Hanfu 18th century

yogaA strip titled “Evolution” from Alfonso Wong’s “Old Master Q” comic series, drawn in the 1950’s to 1980’s Hong Kong, ironically but accurately predicted the return of Hanfu. Hanfu has experienced a 360-year discontinuation, and has faced tremendous challenges in attempting to restore itself as the representation of a people who consists of one fifth of the world’s population. However, how much of these are stereotypes? We, the people of the Internet and Television era, may have only heard of or seen these clothing on the glowing display screens showing martial arts flicks and staged opera, and specific styles of these clothes represent certain eras of the Chinese past. If not, what do the others wear? Even if a style of clothing is said to be “xx-dynasty style”, do all people of that time wear that? Hence, it is important to discuss Hanfu as all other (active) fashion should be: by function and formality. Despite each dynasty having its own unique features in its official clothing standards, it does not stray far from the Book of Rites and five major functions of society. Reviving this tradition in a world without a monarchical reign means that many of the social strata requirements attached to these clothing will have to be redefined. Doing away with monarchy and related concepts of social hierarchy, what becomes of the system of objects that has structured the way we have been dressed for the past 4,000 years? In all the dynasties’ official standards, the first entry on defining clothing is always the Emperor’s ceremonial clothes, reserved specifically for the most important occasions like ascension to the throne and the Heavenly Sacrifice on Mount Tai. Upon re-investigation and mutual decision, no other factor can defeat functionality and form as the prime qualities of classifying clothing, for these two directly address the internal and external raison d’être for what we garb onto our bodies. As a longtime researcher of the movement, I have observed and openly stated an outline of what a systematic, structurized diagram of Hanfu organized by function and form would be, throughout the pages and posts of this blog. In turn, the modern redefinition of Hanfu challenges the previous archaeologically centred view of observing the features and peculiarities of particular period depictions, resisting the notion of Hanfu as an “ancient Chinese clothing” or something be put on a pedestal in a museum. However, it is only all the more convincing when yet another member of the Hanfu community (outside of the eyes and hands of academia) actively scribes and formulates an extensive (if not attempting at exhaustive) description of this system which the community has been building in mutual acknowledgement. Beginning in early 2011, A Baidu netizen and German expatriate known as Yizhanfeng (“A goblet of wind”) created the Hanfu Wiki and digital zine Hanfu Shidai in aims to perfect and publicize this new understanding of Hanfu as a living system of fashion. I have written extensively on the classification of robes (shenyi included) and headdresses, and is published as a Powerpoint slideshow, accessible from this very website as a promotional and informational resource. Allow me to stop now in my own words and begin to relay his messages in the following paragraphs below and subsequent sub-pages attached to this cover, in translation to the best of my ability, to bring this glorious recovery of knowledge worldwide, and sharing the Chinese grassroots-driven enlightenment in global synchronization. The lack in standards of form has constantly haunted the Hanfu Movement and impeded its development. The writer has read through various essays on the classification and division of Hanfu shapes and forms, and discover that most are scattered at best, and could not form a holistic picture of the system. An idea sparked: Why not create a contemporary system for Hanfu? The mess of classifications and names have led to various ways of calling it among different people, and causing a situation where “you have your word, I have mine, and no one gets what the other is saying.” Rifts form among the community, where as a result, our promotion and research efforts become blockaded. But fortunately, we have a wide community base of Hanfu restorationists, who have been trained in various fields of specialities and have access to a range of professional knowledge. I strongly believe that if we can sort out this knowledge, the result would definitely be a marvel to behold. Hence, the author decided to build an encyclopedia based on Wikipedia’s framework – allowing everyone to build our contemporary Hanfu system. The author is an organizer and a participant, and am looking forward to everyone’s opinion. But such ways in gathering netizens’ collective intellectual base are often looked down by certain groups of people – they believe that the stuff of the Internet can only be used for recreation or entertainment, and knowledge is best left to the professional hands of academicians. 5. The process of building is promotion in itself. The reality is, however, precisely because there is no current standard or authority on the matter, the only way to get commensurate and reasonable results is obtain collective approval, qipao wedding legitimizing it as a mutually-recognized standard. Hanfu is not a natural science, but the concensus of a group of people. As well, from the point of practical operation, it is too unpredictable to simply sit and wait for academia or administration bodies of power to dictate standards. Our generation no longer allow the development and understanding of Hanfu sit in stagnation: The Hanfu Movement rose and sprouted from among the citizens, and as a cultural phenomenon, should be narrated and propelled from the forces of the citizenry. As long as we have the approval of the majority, we can come to believe that this standard is reasonable. The Hanfu community is full of professionals and experts, and their knowledge base are of an impeccably high standard in content. If this quality can successfully resist and counter the doubts in our time, then it also guarantees the foundational rationality of our system itself. Tieba. Then according to the opinions and suggestions of the community, the framework was expanded and enriched to our current version. This not only proved the method’s plausibility, but also the diligence and contributions of the community, and it shall continue on well into the future. As the collector and organizer of this project, I am overjoyed to see the healthy maturity of this gem. The first official version does not mean the full maturity of Hanfu as a system of objects: it is actually quite the opposite. After years of progress, we have essentially reached this first level of Hanfu as a concept. We recognize the notion that Hanfu refers to “the traditional clothing of the ethnic Han Chinese”, and encompasses the temporal band from the Sage Kings to the Ming Dynasty. This is the representation of an indomitable contribution by our forerunners. This refers to taking Hanfu’s innate features and functions as a basis for sorting and classifying its various individual specimens. We have already received many accomplishments, but we have to admit that we still have many issues yet to solve, and require more dedicated work. This project directs to solve this layer of understanding. Form refers the “shape” and “style” of a thing, which means that form defines the details of Hanfu itself. Don’t underestimate this short little sentence, as every term in it was fiercely debated and gave a rude awakening to many comrades. “form”. “Details determine the success or failure”, as any mature fashion must certainly contain years of practical experience into designing a piece of clothing with the maximum practical result. Imagine: would a Western suit tailored to not fit the body bring out the ideal effect? How long and wide must each panel of cloth be, the ratio of waist to body, proportions of the design, the patterns used for the situation… Neither would a piece of Hanfu made without consideration of every last detail. For the past few years, our forerunners have already bore much fruit, such as the investigation and reproduction of various designs – but these results come in individual tidbits and scattered, without relation to the framework of Hanfu as a whole or a platform. The author believes that that is due to the lack of building towards the second layer we now know as the construction of a “Hanfu System of Objects”. But regrettably, because of the disconnect of the tradition for the last few centuries, our precious experience is almost all but lost, and we are building from the ashes of our cultural ruins. As mentioned in the previous version, the author mentioned that netizens called for an encyclopedic glossary or database for Hanfu, for ease of organizing related information. Luckily, we did it. The author wishes that through building this system, we can perfect our understanding of our Hanfu, and provide a reasonable framework to understanding it. With the help of fellow Hanfu comrades, we have been continually eliminating mistakes, and clarifying our thought patterns, and can finally present a new version. Pictures used in the Wiki all come from online sources. If there are any infringements of photo rights or copyrights in fair use, please tell us so. Version 2.0 takes on primary data in the Hanfu Baike, and the author is every editor in every article in the project. Version 2.1 combines the advice and corrections from fellow comrades and rearranged various illustrations. Particular expansions have been made about formal dress, and “individual Hanfu pieces” have been renamed to “Hanfu styles”, while the original article of Hanfu styles is now renamed to “Hanfu functions”.

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Where can i buy traditional chinese clothing

In the long-standing history of Chinese aesthetics, a long flowing robe with sweeping sleeves and a touch of lustre – Hanfu – has been a great treasure of Chinese culture. This kind of traditional clothing once mainly appeared in books and on television, but has now quietly become a new street fashion scene. As a means of self-expression, Hanfu has returned as a modern style statement for the younger generation. During July and August, the two malls have orchestrated a symphony of Hanfu-themed activities, bringing people on an immersive journey through the past and present. Visitors can make a stop at the exhibition that showcases historically significant restored Hanfu, join the free Hanfu try-on experience, and take a stroll through the Han Market. From appreciating cultural heritage to experiencing a unique leisure activity, this event has it all. Experts from different organisations have come together to make this event a success, among them the Chinese Culture and Hanfu Hong Kong Association. Lily Luk, the chairperson of the association, said that the rise of the Hanfu trend was started 20 years ago by a group of ancient clothing lovers in Mainland China who wanted to promote traditional Huaxia (a concept representing historical ideas about Chinese civilisation) culture. This summer, with the support of professional Hanfu restoration teams, Link launched “A Date with Hanfu” at Temple Mall in Hong Kong and Link CentralWalk in Shenzhen, marking the first collaboration between the two malls. At the same time, young Hanfu entrepreneurs have emerged who strive to produce innovative Hanfu designs using modern fabrics and techniques, giving people a variety of Han-style garments to choose from, and accommodating different daily needs. With the meticulous restoration by Hanfu research teams, ancestral wisdom and craftsmanship are brought back to life in modern society. “This is the beauty of Hanfu,” Lily said. Clothing in the Huaxia tradition dates back 5,000 years, with Hanfu providing a gateway for people to discover the rich culture of traditional dress. Why promote Hanfu? Lily explained the significant meaning behind this trend. On a related note, the growing interest in Hanfu provides entrepreneurs the chance to explore and develop new business models following their own interests. “Hanfu creates a sustainable economic model, as it allows people to pursue their own hobbies while participating in the cultural economy, which creates both economic and cultural value,” Lily said. Lily Luk, the chairperson of the association, said that the rise of the Hanfu trend was started 20 years ago by a group of ancient clothing lovers in Mainland China who wanted to promote traditional Huaxia (a concept representing historical ideas about Chinese civilisation) culture. Experts from different organisations have come together to make this event a success, among them the Chinese Culture and Hanfu Hong Kong Association. With the meticulous restoration by Hanfu research teams, ancestral wisdom and craftsmanship are brought back to life in modern society. “This is the beauty of Hanfu,” Lily said. At the same time, young Hanfu entrepreneurs have emerged who strive to produce innovative Hanfu designs using modern fabrics and techniques, giving people a variety of Han-style garments to choose from, and accommodating different daily needs. Clothing in the Huaxia tradition dates back 5,000 years, with Hanfu providing a gateway for people to discover the rich culture of traditional dress. On a related note, the growing interest in Hanfu provides entrepreneurs the chance to explore and develop new business models following their own interests. Why promote Hanfu? Lily explained the significant meaning behind this trend. “Hanfu creates a sustainable economic model, as it allows people to pursue their own hobbies while participating in the cultural economy, which creates both economic and cultural value,” Lily said. This is why Lily and her team decided to collaborate with a shopping mall operator for the first time. According to Lily, however, it hasn’t necessarily been easy to promote Hanfu in Hong Kong. Leveraging Link’s extensive community network has made it much easier for Lily’s team to reach a broader segment of the public. Furthermore, her team has also organised talks and traditional handicraft experiences in schools to accompany “A Date With Hanfu”. Temple Mall has also partnered with the Hong Kong Hanfu Group – Danqing Hanfu to meticulously recreate the Hanfu attire of eight illustrious figures from Chinese history. Among them are China’s Four Beauties (Wang Chaojun, Yang Guifei, Xi Shi and Diaochan); strategic maestros Zhou Yu and Zhuge Liang from the Three Kingdoms; and the great poets Su Shi and Tang yin. Undoubtedly, restoring the Hanfu of historical figures is challenging, but it also has an interesting side. Tin Kit, the chairperson of the Hong Kong Hanfu Group – Danqing Hanfu, talked about the hurdles his team overcame when restoring Hanfu for the event. When working on the costumes of Xi Shi and Zhou Yu, for instance, there were no portrait references, so the team carried out extensive research into these two figures, ultimately deciding to design their Hanfu according to the clothing culture at that time. For example, the team restored the costume of the genius military strategist Zhuge Liang. Attracted by his legacy, game companies and TV shows often produce content about him. Putting the challenges aside, Kit’s team also made some innovative changes to the costumes, with the aim of breaking stereotypes of ancient figures. Such depictions have influenced the public’s impression of this legend, leading to an assumption that he would wear luxurious costumes. In fact, despite his wealth and power, Zhuge Liang actually lived a really simple life. Therefore, Kit’s team used linen cloth when restoring Zhuge Liang’s costume. “We hope this enables people to see Zhuge Liang for who he really was,” Kit said. On the day of the interview, Kit showed up in his daily attire – simple Hanfu. He joked that his clothing style used to attract curious stares from people on the street. These days, however, more people are aware that he is wearing Hanfu. When asked where his passion for Hanfu came from, Kit said, “It was born out of love and a sense of responsibility to educate the next generation about our very own people, culture and history.

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Hanfu what is it

Three Easter Eggs On Green BackgroundSong 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.

Hanfu shrug

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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Cultivation hanfu

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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Hemp hanfu

2001What 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.

Did hanfu influence hanbok

A Tibetan women’s chubaBEIJING, 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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Hanfu in chinese language

Man running down side of roadOn 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.

Hanfu through the ages men

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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Chinese ruqun vs hanfu

ROGIT blackI 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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