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Hanfu costume is not only the costume of the Han Dynasty, but the national costume of Han nationality. After more than 300 years of vicissitudes of life, it was annihilated in history and forgotten by future generations. It has been misread as an ancient costume, ridiculed as traversing, acting, making a show, and even recognized as kimono and hanbok costume. Nowadays, many people still mistakenly believe that Hanfu clothes were eliminated naturally because of the inconvenience of their broad gowns and sleeves. Are there any details that can express Chinese traditional culture? Is it true that Hanfu clothes only have an appearance? These characteristics are not only different from the costumes of other nationalities, long sleeve cheongsam but also the kimonos and Korean hanbok costumes produced by the influence of Chinese costumes in neighboring countries. Han clothes give people a feeling of chic and free temperament. The common Shenyi (深衣) is that the upper and lower clothes are linked together, with different colors of cloth as the edge, so that the body hidden, graceful, and elegant. The wide sleeves of deep clothes are circular and the collar is quadrangular, which means “no square without rules”. The belt at the waist symbolizes that a man should be balanced and upright. Twelve pieces of cloth are used to symbolize twelve months in a year. The top is made of four pieces of cloth, symbolizing the four seasons of the year. Human life conforms to the order of four seasons and twelve months.

Today we wanted to highlight one of our very phenomenal interns and textile artists at Tatter: Yiqian Yao! Yiqian is a 24 year old student at FIT, currently studying for her Masters in Fashion and Textile Study. She is also one of the founding members of GRL Hanfu Society, an online organization which hosts events and posts videos of people wearing Hanfu in their daily lives. Hanfu is the traditional Han Chinese dress that had been worn by the majority of Chinese for thousands of years. There are 56 ethnic groups in China today. The Han people are the majority and the other 55 are considered minorities. In modern times, before the Hanfu movement, every ethnic group had its own traditional dresses except the Han people. Many people only think of Qipao when mentioning Chinese dresses, but Hanfu is the dress with a longer history and represents the Chinese aesthetic. The emperor and royal in the Qing dynasty were Manchu people and forced Han people to change their dresses. Hanfu wearing and its integration in everyday life started to decay in the Qing dynasty (1636-1912) due to government policy. After the Qing dynasty and the 20th century, traditional dresses were almost lost. About 20 years ago, the Han people, especially the younger generation, in China started to look back and find their own dresses. Non academic people did research and made the dresses by themselves and shared the information online so that more and more people could join this movement. Other traditions, including cultural festivals, and crafts have gotten more attention and revival. The number of manufacturers increased and people could purchase Hanfu more easily. The design of Hanfu can be varied, plus size hanfu but the core of Hanfu is the construction pattern. The fabrics were continuous across the shoulder and sewn at the center of the front and back, causing no shoulder seam but a “center seam” on the front and back. The finished garment can be laid flat. Why did you found GRL Hanfu? There are many people in NYC wearing Hanfu and putting efforts to promote the culture. The fabric can be in a modern design for daily life or in traditional motifs and techniques such as gold weaving for formal occasions and festivals. I wear Hanfu in my daily life and host gatherings/events and am one of the founding members of GRL Hanfu Society. I am one of them. At first we were established as the Long Island Hanfu Society but we have since transformed into an online organization now where we host online events and post videos. The most significant videos are the Annual Hanfu Relay series. Each year we have a different topic and ask people from the world to participate in the video, in order to encourage people to wear Hanfu and do different activities. I learned about the concept of Hanfu in 2013. At that time, Hanfu was still a very small community, and there was not much choice to purchase Hanfu. GRL stands for Gurenlai 故人来, meaning bringing people with the same interests together- you can find us on instagram at @grlhanfu. As time has passed, Hanfu is continuously developing due to the movement, and I got more and more beautiful designs to purchase, and now I have Hanfu with different designs for different occasions, both daily life and formal. In 2014, I bought my first set of Hanfu, and tried to wear it out. I keep wearing them out because I believe the most important sign of the revival of a costume is that people are all wearing it. There is not an exact time period for me to wear it more frequently. I treat it as a normal dress and fill my wardrobe with it.

In recent years, Hanfu culture has attracted an increasing number of people, especially the younger generation. Walking in the streets, shopping malls, and popular Chinese tourist attractions, it is becoming more common to see people wearing traditional Chinese attire. Wearers are not only fascinated by the beautiful appearance of Hanfu, but also interested in the rich and profound culture behind it. Zhang Yun said although she has always been a fan of Hanfu, it is only recently that she began wearing it in public. Zhang said that she fell in love with Hanfu as a young child. “In the past two years, as the popularity of Hanfu has soared, the public’s acceptance of it has also increased. Now you can wear it in an honorable way, feeling dignified and beautiful,” said Zhang. When she entered college, through studying Chinese traditional culture, she developed a deeper attachment to Hanfu. Hanfu first appeared in China more than 3,000 years ago and was evolved with fashion in the following dynasties. Most people think that Hanfu refers to the costumes of the Han Dynasty (206 BC – AD 220), which is a misunderstanding. They were characterized by crossed collars tied to the right, ribbons, and hidden buckles. Later, a variety of styles gradually evolved, such as curving-front robe, straight-front robe, high waist skirts, and embroidered skirts, an epitome of Chinese style and aesthetics. During the Han Dynasty, through hand-painted patterns, cutting, sewing, ironing, and other processes, the clothes were made using unique dyeing, weaving and embroidery techniques. “I didn’t expect Hanfu to be so elegant! ” said Li Hong, a millennial girl, after seeing a group of girls in Hanfu walking in the street. When she got home, she began to study the culture of Hanfu and began to make the clothing herself. Many fans of Hanfu wear the attire to carry forward the traditional culture. According to the 2018 survey by Hanfu Information, a Weibo blog, the average age of Hanfu wearers is 21.03 years old. Among them, the 19-24 age group accounted for the highest proportion, which was 52.14 percent. Compared with the previous year, the proportion of people under the age of 18 is increasing, showing that Hanfu is being worn more by the younger generation. She delved into the study of Hanfu from ancient books, then bought cloth and designed the clothes with a twist, making it more fashionable and adding modern elements. Hanfu is mainly divided into two categories: daily clothes and ceremonial robes. “At present, the development of Hanfu among young people is ‘explosive.’ The development of anything will take off as the young generation participates,” said Bao Huaimin, who has studied the culture of Hanfu for more than a decade. The price of a set of daily clothes can reach US $100, and this can vary depending on the workmanship and fabric. Generally, people wear daily clothes. A set of more affordable ancient Chinese clothing can be purchased for under US $10, but that’s not Hanfu in the real sense, because it does not follow the original design. There are essential differences between traditional Hanfu and studio, film, and television costumes. This kind of daily wear attire is generally processed in large quantities in a factory. Hanfu has strict design patterns because it is endowed with cultural etiquette and connotation. In the past, custom-made Hanfu could be ordered and collected within days, but now customers must wait for months because of increased demand. Hanfu fever is also driving the development of related industries. On November 19, 2019, the Hanfu Festival is held at the Shiyan Lake scenic area of Changsha, Hunan Province, where Hanfu lovers enjoy themselves by riding boats across the lake. Su Yang, 36, who has been involved in the wedding industry for many years, said more and more young couples want to hold their wedding ceremony in Hanfu style, hoping to experience the unique charm of Chinese traditional culture. “In fact, it’s not cheap to hold a Hanfu wedding. The props adopted in the ceremony, such as small tables, copper basin, Han plate, gourd cups are all specially customized, and it will cost between RMB 30,000 and 40,000,” said Su. The relatively high cost has done nothing to deter enthusiasts. At present, the Hanfu style wedding orders in Su’s company have been scheduled to March this year. The whole wedding ceremony is in line with the ancient law, from the site layout, wedding clothes to the ceremonial links. Gradually more and more professionals and brands are engaging in designing and producing these items, which also helps to drive the Hanfu industry. In addition to Hanfu weddings, other merchandise such as ancient fans, lanterns, and bags are also very popular. Certain Han costume lovers in the age group of millennials and post-millennials like to hang out with their friends at traditional festivals, such as the Chinese Valentine’s Day and the Lantern Festival. Li Shanli, a Hanfu enthusiast, chinese new year clothing traditions said that she had recently joined the Jinan Hanfu Group which has more than 800 members. In the eyes of many “Hanfu youth,” Hanfu not only represents the clothing but also provides a connection to traditional culture. They often organize members to wear Hanfu to visit various scenic spots in Jinan. Traditional dramas and handicrafts have entered the campuses, providing a basis for the popularization of Chinese costume culture. At present, many primary and secondary schools offer courses on Chinese studies, and many colleges and universities have societies of Chinese studies. With the rapid development of China’s economy, people have gained more cultural self-confidence, and attention is shifting to the rejuvenation of national culture. At the same time, Hanfu culture also enables children to develop a stronger interest in the essence of traditional culture, and thus enhance self-esteem and self-confidence in the national culture. As a symbol of Chinese aesthetics, Hanfu contributes to quietly motivating a re-emerging Chinese fashion style.

The traditional garments of Japan. Originally kimono was used for all types of clothing, but it came to refer specifically to the full-length garment that is still worn by women, men, and children. Kimono are T-shaped, straight-lined robes that fall to the ankle, with collars and full-length sleeves. The sleeves are commonly very wide at the wrist, perhaps a half meter. Traditionally, unmarried women wear kimono with extremely long sleeves that extend almost to the floor. The robe is wrapped around the body, always with the left side over the right, and secured by a wide belt tied in the back, called an obi. Kimono are generally worn with traditional footwear (especially geta, thonged wood-platform footwear; and zori, a type of thong-like footwear) and split-toe socks called tabi. The modern kimono began to take shape during Japan’s Heian period (794-1192 AD). The kimono was influenced by the Chinese Hanfu through extensive cultural exchanges between the two countries starting in the 5th century AD. Since then, the basic shape of both men’s and women’s kimono has remained essentially unchanged. A few older women and even fewer men still wear kimono on a daily basis. Today, kimono are usually worn only on special occasions, summer hanfu and mostly by women. Men wear kimono most often at weddings and for the tea ceremony. Kimono are also worn by both men and women in certain sports, such as kendo. Professional sumo wrestlers frequently wear kimono because they are required to wear traditional Japanese dress whenever appearing in public outside the ring.

Why is Hanfu Not as Normalized in China as Hanbok and Kimono in Korea and Japan? In the realm of global fashion, traditional attire often serves as a vibrant testament to cultural pride and heritage. This disparity prompts the question: why isn’t wearing hanfu as commonplace in China as it is in its neighboring countries? The wearing of hanbok and kimono has enjoyed continuous practice in Korea and Japan, punctuated only briefly during periods of Westernization. While Korea and Japan proudly showcase their traditional clothing-hanbok and kimono-China’s hanfu has struggled to regain its former prominence. This suppression had enduring consequences, contributing to hanfu’s diminished popularity. Conversely, in China, the Cultural Revolution of the 1960s and 1970s dealt a severe blow to traditional culture, including the use of hanfu. Western clothing became increasingly favored, particularly among the younger generation, relegating hanfu to the realm of antiquity or ceremonial occasions. Moreover, China’s embrace of Western fashion during its late 20th-century opening to the world further marginalized hanfu. Both governments actively support the preservation and promotion of hanbok and kimono, establishing cultural centers and implementing policies to encourage their public use. In contrast, Korea and Japan have seen a resurgence of interest in their traditional attire, driven by national pride, cultural tourism, and popular media influences. Although there are signs of a nascent hanfu revival in China, it faces an uphill battle to achieve the widespread acceptance seen in Korea and Japan. The unique historical and cultural trajectories of these countries have profoundly shaped attitudes towards traditional clothing, influencing their current status in society. In the tapestry of global fashion, traditional garments evoke a sense of cultural pride and heritage. Despite its rich cultural legacy, hanfu is mostly confined to special events and historical reenactments. While Korea and Japan seamlessly integrate hanbok and kimono into modern society, China’s hanfu faces a different fate. Embracing Western ideals and technologies rendered traditional customs and attire obsolete in the eyes of many. The Cultural Revolution further entrenched this sentiment, associating hanfu with an outdated feudal order that was actively discouraged. China’s rapid modernization and Westernization in the 20th century played a pivotal role. The practicality and accessibility of Western clothing also played a decisive role. Mass-produced and affordable, Western garments supplanted hanfu’s intricate and labor-intensive designs. Yet, the resurgence of hanfu underscores a growing appreciation for cultural heritage in contemporary China. Social media platforms have become vital in fostering enthusiasm among aficionados, albeit challenges persist regarding widespread adoption and acceptance. Despite a recent resurgence among Chinese youth eager to reconnect with their cultural roots, hanfu remains niche due to its impracticality for everyday wear and limited availability. In global fashion, traditional attire holds esteemed status, symbolizing cultural identity. While Japan and Korea embrace their traditional dress-kimonos and hanboks-China’s once-prevalent hanfu has receded, supplanted by Western styles. This stark contrast begs the question: why isn’t hanfu as normalized in China as it is in its neighbors? During the Qing dynasty, the Manchu rulers imposed bans on hanfu, compelling Han Chinese to adopt Manchu attire. This historical suppression seeded notions of shame and inferiority associated with traditional dress, which persisted into modern times. Historically, China’s turbulent past has left a lasting imprint. China’s rapid 20th-century modernization and urbanization further marginalized hanfu. Mass-produced Western clothing, cheaper and more convenient, further dimmed hanfu’s allure. Embracing Western ideals and technologies, traditional attire was deemed incompatible with modernity. Social stigma also plays a pivotal role. In many Chinese cities, wearing traditional attire may invite unwanted attention or mockery, relegated to historical reenactments rather than daily wear. In contrast, Japan and Korea maintain strong cultural pride, integrating kimonos and hanboks into daily life and contemporary fashion. Despite challenges, hanfu’s resurgence among Chinese youth signals a shifting cultural landscape. Social media platforms serve as catalysts for enthusiasts, promoting cultural heritage and fostering appreciation. In conclusion, the normalization of hanfu in China necessitates a seismic shift in societal attitudes and greater cultural appreciation. While obstacles remain, hanfu’s revival highlights a growing national consciousness and appreciation for China’s rich cultural tapestry. Embracing hanfu not only reconnects China with its illustrious past but also fortifies a vibrant national identity in an increasingly globalized world.

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Ru (Chinese: 襦; pinyin: rú), sometimes referred to as shan (Chinese: 衫; pinyin: shān), ao (simplified Chinese: 袄; traditional Chinese: 襖; pinyin: ǎo), and yi (Chinese: 衣; pinyin: yī), is a form of traditional Chinese upper garment, or coat, or jacket, which typically has a right closure; however, they may also have a front central opening. It is traditional everyday wear for women of the Han Chinese ethnic group. The shape and structure of Chinese upper garments, generally referred as yi (衣), varied depending on the time period. Garments that overlap and close to the right originated in China and are called youren (Chinese: 右衽; pinyin: yòurèn; lit. The style of yi which overlaps at the front and closes on the right in a y-shape is known as jiaolingyouren (Chinese: 交領右衽; pinyin: jiāolǐngyòurèn; lit. The structure of the jackets worn in the late Qing shared some features of those worn by the ethnic Han during the Ming dynasty. They continued to evolve and be worn in some form during the Republic of China. It can be worn in combination with a skirt in a style called ruqun, or a pair of trousers in a style called shanku. It has regained prominence in the 21st century following the Hanfu movement. Since the 1930s, the popularity of traditional Han fashion declined in favor of the qipao and Western dress. In ancient times, the term yi referred to an upper outer garment. The term ru (襦) has sometimes been used as a synonym word for the clothing items shan (衫) and ao (袄; 襖). The term yi (衣) generally refers to clothing. 94 The ru also had different names depending on its characteristics, such as its length and the presence or absence of lining. The ru can refer to both a long or short jacket. A short ru is also known as duanru (Chinese: 短襦; lit. 48-50 can be found with either short or long sleeves. 94 In the Mawangdui Silk Manuscripts, the character ru《襦》refers to a ‘short coat’. The Shuowen also described the ru as being a form of duanyi (Chinese: 短衣; lit. It is also described as a common form of duanyi in the Guangyun. 48-50 a type of duanru is the yaoru (Chinese: 腰襦; lit. In the Han dynasty, the ru could be unlined, lined or padded. Chinese: 襌(单)襦; traditional Chinese: 襌(單)襦; lit. There is also the term changru (simplified Chinese: 长襦; traditional Chinese: 長襦; pinyin: chángrú; lit. 48-50 According to the Guangyun, however, the changru can also be a form of paofu. In the Zhou dynasty, a long ru was referred as the gua while the furu referred to ru with lining and which was similar to the paofu in terms of form. 94 According to the Guangyun, a gua (Chinese: 袿) is also a form of changru. Other forms of changru included the shuhe (Chinese: 裋褐; lit. Other terms, such as daru (Chinese: 大襦; lit. Gujin Tushu Jicheng, between 1700 and 1725 AD. Illustration of shan with a youren round collar (yuanlingshan) and narrow sleeves, decorated with a flower square from the Qing dynasty Gujin Tushu Jicheng. Chinese: 上襦; lit. According to the Ben Cang Gang Mu 《本草綱目》written by Li Shizhen’s time (1518 – 1593 AD), in ancient times, an unlined short garment, duanru (短襦; ‘short jacket’), was called shan (衫); and in the time of Li Shizhen’s time, the shan also came to refer to long garments (simplified Chinese: 长衣; traditional Chinese: 長衣; pinyin: chángyī; lit. The term hanshan (Chinese: 汗衫; pinyin: hànshān; lit. Modern reconstruction of a long jacket called chang ao. 65According to Li Shizhen, who quoted the Zhiguzi《炙轂子》by Wang Rui, the hanshan used to called zhongdan (中單), an inner unlined garment; it changed name when the zhongdan of King Han was seeped with sweat when the latter fought with Xiang yu. Illustration of ao (襖) from the Qing dynasty Gujin Tushu Jicheng. Illustration of an ao decorated with flowers (寶相花裙襖) from the Qing dynasty, Gujin Tushu Jicheng. The term ao (袄; 襖) appears in a Sui dynasty rime dictionary called Qieyun, published in 601 AD and can be translated as “padded coat”, but it can also refer to a lined upper garment. The term ao was sometimes used to refer to thicker forms of jacket which could be used as winter clothing. This ao shows a frontal closure. A jia ao (夹袄), for example, was a lined jacket which was used by Han Chinese women as winter clothing; the jia ao was typically worn on top of a long-length qun underneath. The term xi (Chinese: 褶; lit. The ru is a form of jacket or coat, which typically closes to the right and is described as being youren. The standing collars started to be incorporated in upper garments by the late Ming dynasty. Slits can also be found at both sides of the lower hems of the bodice. The shapes of the sleeves can also vary, such as big sleeves, narrow sleeves, large cuffs, mandarin sleeves, flared sleeves. The length of the bodice may vary; it can be waist-length or knee-length. Clothing style which overlaps and closes to the right originated in China. The youren closure is an important symbol of the Han Chinese ethnicity. Chinese robes and jackets must cover the right part in a style called youren (右衽; yòurèn; ‘right lapel’). Huling (护领)- a collar guard, it is shorter than the actual collar and is used to prevent the collar from getting dirty or wear off. The structure of the jiaolingyouren yi (交領右衽 衣; jiāolǐngyòurèn yī) may have some differences and variations in terms of features depending on time period and styles of upper garment. The traditional way to distinguish between Hufu and Hanfu is by looking at the direction of the collar. In Ancient China, some ethnic minorities had clothing which generally closed on the left side in a way referred as zuoren (Chinese: 左衽; pinyin: zuǒrèn; lit. Unbound hair and coats which were closed on the left side were associated with the clothing customs of the northern nomadic ethnic groups which were considered as barbarians by the Han Chinese. Therefore, the zuoren were used to refer to Hufu and/or refer to the rule of foreign nationalities. However, the youren rule was not always respected: for example, in some areas (such as Northern Hebei) in the 10th century, some ethnic Han Chinese could also be found wearing zuoren clothing. Some non-Chinese ethnicities who also adopted Hanfu-style sometimes maintain their zuoren lapels, such as the Khitans in the Liao dynasty. The only moment Han Chinese is supposed to use zuoren is when they dressed their deceased. It was also common for the Han Chinese women to adopt zuoren under the reign of foreign nationalities, such as in the Yuan dynasty; the use of zuoren also continued in some areas of the Ming dynasty despite being Han-Chinese ruled dynasty, which is an atypical feature. Based on this belief, the left lapel needs to be outside (i.e. youren-style) to indicate that the power of Yang is suppressing the Yin, which therefore symbolized the clothing of living people. This is due to ancient Chinese beliefs in the Yin and Yang theory, where it is believed that the left is the Yang aspect and stands for life whereas the right is the Yin which stands for death. It is therefore typically taboo in Chinese clothing for a living person to wear zuoren. However, if Yin surpasses Yang (i.e. zuoren-style), then clothing becomes the clothing worn by the deceased. Prior to the Eastern Han, the ru was the most common form of short robe for both men and women; however, the ru was preferred by women afterwards. The long ru could reach the knee-level whereas the short ru was waist-length. Clothing style with youren (右衽; yòurèn; ‘right lapel’) closure originated in China. The ru could be found unlined, lined or padded. According to historical documents and archaeological findings, the basic form of clothing during Shang was yichang. 22 the yi worn by slaveholders had tight sleeves and were also closed on the right side following the youren-style. The jiaolingyouren yi (交領右衽 衣) started to be worn in the Shang dynasty. In the Zhou dynasty, there were various forms of yi as a generic term of upper garments. In the Han dynasty, short waist-length ru could be worn with trousers or skirts by men and women respectively. 94 A typical form of yi was the ru. This shan was worn by men and women and became popular as it was more convenient for wearing. In the Han and Wei dynasties, the sleeves of the ru could be wide or narrow; the ru was closed to the right. Guardians of day and night, Han dynasty. Women wearing jacket (ru) under their skirts. You can help by adding to it. This section is empty. The ru (as a short jacket) and shan (as an unlined short robe) were used for ceremonial and daily clothing by women. Hufu-style declined in popularity. Woman wearing jiaoling youren jacket, Tang dynasty. The Tang dynasty ru could also be a tight jacket or a cotton-padded jacket, which could have embroidered golden line as embellishment at the collar and sleeves or could sometimes be decorated with silk damask. Paintings of women wearing daxiushan (大袖衫) during the Tang dynasty. Song dynasty, women wore jiaolingyouren jackets and duijin jackets. In the Song dynasty, the daxiushan (shirt with large/broad sleeves) was a form of fashionable formal clothing. 9-16 The short ru was a daily garment item for women; the closures of the short ru were found either on the left or right of the front of the garment. Clothing worn by the Northern Song dynasty people living in Kaifeng are depicted in the on the painting Qingming Festival on the River by Zhang Zeduan. 70 This painting depicts the clothing worn by people holding different social status, ranks, and occupation: the jackets worn as outer garments were all short, about knee-length or shorter, when worn by coolies, pedlars, peasants, and boat people and children who peddled dried fruits wore short white shan. Song dynasty-style fashion, including jiaolingyouren jackets, continued to be worn by both Han Chinese and non-elite Khitan women in the Liao dynasty; these jackets were waist-length. Both the jiaolingyouren and the jiaolingzuoren jackets for women coexisted in the Yuan dynasty. Duijin shan made of luo (罗), Song dynasty. The wearing of zuoren (instead of youren) was common in the Yuan dynasty. Han Chinese women also wore jia ao (夹袄), a form of lined jacket, typically over a long-length qun underneath as winter clothing. Ming dynasty portrait paintings showing Chinese women dressing in zuoren jackets appeared to be characteristic of ancestral portraits from the province of Shanxi and most likely in the areas neighbouring the province. Following the end of the Yuan dynasty, the wearing of zuoren in women’s clothing persisted in the Ming dynasty for at least Chinese women who lived in the province of Shanxi. In the Ming dynasty, the ao as a long jacket became more prevalent at the expense of the short ru. 72-74 Pak Chega based his description of Chinese women’s clothing by using the Records of Daily Study (Rizhilu) by Gu Yanwu (1613-1682), a scholar from the late Ming and early Qing dynasties. Woman wearing a waist-length jacket, Ming dynasty. Waist-length fangling ao (square collared jacket), Changling Tomb of the Ming dynasty. Waist-length duijin ao (lined jacket), Ming dynasty. Portrait of women wearing long jiaoling youren jacket (chang’ao) decorated with buzi, Ming dynasty. Noble lady wearing a round-collared jacket as upper garment and a skirt as lower garment (front) Lady-in-waiting wearing a short-sleeved round collar jacket with a skirt (left), Ming dynasty. The appearance of interlocking buckle promoted the emergence and the popularity of the standup collar and the Chinese jacket with buttons at the front, and laid the foundation of the use of Chinese knot buckles. In women garments of the Ming dynasty, the standup collar with gold and silver zimukou became one of the most distinctive and popular form of clothing structure; it became commonly used in women’s clothing reflecting the conservative concept of Ming women’s chastity by keeping their bodies covered and due to the climate changes during the Ming dynasty (i.e. the average temperature was low in China). Noble lady wearing a round-collared jacket as upper garment and a skirt as lower garment (front) Lady-in-waiting wearing a short-sleeved round collar jacket with a skirt (left), Ming dynasty. There were at least two types of high collar jackets in the Ming dynasty: liling duijin shan (Chinese: 立领对襟衫) which is jacket with high collar and closes at the front centrally, and liling dajin changshan (Chinese: 立领大襟长衫) which is a long jacket with stand-up collar, it overlaps from the neck and closes at the right side. The liling dajin changshan is typically worn with a skirt, called mamianqun. This is style of jacket is referred as liling dajin changshan (立领大襟长衫). Noble woman wearing a long jacket with right side closure and a high collar. Noble woman wearing a long jacket with right side closure and a high collar, Ming dynasty. The Han Chinese women carefully maintained their pure Han Chinese ethnicity and did not wear Manchu clothing. Over time, the Ming dynasty customs were gradually forgotten. As Han women were not forced to change into Manchu clothing in the Qing dynasty, Han women of the Qing dynasty followed the style of female jacket worn in the Ming dynasty. However, Manchu women and Han Chinese women never emulated each other’s clothing; and as a result, by the end of the nineteenth century, Manchu and Han Chinese women had maintained distinctive clothing. The clothing of the Han and the Manchu eventually influenced each other. In the early Qing, Han women continued wearing Ming dynasty hanfu; in the South, the jiaoling ao and shan continued to be worn with long skirts by most women while in the North, trousers were more common. In the mid-Qing clothing, fashionable styles were associated to those worn in the late 16th and early 17th century. 72-74 Pak described the jackets had collars which were round and narrow and were fastened just below the chin; he also described them as being typically long enough to conceal the entire body although in some cases, the jacket would be long enough to be just below the knee-level. According to the Discourse of Northern Learning (Pukhak ŭi; 北學議: 완역정본) by Pak Chega (1750-1805) who visited the Qing dynasty in 1778, Chinese women wore upper and lower garments which were similar to those worn in ancient paintings. After the Mid-Qing dynasty, Manchu clothing, called qizhuang, started to influence the women’s hanfu. 97 In the late 18th and 19th century, there was a dramatic shift in fashion aesthetics. 72-74 Pak also observed that the Chinese women’s clothing preserved the old traditions (which were mostly intact) and which he contrasted with the Joseon women’s clothing trend which he claimed to be taking more after Mongolian in style, an influence which he attributed to the close relationship between Goryeo and the Yuan dynasty and continued to exist in Joseon during his lifetime. Han Chinese women’s jackets (including shan, ao, and gua). The trend in this period was characterized on the emphasis on decorative trims and accessories which were modular and could be easily produced, purchased and then applied on the clothing (including robes, jackets, and skirts); those forms of modular features included collars, sleeve-bands and border decorations. During this period, auspicious symbols and narrative scenery were especially made into embroidered roundels and borders and became fashionable in Han Chinese women’s clothing; this new trend was an influence of the late imperial secularization of arts and culture on textiles. They were also lavished with embroideries which were based on the Chinese symbolic system, which was itself based on Chinese language, mythology, customs, and literature, and belief system (e.g. Confucianist and Taoist motifs). The borders decoration in contrasting colours were used throughout the clothing history of China and were recorded early on in history (e.g. in the Liji). Manchu robes, it was however longer than the waist-length jacket (yaoru) which appeared to have fallen from popularity during the 18th century. The dajin youren ao (Chinese: 大襟右衽袄) continued to be worn. The wide sleeves used in the upper garment were a heritage of the Ming dynasty and a distinctive feature which differentiated Hanfu from Manchu clothing. In the late Qing, these dajin youren ao had neither darts nor shoulder stitching; the front and back panels are connected by the shoulder, and the left and right pieces are more or less symmetrical. 48-50 The front closing, collar, hem, and sleeves cuff have edging of contrasting pipings and side slits. It has a front centre closure and then curves crossover to the right before secured with frog buttons in a style called pianjin. 48-50 The jackets could also be decorated with yunjian appliqué. Woman’s short coat decorated with a Yunjian appliqué, early 19th century. 184which was typically used as part of a type of Chinese wedding dress attire. Wedding jacket and skirt (aoqun), c. The duijin ao (jackets with front opening) were also worn. The jiaolingyouren yi continued to be worn in the Qing dynasty even in the 19th century by children. The duijin ao in the 19th century could be round neck with no collar or have small stand-up collars. These high collars were gradually lowered. Woman’s theatrical jacket, Qing dynasty, 19th century. In the 1920s, the jackets had curved lower hem at the waist-hip region and low standing collar; it was a component of the Wenming xinzhuang Chinese: 文明新裝; lit. After the May 4th Movement, these high collars were abandoned due to their inconvenience. After the 1930s, these forms of upper garments lost popularity and decreased in use, as they were replaced by qipao and Western dress. Initially, the jeogori closed at the front, then switched to a left closure before eventually closing to the right side. Following the Hanfu movement in 2003, many various forms, shapes, and styles of Hanfu upper garments have reappeared and regained popularity. Closing the jeogori to the right has become standard practice since the sixth century AD. The Chinese Ming dynasty also bestowed the ceremonial attire and daily clothing to the Joseon queens from the reign of King Munjong to the reign of King Seonjo whenever a new king was enthroned; the bestowed clothing included ao (襖, called o in Korea), qun (裙, called gun in Korean), and dansam (unlined jacket). The standing-up collar and diagonal right closure are two features inspired by Chinese and Manchu clothing. King Hyonjong of Goryeo had been said to have composed a poem in 1018 stating, “Had it not been for Kang, evermore would our coats on the left be bound”, when Kang Kamch’an won against the invading Khitan. The people of Ryukyu wore cross-collar upper garment called dujin (胴衣; ドゥジン), which was only worn by members of the Ryukyu royal family and by the upper-class warrior families. The old-style dujin was initially more Chinese in style before gradually becoming more Japanese in style. Illustration of Ryukyu upper clothing called Jin (衣) by the people of Ryukyu, 1721, from the Zhongshan chuanxinlu《中山傳信錄》; Men and women wore similar form of jin. British Chinoiserie fashion had incorporated key elements from the construction design of Chinese clothing, including the use of wide sleeves and side closure; these designs were then adapted to meet the aesthetic tastes of Europeans. 239 The design of wrap-style closure or neckline, known as jiaoling (Chinese: 交領; lit. China, in European garments was the results of the heavy influences of Orientalism which was popular in the 19th century. 4777), which appeared in American women’s magazine, The Delineator, in 1901. In volume 57, The Delineator described it as being “Ladies’ Chinese dressing”, and as having “a strong suggestion of the Orient”. Chinese also influenced various designs and styles of déshabillé in the United States. 3920), one of which closed on the right side (known as jiaoling youren in China) with a single ribbon. 216-217 The San toy was designed to be loose-fitting, a wrap closure on the left side (known as jiaoling zuoren in China) which closes with satin ribbon ties; it also featured deep side vents, which was considered as being a “novel effect”, and was trimmed with a single band creating a fancy outline. Likewise, Japanese Kimono-style with wrap closure, also influenced American summer fashion in the early 1900s; these became known as Misses’ or girls’ Japanese wrapper or lounging-robe. 248 The loosening of women’s fashion found in the 1920s loose-fitting fashion, especially the disappearance of nipped-in corset, appears to have also been influenced by the loose lines and roomy armholes of the traditional Chinese robes and jackets along with other factors, such as the experience of freedoms of elite women at that time, the sportswear-designs of Chanel, and the garment designs by Paul Poiret who designed Middle-Eastern inspired garments. Jiang, Wanyi; Li, Zhaoqing (2021-01-06). Analysis on Evolution, Design and Application of Women’s Traditional Coats in Beijing in the Late Qing Dynasty and the Early Republic of China. Yu, Song-Ok (1980). “A Comparative Study on the Upper Garment in the Ancient East and West”. Ho, Wei; Lee, Eun-Young (2009). “Modem Meaning of Han Chinese Clothing(韓服)”. Journal of the Korean Society of Costume. Zhao, Yin (2014). Snapshots of Chinese culture. Journal of the Korea Fashion and Costume Design Association. Kidd, Laura K.; Lee, Younsoo (2002). “The Style Characteristics of the Hwalot, with a Focus on One Robe from the Collection of the Honolulu Academy of Arts”. Xinzhi Cai. Los Angeles. Han, Jiantang (2012). Chinese characters. Clothing and Textiles Research Journal. Cambridge: Cambridge University Press. Retrieved 2022-06-13. Green is the upper robe, Green with a yellow lining! Green is the upper robe, Green the upper, and yellow the lower garment. US: American Academic Press. 子見齊衰者、冕衣裳者與瞽者，見之，雖少必作；過之，必趨。 Retrieved 2022-06-13. Huang Di, Yao, and Shun (simply) wore their upper and lower garments (as patterns to the people), and good order was secured all under heaven. 綠兮衣兮、綠衣黃裏。 綠兮衣兮、綠衣黃裳。 Gu, Weilie (2022). A GENERAL INTRODUCTION TO CHINESE CULTURE. New York: Columbia University Press. Li, Shizhen (2021). Ben cao gang mu : 16th century Chinese encyclopedia of materia medica and natural history : the complete Chinese text. 是以自天佑之，吉无不利，黄帝、尧、舜垂衣裳而天下治，盖取诸乾坤。 Finnane, Antonia (2008). Changing clothes in China : fashion, history, nation. Legal practice in the formative stages of the Chinese empire : an annotated translation of the exemplary Qin criminal cases from the Yuelu Academy collection. Thies Staack, Ulrich Lau, Yuelu shu yuan. Fendos, Paul G. (2018). The Book of Changes. Wilmington: Vernon Press. p. Nienhauser, William H. (2016). Tang dynasty tales : a guided reader. Volume 2. Singapore: World Scientific. The University of California (1997). 中國文學 Issues 379-382. Foreign Languages Press. Beijing: Wen wu chu ban she. Peng, Hao; Zhang, Ling (2018). “On “Skirts” and “Trousers” in the Qin Dynasty Manuscript Making Clothes in the Collection of Peking University”. Qin shi huang ling bing ma yong keng yi hao keng fa jue bao gao, 1974-1984. Shanxi Sheng kao gu yan jiu suo, Shanxi shi huang ling Qin yong keng kao gu fa jue dui, 陜西省考古研究所, 陜西始皇陵秦俑坑考古发掘队. Jefferson, North Carolina. p. Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history. Wang, Anita Xiaoming (2018). “The Idealised Lives of Women: Visions of Beauty in Chinese Popular Prints of the Qing Dynasty”. Arts Asiatiques. 73: 61-80. doi:10.3406/arasi.2018.1993. Silberstein, Rachel (2016). “Fashionable Figures: Narrative Roundels and Narrative Borders in Nineteenth-Century Han Chinese Women’s Dress”. Silberstein, Rachel (2020). A fashionable century : textile artistry and commerce in the late Qing. Garrett, Valery M. (2007). Chinese dress : from the Qing Dynasty to the Present. 罗质夹袄. Styling Shanghai. Christopher Breward, Juliette MacDonald. Study on the Aesthetics of Han Chinese Clothing Culture in the TV Play “Nirvana in Fire”. Ma, Xiaofang (2018). “Study on the Aesthetics of Han Chinese Clothing Culture in the TV Play q Nirvana in Fireq”. Xu, Jing (2016). A Chinese traveler in medieval Korea : Xu Jing’s illustrated account of the Xuanhe embassy to Koryo. Sem Vermeersch. Honolulu. pp. Suzanne Lee (1st ed.). Dress and ideology : fashioning identity from antiquity to the present. Kang, Chae-ŏn (2006). The land of scholars : two thousand years of Korean Confucianism. Shoshana-Rose Marzel, Guy Stiebel. Zhang, Ling (2016). The River, the Plain, and the State: An Environmental Drama in Northern Song China, 1048-1128. Cambridge: Cambridge University Press. The Museum of Far East Antique Bulletin 70. Östasiatiska museet. Kuhn, Dieter (2009). The age of Confucian rule : the Song transformation of China. Shi, Songge (2021). “Travelling With Hanfu: A Social Media Analysis of Contemporary Chinese Travelling for Artistic Photographs”. Feng, Ge (2015). Traditional Chinese rites and rituals. Zhengming Du. Newcastle upon Tyne: Cambridge Scholars Publishing. Lüsted, Marcia Amidon (2016). Ancient Chinese daily life (First ed.). Cambridge, Mass.: Belknap Press of Harvard University Press. Chen, Buyun (2019). Empire of style : silk and fashion in Tang China. Introduction to Chinese culture : cultural history, arts, festivals and rituals. SHEA, Eiren L. (2021-12-15). “Intentional Identities: Liao Women’s Dress and Cultural and Political Power”. Sun, Ming-ju (2002). Chinese fashions. Mineola, N.Y.: Dover Publications. Guobin Xu, Yanhui Chen, Lianhua Xu, Kaiju Chen, Xiyuan Xiong, Wenquan Wu. 5000 years of Chinese costumes. Zhongguo fu zhuang shi yan jiu zu. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. San Francisco, CA: China Books & Periodicals. Zang, Yingchun; 臧迎春. Beijing: Wu zhou chuan bo chu ban she. 李竹润., 王德华., 顾映晨. Pellatt, Valerie (2014). Translating Chinese culture : the process of Chinese-English translation. The Museum of Far Eastern Antiquities Bulletin No.70. Eric Liu, Yalta Ya-Yun Chen. Östasiatiska museet. 1998. p. Pak, Che-ga (2019). A Korean scholar’s rude awakening in Qing China : Pak Chega’s discourse on northern learning. Byonghyon Choi, Seung B. Kye, Timothy V. Atkinson. 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. Vibeke Børdahl, Nordic Institute of Asian Studies. Olivová, Lucie B. (2009). Lifestyle and entertainment in Yangzhou. Copenhagen: NIAS Press. p. Rhoads, Edward J. M. (2000). Manchus & Han : ethnic relations and political power in late Qing and early republican China, 1861-1928. Seattle: University of Washington Press. Heroldová, Helena (2020). “Sleevebands: Neglected Element in Chinese Adornment”. Silberstein, Rachel (2017-05-04). “Cloud Collars and Sleeve Bands: Commercial Embroidery and the Fashionable Accessory in Mid-to-Late Qing China”. 41 (2): 93-111. doi:10.37520/anpm.2020.009. Lewandowski, Elizabeth (2011). The Complete Costume Dictionary. Annals of the Náprstek Museum. Lanham, Md: Scarecrow Press. Kim, Jin-Goo (1977). Korean costume : an historical analysis. Washington., Textile Museum (1996). The kimono inspiration : art and art-to-wear in America. Aurélie., Samuel (2010). Costumes d’enfants : miroir des grands : Établissement public du musée des arts asiatiques Guimet, 20 octobre 2010-24 janvier 2011. Réunion des musées nationaux. Lee, Samuel Songhoon (2013). Hanbok : Timeless fashion tradition. Han’guk Kukche Kyoryu Chaedan. Madison, Wis. : University of Wisconsin. China among equals : the Middle Kingdom and its neighbors, 10th-14th centuries. Morris Rossabi. Berkeley: University of California Press. Hong, Nayoung. “원삼 ( 圓衫 )”. Hong, Nayoung. “원삼(圓衫)”. Fiona. “A Brief History of Traditional Vietnamese Ao Dai”. Travel information for Vietnam from local experts. Encyclopedia of Korean Folk Culture (in Korean). Encyclopedia of clothing and fashion. Valerie Steele. Farmington Hills, MI: Charles Scribner’s Sons. Encyclopedia of national dress : traditional clothing around the world. Hendrickx, Katrien (2007). The origins of banana-fibre cloth in the Ryukyus, Japan. Leuven University Press. p. Jill Condra. Santa Barbara, Calif. Beyond chinoiserie : artistic exchange between China and the West during the late Qing dynasty (1796-1911). Petra ten-Doesschate Chu, Jennifer Dawn Milam. Elizabeth M. Sheehan. Hanover: University of New Hampshire Press. Parkins, Ilya (2012). Cultures of Femininity in Modern Fashion. BASIS Independent Silicon Valley. The Delineator. Vol. 57. Charles Dwyer, H. F.. United Kingdom: Butterick Publishing Company. Montgomery, R. S.. O’Loughlin. The Delineator. Vol. 58. Charles Dwyer, H. F. Montgomery, R. S. O’Loughlin (editors). United Kingdom: Butterick Publishing Company. United Kingdoms: Butterick Publishing Company. British Modernism and Chinoiserie. The Delineator. Vol. 56. Charles Dwyer, H. F. Montgomery, R. S. O’Loughlin. This page was last edited on 7 September 2024, at 01:08 (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.

Traditional Oriental women will always be a very important a part of Chinese, Japanese people, and Korean cultures. But , many people do not realize just how influential they are simply. Even today, they are still a tremendous aspect of the lives of folks that stay in these areas. For example, these types of women can be used to attract men. In fact , they could be used to promote several different things. They will also be utilized to inspire ladies to become better versions of themselves. Traditional Hard anodized cookware women wear ao dai within their attire. This kind of outfit is usually white and made of silk. These types of dresses are frequently worn on special occasions, such as for ceremonies or festivals. Ao dai may be tailored to fit a variety of body sizes. Also, they are employed for a variety of different formal events. You should choose a materials that is gentle and elastic, but not thinner. Hanfu is the classic gown of the Han ethnic group. Choose colors that are well lit and fairly neutral. However , additionally, it includes a number of forms of accessories. Traditionally, chinese cheongsam qipao the term refers to longer flowing garments with loose sleeves. The accessories include jewelries, ribbons, shawls and other miscellaneous things. There are lots of types of Hanfu, including: Shenyi, Ru, Ku and Shan. A shenyi is a silk-sewn garment. This consists of a robe and skirt, and was put on by every social classes. Cheongsam is probably the classic attires of Asian ladies. From the 1930s onwards, it became most popular. Today, cheongsams will be primarily employed as formal wear meant for important events. They are sometimes worn by Oriental dignitaries, celebrities, and film music artists. Its style dates back to the Qing Empire. The first is the regular aoqun, the type of Hanfu. You will find two primary styles of cheongsam. This design was donned by Han women in the 19th to 20th generations. The regular Chinese can certainly qipao provides a long background. It has started out a simple silk robe to an iconic figure-hugging dress. Traditional Cookware women’s qipao is made from first-class fabrics and includes a variety of fabric patterns. Today, it is considered a symbol of Offshore identity and sexuality. They also have buttons which communicate good needs for the purpose of harmony and luck. These include geometrical habits and auspicious designs. In the past, qipaos were donned only about special occasions. During this time, it was worn with high-heeled shoes and hats. Nevertheless during the 1940s and 1955s, the qipao became an even more everyday costume. That is normally an immixture of types and practices via a variety of locations. Cheongsam is actually a traditional outfit for women. Qipao, on the other hand, is a kind of garment males. According to region, both of these attire types range in shape, style, and materials. The Dragon Female is a common cultural character that combines several different elements. There are two main types of traditional Oriental clothing – cheongsam and qipao. It is origins could be traced back to legal guidelines and worries of East Asian peoples. She is often sexually aggressive, violent and seductive. Through record, Asian ladies have been fetishized as both good and bad incarnations of this myth. The Dragon Female is an incarnation of the feminine personification of your Yellow Peril, an era of racist fear of Cookware peoples. In Western culture, Asian civilizations are often fetishized. The fetishization of Asians is a result of imperialism and gendered racism. However , it is not the only fetishization. Fetishization of Cookware cultures occurs in the news flash and in everyday life. It is not something that should certainly become celebrated. These kinds of fetishizations are not a compliment, and they usually do not protect the individual from harm. They actually, however , strengthen harmful stereotypes. This kind of is mostly a term used to explain Asian women who are definitely not strong enough to defend themselves right from an outsider. One example of it is a Dragon Wife trope. Divorced classic Asian American ladies have a number of complex issues to handle, from social and emotional correction to economic hardship. These issues experience led to the creation of an disovery study analyzing the effect of divorce on the lives of Hard anodized cookware American girls. It is a hurtful stereotype that bright white supremacy uses to rationalize its view of your East. The results with this study suggest that the result of divorce on a can certainly life is much more having to remarry. In addition, it affects a woman’s ability to secure a job. Due to this fact, it is not odd for newly divorced females to try out depression. Additionally , a lower perceived quality lifestyle may be involved.

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Diyi (Chinese: 翟衣; lit. Ming Dynasty. The diyi also had different names based on its colour, such as yudi, quedi, and weidi. It is a formal wear meant only for ceremonial purposes. It is a form of shenyi (Chinese: 深衣), and is embroidered with long-tail pheasants (Chinese: 翟; pinyin: dí or Chinese: 褘; pinyin: hui) and circular flowers (Chinese: 小輪花; pinyin: xiǎolúnhuā). It is worn with guan known as fengguan (lit. It was first recorded as Huiyi in the Zhou dynasty. The diyi has been worn by empresses and other royal noblewomen (differs according to different dynasties) since the Zhou dynasty. Diyi also has several forms, such as yudi (Chinese: 褕翟) which was dyed in indigo (Chinese: 青; pinyin: qing), quedi (Chinese: 闕翟; lit. The diyi follows the traditional Confucian standard system for dressing, which is embodied in its form through the shenyi system. The di-bird pattern forms part of the Twelve Ornaments and is referred as huachong (simplified Chinese: 华虫; traditional Chinese: 華蟲). The pattern of paired pheasant on the diyi is called yaohui. The di-bird pattern is symbolism for “brilliance”; and the bird itself is a type of divine birds of five colours which represents the Empress’ virtue. The garment known as shenyi is itself the most orthodox style of clothing in traditional Chinese Confucianism; its usage of the concept of five colours, and the use of di-pheasant bird pattern. These five colours (i.e. blue, red, black, yellow, white) also correspond to the five elements; and thus, the usage of di-bird pattern aligns with the traditional colour concept in Confucianism. The small circular flowers known as xiaolunhua (Chinese: 小輪花; pinyin: Xiǎolúnhuā), also known as falunhua (Chinese: 法轮花), which originated from the Buddhism’s Rotating King and from the era of the Maurya dynasty. They are placed between each pair of di-bird pattern on the robe. The use of shenyi for women does not only represent its wearer’s noble status but also represents the standard of being faithful to her spouse undo death. The little flowers looks like a small wheel-shaped flower. The shenyi consists of an upper garment and a lower garment which represents the concept of Heaven and Earth (Chinese: 两仪; pinyin: Liangyi); the upper garment is made of 4 panels of fabric representing the four seasons, and the lower garment is made of 12 panels of fabric which represents the time of the year. The wide cuff sleeves are round-shaped to symbolize the sky and the Confucian’s scholars’ deep knowledge and integration while the right-angled collar is square shaped to represents the earth warning Confucians that they should have integrity and kindness; together, the sleeves and the right-angled collar represents space as the circle and the square of the world. The shenyi was the most appropriate ceremonial clothing style of clothing for the Empress due to its symbolic meaning: it represented the harmony between Heaven, earth, and space. The huiyi in Zhou dynasty was worn by the Empress as ceremonial clothing to pay respect during the ancestral shrine sacrifice which was the most important sacrificial event in which they could participate in. The huiyi is an ancient system which was first recorded in the Zhou dynasty (c. According to the Zhou dynasty rites, there were two types of black and blue clothing; however, there is currently no proof that the huiyi in the Zhou dynasty was black in colour. Following the Zhou dynasty, the subsequent dynasties perceived the huiyi as the highest form of ceremonial clothing. The huiyi in Sui and Tang dynasties was also blue in colour. The Huiyi was made out of dark blue zhicheng (a kind of woven fabric). In the Song dynasty, the huiyi was the highest form of ceremonial clothing worn by the Empress; it was worn on important ceremonial occasions such as wedding, coronations, when holding court, and during ancestral shrine sacrifices. 110 When empress wears the huiyi, she also needs to wear a phoenix crown, a blue inner garment and a dark blue bixi, with blue socks and shoes, along with a pair of jade pendants and other jade ornaments. The early Song dynasty sanlitu (Chinese: 三礼图) shows illustration of the huiyi as being a form of shenyi (Chinese: 深衣), being deep blue and is decorated with di bird patterns. There is a bixi (a knee covering) which hangs in the central region of the front skirt; the colour of bixi has the same colour as the bottom of the lower skirt. In the Records of Chariots and Horses and Clothes written in the Yuan dynasty, the Song dynasty huiyi is described as being dark blue in colour and there are 12 lines of di birds which stand together in pair. The socks are dark blue in colour; the shoes are also dark blue but decorated with gold ornaments. Di bird patterns can decorate the black, red collar edge in 3 lines. From the several court portrait paintings of the Song dynasty, it is found that the huiyi was cross-collar closing to the right, with large and wide sleeves, and with cloud and dragons patterns ornamenting the collar, sleeves and placket, with a belt worn around the waist; and while all the huiyi were depicted as being deep blue in colour, they differed in shades of dark blue showing variation. The literature which describes the Song dynasty huiyi however does not always provide details (e.g. variations) which can be found in the Song dynasty court painting and some discrepancies can be found between the text and the paintings. The Huiyi was also the ceremonial dress of the empress in the Ming dynasty. Instead of being in three lines as described in the Yuan dynasty’s records, in the Song paintings, the di bird pattern which decorates the belts is denser. 150 In the Ming dynasty, the huiyi was composed of the phoenix crown, the xiapei, an overdress and long-sleeved blouse. The quedi is dyed in red instead of blue. In the Ming dynasty, there are however different kinds of phoenix crowns depending on the ranks of its wearer: the one for the empresses is decorated with 9 dragons and 4 phoenixes, and the ones for the imperial concubines had 9 multicoloured pheasants and 4 phoenixes, and the other for the titled women was called a coloured coronet, which was not decorated with dragons or phoenixes but with pearls, feathers of wild fowls and flower hairpins. Empress xiaoduan wearing quedi. Illustration of huiyi (褘衣) from the Chinese encyclopedia Gujin Tushu Jicheng, between 1700 and 1725 AD. In Japan, the features of the Tang dynasty-style huiyi was found as a textile within the formal attire of the Heian Japanese empresses. Illustration of a woman wearing huiyi (褘衣) from the Chinese encyclopedia Gujin Tushu Jicheng, between 1700 and 1725 AD. In the Joseon dynasty, the official dress worn by queens was wearing the jeokui which was adopted from the Ming dynasty’s diyi. The jeokui was a ceremonial robe which was worn by the Joseon queens on the most formal occasions. Goryeo adopted the official ceremonial attire of the Ming dynasty. According to the Annals of Joseon, from 1403 to the first half of the 17th century the Ming dynasty sent a letter, which confers the queen with a title along with the following items: jeokgwan, a vest called baeja (Korean: 배자; Hanja: 褙子), and a hapi. It was worn together with jeokgwan (Korean: 적관; Hanja: 翟冠) in the late Goryeo and early Joseon, hapi (Korean: 하피; Hanja: 霞帔), pyeseul (Korean: 폐슬; Hanja: 蔽膝). Instead the jeokui which was bestowed corresponded to the Ming women’s whose husband held the highest government official posts. However, the jeokui sent by the Ming dynasty did not correspond to those worn by the Ming empresses as Joseon was considered to be ranked two ranks lower than Ming. The jeokdui worn by the queen and crown princess was originally made of red silk; it then became blue in 1897 when the Joseon king and queen were elevated to the status of emperor and empress. The daesam is believed to be similar in form to the Ming dynasty’s daxiushan, which was worn by the titled court women of the first rank. In early Joseon, from the reign of King Munjong to the reign of King Seonjo, the queen wore a plain red ceremonial robe with wide sleeves (daehong daesam; Korean: 대홍대삼; Hanja: 大紅大衫, also referred as daesam for short). In the late Joseon, the daesam was modified to feature pheasant heads and a rank badge. Following the fall of the Ming dynasty, Joseon established their own jeogui system. In the Korea Empire, the blue jeokui was established for the Korea Empress. The xiaolunhua (小輪花) motif are known as ihwa motif in Korea. The Korean ihwa motif were likely designed in 1750 when Joseon established their own jeokui system, and may have used The Collected Statutes of the Ming Dynasty (大明會典) as reference. An example of the jeokui worn by the Korean empresses in Joseon can be seen in the Cultural Heritage Administration website. By the Korea Empire, the ihwa motif was revised and became one of the primary emblem of the Korean empire. The jeokgwan was the Chinese crown decorated with pheasant motifs; it was worn by the queens and princesses of the Ming dynasty. Joseon until the early 17th century. The jeokgwan originated from the bonggwan (Korean: 봉관; Hanja: 鳳冠) which was worn from by the Chinese empresses. In the late Joseon, the jeokgwan was changed into a big wig, called daesu which consisted with a gache and binyeo, following extensive reforms. It stopped being bestowed after the fall of the Ming dynasty. The daesu was then worn until the end of Joseon. 2 variations of the diyi had been developed in Korea during the Joseon dynasty, and later in the Korean Empire. During the Joseon dynasty, the diyi was known as “Chijeok-ui” (Korean: 치적의; Hanja: 雉翟衣) or jeokui, and is characterized as a predominant red outfit with a similarity to the wonsam. Princesses Consort on their marriage to the Crown Prince and on major ceremonies (Korean: 대례복; Hanja: 大禮服; RR: daeryebok). Queens Consort on their coronation ceremony and on major ceremonies (Korean: 대례복; Hanja: 大禮服; RR: daeryebok). During the Korean Empire, the chijeok-ui was later changed into the (original) blue with red trim similar to its Chinese model. It was also worn by the queens and princesses when they visited the Royal Ancestors Shrine and when they were receiving morning visits from their retainers. According to the book, Weaving a Realm (Dệt nên triều đại) published by Vietnam Centre, the diyi (Sino-Vietnamese: Địch Y; 翟衣) was recorded as Huy Địch (褘翟) in Vietnam and was recorded in the book, Tang thương ngẫu lục 桑滄偶錄. Vậy xét theo phép của nhà Thành Chu, tôn phong bà làm bực Thái phi, để tỏ công phù trì, để hợp lễ thương kính. Than ôi, áo xiêm (chữ Hán: Vi Địch) dâng tiến, vinh quang chẳng cứ khi mất còn; nấm đất vun bồi, rực rỡ đến tận cõi minh mạc. Following Zhōu dynasty’s rites to honour the new Grand Concubine’s coronation, in order to display the utmost appreciation of her services and to perfect the great ceremony. As for Huy Địch dress, the shining glories stay in the fine-grained texture, and this shall be continuously succeeded. 粵考成周之遺制、宜加太妃之新封、于以彰保佑之功、于以盡哀榮之禮。 於戲，褘翟命服，流輝無間其存亡，馬鬣漏泉、賁飭有光於溟漠。 Việt khảo Thành Chu chi di chế, nghi gia Thái phi chi tân phong, vu dĩ chương bảo hựu chi công, vu dĩ tận ai vinh chi lễ, ư hi huy địch mệnh phục, lưu huy vô gián kỳ tồn vong mã liệp lậu tuyền, bí sức hữu quang ư minh mạc. Liu, Heping (2003). “Empress Liu’s “Icon of Maitreya”: Portraiture and Privacy at the Early Song Court”. The imperial cemetery and bureaucracy, could glow even in the most remote and darkest of places. Zhang, Shuhua; Shanat, Musdi bin Hj; Abdullah, Qistina Donna Lee (2021-03-31). “The Expression of Religious Elements and Factors of Religious Thoughts in the Empress’s Ceremonial Costume “Hui Yi” of Song Dynasty”. International Journal of Service Management and Sustainability. Wang, Yuanfei (2021-07-03). “What Hangs On a Hairpin: Inalienable Possession and Language Exchange in Two Marriage Romances”. Research Bulletin of Osaka Shoin Women’s University. NATIONAL MUSEUM OF KOREA. 6 (1): 89-108. doi:10.24191/ijsms.v6i1.12880. 5000 years of Chinese costumes. Zhongguo fu zhuang shi yan jiu zu. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. San Francisco, CA: China Books & Periodicals. Lee, Samuel Songhoon (2013). Hanbok : Timeless fashion tradition. Encyclopedia of Korean Folk Culture. Encyclopedia of Korean Folk Culture. Han’guk Kukche Kyoryu Chaedan. The King at the Palace Joseon Royal Court Culture at the National Palace Museum of Korea. Ro Myounggu, Park Suhee. Encyclopedia of Korean Folk Culture. Encyclopedia of Korean Folk Culture. Cultural Heritage Administration. “Hwanghu-jeogui(Empress’ Ceremonial Attire) – Heritage Search”. Cultural Heritage Administration – English Site. In the event that the first Queen Consort had died. This page was last edited on 23 November 2024, at 07:42 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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Millbrae gave the Year of the Rabbit the warmest of welcomes with its annual Lunar New Year festival on Sunday, Jan. 29, presenting various aspects of East Asian culture in all of its diverse beauty. “I thought it’s only about Chinese New Year,” festival goer Ani Putri said. Recently, the Bay Area has been in need of a jubilant celebration. On Jan. 21, 11 people were murdered in a mass shooting during a Monterey Park Lunar New Year celebration. This tragic occurrence made the unity, representation and cultural celebration showcased at Millbrae’s festival all the more important. Security levels were drastically increased, with cops around every corner. “They had army guards here in the morning,” event MC Jennifer Chang said. In light of these events, proper precautions were taken to ensure a safe and enjoyable festival experience for all. All of this protection was a welcome extra measure for San Francisco resident and festival attendee Lily Huang. Confirming that the area was safe was a primary concern for Huang, and she made sure to do her research before bringing her family to the fair. “I can see the people volunteering and the police around,” Huang said. The biggest attraction of the event was, undoubtedly, the main stage at the front of the festival. Over a dozen performers came to display their talents, ranging from young children eager to impress with the dancing skills they’d learned in school to experienced instrumentalists who played seamlessly together. Tran has been singing and performing across the San Jose area since the age of five. This was her second time singing in Millbrae, as she was a part of last year’s Lunar New Year festival as well. One such artist was 14-year-old Samantha Tran, who sang lovely Vietnamese songs, a prime example of the diversity on display at the festival. “I sing a lot around the community,” Tran said. One of the festival’s major contributors was the Northern California Hanfu Association, an organization founded in 2017 that prides itself on cultural representation, especially through the diffusion of Chinese clothing and arts. Hanfu is a style of traditional clothing with over 5,000 years of history, and is worn by the Han people of China. In addition to performances on stage, the organization had a booth at the festival where they sold accessories like hairpins and belts. “We like to join local events just to get everyone aware and to share the beauty of the Chinese culture,” Northern California Hanfu Association music director Shuai Shao said. Their stage showcase featured talented musicians playing a number of traditional instruments, such as the pipa and the guzheng. The Northern California Hanfu Association’s co-founder, Jiexu Han, describes the Hanfu style as “the Chinese version of Renaissance,” and always loves the opportunity for others to realize how valuable traditional Chinese clothing truly is. Additionally, the association put on a fashion show with a variety of Hanfu outfits, all crafted with impeccable detail and intricate designs. A small band with drums and cymbals followed closely behind. Crowds also gathered around the lion dance as colorful red and yellow dragons filtered through the streets. ” Chang said of the lion dancers. The performers weren’t the only stars of the show. “A lot of people come here after that and ask me, ‘When is the lion dance? Over 30 food and 50 crafts merchants spread out along Broadway, Millbrae’s main thoroughfare, selling everything from chicken satay to handmade jewelry and elaborate paper designs. One vendor at the festival was activist and designer Ashlyn So, who is a freshman at Design Tech High School. So has been making waves worldwide as a talented young designer as featured in many magazines and shows, modern wedding qipao including Paris Fashion Week. At the festival, So was selling meticulously made jade jewelry pieces, including necklaces, bracelets and earrings. “I think jade is nice because of its deep meaning,” So said of her art. Beside So’s booth sat Tony Zhao, who makes delicate cards by cutting pieces of paper and putting them together to form stunning pop-up animals, patterns and flowers. Zhao had already been placing his works on the market, so when he heard about the Lunar New Year festival through his wife, he knew he had to check it out. The people, the hearty atmosphere and the delicious food made the celebration worth his time, he said.

Imported from Japan! Approx 24cm Tall! From FURYU Corporation. From Re:ZERO -Starting Life in Another World comes a new figure featuring Rem in a beautiful Hanfu dress. The original F:NEX Chinese style clothing is made of clear materials, with a sense of transparency, lightness, chinese horse face skirt and sparkling elegance. Small items such as hair ornaments and lanterns with the right hand are also carefully shaped and painted, and the hem of her dress is more beautifully decorated. Rem’s short blue hair and gleeful smile are faithfully recreated to bring the warm joy of this character to life.

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