Song Dynasty is one of the most important dynasties in Chinese history, and its clothing culture is also very unique. It is composed of a waist length Shirt and a double pleated skirt. It is simple and generous, showing the feminine beauty and nobility. This embroidered traditional Chinese hanfu dress were one of the main dresses of women in the Song Dynasty. The upper body of the waist-length Hanfu is designed with a short shirt and suspender, which makes people feel very comfortable and natural. The patterns on the dress is exquisite and diverse, reflecting the level of embroidery technology and the pursuit of beauty in the Song Dynasty. The whole skirt is composed of two layers, the outer pleats are rolled up to make people feel light and elegant, and the inner layer is made of silk or fine cloth, which is soft and comfortable. The double-layer pleated skirt at the lower part is the finishing touch of this Hanfu dress. The beautiful pattern at the bottom of the skirt also adds a bit of delicacy and luxury to the whole shape.

I wondered about the symbolism of colours in outfits. Hi, thanks for the question! I noticed a lot have a sort of orange-red and turquoise combination, is there a story or meaning behind that? Orange-red and turquoise is a classic Chinese color combination that commonly appears in Hanfu all throughout Chinese history. This color combination can be seen in artworks and on figures from the Tang, Song, and Ming dynasties, among others. The main inspiration behind the orange-red and turquoise color combination in modern Hanfu is the art of the Mogao Caves in Dunhuang. If you look through my Dunhuang and Mogao Caves tags, you can see that the colors orange-red and turquoise feature prominently in the artwork. The Dunhuang/Mogao Caves paintings are a major source of inspiration for Hanfu designers (such as Chuyan), many of whom have recreated the outfits depicted within. As to what the colors orange-red and turquoise symbolize in this specific combination, I don’t actually know for certain. Complementary colors (such as red-green, orange-blue, etc) have been beloved throughout Chinese sartorial history, and work exceedingly well on Hanfu. Hopefully other knowledgeable folks ( @fouryearsofshades/ @fate-magical-girls?) can shed some light on this question. I found this essay interesting but I don’t have time to translate this. Thank you for the reference on colors in Tang dynasty clothing @inkjadestudio – will save! Native American art, and has as much to do with the sources of the colors as it does the significance attached to them. As @fouryearsofshades mentioned, there’s a saying that “red and blue have complemented each other since ancient times (in China)” (自古红蓝出CP). Red, yellow, blue, white, and black were primary colors. Before the Han dynasty, they were considered better than other colors, with red being the most valuable and sacred color due to the fact that red dye was hard to come by. Primary color clothing were only meant for upper garments and could NOT be used for skirts or inner garments. “So a bit on ancient Chinese colors. With the exception that red and purple were reserved for royalty, people who could afford it wore a variety of color combinations. This is how we come to the Tang dynasty color combinations. However, by the warring states, standards had become relaxed. Red and turquoise were both valuable colors. By the end of the Tang dynasty, everyone who had the money could wear purple clothes dyed in fancy patterns. Rich shades were limited to the upper classes, but as the economy developed, it became harder and harder to limit consumption among the middle class. If you look through Tang dynasty poetry, you can find a lot of references to red blouses 红衫, green skirts 翠裙, and pomegranate red skirts 石榴裙. But the ethereal goddess look was also in vogue around the mid-Tang dynasty, which is why there’s also poems referencing white cloud skirts 霓裳”.

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Interesting! In a future smaller China with independent Manchu, (Inner) Mongolian, Tibetan and Xinjiang neighbours, chinese dress cheongsam perhaps there can be a Ming restoration? A truly Han China with a Han emperor? Of course Sun Yat-sen would see no irony in boasting of expelling foreign rulers from China while dressed in foreign attire. Such is the nonsense that happens when one tries to uphold ethnicity or race as the basis of national identity, rather than culture and defining institutions such as the monarchy. A very enlightening post indeed! Still, I will concede that western frock coats and top hats, while no substitute for hanfu or even changshan, are infinitely more stylish than those daft little jackets Mao Zedong made his people wear. The exalted Hongwu Emperor would be forgiven for descending from Heaven and giving Mr Sun a well-deserved clip around the ear for disrespecting the tomb of the Emperor in such a way. Of course, they had no such intentions, so enamoured were they with western ideals of republicanism that were utterly alien to Chinese society. If the Kuomintang had wanted to make good on their slogan, “反清復明” (“resist the Qing and restore the Ming,”) they ought to have raised the Marquess of Extending Grace to the imperial throne. I don’t agree with him on everything but that’s normal. I really must try and get my hands on Johnston’s book, it sounds like a fascinating read. On the whole I recommend it for being a very fair and impartial look at the period. Certainly. With many emperors having quite large numbers of children, family survival has never been much of a problem. Are there any known descendants of other Chinese dynasties? I suppose it’s a shame that there are no survivors of PuYi and no-one can find the descendant of the Marquis of Extended Grace. Even Confucius still has family in China today. After all, these men were, for good or bad, figures and important pieces of Chinese history.

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What are the shapes and forms of Hanfu? Ruqun (襦裙) is a traditional Hanfu outfit typically comprised of two parts: a top and a skirt. Hanfu is traditional Chinese clothing with a rich history and diverse styles. Construction and Appearance: Ruqun generally consists of a short top worn over a longer skirt, revealing the skirt’s hem. Wearing Style: The top of the Ruqun is tied over the skirt and can feature different collar and sleeve designs. Occasions: Ruqun is commonly worn for formal occasions such as traditional festivals, weddings, and solemn ceremonies. Skirt Characteristics: The skirt is typically long and A-line shaped with pleats, providing a rich and flowing hem. Top Features: The top can have a straight, crossed, or slanting collar design, often adorned with exquisite details at the collar and sleeves. Skirt Characteristics: The length and shape of the skirt may vary, but it maintains an elegant and comfortable look. Construction and Appearance: Aoqun consists of a top and a skirt, with the top being relatively longer, typically reaching the waist or hips. Construction and Appearance: Pao is a long robe, typically reaching the ankles, and it lacks separate top and skirt sections. Occasions: Aoqun is suitable for various formal and semi-formal occasions, offering practicality and style. Wearing Style: Pao can be fastened with ties or buttons, providing a unique wrapping sensation. Collar and Sleeves: The collar of Pao can be straight or crossed, while the sleeves are typically loose and flowing. Occasions: Pao is often reserved for significant formal events such as banquets, celebrations, and weddings. These Hanfu styles each have their own distinct features and suitable occasions, reflecting the diversity and richness of traditional Chinese clothing. Hanfu, the traditional clothing of China, features various collar and sleeve designs that contribute to its unique aesthetics and functionality. For more detailed information, you can click on the respective Wikipedia links provided. Historical Significance: Zhili collars were popular during the Han and Tang Dynasties and remain a symbol of traditional Chinese fashion. Construction: The Zhili collar is straight and upright, framing the neck and upper chest with clean lines. Applications: This collar design is often used for formal Hanfu outfits, providing a dignified and timeless appearance. Historical Roots: This collar style has historical roots in the Ming and Qing Dynasties, showcasing the evolving Hanfu fashion over time. Construction: Xieling collars are slanted diagonally across the chest, chinese qipao creating an asymmetrical and visually appealing look. Construction: Qixiongjin collars cross over the chest and are fastened with ties or buttons, forming an X-shaped pattern. Versatility: Xieling collars are versatile and can be found in both formal and semi-formal Hanfu outfits, offering a blend of tradition and modernity. Variations: Qixiongjin can be found in various Hanfu styles, ranging from elegant dresses to practical everyday wear. Historical Influence: This collar style harks back to ancient Hanfu and is closely associated with traditional Chinese culture. Historical Significance: These wide sleeves have been a hallmark of Hanfu throughout history, favored for their graceful appearance. Kuanxiu (Wide Sleeves): Construction: Kuanxiu sleeves are loose and flowing, emphasizing comfort and freedom of movement. Construction: Zhaixiu sleeves are more fitted and narrow, providing a sleek and tailored look. Applications: Kuanxiu sleeves are commonly featured in formal and ceremonial Hanfu, adding a sense of grandeur and elegance. Historical Roots: This sleeve style gained popularity during the Ming and Qing Dynasties, reflecting evolving fashion trends. Versatility: Zhaixiu sleeves are suitable for both traditional and modern Hanfu, offering a streamlined and contemporary appearance. For further information, you can click on the provided Wikipedia links. These collar and sleeve designs are integral to Hanfu’s appeal, allowing wearers to express their individual style while honoring Chinese cultural traditions. The skirt and hem styles in Hanfu play a crucial role in defining the overall look and feel of traditional Chinese clothing. They are often pleated for a graceful flow. Historical Influence: This skirt style has been a part of Hanfu fashion for centuries, offering a classic and understated appearance. Applications: Duijin skirts are commonly seen in both formal and semi-formal Hanfu outfits, representing a harmonious blend of tradition and modernity. Construction: Duijin skirts have a straight and narrow silhouette that extends down to the ankles. Historical Roots: This unique hem style gained popularity during the Ming and Qing Dynasties, symbolizing the evolution of Hanfu fashion. Versatility: Xiejv hems can be found in various Hanfu styles, offering a contemporary and stylish look with a hint of tradition. Construction: Wanbai skirts have a hemline that curves gently, creating a subtle and captivating swaying effect. Construction: Xiejv skirts feature a diagonal or slanting hemline that creates an asymmetrical and visually appealing effect. Historical Significance: This hem style has its roots in ancient Hanfu, where it was embraced for its aesthetic appeal and fluid movement. Applications: Wanbai hems are often featured in formal Hanfu attire, particularly for ceremonies and special occasions, to exude elegance and poise. Construction: Wadai features delicate embroidery along the hemline of Hanfu skirts, showcasing intricate patterns and motifs. Versatility: This embellishment can be incorporated into various Hanfu styles, enhancing their overall visual appeal and cultural significance. These skirt and hem styles in Hanfu exemplify the diversity and craftsmanship of traditional Chinese clothing. Historical Roots: Hem embroidery has a rich history in Hanfu, serving as a symbol of status, artistry, and attention to detail. For further information, you can click on the provided Wikipedia links. Colors: Traditional Hanfu colors include classic shades like vermilion, sapphire blue, emerald green, and ink black. The colors and patterns of Hanfu play a vital role in reflecting Chinese cultural heritage and aesthetic values. Symbolism: Each color holds symbolic significance, with red symbolizing joy and celebration, while black represents solemnity. Historical Context: These colors have been a part of Hanfu for centuries, reflecting cultural traditions and values. Patterns: Hanfu often features intricate patterns such as phoenixes, dragons, clouds, and flowers. Cultural Influence: The use of patterns in Hanfu reflects the fusion of art, history, and symbolism in Chinese clothing. Technique: Xiuhua involves intricate embroidery using silk threads to create patterns and motifs on the fabric. Symbolism: These patterns hold deep cultural meanings, traditional chinese male clothing with dragons representing power and phoenixes symbolizing rebirth. Variety: Patterns can range from auspicious symbols to intricate landscapes, showcasing the diversity of Chinese embroidery. Colors, patterns, and embroidery in Hanfu contribute to its cultural depth and visual richness. Historical Heritage: Xiuhua has a long history and is considered an art form, with different regions in China having their unique embroidery traditions. For further information, you can click on the provided Wikipedia links. Accessories and headwear are essential components of Hanfu attire, adding elegance and cultural significance to the overall ensemble. Design and Materials: Yaodai comes in various designs and materials, including silk, satin, and embroidered fabric. Function: These belts cinch the waist, accentuating the wearer’s figure and enhancing the overall silhouette of Hanfu. Cultural Significance: Yaodai often features intricate embroidery or patterns, reflecting cultural symbols and auspicious motifs. Variety: Faji comes in various styles and materials, from simple and elegant designs to elaborate and ornate ones. Usage: These hairpins serve both functional and decorative purposes, securing the hairstyle and adding a touch of beauty. Cultural Heritage: Faji often incorporates auspicious symbols and motifs, reflecting the rich cultural heritage of China. Adornment: These ornaments are carefully placed in the hair to secure it while adding a touch of sophistication. Cultural Significance: Chaizi often feature designs inspired by nature, such as flowers, birds, and other symbolic elements. Accessories and headwear in Hanfu are not only functional but also carry deep cultural significance, reflecting China’s rich heritage and artistic traditions. For further information, you can click on the provided Wikipedia links. Hanfu, the traditional clothing of China, has evolved significantly over the years, showcasing a rich tapestry of styles influenced by different periods and regions. Design and Craftsmanship: Chaizi come in various forms, from simple hairpins to intricate hair combs adorned with gemstones and pearls. Design: Ancient Hanfu featured unadorned, loose-fitting garments designed for comfort and practicality. Significance: Ancient Hanfu reflects the cultural values and lifestyle of early Chinese civilizations, with styles dating back to the Shang, Zhou, and Warring States periods. Silhouettes: Clothing during these dynasties featured flowing lines, wide sleeves, and intricate embroidery. Materials: Clothing was primarily made from silk and hemp fabrics, reflecting the materials available at the time. Influences: Han and Tang Dynasty styles were influenced by Central Asian and Silk Road cultures, resulting in unique designs. Cultural Legacy: These styles laid the foundation for later Hanfu fashion, influencing subsequent dynasties and regions. Influences: Ming and Qing Dynasty Hanfu styles were influenced by Manchu and Mongolian cultures due to Qing Dynasty rule. Styles: Clothing during these dynasties featured more structured and layered designs, with specific garments for different occasions. Transition: These dynasties witnessed a shift in fashion from previous dynasties, with a mix of traditional and foreign elements. North vs. South: Northern Hanfu typically includes warm, layered garments, while Southern Hanfu features lighter, breathable fabrics. Ethnic Diversity: China’s vast geography has led to a wide range of regional styles influenced by various ethnic groups. The evolution of Hanfu styles across different periods and regions reflects the rich cultural heritage and dynamic history of China. Cultural Significance: These regional variations reflect not only climate but also the cultural diversity and heritage of different Chinese regions. For further information, you can click on the provided Wikipedia links.

BEIJING, Aug 26 (Reuters) – The moment the metal singer Shui Shu spread his arms, Buddhist prayer beads in hand and incense wafting from the stage, his band unleashed a wall of sound on the crowd. The rapt audience of about 200, many wearing masks, long sleeve cheongsam swayed gingerly. By the time the night’s third band took the stage, the hall was a mosh pit, arms flailing and legs kicking with energy built up during six months of coronavirus shutdowns that kept the lights off in Beijing’s underground music venues. By the end of his set, most masks were off. Live venues in Beijing were recently allowed to reopen at 50 percent capacity, as life in China increasingly returns to normal. Brazilian metal fan Daniel da Silva Anana, who had packed in among the moshing fans, said he was more worried about slipping on a floor wet with spilled drinks than the coronavirus. Shui Shu’s band Bliss-Illusion is part of the country’s small but buoyant heavy metal scene, where bands mix genre standards with Chinese elements. Black metal is a sub-genre that creates a dark, moody atmosphere layering heavily distorted guitars and high-pitched vocals. Shui Shu said about his spiritually inspired music that has been released by French label Anesthetize Productions. COVID-19 restrictions had put a halt to rehearsals and performances in a Beijing underground music scene that had been under pressure in recent years, including from local authorities who sometimes shut down events, club managers and promoters said. Shunzi, lead singer of folk-metal band Dream Spirit, whose members perform in traditional Chinese hanfu garments, used the downtime to write songs, including one about the workers who built two emergency hospitals in Wuhan, the city where the coronavirus was first detected.

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On the streets of Shanghai, qipao cheongsam dress content creator Shiyin can be seen wearing a traditional outfit from China’s Ming period. “Chinese” clothing is often typified by the qipao (a close-fitting dress also called the cheongsam). Popular on social media, she routinely shares fashion buys, beauty tips and lifestyle vlogs alongside all the latest from Gucci and Lancôme-but it’s her passion for Hanfu that really sets her apart. Styles from the Tang, Song, and Ming periods are the most popular; flowing robes in beautiful shades, embellished with intricate designs and embroidery. Right now, the movement is being led by China’s fashion-conscious youth-a little like how Regency-period hair and makeup has had a boost in popularity, thanks to Netflix’s Bridgerton-and the number of Hanfu enthusiasts almost doubled from 3.56 million in 2019 to more than six million in 2020. Among those you’ll find a purist minority who abhor any historical inaccuracies, and a majority who are attracted to its fantastical elements. However, Hanfu-which is defined as a type of dress from any era when the Han Chinese ruled-is seen in China as a more authentic form of historical clothing. Meanwhile, designs can cost between 100 yuan (roughly $15.50 ) to over 10,000 yuan ($1550), and bought from specialist brands such as Ming Hua Tang. Hanfu videos have been viewed more than 47.7bn times. So, as interest in traditional cultural pursuits comes back around, is the past becoming cool once more? Here, Vogue meets Shiyin, one of the most popular figures in this rapidly growing subculture, to find out. What is most interesting though, is the collective mood that’s being spurred on by Hanfu-after decades of aspiring to western trends, the younger generation is now possibly looking closer to home for a sense of traditionalism. Shiyin wears a series of three outfits in styles from the Ming period. “The robe comes in a square-neck style with a bu on the front. Here, she keeps the hairstyle modern and simple. Why do you think people are attracted to it? “I can’t speak for everyone, but I imagine most get drawn in because it’s pretty. It’s only normal, you buy clothes to look good. However, I continue to wear Hanfu because it gives me confidence in my own culture. How did your interest in Hanfu start? “Growing up in Canada, I watched Chinese period dramas but I had no idea that Hanfu was a thing or where to buy it. Here, a jiaoling robe, referring to the wraparound collar design, in golden weave. In Canada, we had days at school where you could wear national dress, yet as a Chinese person, I had no idea what to wear. “The pattern is called jiu yang qi tai, it features nine sheep and symbolizes luck and prosperity. Gradually, I started creating my own content, and I uploaded a video about wearing Hanfu that became popular so I started producing more. How would you explain the difference between Hanfu, cosplay or role-playing games (RPG)? “They’re all subcultures so people often think they’re the same but they’re actually very different. How did Hanfu become one of your key content pillars? “When I moved back to Shanghai, I worked in gaming. How historically accurate are most Hanfu designs? Do you think a lot of people are inspired to wear Hanfu after watching popular period dramas? “It’s impossible to quantify, but it definitely has an impact. In all three looks, Shiyin wears a ma mian qun, literally “horse face skirt”, a pleated skirt typical of Hanfu. On your channel, you also talk about western fashion brands. With openings at the front and back, it was originally designed to make horse-riding easier, but this isn’t the reason why it’s called “ma mian” – the actual origins remain unclear. Do you see this content as being totally separate from Hanfu? “Not really. The last video was on coins, and I’m planning one on fabrics like cloud brocade (yunjin), shu brocade (shujin), and Su embroidery (suxiu). I have a series called ‘What is luxury? ’, which I started by discussing brands such as Chanel and Louis Vuitton, but now I’m discussing traditional Chinese culture. Once I did Tang-period makeup with very heavy rouge and a partially drawn lip, and most of the comments online were pretty negative. Do you get a lot of attention wearing historical clothes on the streets? “Not in Shanghai, people wear all sorts, nobody really notices… How does wearing historical dress match with contemporary makeup looks? “I often do traditional hairstyles when shooting, but usually I keep the makeup modern. Do you think the next generation will increasingly look towards China’s own cultural traditions? “Hanfu is far from being popularized, but there is definitely a trend towards ‘China chic’. All rights reserved. Vogue may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. Calling All Party-Going Cool Girls! 2024 Condé Nast. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.

Han Dynasty costume man’ or the noble attire of a ‘Samurai traditional’ figure, hanfu men offer a unique blend of history and style. Trendy and versatile, ‘men hanfu’ or ‘male hanfu’ is a growing trend that combines the traditional elements of Han Chinese clothing with contemporary design. Perfect for any occasion, from cosplay events to casual wear, these garments offer a modern twist on classic Han attire. Whether you are a ‘white man’ interested in embracing the beauty of Chinese culture, or a ‘cosplayer’ looking for authentic costumes, ‘men hanfu’ is the perfect choice. This style showcases the intricate embroidery and delicate fabric work that is characteristic of traditional Han Chinese clothing. One of the most sought-after hanfu men trends is the ‘Hanfu white man’ look. For those who are fascinated by historical figures, ‘Hanfu for boy’ and ‘chinese mens hanfu’ offer a chance to embody the noble and elegant figures of the past. Whether you’re dressing up as a ‘Samurai traditional’ or exploring the ‘Horse face skirt’ style from the Tang Dynasty, these costumes allow you to step into the shoes of historical characters. The ‘Hanfu white man’ often features elegant and flowing lines, perfect for those who appreciate simplicity and sophistication. Moreover, the ‘hanfu men’ collection is not limited to just traditional designs. The ‘Hanfu Tang men’ and ‘Hanfu for boy’ series feature designs inspired by the Tang Dynasty, characterized by bold colors and grandeur. The ‘Hanfu skirt women’ also provide an opportunity for couples to share the beauty of Hanfu, creating a traditional and romantic ensemble. For the ultimate in traditional Chinese costume, ‘hanfu men’ can also be paired with complementary accessories such as ‘han chinese robe men’, ‘ancient chinese costume man’, and ‘hanfu traditional couple’. Lastly, the ‘Chinese outfits men hanfu’ trend is gaining popularity, with ‘hanfu man’ and ‘hanfu for boy’ becoming increasingly popular. These pieces enhance the overall look, allowing you to fully immerse yourself in the aesthetic and cultural significance of Hanfu. Whether you are looking to express your cultural heritage or simply add a touch of elegance to your wardrobe, ‘hanfu men’ offer a unique and beautiful solution. In summary, ‘hanfu men’ are more than just clothes; they are a gateway to understanding and appreciating Chinese culture. From the ‘Han Dynasty costume man’ to the ‘Samurai traditional’ and ‘Horse face skirt’, there is a wide range of styles to explore. Embrace the beauty of traditional Chinese attire and make a statement with your ‘hanfu men’ outfit today.

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I hope you don’t mind me asking a question about Chinese clothing. I’m not Chinese but I freaking love watching Chinese films and C-Drama. One thing I’m very curios about is the Emperor’s hanfu during the Tang Dynasty. And should it always be in gold? And does the Emperor have a crown? Please keep up the great work, btw! Is there a specific name for that hanfu? I love reading your posts and I I love learning more about Chinese culture. Please have a great day ahead! Hi, hanfu inspired wedding dress thanks for the questions! The main garments of Chinese emperors (including those of the Tang Dynasty) were the Longpao/龙袍 (dragon robe) and the Mianfu/冕服. Longpao was the everyday dress of emperors (after the Sui Dynasty). Mianfu is what emperors wore on important occasions. During the Tang dynasty, yellow was considered the superior color for garments, and the court made it officialthat no one besides the emperor had the right to wearyellow. I made a post about Mianfu here. However, the emperor did not always have to wear yellow. He could also wear other colors such as black, red, and purple. Yes, Chinese emperors wore crowns called Mianguan/冕冠, to go with Mianfu. Finally, thank you so much for your encouraging words! I’m so glad that you love reading my posts and find them useful. You can read more about Mianguan in my post here. The ceremonial garments of the Emperor always remained Mianfu, the Robe and Crown Regalia. Hope you have a great day ahead as well! And not only was it the regalia for the Emperors, it was for all his nobles and officials as well, being divided into five grades. Officially, there’s six, but the Great Coat Robe/大衮冕 went out of use after the Tang Dynasty. It was not until the Ming Dynasty that the Emperors came up with an official yellow Dragon Robe. A Dragon Robe is considered festive clothing, and even then only for non-official occasions. It’s something the Emperor might wear in private or when hosting a banquet for his officials. How things turned out this way is actually a funny story. Despite being the color of the Earth and the central color in Chinese color theory, yellow was originally a very cheap and not well regarded color. It was easy to produce from a variety of common materials including gardenia berries and mandarin melon berries. As a result, it was a publicly accessible color that sold cheaply and was widely worn by the lower classes. In that case, how did such a cheap color make its way to the Imperial palace? Well, during the Sui Dynasty, China got a tightwad emperor. A good thing too, seeing as how he had to lead the nation out of the turbulence of the Northern and Southern Dynasties. Emperor Wen of Sui (official name Yang Jian, childhood name Narayana) was a penny-pinching miser who insisted on the cheapest, simplest, and least labor intensive of anything. Since he lived simply, his clothes were made of the cheapest color on the market: yellow. In the succeeding Tang Dynasty, the earliest emperors led a nation recovering from the ravages of Emperor Yang of Sui (the son of the penny-pinching guy). As a result, they also lived frugally and carried on the tradition of yellow robes.

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Tanling ruqun (Chinese: 坦领襦裙; pinyin: Tǎnlǐng rúqún; lit. 93-94 low-cut U-shaped collar upper inner garment with long sleeves, a U-shaped collar banbi upper outer garment with short sleeves, a long high-waisted skirt. It can also be adorned with a shawl, called pipo (Chinese: 披帛). It was a popular form of clothing attire in the Sui and Tang dynasty. In the 21st century, the Tanling ruqun re-appeared as a result of the Hanfu movement. The 21st century Tanling ruqun was developed by reproducing the original patterns of the historical tanling ruqun while being aligned with modern aesthetics. Tanling (Chinese: 坦领; pinyin: Tǎnlǐng) refers to the U-shaped (Chinese: 坦; pinyin: Tǎn; lit. Chinese: 领; pinyin: Lǐng; lit. The term tanling ruqun is composed of the terms tanling and ruqun. The term ruqun refers to the traditional two piece attire of the ancient Han Chinese consisting of a skirt and an upper garment called ru. U-shaped banbi which is worn as an outer upper garment. 291The skirts could be embellished with stripe patterns of two colours or be found in monochrome colours. The tanling ruqun is mainly composed three parts: a long wrap skirt, a U-shaped collar inner shirt with long sleeves, and a tanling banbi (a U-shaped short sleeves outer jacket). 85-86 they could also wear it together with variety of hats. 291 The banbi could also be tucked under or worn over the long skirt. Detailed of a Tang dynasty woman wearing a tanling banbi under a skirt. 291In the Tang dynasty, hats of foreign origins or influence, such as the mili, weimao and humao, were worn when horseback riding. There is embroidered borders at the sleeves of the banbi. Woman rider wearing a tanling ruqun and a humao, Horse and female rider, Tang dynasty. A maid wearing tanling ruqun with pipo over the shoulders, mural from the tomb of Yanfei (燕妃), Tang dynasty. Tang dynasty woman wearing a tanling ruqun and pibo (shawl), she is holding a mili. 25 The new style of clothing had high waisted skirt almost similar to the Empire silhouette and the upper garments had low décolletage. The late sixth century, for example in the Sui dynasty, was marked the arrival of new style of women’s Hanfu. Tanling garments, including the tanling banbi, was already popular in the court of the early Sui dynasty, the predecessor of the Tang dynasty. 25 The Sui dynasty women already liked wearing banbi over their long-sleeved clothing. The Tang dynasty continued the clothing style of its predecessor, and women continued to wear high-waisted skirt, low-cut upper garments and long skirts. According to the New Book of Tang, “banbi, skirt, and ru are common clothes for maids served at the Eastern Palace”. In the 7th century, palace women could wear banbi over a plain shirt and a high-waisted, A-line skirts which could be monochrome or striped. Some shapes of banbi (such as the tanling banbi) worn in the early Tang appears to have been mainly influenced by the banbi worn in Qiuci. In the first decade of the 8th century, skirts in monochrome colours became more popular than stripped skirts. In the Tang dynasty, new styles of Tanling banbi appeared and became extremely popular. Maid from the tomb of Wei guifei (韋貴妃), Tang dynasty. Three female musicians wearing Tanling ruqun, Tang dynasty. 85 By the mid-Tang dynasty around the mid-8th century, upper garments with low décolletage lost popularity and women started to cover themselves with shawls; there were also new ideals of beauty favouring extremely plump and voluptuous women over the youthful slenderness of the Sui and the early Tang dynasties. Xiuhefu (秀禾服): a type of aoqun worn as a Traditional Chinese Wedding dress in Qing and in modern era. Qungua (裙褂): a type of ruqun worn as a Traditional Chinese Wedding dress in Qing and in modern era. Chen, Bu Yun (2013). Dressing for the Times: Fashion in Tang Dynasty China (618-907) (Thesis). Chen, BuYun (2017-01-02). “Material Girls: Silk and Self-Fashioning in Tang China (618-907)”. Fashion Theory. Xuanduan (玄端): a very formal dark ruqun with accessories; equivalent to the Western white tie. 王金妍. “Hanfu: China’s traditional Han-style clothing”. Chen, Buyun (2019). Empire of style : silk and fashion in Tang China. James C. Y. Watt, Prudence Oliver Harper, Metropolitan Museum of Art. China : dawn of a golden age, 200-750 AD. New York: Metropolitan Museum of Art. China : dawn of a golden age, 200-750 AD. New York: Metropolitan Museum of Art. James C. Y. Watt, Prudence Oliver Harper, Metropolitan Museum of Art. John S. Major. New Haven: Yale University Press. Steele, Valerie (1999). China chic : East meets West. 李竹润., 王德华., 顾映晨. Beijing: Wu zhou chuan bo chu ban she. Introduction to Chinese culture : cultural history, arts, festivals and rituals. Guobin Xu, Yanhui Chen, Lianhua Xu, Kaiju Chen, Xiyuan Xiong, Wenquan Wu. Zhao, Qiwang; Lyu, Qianyun (2020). “Western Cultural Factors in Robes of Wei, Jin, Southern and Northern Dynasties as Well as Sui and Tang Dynasties” (PDF). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. This page was last edited on 2 November 2024, at 15:30 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

Traditional Chinese dress & clothing have been shaped and developed alongside the interactive influences between the outside world and China’s own dynastic traditions. This is the main reason why traditional Chinese clothing has so many styles. Every dynasty has different scopes of territory, social values, social norms, etc. Therefore, many aesthetic standards were made according to the environment (socially, geographically, economically, and politically) of certain dynasties. To explore the world of traditional Chinese dress, it is necessary to learn the five most classic categories. Hanfu, Cheongsam, Tang suit, Zhongshan suit, and customs of the minority ethnics. This article provides a brief introduction to each category. Every category has its own production techniques, and considerable discrepancies could be observed when comparing different categories or 1 category at different times. Hanfu, whose name is derived from the Chinese meaning “Han people’s clothing,” encompasses all types and styles of traditional clothing worn by the Han Chinese. By reading the following contents, the basic frameworks of traditional Chinese clothing can be structured. The Han Chinese trace their common ancestry to the Huaxia, the name given to the initial confederation of agricultural tribes living along the Yellow River. The term Huaxia represents the collective Neolithic confederation of the agricultural tribes Hua and Xia who settled along the Central Plains around the middle and lower reaches of the Yellow River in northern China. Hanfu, by its definition, was born at the beginning of the history of the Han ethnicity. Hanfu has a history of more than three millennia. Therefore, it has the longest history of all traditional Chinese clothing. From the beginning of its history, Hanfu was inseparable from silk, supposedly discovered by the Yellow Emperor’s consort, Leizu. Each dynasty has its own styles and aesthetics. Some dresses are popular and worn by people in different dynasties, some are just a flash in the pan. In both cases, all Hanfu have evolved and been influenced by each other to some extent. Even though there are plenty of Hanfu styles, each of them could be assembled by a set of clothing pieces. The following is an introduction to some Hanfu styles. Apart from these, ancient Han Chinese were also accessorized with tassels and jade pendants or various ornaments hung from the belt or sash, known as Pei (珮). Cheongsam, also known as Qipao (旗袍) in Mandarin, is a traditional dress that has its origins back in the 17th century. It is a type of famine body-hugging dress with distinctive Chinese features of Manchu origin. During the 1920s to 1930s, it was called the Mandarin Gown and was popularized by upper-class women in Shanghai. The rulers used an administrative division called the “Eight Banner system.” Originally, only the Manchu households were organized within this system, but over them, Mongols and Han Chinese were incorporated. In the Qing dynasty, China was ruled by Manchus rather than Han Chinese. Such clothing consisted of similar long robes for both men and women and was known as Changpao. The Manchus, and anyone living under the Eight Banners system, wore different clothing from ordinary civilians. However, in the 19th century, it was very common for females to wear Qipao on both formal and casual occasions voluntarily. Nowadays, Cheongsam is recognized around the world and has inspired many foreign adaptations because of its simple yet exotic lines. For a period of time, under the dynastic laws after 1636, all Han Chinese were forced under the penalty of death to adopt the Manchu male hairstyle, the queue, and dress in Manchu Changpao instead of traditional Han Chinese clothing. It is suitable for wearing all year round for both young and elderly groups. Modern females do not wear qipao as everyday attire. Cheongsams are now worn only during formal occasions like weddings, parties, and beauty pageants. Qipao is also used as a uniform at some Chinese restaurants, hotels, and airlines. It is popular because it fits the Chinese female figure well, has simple lines, and looks elegant. The cheongsam is usually embroidered with elaborate gold and silver designs. It is popularly worn in China as a wedding dress, traditionally in red. Brides in southern China wear Qipao, or a modified two-piece style, which is elaborately adorned with a gold dragon and phoenix pattern. Although the Tang suit is not clothing in the Tang dynasty, it has something to do with it. A Dragon and Phoenix is a traditional wedding dress favored by Chinese brides nowadays. The Tang dynasty was one of the most prosperous times in Chinese history. For example, Chinatowns in the U.S. As a result, people usually use the word “Tang” to refer to traditional Chinese culture. The history of the Tang suit can be traced back to the early 1900s (at the end of the Qing Dynasty). Tang suits, as the name of Tang People Street, represent certain clothing of deep traditional Chinese culture. It is the product of the combination of Manchu jacket elements and western jacket elements. It was also around 1929 when the media throughout the world reported and introduced the Tang suit widely. A new uniform system was released by the Chinese government in 1929. With this new system, the Tang suit has become one of the national forms of male attire. In recent years, with a variety of styles and production techniques, the Tang suit has been getting more and more popular not only in China but globally. People around the world have started to regard the Tang suit as one of the most typical traditional Chinese clothing items. At the Asia-Pacific Economic Cooperation (APEC) in 2001, all national leaders wore a Tang suit in royal blue, scarlet, embroidered with a round pattern of peonies, China’s national flower. Furthermore, the Tang suit could also be seen in the 2008 Olympic Games and some of the meetings of the World Trade Organization. Tang suits have appeared in many international events. It is the efforts of both designers and cultural industries that spread the influence of the Tang suit further and further. The modern Chinese tunic suit is a style of male attire originally known in China as the Zhongshan suit (after Sun Yet-Sen, also called Sun Zhongshan), and later as the Mao suit (after Mao Zedong). In addition, Tang suit elements were utilized many times in the infamous Kung Fu films and dramas. Sun Yat-sen introduced the style shortly after the founding of the Republic of China as a form of national dress, although with distinctly political and later governmental implications. He based the suit on the Japanese cadet uniform. When the Republic was founded in 1912, the style of dress worn in China was based on Manchu dress (Qipao and Changshan), which had been imposed by the Qing Dynasty as a form of social control. The majority of Han Chinese revolutionaries who overthrew the Qing were fueled by the failure of the Qing to defend China and a lack of scientific advancement compared to the West. Even before the founding of the Republic, older forms of Chinese dress were becoming unpopular among the elite, which led to the development of Chinese dress which combined the Changsha and the Western hat to form a new dress. The suit was also known to have cultural implications in which the four pockets represented the four virtues of Chinese culture: Propriety, Justice, Honesty, and Shame, and the five buttons represented China’s five branches of government. The Zhongshan suit is a similar development that combines Western and Eastern fashions. During the 1990s, it began to be worn with decreasing frequency by leaders of General Secretary Jiang Zemin’s generation as more and more Chinese politicians began wearing traditional Western-style suits with neckties. The Mao suit remained the standard formal dress for the first and second generations of PRC leaders, such as Deng Xiaoping. In the Xi Jinping administration, however, cheongsam modern the Mao suit made a comeback as a diplomatic uniform and evening dress. Hu Jintao even showed up to a black-tie state dinner in the United States wearing a business suit, attracting some criticism for being underdressed at a formal occasion. Some countries, such as Japan, Korea, France, and Greece, are mono-ethnic. China is not one of those countries that has had multi-ethnicities living down the ages. The ethnic minorities in China are the non-Han Chinese population in China. China officially recognizes 55 ethnic minority groups within China, in addition to the Han majority. As of 2010, the combined population of officially recognized minority groups comprised 8.49% of the population of mainland China. The degree of variation between ethnic groups is not consistent. Many ethnic groups are described as having unique characteristics from other minority groups and from the dominant Han, but there are also some that are very similar to the Han majority group. Most Hui Chinese are indistinguishable from Han Chinese except for the fact that they practice Islam, and most Manchu are considered to be largely assimilated into the dominant Han society. As to the clothing of the ethnic minorities, great variations could be observed due to geographical, cultural, and historical factors. 5. The Costumes of Ethnic Minorities. Common features of ethnic minority clothing are that it is flowery and colorful, extremely exquisite, and highly distinctive. Every aspect of their garments, such as raw materials, textile technology, fashion, and decoration, retains a distinct characteristic of the ethnic group and the locality. The Hezhen ethnic minority people, who mainly make a living from fishing, used to make clothes with fishskin. The Mongolians, Tibetans, Kazakstan, Khalkhases, Yugurs, etc., who are mainly engaged in stockbreeding, make their apparel mostly from animal skin and hair. The hunting ethnic groups, such as Oroqen and Ewenki, mamian qun skirt used roe skin and animal tendons to stitch up their clothes. And, farming ethnic minorities usually take the locally produced cotton or hemp thread as raw material to spin cloth and silk and make clothes. Ethnic minorities’ spinning and weaving, tanning, and felting techniques boast a long history. There are numerous clothing designs and forms for Chinese ethnic minorities. For example, the bombax cloth of the Li ethnic minority, the woolen fabric of the Tibetans, the Adelis silk of the Uygurs, and the fur products of the Oroqen have enjoyed a worldwide reputation all along. Generally speaking, they can be classified into two types: long gowns and short clothes. The gowns take various forms: the high-collar and big-front types worn by the Mongolians, the Manchus, the Tu, and so on; the collarless tilted-front type worn by the Tibetans, the Moinba, and so on; the tilted-front type worn by the Uygur and other ethnic minorities; and so on. People usually wear a hat and boots to match their long gowns or headcloths, and shoes to match short clothes. As for short clothes, they fall into two types: trousers and skirts. The costumes of ethnic minorities vary greatly, not only with different nationalities but also with different branches and different regions within the same ethnic group. The difference can be seen from province to province, from county to county, and even from village to village. The costume is the most obvious symbol of an ethnic group, and in history, many ethnic groups were named just according to their garments. In general, each of them can be recognized by 7 key variations. Design, Traditional Chinese clothes usually adopted a straight cut and were loose in shape. The 5 broad categories of traditional Chinese clothing have been introduced. In addition, the overall harmony of the outfit was also emphasized. Embroidery, a folk art with a long tradition, occupies an important position in the history of Chinese arts and crafts. It is, in its long development, inseparable from silkworm-raising, silk-reeling, and weaving. Color, People normally wear light-colored clothing in daily life. The production of silk threads and fabrics gave rise to the art of Chinese embroidery, and the embroidered works have become highly complex and exquisite. The common people mostly wore white at weddings. Red, bright yellow, and purple always exclusively belonged to the emperor and the imperial family. For example, for women, only an empress or official wife could wear true red, while the color was prohibited for concubines. Pattern, In ancient feudal society, people’s rank and social status could easily be figured out from their daily dress, especially for ordinary people and the upper class. Besides that, white clothing was normally worn at a funeral. Among the upper dominating classes, only the Emperor was assigned the color yellow and the dragon emblem on traditional Chinese imperial dress as an exclusive affirmation of their power. Gender, Women’s clothing was more diverse than men’s. As for the ministers, generals, councilors, and their wives, their uniforms were also restrictively regulated for how many lions or cranes, etc., could be embroidered on them. Compared to men’s clothing, women’s clothing had more ornaments, items, and styles. As agricultural development increased, more clothing materials appeared. Material, At the very beginning, the ancient Chinese only covered their bodies with leaves. In later years, linen, cotton, and silk were prominent materials. During the Ming Dynasty (1368-1644), according to the government’s policy of physiocracy and restriction of business, businessmen were forbidden to wear silk clothing, even if they were rich.