Traditional chinese christmas clothing

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. It can be worn in combination with a skirt in a style called ruqun, or a pair of trousers in a style called shanku. Garments that overlap and close to the right originated in China and are called youren (Chinese: 右衽; pinyin: yòurèn; lit. The shape and structure of Chinese upper garments, generally referred as yi (衣), varied depending on the time period. 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. Since the 1930s, the popularity of traditional Han fashion declined in favor of the qipao and Western dress. It has regained prominence in the 21st century following the Hanfu movement. The term yi (衣) generally refers to clothing. 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 ru can refer to both a long or short jacket. 48-50 can be found with either short or long sleeves. 94 The ru also had different names depending on its characteristics, such as its length and the presence or absence of lining. 48-50 a type of duanru is the yaoru (Chinese: 腰襦; lit. 94 In the Mawangdui Silk Manuscripts, the character ru《襦》refers to a ‘short coat’. A short ru is also known as duanru (Chinese: 短襦; lit. The Shuowen also described the ru as being a form of duanyi (Chinese: 短衣; lit. In the Han dynasty, the ru could be unlined, lined or padded. It is also described as a common form of duanyi in the Guangyun. There is also the term changru (simplified Chinese: 长襦; traditional Chinese: 長襦; pinyin: chángrú; lit. Chinese: 襌(单)襦; traditional Chinese: 襌(單)襦; lit. 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. 48-50 According to the Guangyun, however, the changru can also be a form of paofu. Other terms, such as daru (Chinese: 大襦; lit. Chinese: 上襦; lit. Gujin Tushu Jicheng, between 1700 and 1725 AD. 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. Illustration of shan with a youren round collar (yuanlingshan) and narrow sleeves, decorated with a flower square from the Qing dynasty Gujin Tushu Jicheng. 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 an ao decorated with flowers (寶相花裙襖) from the Qing dynasty, Gujin Tushu Jicheng. This ao shows a frontal closure. Illustration of ao (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. 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 length of the bodice may vary; it can be waist-length or knee-length. 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. Chinese robes and jackets must cover the right part in a style called youren (右衽; yòurèn; ‘right lapel’). Clothing style which overlaps and closes to the right originated in China. The youren closure is an important symbol of the Han Chinese ethnicity. 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. 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. 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. 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. Therefore, the zuoren were used to refer to Hufu and/or refer to the rule of foreign nationalities. 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. The only moment Han Chinese is supposed to use zuoren is when they dressed their deceased. Some non-Chinese ethnicities who also adopted Hanfu-style sometimes maintain their zuoren lapels, such as the Khitans in the Liao dynasty. 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. Clothing style with youren (右衽; yòurèn; ‘right lapel’) closure originated in China. 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. The ru could be found unlined, lined or padded. The jiaolingyouren yi (交領右衽 衣) started to be worn in the Shang dynasty. According to historical documents and archaeological findings, the basic form of clothing during Shang was yichang. In the Zhou dynasty, there were various forms of yi as a generic term of upper garments. 94 A typical form of yi was the ru. 22 the yi worn by slaveholders had tight sleeves and were also closed on the right side following the youren-style. In the Han and Wei dynasties, the sleeves of the ru could be wide or narrow; the ru was closed to the right. In the Han dynasty, short waist-length ru could be worn with trousers or skirts by men and women respectively. This shan was worn by men and women and became popular as it was more convenient for wearing. Guardians of day and night, Han dynasty. Women wearing jacket (ru) under their skirts. This section is empty. You can help by adding to it. The ru (as a short jacket) and shan (as an unlined short robe) were used for ceremonial and daily clothing by women. 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. Hufu-style declined in popularity. Paintings of women wearing daxiushan (大袖衫) during the Tang dynasty. Woman wearing jiaoling youren jacket, Tang dynasty. Song dynasty, women wore jiaolingyouren jackets and duijin jackets. 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. In the Song dynasty, the daxiushan (shirt with large/broad sleeves) was a form of fashionable formal clothing. 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. Duijin shan made of luo (罗), Song dynasty. 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. Han Chinese women also wore jia ao (夹袄), a form of lined jacket, typically over a long-length qun underneath as winter clothing. The wearing of zuoren (instead of youren) was common in the Yuan dynasty. 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. 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. 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. Woman wearing a waist-length jacket, Ming dynasty. Waist-length fangling ao (square collared jacket), Changling Tomb of the Ming dynasty. Portrait of women wearing long jiaoling youren jacket (chang’ao) decorated with buzi, Ming dynasty. Waist-length duijin ao (lined jacket), 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. 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. 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. 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). 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. 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. Noble woman wearing a long jacket with right side closure and a high collar, Ming dynasty. Over time, the Ming dynasty customs were gradually forgotten. The clothing of the Han and the Manchu eventually influenced each other. The Han Chinese women carefully maintained their pure Han Chinese ethnicity and did not wear Manchu clothing. 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. 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. 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. 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. 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. 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). 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. Han Chinese women’s jackets (including shan, ao, and gua). 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 wide sleeves used in the upper garment were a heritage of the Ming dynasty and a distinctive feature which differentiated Hanfu from Manchu clothing. 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. 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 front closing, collar, hem, and sleeves cuff have edging of contrasting pipings and side slits. 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 jackets could also be decorated with yunjian appliqué. Woman’s short coat decorated with a Yunjian appliqué, early 19th century. Wedding jacket and skirt (aoqun), c. 184which was typically used as part of a type of Chinese wedding dress attire. The duijin ao (jackets with front opening) were also worn. The duijin ao in the 19th century could be round neck with no collar or have small stand-up collars. The jiaolingyouren yi continued to be worn in the Qing dynasty even in the 19th century by children. Woman’s theatrical jacket, Qing dynasty, 19th century. After the May 4th Movement, these high collars were abandoned due to their inconvenience. 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. These high collars were gradually lowered. Following the Hanfu movement in 2003, many various forms, shapes, and styles of Hanfu upper garments have reappeared and regained popularity. After the 1930s, these forms of upper garments lost popularity and decreased in use, as they were replaced by qipao and Western dress. Closing the jeogori to the right has become standard practice since the sixth century AD. Initially, the jeogori closed at the front, then switched to a left closure before eventually closing to the right side. 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 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 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. The standing-up collar and diagonal right closure are two features inspired by Chinese and Manchu clothing. 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. Chinese also influenced various designs and styles of déshabillé in the United States. China, in European garments was the results of the heavy influences of Orientalism which was popular in the 19th century. 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. 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”. 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. 3920), one of which closed on the right side (known as jiaoling youren in China) with a single ribbon. Yu, Song-Ok (1980). “A Comparative Study on the Upper Garment in the Ancient East and West”. Journal of the Korean Society of Costume. 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. Ho, Wei; Lee, Eun-Young (2009). “Modem Meaning of Han Chinese Clothing(韓服)”. Journal of the Korea Fashion and Costume Design Association. Zhao, Yin (2014). Snapshots of Chinese culture. Xinzhi Cai. Los Angeles. Clothing and Textiles Research Journal. Han, Jiantang (2012). Chinese characters. 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”. 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. Cambridge: Cambridge University Press. US: American Academic Press. 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. 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. 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. New York: Columbia University Press. 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. Li, Shizhen (2021). Ben cao gang mu : 16th century Chinese encyclopedia of materia medica and natural history : the complete Chinese text. The University of California (1997). 中國文學 Issues 379-382. Foreign Languages Press. Nienhauser, William H. (2016). Tang dynasty tales : a guided reader. Wilmington: Vernon Press. p. Volume 2. Singapore: World Scientific. 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. Peng, Hao; Zhang, Ling (2018). “On “Skirts” and “Trousers” in the Qin Dynasty Manuscript Making Clothes in the Collection of Peking University”. Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history. Beijing: Wen wu chu ban she. Jefferson, North Carolina. p. Arts Asiatiques. 73: 61-80. doi:10.3406/arasi.2018.1993. 罗质夹袄. Wang, Anita Xiaoming (2018). “The Idealised Lives of Women: Visions of Beauty in Chinese Popular Prints of the Qing Dynasty”. Silberstein, Rachel (2020). A fashionable century : textile artistry and commerce in the late Qing. Silberstein, Rachel (2016). “Fashionable Figures: Narrative Roundels and Narrative Borders in Nineteenth-Century Han Chinese Women’s Dress”. Garrett, Valery M. (2007). Chinese dress : from the Qing Dynasty to the Present. 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”. Sem Vermeersch. Honolulu. pp. Kang, Chae-ŏn (2006). The land of scholars : two thousand years of Korean Confucianism. Xu, Jing (2016). A Chinese traveler in medieval Korea : Xu Jing’s illustrated account of the Xuanhe embassy to Koryo. Suzanne Lee (1st ed.). Shoshana-Rose Marzel, Guy Stiebel. Dress and ideology : fashioning identity from antiquity to the present. 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, cheongsam bridal Dieter (2009). The age of Confucian rule : the Song transformation of China. Cambridge, Mass.: Belknap Press of Harvard University Press. 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.). Chen, Buyun (2019). Empire of style : silk and fashion in Tang China. Shi, Songge (2021). “Travelling With Hanfu: A Social Media Analysis of Contemporary Chinese Travelling for Artistic Photographs”. 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. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. Zhongguo fu zhuang shi yan jiu zu. San Francisco, CA: China Books & Periodicals. 李竹润., 王德华., 顾映晨. Zang, Yingchun; 臧迎春. Beijing: Wu zhou chuan bo chu ban she. Eric Liu, Yalta Ya-Yun Chen. Pellatt, Valerie (2014). Translating Chinese culture : the process of Chinese-English translation. Östasiatiska museet. 1998. p. Pak, Che-ga (2019). A Korean scholar’s rude awakening in Qing China : Pak Chega’s discourse on northern learning. The Museum of Far Eastern Antiquities Bulletin No.70. Byonghyon Choi, Seung B. Kye, Timothy V. Atkinson. Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press. Olivová, Lucie B. (2009). Lifestyle and entertainment in Yangzhou. Hao, Xiao’ang; Yin, Zhihong (2020). “Research on Design Aesthetics and Cultural Connotation of Gold and Silver Interlocking Buckle in the Ming Dynasty”. 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. Vibeke Børdahl, Nordic Institute of Asian Studies. Silberstein, Rachel (2017-05-04). “Cloud Collars and Sleeve Bands: Commercial Embroidery and the Fashionable Accessory in Mid-to-Late Qing China”. Heroldová, Helena (2020). “Sleevebands: Neglected Element in Chinese Adornment”. Annals of the Náprstek Museum. 41 (2): 93-111. doi:10.37520/anpm.2020.009. Lewandowski, Elizabeth (2011). The Complete Costume Dictionary. Lanham, Md: Scarecrow Press. Kim, Jin-Goo (1977). Korean costume : an historical analysis. Madison, Wis. : University of Wisconsin. 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. Washington., Textile Museum (1996). The kimono inspiration : art and art-to-wear in America. Han’guk Kukche Kyoryu Chaedan. Lee, Samuel Songhoon (2013). Hanbok : Timeless fashion tradition. China among equals : the Middle Kingdom and its neighbors, 10th-14th centuries. Hong, Nayoung. “원삼 ( 圓衫 )”. Encyclopedia of Korean Folk Culture (in Korean). Hong, Nayoung. “원삼(圓衫)”. Morris Rossabi. Berkeley: University of California Press. Travel information for Vietnam from local experts. Fiona. “A Brief History of Traditional Vietnamese Ao Dai”. Encyclopedia of clothing and fashion. Valerie Steele. Farmington Hills, MI: Charles Scribner’s Sons. Jill Condra. Santa Barbara, Calif. Encyclopedia of national dress : traditional clothing around the world. Hendrickx, Katrien (2007). The origins of banana-fibre cloth in the Ryukyus, Japan. Beyond chinoiserie : artistic exchange between China and the West during the late Qing dynasty (1796-1911). Petra ten-Doesschate Chu, Jennifer Dawn Milam. Leuven University Press. p. Elizabeth M. Sheehan. Hanover: University of New Hampshire Press. Parkins, Ilya (2012). Cultures of Femininity in Modern Fashion. The Delineator. Vol. 57. Charles Dwyer, H. F.. BASIS Independent Silicon Valley. United Kingdom: Butterick Publishing Company. Montgomery, R. S.. O’Loughlin. United Kingdom: Butterick Publishing Company. The Delineator. Vol. 58. Charles Dwyer, H. F. Montgomery, R. S. O’Loughlin (editors). The Delineator. Vol. 56. Charles Dwyer, H. F. Montgomery, R. S. O’Loughlin. British Modernism and Chinoiserie. This page was last edited on 7 September 2024, at 01:08 (UTC). United Kingdoms: Butterick Publishing Company. 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.