2018). Staging revolution : artistry and aesthetics in model beijing opera during the cultural revolution. Ye, Tan (2020). Historical dictionary of Chinese theater (Second ed.). Macdonald, Sean (2016). Animation in China : history, aesthetics, media. Yan, Yuqian (2019). The Ancient as Enchantment: Cinematic Representation of the Past in Republican China (Thesis). Zang, Na (2019). “The Application of National Elements in Animation Costume Design”. The University of Chicago. Proceedings of the 2019 5th International Conference on Humanities and Social Science Research (ICHSSR 2019). Vol. 319. Atlantis Press. pp. Xuelei, Huang (2014). Shanghai Filmmaking: Crossing Borders, Connecting to the Globe, 1922-1938. Leiden: BRILL. Yingjin Zhang, ed. (2012). A Companion to Chinese Cinema. Art, Politics, and Commerce in Chinese Cinema. Hong Kong: Hong Kong University Press. Zhang, Yingjin (2004). Chinese national cinema. The Oxford handbook of Chinese cinemas. Ying Zhu, Stanley Rosen. Teo, Stephen (2009). Chinese martial arts cinema: the Wuxia tradition. Rawnsley, Gary D.; Ming-Yeh T. Rawnsley (2010). Global Chinese cinema : the culture and politics of “Hero”. Eileen Cheng-yin Chow, Carlos Rojas. Wanning Sun; Ling Yang, eds. 2020). Love stories in China: the politics of intimacy in the twenty-first century. New York, NY: Routledge. Lorraine Lim; Hye-Kyung Lee, eds. 2019). Routledge handbook of cultural and creative industries in Asia. 2005). Hong Kong connections: transnational imagination in action cinema. Meaghan Morris; Siu Leung Li; Stephen Ching-kiu Chan, eds. Durham: Duke University Press. Teo, Stephen (2010). “6 The Martial Arts Film in Chinese Cinema: Historicism and the National”. Art, Politics, and Commerce in Chinese Cinema. Mondor, Brooke (2021-04-25). “Why Mulan’s Costume From The Live-Action Mulan Makes No Sense”. Wang, WeiPeng (2017). “Research on application of Chinese culture in animated movie KungFu Panda”. Hong Kong University Press. Proceedings of the 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016). Vol. Chang-Yau Hoon; Ying-kit Chan, eds. 2021). Contesting Chineseness: ethnicity, identity, and nation in China and Southeast Asia. 87. Atlantis Press. pp. Proceedings of the 2021 International Conference on Social Development and Media Communication (SDMC 2021). Vol. Tang, Lian; Wang, Chenyi (2022). “The Research on the Comparison of Hanfu Fashion Short Videos on Douyin and Tik Tok”. Li, wei jin dynasty hanfu Yuling (2019). New meaning in traditional wedding dresses – Xiu He Fu and Long Feng Gua – in contemporary China / Li Yuling (masters thesis). 631. Paris, France: Atlantis Press. This page was last edited on 18 November 2024, at 20:32 (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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