Chinese Hanfu Dress

For instance, within the hanfu community, there is long-running opposition towards the qipao, the high-collared, figure-hugging garment that used to be a staple of women’s wardrobes. Han Chinese women’s jackets (including shan, ao, and gua). While qizhuang was worn in the dominant sphere of society – ritual and official locations, Hanfu continued to be worn in the subordinate societal sphere, such as in women’s quarters and theatres. It would have been worn by a military official from the first to third ranks. Following the Hanfu movement in 2003, many various forms, shapes, and styles of Hanfu upper garments have reappeared and regained popularity. 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.綠兮衣兮、綠衣黃裏。綠兮衣兮、綠衣黃裳。

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 local community came together to organize an enchanting event that blended age-old traditions with youthful enthusiasm, creating a magical experience for the town’s youngest residents. Li, at an event to mark Chinese Valentine’s Day in Beijing last month. Li, Shizhen (2021). Ben cao gang mu : 16th century Chinese encyclopedia of materia medica and natural history : the complete Chinese text. Moonlit Memories: Preschoolers Celebrate Mid-Autumn Festival in Style In the quaint town of Chenqiao, Jiangsu Province, a heartwarming scene unfolded as the Mid-Autumn Festival approached. Staff at the entrance to Gubei Water Town checked visitors’ temperatures and health tracking codes. 94 The ru had different names in this period depending on its characteristics such as length and lining: gua referred to the long-length ru; yaoru (腰襦; ‘waist jacket’) referred to the short-length ru; furu referred to the ru with a lining and was therefore suitable to protect its wearer from the cold in winter if it was filled with silk or flax; the furu was similar to the paofu in form.

A form of shan which appeared in the Han and Wei period was a new type of gown which had equal front pieces which were straight instead of being jiaolingyouren and was fastened with a string; it was also a form of unlined upper garment with straight sleeves and wide cuffs. 48-50 a type of duanru is the yaoru (Chinese: 腰襦; lit. Damao (Chinese: 大帽), also known as Big hat in English, is a type of Chinese round hat with a wide brim, which was worn in the Ming dynasty. In the Qing dynasty, the Ming dynasty xiapei (long scarf) evolved into the Qing dynasty xiapei which was in the form of a sleeveless waistcoat. Central Asian roundels which would run down at the center of the robe as a form of partial decoration. Qing dynasty lady in a red robe and xiapei over shoulders. Ordinary women wear allowed to wear xiapei on rare occasion, such as weddings and funerals.

The xiapei eventually became part of the traditional Chinese wedding attire for commoners. 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). 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, chinese traditional female clothing it overlaps from the neck and closes at the right side. Chinese robes and jackets must cover the right part in a style called youren (右衽; yòurèn; ‘right lapel’). It is traditional everyday wear for women of the Han Chinese ethnic group. The collars of the Han dynasty yuanlingpao were not turned on both sides and their edges were similar to the styles worn in the Sui and Tang dynasties. During this period, the yuanlingpao could be turned into a fanlingpao under the influence of Hufu by unbuttoning the robes, while the fanlingpao could be also be turned back into a yuanlingpao when buttoned.

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It is also a type of hanfu which has been revived in present days. Nowadays, swords remain present in traditional Chinese arts, such as the Chinese dance and Chinese opera. During the Sui dynasty, the dress code of the Han dynasty was revised and a clothing system with the characteristic of the Han Chinese was established. The pifeng was a prominent clothing for women in the late ming dynasty as a daily dress in the 16th and 17th century. Examples of beizi artefacts worn by women dating from Song dynasty were unearthed from the tomb of Huang Sheng. Unearthed beizi with narrow sleeves from the tomb of Huang Sheng, Southern Song dynasty. In the Song dynasty, the sleeves of the beizi was fuller, but it became more tubular in shape in the Ming dynasty. If you’re interested in learning about Chinese festivals where Hanfu is traditionally worn, the Traditional Chinese Festivals Wikipedia page offers more information. Following the wedding ceremony, married women were expected to wear the fengguan xiapei on formal occasions, however, Chinese trousers or leggings were worn beneath instead of the skirt.

The Changshan which worn by women is known as the Qipao. Court dress is cheongsam and qipao similar Chinese costume, Asian costume and oriental costume the Chinese clothing xuanduan in components but have additional adornments and elaborate headwear. The only medium Chinese costume, Asian costume and oriental costume display the Chinese clothing elegance Chinese clothes, Asian clothes and oriental clothes Asian clothing and oriental clothing human body is cheongsam and qipao an elegant costume. Other materials used in traditional Chinese jewellery making were: gold, shanhu (lit. People started making Chinese patchwork in the Liu Song of the Southern dynasty era. Just everything about traditional Chinese make-up suits Chinese features, but discovering that myself definitely helped me gain more confidence and changed the way I view myself for the better. For me personally, discovering traditional make-up was life-changing. Although these days I have also expanded into feeling the most beautiful when I wear xinzhongshi and have a cool combination of traditional and modern make-up on, my high heels on so that I can be as tall as I want. The sleeves of the daoyi is referred as “cloud sleeves”; they are wide, open at the ends, and their sleeves are so long that it is past the fingers when extended but can be even longer.

You can always check out my personal Instagram (@chuchuchuyann) to see some daily xinzhongshi outfits on my stories. I love all the new designs coming out recently, my closet is now mostly xinzhongshi. There are also a lot of xinzhongshi influencers on Xiaohongshu – I love 善善子, for example. High standing collars in the Ming dynasty are referred as shuling (竖领) or liling (立领). In the past, due to the lag in health care and education, infant mortality was relatively high. Nevertheless, people believed that an infant’s death was due to a ghost. Mochi Hanfu: I think the future of beauty is definitely people embracing their culture and incorporating it into their daily style. A man wearing a “Song Style” beizi, wei jin dynasty hanfu or hechang (鶴氅). When worn by men, it is sometimes referred as changyi (Chinese: 氅衣), hechang (Chinese: 鹤氅; pinyin: hèchǎng; lit. Zhou Xing (Chinese: 周星), cultural anthropologist and professor at Aichi University, states that the term hanfu was not commonly used in ancient times and referred to some of the costumes worn by Hanfu Movement participants as being historically inaccurate because they contain modern design elements.

Over time, these elements became integrated into Han clothing, losing their strictly ethnic connotations and becoming part of a shared cultural heritage. Hanfu, literally ‘Han clothes’, is one of the traditional types of Chinese clothing. It could be closed with a single Chinese frog button or with a fabric tie. Chinese clothing yi was the Chinese traditional costume and Chinese ancient dress essentially wrapped over, in Asian clothing and oriental clothing style known as jiaoling youren, or wrapping the Chinese clothing right side over before the Chinese clothing left, because Chinese clothes, Asian clothes and oriental clothes the Chinese clothing initially greater challenge Chinese costume, Asian costume and oriental costume the Chinese clothing right-handed wearer (the Chinese discouraged left-handedness like many other historical cultures, considering it unnatural and unfortunate). One of the most notable aspects of this era was the strict imposition of Manchu dress codes across the empire, which profoundly influenced the Hanfu, the traditional clothing of the Han Chinese. 62 worn in the Han dynasty, and had wide sleeves.

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With each hem and fold, hanfu continues to wrap history around the present, nourishing a legacy that endures and evolves-one knot, one stitch, wei jin dynasty hanfu one robe at a time. The Eyries are perhaps one of the more generic styled royals out there – though that’s not saying they don’t look the part! There are typically two types of clothing worn in Japan: traditional clothing known as Japanese clothing (和服, wafuku), including the national dress of Japan, the kimono, and Western clothing (洋服, yōfuku), which encompasses all else not recognised as either national dress or the dress of another country. 23 Following the Tang dynasty regulation, yudai was worn or hang at the belt of the Song dynasty official’s court dress. Ming dynasty portrait of a man wearing wangjin. In the Wanli period of the Ming dynasty, people began to use fallen hair and horsehair instead of silk to make wangjin.

Descendants of Chinese immigrants or overseas Chinese in Western countries, such as Canada, may wear cheongsam on events such as weddings, graduation ceremonies, and other occasions; however, the cheongsam is not always perceived as being traditional Chinese clothing; for example, chinese traditional cloth some Canadians of Han Chinese descent still remember the use of aoqun as their traditional Chinese dress. As it gives a feeling of dignity and beauty, the Xiuhefu designed by Ye Jintian became progressively popular and eventually became a form of wedding dress chosen by brides during their marriage. The bijia became a type of women clothing in the Ming dynasty, and by the middle of the Ming dynasty it had become a favourite form of dress for women, especially young women. Its ready adoption by young and trendy fashion-conscious women has been accelerated by social media, which has helped to propagate the trend. Women also sometimes wore a lap-fronted overvest, and a narrow rectangular stole. Taodai Silk belts or silk narrow bands, made of seven silk bands.

Clothing was belted with narrow sashes. Social segregation of clothing was primarily noticeable in the Nara period (710-794), through the division of upper and lower class. Traditional Japanese fashion represents a long-standing history of traditional culture, encompassing colour palettes developed in the Heian period, silhouettes adopted from Tang dynasty clothing and cultural traditions, motifs taken from Japanese culture, nature and traditional literature, the use of types of silk for some clothing, and styles of wearing a primarily fully-developed by the end of the Edo period. The use of the honggaitou is not compulsory in traditional Chinese wedding as many other headwear were also used, such as the fengguan. People use various ornaments to decorate their Hanfu, worn on the belt or sash. The Hanfu, Zhongshan suit (Mao suit), Tang suit, and cheongsam (qipao) are the four most distinctive types of traditional Chinese clothing. In 1984, the cheongsam was specified as the formal attire of female diplomatic agents by the People’s Republic of China. Some may find themselves uncomfortable or feel alienation when wearing cheongsam due to the lack of self-identification with Chinese culture and Chinese identity.

The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. In 718 CE, the Yoro clothing code was instituted, which stipulated that all robes had to be overlapped at the front with a left-to-right closure, following typical Chinese fashions. In 752 CE, a massive bronze Buddha statue at Tōdai-ji, Nara, was consecrated with great ceremony. As early as the 4th century CE, images of priestess-queens and tribal chiefs in Japan depicted figures wearing clothing similar that of Han dynasty China. Until the 5th century CE, there is little artistic evidence of the clothing worn in Japan. The Asuka period began with the introduction of Buddhism, and the writing system of Chinese characters to Japan; during this time, Chinese influence over Japan was fairly strong. During the Heian period (794-1185 CE), Japan stopped sending envoys to the Chinese dynastic courts. Japan. It describes broad cloth (possibly double-width), made into unshaped garments by being tied about the waist and shoulders. Traditional Chinese clothing had been introduced to Japan via Chinese envoys in the Kofun period, with immigration between the two countries and envoys to the Tang dynasty court leading to Chinese styles of dress, appearance and culture becoming extremely popular in Japanese court society.

The patterns and designs of Hanfu clothing have evolved significantly through the centuries, echoing changes in societal norms, technological advancements, and aesthetic preferences. Contemporary Hanfu designs often feature zipper closures or elastic fabrics, catering to modern convenience without sacrificing traditional appearance. The transformation of Hanfu clothing from its traditional roots to contemporary designs illustrates the adaptability of this cultural attire. Hanfu clothing: Traditional attire of the Han Chinese, characterized by its robe-like garments, wide sleeves, chinese cheongsam and crossed collars. The guichang eventually became more popular than the guipao during this period as the set of attire ruqun itself had become more popular. The type of guiyi, which was worn in the Han dynasty, was in the form of a guipao. This convergence sparked intermixing but also tensions between Manchu and Han identity politics, clearly reflected in stark differences mandated between their dress codes. The Qing ordered all men to shave their heads and adopt the queue, and court and official dress were all based on Manchu styles. Modern interpretations often incorporate new fabrics, colours, and styles while retaining the essence of traditional Hanfu aesthetics.Designers and enthusiasts are blending elements from different dynasties, such as the Han, Tang, and Song, with modern fashion sensibilities.

As people in today’s society pay more attention to traditional Chinese civilization, traditional costumes are gradually coming into the limelight, and the costumes of the Song dynasty are loved for their rich shapes and slim characteristics. People started making Chinese patchwork in the Liu Song of the Southern dynasty era. In the early 1652, surcoats with insignia badges started to be worn to indicate the wearer’s rank. This fusion has led to a diverse range of Hanfu-inspired apparel, suitable for everyday wear and special occasions alike. The revival of Hanfu clothing has led to the establishment of clubs, communities, and events dedicated to Hanfu culture, indicating its significance beyond mere fashion. Engage in local activities and gain insights into the significance of these traditional costumes with our knowledgeable guides. China earthquake, also transports a large number of drinking water in arid regions, Funding student groups to do the traditional cultural activities. Highlights: Explore Xi’an, the ancient capital city of China as well as the starting point of the ancient Silk Road; See amazing mural arts, impressive Buddhist statues, well-decorated caves and unique frontier landscape in Dunhuang; Enjoy the exotic custom and beautiful scenery in the Golden Triangle Cities -Urumqi, Kashgar and Turpan.

The yingluo eventually became a classical neck jewellery in China while still remaining in use as a decorative ornaments in Chinese Buddhist iconography. Schools are seeing an increased emphasis on Chinese culture, literature and history, which “teaches the youth to see things through the China lens,” said Wessie Ling, an associate professor in fashion studies at the UK’s Northumbria University. Hanfu is a term used for the historical styles of clothing worn in China by the Han Chinese. This synthesis was not merely a superficial blending of styles but represented a deeper cultural integration. Whether worn in formal settings, casual gatherings, or cultural events, light blue Hanfu allows individuals to express themselves while embracing the rich cultural heritage of the Han Chinese people. People wearing cheongsams but with geisha makeup and chopsticks in their hair with very little care about the effort, tradition and culture behind it. Wangjin (網巾) Worn under headwear to secure and protect the hair. Her skirt would look amazing in 2 layers: One thick fabric and a lighter one over. In modern times, calling this kind of clothing as ‘Aoqun’ is much more common (let’s remember that these names change according to dinasties) and it refers when the top covers the waist of the skirt and it’s no longer than the hips.

Most of the time, cheongsam red dress the ‘Ao’ (top/jacket) covers the ‘Qun’ (skirt). Shenyi means the deep robe which is a combination of tunic and skirt. That means it will be edited with time with more characters or to improved the already suggested ones. One will be the whole piece (sleeves included) in white or similar color and ocean blue cuffs. The only fabric I don’t recommend it a stretch one since it will deform with time. You can also make just one piece and sew the sleeves in white color. Additionally, you can cut an extra long collar piece half an inch wider of white fabric to simulate the under coat she has (or do the whole piece with the same pattern). Don’t forget to add the bandage on her arm to has the whole thing complete! In our dummy version, I used an embossed fabric to give it more presence to the whole thing. A lot of the patterns can be used for both male and female clothing, but they are all modeled on females in the photos and more male-specific garments are not covered in this book.

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Is it okay for someone chubby/fat to wear hanfu? Of course it’s okay for someone chubby/fat to wear hanfu! Hi, thanks for the question – you’re not being annoying at all! As traditional Chinese clothing, hanfu is not limited to certain body sizes. While photos of plus-size people wearing hanfu are out there, chinese hanfu pink and green I agree that they are rare. All images in this post are from her online store. As you can see, Tang Dynasty-style hanfu (especially chest-high ruqun) is the most closely associated with fuller figures, since that was the beauty ideal of the time. However, feel free to wear whatever style you want – there’s no limit! However, people are taking steps to remedy that – for example, here’s an article about a hanfu designer who is purposefully designing (and modeling) hanfu for plus-sized customers. For further information on plus-size hanfu, please see this previous post. You can also check out my plus size tag for more visual examples.

Hanfu, the traditional clothing of the Han people, has seen a resurgence in China. Its elegance, history, and cultural significance make it a fascinating aspect of Chinese culture for travelers. Why is Hanfu Popular Again? If you’re visiting China, learning about Hanfu offers more than a fashion lesson-it’s a window into ancient traditions and modern revival. Hanfu (汉服) refers to the traditional clothing worn by Han Chinese for over 4,000 years. It’s characterized by flowing robes, wide sleeves, and intricate patterns. Unlike the more commonly known qipao, Hanfu has a richer, older history that represents different dynasties and social classes. Flowing Silhouettes: Hanfu consists of layered robes, often tied with sashes. Wide Sleeves: Wide sleeves allow free movement and add elegance to the attire. In recent years, Hanfu has become a growing trend among young Chinese people. This revival goes beyond fashion; it’s about reconnecting with traditional culture. Historical Patterns: Expect motifs like dragons, phoenixes, traditional qipao and flowers. When walking through cities like Beijing or Hangzhou, it’s common to see people wearing Hanfu on special occasions or simply for a photo session in parks. Hanfu communities and events have sprung up, celebrating this ancient attire. Cultural Pride: Many Chinese citizens view Hanfu as a way to reconnect with their roots. Social Media Influence: Instagram and TikTok have played a big role in spreading Hanfu’s beauty globally. Why is Hanfu Popular Again? Cultural Renaissance: Alongside Hanfu, other traditional customs are also making a comeback, like tea ceremonies and poetry recitations. If you’re planning to visit China and want to immerse yourself in Hanfu culture, there are several key destinations and experiences you shouldn’t miss. Dress in Hanfu to explore ancient palaces or scenic parks and feel like you’ve stepped back in time. Many Chinese tourist attractions now offer Hanfu rentals. West Lake, Hangzhou: Rent Hanfu to wear while strolling around this serene, picturesque lake. Chengdu’s Kuanzhai Alleys: Experience Hanfu in the charming old streets of Chengdu, famous for its Sichuan culture. China hosts various Hanfu-related festivals where enthusiasts gather to showcase their attire, take photos, and participate in cultural activities. Forbidden City, Beijing: Walk the ancient halls of China’s imperial palace while dressed in traditional attire. Xitang Hanfu Culture Week: This festival held in a water town brings together Hanfu lovers from all over China. These festivals are perfect for travelers seeking an authentic cultural experience. Luoyang Peony Festival: Attend this annual festival in Luoyang and see thousands of people dressed in Hanfu among the blooming peonies. If you decide to wear Hanfu during your trip, it’s essential to understand the etiquette to respect the culture. Be Mindful of Events: Some events may require specific styles of Hanfu. Research the Basics: Learn a little about Hanfu styles from different dynasties. Pose Respectfully: Keep in mind the elegance of Hanfu when taking photos. Avoid casual poses that may seem disrespectful. Wear Modern Accessories: Keep the look traditional by avoiding modern shoes, handbags, or jewelry. For travelers wanting to take home a piece of Hanfu, there are many stores-both physical and online-where you can purchase an authentic set. Treat it as a Costume: Hanfu holds deep cultural significance, so don’t treat it like cosplay. Taobao: China’s largest online shopping platform offers an extensive range of Hanfu. Guangzhou’s Shangxiajiu Street: A shopping haven with stores specializing in Hanfu. Chengdu’s Jinli Ancient Street: Browse through Hanfu stores amidst a backdrop of traditional Chinese architecture. As a traveler, wearing Hanfu during your visit can deepen your understanding of China’s history while providing an unforgettable experience. Taking part in a Hanfu experience also gives you the chance to bring back a special memory. Hanfu offers a unique way to engage with China’s cultural heritage. By embracing Hanfu, you open the door to exploring other Chinese traditions, from food and tea culture to festivals and historical reenactments. It enhances your trip beyond the usual tourist attractions, offering a deeper sense of place and history. A Hanfu dress, complete with matching accessories, serves as a beautiful souvenir and a reminder of your connection with Chinese culture. Whether you rent a set for a day, join a Hanfu festival, or purchase your own as a souvenir, embracing this beautiful tradition adds a new layer to your China journey. So, on your next trip, why not step into history and see China through the elegance of Hanfu? Hanfu is more than just clothing-it’s a living piece of Chinese heritage that travelers can actively experience. Ready to explore Hanfu culture on your next trip? Contact us at Travel China With Me for a tailor-made itinerary that brings you closer to China’s rich traditions.

Hanfu accessories (Chinese: 汉服配饰; pinyin: hànfú pèishì; lit. Chinese jewellery, including Chinese carved jade jewellery, often features Chinese symbols and iconography, and auspicious symbols and images, which are themselves rooted in Chinese culture, legends and mythologies, and philosophy. Chinese history. Hanfu consists of many forms of miscellaneous accessories, such as jewellry, yaopei (lit. 213 These symbols often reveal the Chinese traditions which have guided the Chinese civilization for thousands of years and which currently continue to remain in use in present-days. 94 Jade is even more valued than gold in Chinese culture. 18 it is also associated with positive qualities and aspects such as purity, excellence, and harmony. 213 Moreover, according to Chinese belief, silver could be used to avoid evil spirits and thus wearing silver ornaments and jewelries was believed to bring good luck to its wearer. Other materials used in traditional Chinese jewellery making were: gold, shanhu (lit. Chinese: 真珠; lit. 94 Traditionally, jade jewellery especially often expressed positive sentiments and good wishes; and, jade itself were often gifted on important and/or special occasions such as wedding and child birth. 250 Niugu was used as an alternative to a rare material known as xiangya (lit. 250 Zuanshi (lit. ‘diamond’), on the other hand, was typically not used in traditional Chinese jewellery as it considered too bright and vulgar; and thus, it was generally avoided. Chinese women typically had at least three jade bracelets throughout her lifetime: the first one was given by her father as a little girl, the second is given to the girl by her mother when she gets married and which will be passed from generation to generation as a family heirloom, and the third one (regardless of the price and the quality) is given to the girl by her lover to express his love and his desire to protect her for a lifetime, which led to the saying, “no bracelet can’t get married”. According to ancient Chinese beliefs, jade bracelets should be worn on the left hand as it is closest to the heart. There is a belief in China which says that if a jade bracelet breaks, the death of its wearer has been supplanted by the broken bracelet. 160 Jade bracelets continue to be prized and worn nowadays. Another jade bracelet may be given by a mother-in-law to her new daughter-in-law when she gets married. Earrings in China originated in the Neolithic period; however, they were first used as decorations or amulets. A form of popular earring which pierced the earlobe was the er dang (Chinese: 耳珰) which became popular during the Warring States Period and the Qin dynasty. Ancient er dang were made out gold, jade, silver, ivory, marble, glass and crystal. It is also currently used as a form of fashion accessory used by hanfu enthusiasts. Glass er dang became popular from the Han dynasty to the Southern and Northern dynasties due to its bright colours and due to its glittering characteristics and translucence. When used on headgear, the chong er were a representation of self-discipline and introspection, both of which were important required characteristics in Chinese culture; the purpose of these jade pendants decorations thus reminded its wearer that he should avoid hearing and listening to anything without careful consideration and avoid slander while simultaneously remind the wearer that he should show humility and listen to good suggestions. These jade pendants gradually spread from the Emperor to officials and scholars, to women who would then hang it to their Chinese hairpins. Emperor where they became known as chong er (lit. The er dang attached to hairpins were used by empresses, imperial concubines and princesses during the Han dynasty allowing the er dang to hung down beside their two ears. During the Song dynasty that women started to piece their two ears and wore er dang; these earrings could be made with gold and pearls. Based on archaeological findings, it appears that it was a popular trend for ancient women to only wear a single er dang (especially on the left ear) instead of pairs of earrings. Wearing earrings among Chinese women then became popular in the Ming and Qing dynasties. In the Ming dynasty, the practice of wearing a single earring on the ear was not customary for Chinese men, and such practices were typically associated with the non-Chinese people living along the northern and north-western borders; however, there is an exception: young Chinese boys would wear a single ring-shaped earring attached to their ear as an amulet to protect them against evil spirits. In Qing dynasty, Han Chinese women wore a single earring at each ears which contrasted from the Manchu women who had to wear three earrings at each ear. From the middle of the eighteenth century, Manchu women adopted the Han Chinese single earring despite breaking the Manchu dress code and the laws which prevented them from wearing Han Chinese women clothing; this frustrated the Qing emperors. Song dynasty empress wearing single gold earring at each ear. Empress of Ming wearing a dangling earring at each ear. They were then given to the Empresses and imperial concubines in the Emperor’s concubines to express or indicate their current physical conditions by the Emperor; by the time of Qin and Han dynasties, a gold ring worn on the left hand were used to express being on menstruation or being pregnant and thus that its wearer were unsuitable to serve the Emperor while a silver ring on the left hand expressed that its wearer was available to serve the Emperor; following a night with the Emperor, the silver ring would be moved from left to the right hand. Rings were initially used as decorations and finger protection when drawing bows since the Neolithic period. Rings which were mostly made of precious materials, such as jade, gold, and silver, were also bestowed presents to accomplished court officials and they were used as love token by couples. Rings later became one of the most important betrothal gift for a bride since the Southern Song dynasty. This custom was then gradually spread to the nobles and officials before spreading to the civilians. Yingluo (Chinese: 璎珞) is currently a common necklace accessory used by hanfu enthusiasts. It is mainly made of pearls, precious stones and precious metals. At first, it was used as a Buddhist ornament, but later it was widely adopted as a necklace and headwear in Chinese women’s clothing. There is also a custom of wearing a necklace with a longevity lock pendant, changmingsuo (lit. It is a ring-shaped ornament developed in ancient China, which is hung on the neck and chest, worn on the head, arms and legs. These lock charms were sometimes personally tied around the necks of children by Buddhist or Taoist priests. The longevity lock is known as changmingsuo (lit. Chinese culture; according to Chinese beliefs, the changmingsuo protect children from evil spirits and bad luck by locking its wearer’s soul and life inside of the lock. 213), and jade, and having auspicious words carved on it. The changmingsuo is also a manifestation of the blessing from the older generation who hoped that the child would live a long time (longevity) and remove illness (health). Chinese philosophy and beliefs and which hold an important place in every aspect of Chinese culture and life. 213 Both blessings of longevity and health form part of the concept of wufu (Chinese: 五福; lit. Yupei (Chinese: 玉佩) and had a rigid and specific rules attached to its use. Chinese Jade pendant in the form of a bi, 2000-1500 B.C. In the Qing dynasty, it was popular for women to wear green, translucent jade jewelries; pendants which were carved in the shape of a curving dragon was popular. Jade pendants in the form of stags, Western Zhou. Western Zhou Jade Huang from a jade pendant. Late Spring & Autumn Jade Ornaments composed of bi and huang jade, and dragon-shaped jade. The jinbu appeared thousands of years ago and were initially only worn by nobles, but with time, it was gradually adopted by all women regardless of their social ranks. When (the king or ruler) was walking quickly (to the court of audience), he did so to the music of the Cai Qi; when walking more quickly (back to the reception-hall), they played the Si Xia. The jinbu also used to be an indicator of elegance and etiquette in ancient times: if the behaviour of its wearer is discourteous (i.e. walking too fast), the jinbu would sound loud; and thus, it would remind the wearer to mind his manners and elegance; on the other hand, if its wearer behave appropriately, the jinbu would sound melodic and pleasant. When turning round, he made a complete circle; when turning in another direction, he did so at a right angle. So also the man of rank, when in his carriage, heard the harmonious sounds of its bells; and, when walking, those of his pendant jade-stones; and in this way evil and depraved thoughts found no entrance into his mind. When advancing, he inclined forward a little; he held himself up straight; and in all these movements, the pieces of jade emitted their tinklings. Yajin (Chinese: 压襟; pinyin: yājīn) are used as press lapels on upper garment ornaments; it could include pendants, hebao, and fragrant sachet, and shibazi. It is currently used as a form of fashion accessory used by hanfu enthusiasts. They also wore other forms of pendants, such as pendants made of metal filigree in the shape of potpourri container which would be filled with fragrant herbs and long silver pendants with small silver charms which were filled with bells which would frightened evil spirits away when they tickled as they wore. In Qing dynasty, Han Chinese women wore pendant-like charms as yajin; these pendant-like charms were made of diverse materials (such as jade, amber, gold) and were placed at the top button on the side of their ao-jacket. They would also hang hebao (purses) on the top button of their jacket. A shibazi is a type of 18-beads bracelet which originated from the japamala. The shibazi sometimes have hanging buckles; they would be hung on the right lapels of upper clothing or could be worn around the wrist like a regular bracelet. There were no strict regulations on its wearing etiquette. Belts and silk bands are commonly referred as dai (simplified Chinese: 带; traditional Chinese: 帶). A style of yajin was the shibazi-style. Dai have been deeply connected to ancient Chinese clothing and just like the style of the ancient clothing have known changes over time, so did the dai. Belts were used as accessories for various civil and military officials, and they were used to distinguish their social ranks. Taodai Silk belts or silk narrow bands, made of seven silk bands. Could be woven into 2 different ways. Ke (缂) A narrow band; which could also be of one colour (su); sometimes used as a belt with jade daigou (帶鉤; belt hooks). Sitao (丝套) Narrow silk bands, used as belts. The belt could have a decorative piece attached on it. Dadai (大带) or Shendai (绅带) Silk sash; it was worn on top of the shenyi. Diexie (蹀躞) Originated from belts worn in the Zhou dynasty; it was similar to the kua (銙) belt, except that it had strips of leather instead of rings. Kua (銙) Originated from belts worn in the Zhou dynasty; it was lined with plaques at variable distances, it also had rings or ornaments suspended from its lower edge in order to allow the wearer to attach objects (e.g. knives, tallies, etc.). Some accessories like leather pouches could be attached to those belts. A separate piece of cloth, which has adornment, and was used to wrap the stomach of Han Chinese men. An adornment belt. It is another belt which is worn on top of the belt worn around the waist for decorative purpose. Daigou (帶鉤) Belt hook One end has an elongated body with a knob that goes through the belt; the other end is a curled head that hooks on a loop, ring, or hole on the opposite end of the belt to keep it secure. Belt hooks could also be inlaid with yellow and white gold depicting motifs of animals. Made of precious metals and jade; they were less ornamented in the Jin dynasty compared to the ones worn in the Han dynasty. Daikou (帶扣) Belt buckles Belt buckles with movable tongue. Pizi A cape; a wide and short cape which drapes over the shoulders. It was introduced during Jin dynasty from the North; originally it was used to secure horse gear instead of clothing. Northern dynasties – Tang dynasty. In terms of design, it looked closer to a long scarf; it was worn in formal dress. A woman’s neckband which was trimmed with gold and lace. According to Ming’s regulation, the Xiapei length had to be 5.7 chi and 0.32 chi width, with a suspended gold ornament at the end which purpose was to provide weight. It was tied at the sides and reached below the knees. The bottom of the xia pei has a pointed hem. A type of stole or tabard worn by women; it was developed from the xia pei worn in Ming dynasty. It was first worn by women on their wedding day, and later, they would wear on special occasions. It is also decorated with colourful tassels at the bottom of the end. Xian (襳) Long ribbons which hung from the upper short skirt. It is a detachable collar worn on top of the jacket (and the xia pei in Qing dynasty). Lào zi Knotted ribbon decorations tied to the waist belt made of silk and cotton ribbon. It fell around the collar onto the chest and shoulders. Fangxing quling (方心曲領) Lit. It is pendant-like accessory which falls on the overlapping front of a paofu. “bent collar with a square center”. It was a notable feature of ceremonial court attire during Song and Ming dynasties. It consists of a circle at the neck area and an open or solid square which hungs from the circle onto the chest area. It is made of silk. The fangxin quling contains the symbolism of Heaven (circle) and earth (square), respectively. Hebao, Chinese purses or sachet, are currently used as a form of fashion accessory used by hanfu enthusiasts. They are often embroidered and can be decorated with tassels. Yudai (Chinese: 鱼袋; lit. Chinese: 袋; lit. It is a form of yufu (Chinese: 魚符; lit. Emperor; it could be made of gold, silver, or jade. It was used from the Tang to the Ming dynasty. Historically, fans have played an important aspect in the life of the Chinese people. The Chinese have used hand-held fans as a way to relief themselves during hot days since the ancient times; the fans are also an embodiment of the wisdom of Chinese culture and art. So far, the earliest fans that had been found date to the Spring and Autumn period and Warring States period; these were made of either bamboo or feathers. The arts of fan-making eventually progressed to the point that by the Jin dynasty, fans could come in different shapes and could be made in different materials. They were also used for ceremonial purposes and as a sartorial accessory. Replica of a Short-handled Bamboo Fan, Warring States period Tomb. Female attendants of Emperor Taizong holding large oblong fans. Folding fan with a Chinese painting and a Chinese poem, painted by the Qianlong emperor, Qing dynasty, 1762 AD. A pukui shan, a type of Chinese fan made with palm weaving. Tuanshan (Chinese: 团扇), silk round-shaped fans, also known as “fans of reunion”, is a type of “rigid fan”. These round fans remained mainstream even after the growing popularity of the folding fans. These types of fans were mostly used by women in the Tang dynasty and was later introduced into Japan. Round fans with Chinese paintings and with calligraphy became very popular in the Song dynasty. In 988 AD, zheshan (Chinese: 折扇; lit. China by a Japanese monk from Japan as a tribute during the Northern Song dynasty; these folding fans became very fashionable in China by the Southern Song dynasty. The folding fans later became very fashionable in the Ming dynasty. Another popular type of fan in history was the palmetto fan known as pukui shan (Chinese: 蒲葵扇), also known as pushan (Chinese: 蒲扇), which was made of the leaves and stalks of pukui (i.e. Livistona chinensis). Nowadays, Chinese musical instruments, such as dizi and guqin, are both common fashion accessory among Hanfu enthusiasts. Nowadays, both the zheshan and the tuanshan are both often used as accessory in hanfu by Hanfu enthusiasts. This led to a cultural shift in the Tang dynasty where gallantry culture rose in popularity. This cultural shift also changed the symbol of swords in society, which became symbols of strength, courage, masculinity, righteousness. This ban was soon lifted following the founding of the Tang dynasty, and according to the Tang legal code, people were allowed to carry light weapons, bows and arrows, swords, shields, and short spears and were only banned from using professional military weapons. It thus became fashionable to carry swords as well as short weapons, such as knives and daggers. Poet Han Yu (768 – 824 AD), Li Jian (lit. 23 Sword dance (Chinese: 剑舞) and knife dance (Chinese: 刀舞) both evolved from Chinese martial arts, with the records of sword dance appearing as early as the Han dynasty. Nowadays, swords remain present in traditional Chinese arts, such as the Chinese dance and Chinese opera. 23 Chinese swords known as peijian (Chinese: 佩剑), are currently fashion accessories in hanfu and are often used by young male Hanfu enthusiasts being perceived as being indispensable on the road of chivalry and righteousness. A tally is referred as fu (Chinese: 符; lit. Fu (Chinese: 符) Hufu Chinese: 虎符; lit. It was eventually replaced by the yufu (Chinese: 魚符; lit. A tiger-shaped tally A form of tally worn prior to the Tang dynasty; it was made of silver. A fish-shaped tally A form of tally which started to be worn in 619 AD during the Tang dynasty; it was made of silver. Hu (Chinese: 笏; pinyin: hù) The hu was a flat sceptre-like item which originated in China and were originally used as narrow tablets for recording notes and orders and were used by officials. Yufu (Chinese: 魚符; lit. It was typically used by Chinese rulers (including the emperor) and nobles on ceremonial occasions. 208 which represented authority during the Longshan culture and continued to be used in the succeeding dynasties until the Ming dynasty. Cosmetics have a very long history in China but their origins are unclear. 208 It was held in the hands when worn with ceremonial set of attires, such as the bianfu. The cosmetic industry in China may have potentially originated in the Spring and Autumn period. According to the Shiwu jiyuan (lit. Gao Cheng of the Song dynasty, around the year 1100 BC during the reign of King Wen, women started to use powder and in the court of Qin Shihuang around the 3rd century BC, all imperial consorts and ladies-in-waiting were already using rouge as cosmetics and were drawing their eyebrows. Cosmetic powder is known as fen as it was made by the pounding and crushing of rice grains or qianfen (lead powder) in China. Red makeup was an important colour for facial cosmetics for the Chinese people; for example, in the Tang dynasty, red makeup included rouge and lip glosses made of cinnabar. 24 Another form of lead powder was known as Hufen which is made of lead, with the character Hu being associated with the Northern and Western ethnic groups in China. 24-25 In the Han dynasty, women were not the only ones who used cosmetic powder, men also used it and this custom of men applying powder did not decline even during the Six dynasties period. 24 Cosmetic powder in China was made out of rice since ancient times and appears to have predated the use of lead powder. 26 By the time of the Six dynasties period, lead powder had become a mainstream cosmetics among the aristocrats and the practice of using lead powder became established by the Tang dynasty period. When fen was dyed red, it became known as chengfen (double-dyed red applied). 24 In the Tang dynasty, women would apply rouge on their cheeks directly under their eyes. 3 The use of white makeup powder made of freshwater pearls can be traced back to the Northern Song dynasty. 24 The chengfen was a makeup powder which was applied on the cheeks. In ancient times, not only the face had to be whitened but any exposed areas of the body such as hands, arms, and neck also had to be whitened. 25 There was also a custom of applying powder on non-exposed body areas, such as the chest, shoulders, and back which can be traced back to the Han dynasty period. The love for white skin in present-day China has nothing to do with racism. This belief continues to remain rooted in present-day China where white skin is believed to represent being part of the elite class; and thus, Chinese people continue to take a lot of measures to ensure that their skin remain white and beautiful. 12 instead it was due to it association with social economic and/or occupational status class, a concept which can be traced back to the Han dynasty when commoners, such as farmers and labourers, would work outside all day which resulted into darker, tanned skin tone, while those who came from a wealthier families could spend their days indoors and were spared from having to work outside in the sun. 70 and not under Western influence; for example, during the Nara period (710-794 AD), Japanese women started to use whitening powder under the influence of the Chinese culture; and since then, the standard beauty ideal in Japan is light skin. Nail polish was a popular cosmetic enhancement in early China and can be traced back to approximately 3000 BC. From the 6th century through the Tang dynasty, it was fashionable for women to apply powder to their foreheads, especially yellow powder or pollen. 3 Chinese aristocrats also coloured their nails in red and black with nail polishes which were made up of egg white, bee wax, and gelatin. 3 Chinese royalty used nail polishes which were gold, silver, black and red in colour and were made with bee wax, gum Arabic, and egg. 46 While the lower classes of society were forbidden from painting their nails in bright colours. Huadian (Chinese: 花钿) Shouyangzhuang (Chinese: 寿阳妆; lit. A forehead decoration, which was popular in Tang and Song. Meizhuang (Chinese: 梅妆; lit. Ye (Chinese: 靥) An artificial red dimple about 1 cm at each side of the lips. During High Tang period, they evolved and some could be found at the 2 sides o the noses and be found in various shapes (e.g. coins, peaches, birds, and flowers). Xiehong (Chinese: 斜红; lit. 36-37 It originally called xiaoxiazhuang due to its rosy colour of the early morning was and was later called “red slant”, and it was at put at the tip of each eyebrow. Taohuazhuang (Chinese: 桃花妆; lit. Tizhuang (Chinese: 啼妆; lit. Leizhuang (Chinese: 泪妆; lit. 37 It originated in the Three Kingdom period, where women put a red mark on both sides of their faces to imitate Xue Yelai (薛夜来), Caopi’s concubine, who had a scar at the temple of her face. A short-lived fashion trend, when powder and rouge were not popular on the face; and the only makeup that was worn is black lipstick. E huang (Chinese: 额黄; lit. Yuanyang (Chinese: 鸳鸯; lit. A forehead makeup where women painted their forehead yellow, which is believed to be in imitation of Northwestern ethnic minorities. It is an eyebrow makeup. Xiaoshan (Chinese: 小山; lit. Chuizhu (Chinese: 垂珠; lit. It is an eyebrow makeup. Hanyan (Chinese: 涵烟) Known as “dark fog” in English. It is an eyebrow makeup. 35 It is an eyebrow makeup. Red makeup remain popular in Modern hanfu makeup of the 21st century with the use of red and/or pink eyeshadow. Marks, Ben. “Unraveling the Ancient Riddles of Chinese Jewelry”. Yang, Xiaojing; Wang, Kunqian (2015). “Innovative design and application of woody materials in silver jewellery”. Advances in future manufacturing engineering : proceedings of the 2014 IMSS International Conference on Future Manufacturing Engineering (ICFME 2014), Hong Kong, 10-11 December, 2014. G. Yang. Leiden, The Netherlands: CRC Press. Cambridge, UK: Cambridge University Press. Yu, Ming (2011). Chinese jade (Updated ed.). Metropolitan Museum of Art (1987). Ancient Chinese art : the Ernest Erickson Collection in the Metropolitan Museum of Art. Maxwell K. Hearn. New York: The Museum. The first emperor : China’s Terracotta Army. Jane Portal, Hiromi Kinoshita. Cambridge, Mass.: Harvard University Press. Sullivan, Lawrence R. (2021). Historical dictionary of Chinese culture. Robertson, Iain (2016). Understanding art markets : inside the world of art and business. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. 5000 years of Chinese costumes. Zhongguo fu zhuang shi yan jiu zu. San Francisco, CA: China Books & Periodicals. The Museum of Far Eastern Antiquities. Vol. Bulletin No. 70. Stockholm: Östasiatiska museet. Berkeley: University of California Press. Rawski, Evelyn Sakakida (1998). The last emperors : a social history of Qing imperial institutions. Walthall, Anne (2008). Servants of the dynasty : palace women in world history. Berkeley: University of California Press. Wu xing fu. Sydney?: Jungle Books. Yu, Ming (2011). Chinese jade. Chinese sculpture. Angela Falco Howard. Cambridge, UK: Cambridge University Press. New Haven: Yale University Press. Volume 1. Adelaide. pp. Clark, Carol (1998). Tropical gemstones. Guozhen, Wang (2019). Collection of Ancient Chinese Cultural Relics. Singapore: Periplus Editions. p. Garrett, Valery M. (2007). Chinese dress : from the Qing Dynasty to the Present. Laursen, Sarah (2019). “10 Dressing the Dead in Jin China”. The art and archaeology of bodily adornment : studies from Central and East Asian mortuary contexts. Sheng, Angela (1995). “The Disappearance of Silk Weaves with Weft Effects in Early China”. Abingdon, Oxon: Routledge. pp. Sheri Lullo, Leslie V. Wallace. Hua, Mei (2004). Chinese Clothing (1 ed.). Baohai, Dang; 党寶海; Dang, Baohai (2003). “The Plait-line Robe. A Costume of Ancient Mongolia”. Chen, Buyun (2019). Empire of style : silk and fashion in Tang China. Lewandowski, Elizabeth J. (2011). The complete costume dictionary. Beijing: China Intercontinental Press. Dan Lewandowski. Lanham, Maryland. Zhongguo xie zhen hua. Xianggang: Mu wen tang mei shu chu ban she you xian gong si. Shanming Guan, 關善明 (Di 1 ban ed.). Yang, Yuxin (9 April 2018). “Unveiling and Activating the “Uncertain Heritage” Of Chinese Knotting”. ACCS 2018 Conference Proceedings. Garrett, Valery M. (2007). Chinese dress : from the Qing Dynasty to the Present. New York: Tuttle Pub. Shea, Eiren L. (2020-02-05). Mongol Court Dress, Identity Formation, and Global Exchange. Yang, Shaorong (2004). Traditional Chinese clothing : costumes, adornments & culture (1st ed.). Garrett, Valery (2012). Chinese Dress : From the Qing Dynasty to the Present. San Francisco: Long River Press. Burkus, Anne Gail (2010). Through a forest of chancellors : fugitive histories in Liu Yuan’s Lingyan ge, an illustrated book from seventeenth-century Suzhou. Ho, Peng Yoke (2007). Explorations in Daoism : medicine and alchemy in literature. Yuan, active Liu. Cambridge, Mass. John P. C. Moffett, Cho Sungwu. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Qian, Gonglin (2004). Chinese fans : artistry and aesthetics (1st ed.). Cambridge, United Kingdom: Cambridge University Press. San Francisco: Long River Press. Qian, Gonglin (2004). Chinese fans : artistry and aesthetics (1st ed.). Qian, Gonglin (2004). Chinese fans : artistry and aesthetics (1st ed.). San Francisco: Long River Press. San Francisco: Long River Press. The Routledge handbook of sport in Asia. Hong Fan, Zhouxiang Lu, Routledge (1st ed.). Lu, Zhouxiang (2018). Politics and identity in Chinese martial arts. Milton Park, Abingdon, Oxon. Lynn E. Frederiksen. Middletown, Connecticut. Chang, Shih-Ming Li (2016). Chinese dance : in the vast land and beyond. Hargett, James M. (2018). Jade mountains & cinnabar pools : the history of travel literature in imperial China. Dong, Jin; 董进. 2011). Q ban da Ming yi guan tu zhi (Di 1 ban ed.). Beijing Shi: Beijing you dian da xue chu ban she. Archaeometry. 63 (5): 1042-1058. doi:10.1111/arcm.12659. Han, B.; Chong, J.; Sun, Z.; Jiang, X.; Xiao, Q.; Zech, J.; Roberts, P.; Rao, H.; Yang, Y. (2021). “The rise of the cosmetic industry in ancient China: Insights from a 2700-year-old face cream”. Chō, Kyō (2012). The search for the beautiful woman : a cultural history of Japanese and Chinese beauty. Benn, Charles D. (2002). Daily life in traditional China : the Tang dynasty. Haney, Beth (2020). Aesthetic procedures : nurse practitioner’s guide to cosmetic dermatology. Westport, Conn.: Greenwood Press. Yu, Z. R.; Wang, X. D.; Su, B. M.; Zhang, Y. (2017). “First Evidence Of The Use Of Freshwater Pearls As A Cosmetic In Ancient China: Analysis Of White Makeup Powder From A Northern Song Dynasty Lv Tomb (Lantian, Shaanxi Province, China): The use of freshwater pearls as a cosmetic in ancient China”. Archaeometry. 59 (4): 762-774. doi:10.1111/arcm.12268. Color matters : skin tone bias and the myth of a postracial America. Hill, Degen (2018). “China’s fair skinned obsession”. Kimberly Jade Norwood. New York. Lan, Shanshan (2012). Diaspora and class consciousness : Chinese immigrant workers in multiracial Chicago. Chō, Kyō (2012). The search for the beautiful woman : a cultural history of Japanese and Chinese beauty. Red and yellow, black and brown : decentering whiteness in mixed race studies. New Brunswick, New Jersey. Blanchard, Lara C. W. (2018). Song dynasty figures of longing and desire : gender and interiority in Chinese painting and poetry. Joanne L. Rondilla, Rudy P., Jr. Guevarra, Paul R. Spickard. Draelos, Zoe Diana (2011). Cosmetic Dermatology : Products and Procedures. Hua, Mei; 华梅 (2004). Zhongguo fu shi (in Chinese) (Di 1 ban ed.). Beijing: Wu zhou chuan bo chu ban she. This page was last edited on 20 November 2024, at 12:54 (UTC). 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Folk costume, traditional dress, traditional attire or folk attire, is clothing associated with a particular ethnic group, nation or region, and is an expression of cultural, hanfu black religious or national identity. If the clothing is that of an ethnic group, it may also be called ethnic clothing or ethnic dress. The word “costume” in this context is sometimes considered pejorative, as the word has more than one meaning, and thus “clothing”, “dress”, “attire” or “regalia” can be substituted without offense. Traditional clothing often has two forms: everyday wear, and formal wear. Europe, pre-industrial peasantry came to serve as models for all that appeared genuine and desirable. In areas where Western styles of dress have become typical, traditional garments are often worn during special events or celebrations, particularly those connected to cultural tradition or heritage. International events may cater to non-Western attendees with a compound dress code such as “business suit or national dress”. Garments that evoke peasant dress were made from traditional pre-industrial textiles. In Bhutan, for example, the driglam namzha mandates what citizens should wear in public spaces. There are also contemporary societies in which traditional garments are required by sumptuary laws. Native Regalia is NOT a Costume!

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Hanfu, or Han-style clothing, evolved from the dress Han Chinese wore in ancient times, and is an iconic symbol of Chinese culture. In recent years, this traditional Chinese clothing has become better known and loved internationally. In Singapore, for example, fans wear it for various cultural events. Tong Weiqiang, a Chinese living in Singapore, is an avid fan of the clothing. “I was deeply impressed by the costume in martial arts dramas produced by Hong Kong TVB Channel, and began to take a liking to traditional Chinese clothing,” he said. He was first attracted to Hanfu when he was a child. “For Singaporeans who are interested in Chinese culture and appreciate the beauty of Hanfu, the club is a venue for them to learn more about China’s cultural heritage,” he said. Now years later, Tong established a cultural club for Hanfu lovers. Lin Xiaoying, vice chairperson of a Hanfu association in Singapore, is dedicated to introducing traditional Chinese culture to overseas Chinese and people of other countries. I have been traveling around the world and organized many promotional events to display to the world the elegance of traditional Chinese clothing. “Unknowingly, I have taken Hanfu to heart. Since a young age, I have been drawn to beautiful things, such as painting and fashion. The sight inspired me to share with them the traditional costume of China,” said Lin. “It would be pitiful for me not to wear Hanfu with full confidence,” she added. “I wore Hanfu for the first time in 2012, and have since fallen in love with it,” said Wu Zengxin, a Taijiquan (or tai chi), coach in Singapore. In adulthood, I traveled extensively in my job, and noticed people in Japan and the Republic of Korea wearing traditional robes. He has since chosen this dress for all performances he gives, though it is more expensive than a generic martial arts uniform. “I am sure that I am the first in Singapore to perform Taijiquan in Hanfu. Following my example, more Taiji masters began to perform in the clothing. This is the power of cultural heritage,” said Wu. Gradually, his audience has come to realize the beauty of Hanfu. At a Hanfu festival held on November 27, 2021, participants dressed up in Hanfu apparel take pictures in front of the entrance to the Shenyang Imperial Palace. The evolution of Hanfu is a reflection of the history of Chinese culture. “Hanfu dates far back into history. Generally speaking, it refers to all the clothing of Han Chinese from the pre-Qin period (before 221 B.C.) to the Qing Dynasty (1644-1911). During the Spring and Autumn and Warring States periods (770-221 B.C.), the Han dress took on elements of those of nomadic ethnic groups, making it more suitable for equestrian activities and archery,” said Cai Danjun, associate professor of the School of Liberal Arts, Renmin University of China. Though traditional Chinese clothing was predominantly influenced by Confucian culture, it incorporated elements of other cultures and a variety of ethnic groups, she added. In late Eastern Han Dynasty, warlord Cao Cao became the de facto ruler of the country. The resentful emperor, Xiandi (181-234), wrote an edict with his blood, and hid it in a waistband to be sneaked out to his ministers, instructing them to assassinate Cao. There are many anecdotes in Chinese history involving clothing, said Cai, giving three examples. “This shows that the ritual, cultural and aesthetic standards of Chinese attire had taken shape in the pre-Qin period, and evolved in the following centuries as a result of the integration of different ethnic groups and cultures. When we delve into the history and culture behind Hanfu, we can help people in other parts of the world better understand the profound cultural meanings of this clothing,” said Cai. Many ancient books mention that the Yellow Emperor, one of the legendary Chinese sovereigns and culture heroes, invented early Chinese clothing that consisted of the upper and lower pieces – tunic and unisex skirt – representing the heaven and earth, respectively. Wu Zengxin has met people from all over the world in Singapore, and many people from Western countries showed interest in and affection toward the Hanfu he wore. Being of Chinese decent, Tong Weiqiang feels the desire to share stories of Chinese culture with more people. Together with other Hanfu fans, I have also organized regular cultural activities in local libraries, sharing with fellow Singaporeans works of Chinese literature, poetry and classical style of writing,” he said. “Hanfu conveys a profound history. “Singapore is a developed country, qipao cheongsam but society is based on a ‘grassroots culture.’ Earlier generations of Chinese migrated here looking to make a living. Many Chinese Singaporeans and Chinese living in the country want to learn more about the culture of their ancestral land. Later generations have also embraced a pragmatic way of thinking. Wu is delighted to see more young Singaporeans wearing Hanfu at scenic resorts. He believes that the attire, with its rich cultural significance, is not only a token of China’s sartorial elegance, but also a lens to peep into Chinese culture. In Lin’s view, Hanfu encapsulates the 5,000-year-old Chinese civilization and gives expression to the Chinese spirit. She finds meaningfulness and pride in carrying on this cultural heritage. To better promote Hanfu among overseas Chinese, Cai suggested establishing a Hanfu culture system that bridges the past with the present, covers both public activities and academic studies, and puts equal emphasis on sartorial patterns and traditional aesthetic theories. Therefore, much needs to be done to enhance their sense of mission to carry on their traditional culture,” said Tong. The Doctrine of the Mean says, “When wearing a fine dress of splendid colors, one should cover it with a linen overcoat.” She explained that this is because ancient Chinese valued modesty and reserve. “Hanfu has deep cultural roots,” said Cai. “How to dig into such ideas imbedded in classical attire to better combine traditional culture with modern life is an area that deserves more attention and effort of modern Chinese people,” Cai added.

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Headgear is worn for many purposes, including protection against the elements, decoration, or for religious or cultural reasons, including social conventions. This is a list of headgear, both modern and historical. Beanie or skully and or visor beanie. Kufi, including the “Zulu crown”. Gat, qipao shirt a mesh hat worn during the Joseon period in Korea. Havalim (חֲבָליִם) ropes that are referenced in Kings I 20:31. Used as a sign of mourning. See Mask for a fuller list of masks. Migba’at was likely a cone-shaped Turban. Mitpaḥat is a scarf that is worn on the head or hair, by some married women. Some wear scarves only during prayers, and others wear them in public. Mitznefet was most likely a classic circular turban. Pe’er mentioned in Ezekiel 24: 17;23. In verse 17, Ezekiel commands the Israelites to “wrap their” Pe’ers around their heads.