Chinese dress clothing hanfu

Cyprus Archives : Peoples DispatchDaojiao fushi (simplified Chinese: 道教服饰; traditional Chinese: 道教服飾; pinyin: Dàojiàofúshì), also known as Taoist clothing, are religious clothing and adornment worn by devotees and practitioners of Taoism, an indigenous religion and life philosophy in China. 233 Taoist ritual garments (sometimes referred as daoyi (Chinese: 道衣; pinyin: dàoyī; lit. Han Chinese traditional clothing and holds clear Taoist cultural meaning. Chinese culture attaches great importance to “cap and gown” (Chinese: 冠服; pinyin: guānfú) are seen as important signs of levels of etiquettes; it is also a visible marker of the Taoist identity. Different forms of clothing will be worn by Taoist priests in accordance to ritual types and obvious distinctions are found in the attire of Taoist priests based on their different positions to the altar. 222 When performing rituals and important rituals, Taoist priests wear ceremonial attires which appear to be aligned with elements of Chinese cosmology; these ceremonial attires are therefore strong spiritual intermediaries acting on the part of the Taoist devotees community. Taoist clothing are visible markers of the Taoist identity. There were also codes which would stipulate the appropriate Taoist attire to be worn during both ritual performance and when being off duty. 233 The Taoist ritual clothing not only inherit from Han Chinese’s Hanfu but also show clear Taoist cultural meaning. 222 The arts found on the clothing are deeply influenced by Chinese culture. 197), the Eight Immortals: the Eight Trigrams, the Twenty-eight Lunar Mansions and the 12 animals of the Chinese zodiac. They can also be decorated with auspicious symbols, such as dragons, butterflies, bats, clouds. This section needs expansion. They can also be decorated with animals which are related to Chinese mythology, legends and stories, such as the crane bird which represents transcendence. You can help by adding to it. An explanation to the origins of Taoist ritual clothing (Chinese: 道衣; pinyin: dàoyī; lit. China as their clothing were embroidered with patterns of flowing pneuma which are similar to clouds, depictions of the celestial real and the underworld. 455-456 Another hypothesis is that the Taoist ritual clothing was markers of various ranks of priestly attainments similar to the formal clothing system used in ancient China to identify the members of the nobility and the senior bureaucracy. 222 To thank the deity for protecting the world, the Yellow Emperor designed the Taoist ritual dress based on the deity and reasoned that these heavenly clothing would be the most appropriate attire to wear when approaching the heavens during prayers. According to the Taoist tradition, the ritual clothing originated since the era of Yellow Emperor; according to the legend, one day the Yellow Emperor saw a deity dressed in golden robe adorned with colourful clouds and a golden crown. 222 Therefore, the Daoshi (Taoist priests) wear the attire of the gods. Taoist traditions were systematized during the Six dynasties period. 456 Early taoist clothing were not fully developed and it is the Northern and Southern dynasties that the preliminary Taoist dress code was formed. Since the Liu Song period during the Southern dynasties, Lu Xiujing began to reinterpret the doctrine of Taoist’s doctrine of adaptation to the social hierarchical system by basing himself on the ancient Chinese crown and dress system and by combining the religious needs, thus developing a new attire system.This system became the earliest systematic dress code of Taoist clothing. In the Lishizhenxiantidaotongjian 《历世真仙体道通鉴》, it is described that “Xiujing’s Taoist dress is very beautiful, like the moon and star, like the rainbow and flower”. Since then, the dress code of the Taoist clothing continued to develop until it included different styles, patterns, and colours based on different status and occasions. There were many forms of Taoist priest clothing in the Song dynasty. Many variety of Taoist ritual clothing were also described when Taoist clothing was systematized. 21 In the early Southern Song, a style of Taoist priest robe is described as: “the broader silk braid of the Taoist priest robe was seen as more stylish, with the breadth being about three to four cun, and the length more than two zhang, so that that dress made of silk velvet could be wrapped back and forth around the wearer’s waist several times”. 21Another form of Taoist priest was the Hechang (lit. Daofu (Chinese: 道服; pinyin: dàofú; lit. 21 In the Song dynasty, the daofu was very popular. In The Current Regression of Diet and Apparel by Shi Shengzu, it was observed that the “apparel system of the three ancient Chinese dynasties could still be found among Taoist priests”. 21 It was greatly appreciated by some hermits and scholars during this period and was mentioned in some poems written by Wang Yucheng being described as “the silk wadding cap, coarse clothes and black muslin scarf” and Fan Zhongyan who described the Taoist priests as dressing themselves sprucely. 21 There were many forms of daofu in the ancient China. 21 Some scholars, such Shi Manqing (994-1041), and some officials in retirement also liked to dressed in daofu. In the Qing dynasty, Taoist priests wore dark blue robes. Nowadays, tradition-based taoists will often wear the traditional robes and liturgical clothing for formal religious and ritual occasions; while Zhengyi priests and taoists priests outside mainland China tend to wear Western clothing in their daily lives. The traditional clothing worn by the Taoist community is connected to pre-modern Chinese clothing and styles. In the Ming dynasty, the daofu is a wide-sleeved, crossed-collar robe which closes to the right and has dark edging at the edges of the collar, sleeves, and placket. The traditional taoist robes can also be worn as a daily lives clothing by the Quanzhen monastics in mainland China. The Ming daofu is similar to the daopao, except for the addition of edges decoration on the robe. Belts like dadai (大带) and sitao (丝绦; i.e. a ribbon or a thin rope made of silk) is also used around the waist when wearing the daofu. In the collar edge, a collar protector known as huling (simplified Chinese: 护领; traditional Chinese: 護領; pinyin: hù lǐng; lit. A daofu with a huling sewn onto the collar and dadai worn around the waist, Ming dynasty portrait. Some forms of taoist robes are also referred as crane robes (hechang, 鶴氅). A daofu with a dadai belt worn around the waist, Ming dynasty portrait. Daopao in the form of hechang has been recorded since the Northern Song dynasty. Jin dynasty unearthed artefacts of daopao in the form of hechang have been excavated from a late 12th century tomb of a Taoist named Yan Deyuan, near Datong in Shanxi province; these robes are decorated with cranes, which are associated with the Taoist idea of transcendence since at least the Han dynasty and possibly prior to the Han dynasty. It is worn by middle-ranks Taoist priests; it is red in colour and has motifs at the back and front, on the sleeves. The Taoist’s priest daopao are commonly worn by the Taoism priests. 457 Theses motifs decorations can include, the bagua and cranes. Wang Changyue, Qing dynasty. The jiangyi is a sign of the higher priestly rank and is worn by grandmasters. It was worn at least since the Jin dynasty with unearthed artefacts having been excavated from a late 12th century tomb of a Taoist named Yan Deyuan, near Datong in Shanxi province. Jiangyi (Chinese: 絳衣; pinyin: jiàngyī), also known as “robe of descent” which refers to either the descent of a priest from the altar or of the spirits to the altar, is a common form of Taoist priest’s clothing. It is made of embroidered silks and is composed of a large square of satin fabric folded into two to form the shoulder line; the shoulder lines continues to the hem of the sleeves. Taoist’ priest; it is usually fastened across the front with 2 silk ties which are sewn just above the waist level. It is typically trimmed with border decorations. Common motifs on the jiangyi include: the sun, moon, Three Heavens, Sacred (Golden) Tower and Flying cranes; Stars and Constellations; Wu yue (True forms of the Five Sacred Peaks); Mountain Peaks and Cosmic waters. The square fabric shape symbolizes the concept of the earth, which is square in Chinese cosmology. When the priests opened his arms, the square silhouette of the jiangyi becomes fully visible and the motifs which typically the heaves became visible; therefore, by wearing the jiangyi, the daoshi embodies the conjunction of heaven and earth. Jiangyi are often found in the five symbolic colours of the universe (i.e. black, red, green, yellow or white). The robe is slashed in the middle to form the collar of the robe. Daoist priest’s robe (jiangyi), China, 20th century. The Quanzhen monastic taoist priests and nuns wear a wide-sleeved, cross-collared gown called daoyi (道衣; lit. Zhengyi taoist priest wearing jiangyi, Ming Dynasty. 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. The deluo (得罗) is a cross-collared gown with large sleeves. In the Quanzhen order, the dagua is worn as one of the ordinary clothing while the deluo is a formal clothing. 457 The blue colour is a symbolism for the east and represents having been descended from the first patriarch of the Quanzhen school, Donghua dijun. It is worn by Taoist priests of the Quanzhen order is a formal ritual dress which is indigo in colour. 457 In large temples (e.g. Baiyunguan in Beijing), the deluo would be worn by monastics on festival days; the deluo would have wide sleeves which could reach 45 cm. Their daopao is cross-collared at the front, and the sleeves are so long that only the fingers can escape from the sleeves. In the Wengong temple in Hanzhong, the cross-collar daopao is the standard form of attire and is referred as daogua (Chinese: 道褂; lit. It is made of thick garments and is blue or black in colour. Patchwork robes is a form of ritual dress; it is made of various pieces of old clothing sewn together are worn by the Taoist priests of the Quanzhen school of Hong Kong. The daogua can be found in 3 types: dagua (Chinese: 大褂; lit. Cihang cap Cihang cap is the High Taoist priest’s headdress of the Quanzhen school of Hong Kong which is worn exclusively for rituals such as The Anterior Heaven Ritual for Feeding, Saving and Refining Ghosts. When the High Taoist priest acts as the gods’ proxy and expounds Taoist scriptures and practice, he would have the “Five-emperor” lotus petal-shaped headdress tied to the front of his cap. The five lotus petals are embroidered with images of the Five Emperors of the Five Directions. Heye Jin (荷叶巾, lotus leaf headscarf) It is similar to the zhuangzijin (庄子巾) in shape but has ruffles likes a lotus leaf, thus gaining its name. Haoranjin It looks like a long hood. The upper back is slightly raised to symbolize transcendence. Huyuan hat (混元巾)/ guanJin (冠巾) It is a round, hard-shelled hat with holes in the top of the hat to reveal the hair bun. Jiuliang Jin (九梁巾, lit. It is a form of headwear worn by Zhenyi priests. It is the most formal headscarf in Taoism. 222 It is a hat with 9 slits in the front of the hat which grows like the ridge of a roof. Sun hat They are worn by Taoist priests who work under the hot sun in summer; some Taoist monks wear it to differentiate themselves from other members of the society by hollowing the top of the hat to make their hair visible or by painting the brim of their hats with Taoist patterns, such as the Bagua and Taiji, or they would write name of the Taoist temple where they lived. The number 9 is the largest number in Taoist and represents the “Heavens above”; therefore wearing it represents the unity of heaven and man. Xiaoyao Jin (逍遥巾) A square (or round) headscarf; it is wrapped in a hair bun and tied with two long headbands. It is liked by the young Taoist priest. Yizijin (一字巾) A type of hairband. The bottom of the scarf is square-shaped while the upper part is triangular in shape like a roof. There is a jade on the front region of the scarf which can help to adjust the scarf wearing in proper direction. Zhuangzijin (庄子巾)/ Chonghe scarf/ Nanhua scarf It is worn by the Taoist priests from Quanzhen school of Hong Kong. Cloud shoes are the shoes worn by the high Taoist priests only. The name of the shoes come from the cloud embroidery patterns fond on the shoes. Depictions of the Taoist pantheon, Eight Immortals, Eight trigrams, the Twenty-eight Lunar Mansions and the 12 animals of the Chinese zodiac were characteristics designs of the Ming and Qing dynasties. These shoes are bright red. National Museum of Ireland. Cheng Dachang also described the “fur coat” as having an inclined collar and being crossed lapels which is similar to the long beizi found in his time (i.e. in Southern Song), the fur coat is however different from the beizi as the back and front of the fur coat are connected under the armpits while the beizi are unconnected. The encyclopedia of taoism. Gwynne, Paul (2017). World religions in practice : a comparative introduction (Second ed.). Fabrizio Pregadio. Richmond: Curzon. Bo Xue Yuan” Millennium Crane Cloak Xijing Hua Chang”. Little, Stephen (2000). Taoism and the arts of China. Chicago: Art Institute of Chicago. Shawn Eichman (1st ed.). Journal of the Color Science Association of Japan. Zheng, Xiao Hong; Fang, Ping (2019). “Enlightenment of Cyan Use in Taoist Costumes on Modern Fashion Design”. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Forêt, Philippe (2000). Mapping Chengde : the Qing landscape enterprise. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Honolulu: University of Hawai’i Press. Komjathy, Louis (2013). The Daoist tradition : an introduction. Museum, Victoria and Albert. Victoria and Albert Museum: Explore the Collections. Zhuo, Xinping (2018). Religious faith of the Chinese. St Petersburg: Three Pines Press. Herrou, Adeline (2016). A World of Their Own : Daoist Monks and Their Community in Contemporary China. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. This page was last edited on 31 January 2024, at 13:19 (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.

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