“Han” in “hanfu” refers to the ethnic group, ming dynasty hanfu male Han people. Han people also referred to themselves as “Hua” or “Huaxia”. Modern Hanfu movement aims to reclaim the ethnic clothing of Han people, after it was forcefully banned in the Qing dynasty with the Queue Order. 4. people who are just dressing up as part of the tourist experience. It is like Scots started wearing kilts again after the lifting of kilt ban imposed by the English. 20 years) so the concept is still building. On top of that, this is a grass root movement so no one has a ultimate power to define the boundaries of “hanfu”. A person maybe into all four things at once, or only into one of these four categories. Hence, within the movement, cheongsam red dress there are many schools of thoughts of what should be included and what shouldn’t be. With archeological discoveries and fashion trend shifting, the hanfu fashion is changing rapidly as well.

China has 5000 years of cultural history, what is the ancient Chinese clothing looks like that always curiously by foreigners. Each region always has its own characteristics, such as traditional clothes. Even every Chinese New Year celebration, they will buy or make types of clothing of ancient Chinese people. Likewise, with the Chinese. As an ethnic group, the Chinese have various kinds of uniqueness, such as the use of traditional clothes every certain special day. In addition, wearing new traditional clothes is considered capable of warding off bad luck and protecting oneself from evil spirits. They are even willing to save and bless throughout the year so that when they celebrate Chinese New Year, they can buy new clothes and take care of themselves. In this case, they will be more confident and go to the homes of friends and relatives to show off their respective styles. Traditions like this have been deeply embedded in society and have existed since the Sung Dynasty (960-1279 AD). However, starting from 1912-1949, the function of using this traditional dress changed to a form of respect for young people to their parents. As one of the big countries with the most population, it cannot be denied that many Chinese people still live below standard. Traditional Chinese clothing, more precisely for ethnic Chinese who still live below the standard, is called Hwa Kun. In addition, the ethnic group of this nation has clothes that are often used by the poor. This clothing is generally worn by women and has a simple shape with a curtain covering the face. Traditional Chinese clothing, more precisely for ethnic Chinese who still live below the standard, is called Hwa Kun. This clothing is generally worn by women and has a simple shape with a curtain covering the face. As one of the big countries with the most population, it cannot be denied that many Chinese people still live below standard. This woman’s ancient Chinese clothing consists of a blouse with a skirt-shaped bottom so that it looks feminine to the wearer. Besides, this shirt is more often used for official events and is a blend of Chinese and Betawi (Indonesian) ethnicities. Maybe even think that this outfit comes from Arabia even though the clothes are a combination of Chinese and Betawi ethnicities. It seems that when you look at Koko clothes, you must be synonymous with a diverse Muslim community. This Koko shirt is often used by poor Chinese people with a combination of trousers. In addition, the way to use it is also equipped with a hat that is similar to a cap so that it becomes a fitting unit. Even today, many are used as ancient Chinese clothing for children. There are many kinds of clothing for ancient Chinese people. However, it turns out that there are at least 15 types of traditional clothes. You may not even know some of them because what is famous is only the Cheongsam. Each also has its own characteristics like this traditional Hanfu dress, which comes from the Han ethnicity and is often used to celebrate various holidays and official events. Actually, like other countries, China also has several ethnicities in its territory. The neck will look like petals while the bottom is an elongated skirt. This outfit has a unique and beautiful shape, similar to Hanbok from Korea. Unfortunately, this type of clothing is rarely worn by Chinese society. The Hanfu clothes have even inspired several Asian countries, especially Korea and Japan. For the arm itself, it is made loose. Qipao is ancient Chinese clothes that the Chinese government used to force people to wear. However, they named this new version of the Cheongsam. Also, Hanfu is also an ancient Chinese clothing for children to adults. The most interesting thing about this Cheongsam is that it always changes with the times. Starting from coercion, this traditional dress has become the most popular and in-demand form. In addition, the body is made straight and slender, equipped with Chinese embroidery. Generally, this Cheongsam outfit is only for women. For now, the most popular form is the high collar with short sleeves. Then if you turn to the present, you will often meet Chinese people, especially those who work in restaurants and hotels, many of which wear these clothes for uniforms. However, this traditional dress is more popular with middle-aged women and men for just at home or even as the clothes of ancient Chinese peasants. Samfu is typical Chinese clothing that is used in everyday life. This shirt is characterized by a high collar with buttons and long sleeves. Samfu is more commonly made from Chinese satin with a variety of unique accessories and embroidery. Chinese people often make Samfoo from hemp and cotton. Even though it is an everyday outfit, Chinese citizens of Malay descent rarely wear it. Meanwhile, the upper-class people preferred to make ancient Chinese clothes from silk. The manufacture itself is a little complicated, and usually, each family will weaving it themselves. It’s just that the shape is more authentic, but for now, it’s been packaged into a more modern style with a high collar style and the shape of the side buttons. As one of the traditional Chinese clothes, Shanghai clothes have a characteristic that is almost similar to the Cheongsam. In addition, the collar also distinguishes between Cheongsam and Shanghai clothes with a higher shape. Then the front parted. The people themselves when choosing the colors to use these clothes according to the season at that time. Red symbolizes hot weather while black is worn when entering the rainy season. Shanghai itself is ancient Chinese clothing for women. Changshan is actually the partner of the Cheongsam outfit. For example, the color white for autumn. Because it is ancient Chinese clothing for men of Chinese ethnicity, while the Cheongsam is for women. The shape seems formal, so it is often used for various official events and celebrations of big holidays. This clothing itself has a characteristic that is intended for middle and upper-class Chinese men. But now these regulations no longer exist. Even so, until now, this custom is still strong, namely Changshan clothes only for the high-profile. Even in the 17-20th century, the Chinese government again forced its people to wear it, and if it violated, it would be punished. Then the characteristic is that his clothes are always bright red, like the Chinese belief regarding luck, happiness, and hope. Tang Suit is a traditional Chinese clothing that was introduced during the Tang dynasty. At first, these clothes were very loose in shape because it emphasized the ease of movement. However, over time, the clothing styles also changed but still had their own characteristics. This shirt is actually a form of display of traditional Chinese knots with materials from brocade and luxurious fabrics that originate from ancient times. If you are a fan of Chinese films, maybe you are familiar with this outfit because Jackie Chan is one of the actors who often wears it. They even practice tying their feet to keep them small, but this is even more torturous, so they stop. At first, this garment was often worn with pairs of pot shoes because people at that time thought that small feet were more attractive. Tangzhuang has a form of clothing that combines traditional Chinese elements with more modern western-style cutting techniques. Then along with the times, the Manchu clothes also began to be replaced and replaced with western-style clothes. This clothing was introduced during the Tang Dynasty from 618 to 907 AD. However, for now, the clothes have changed with the times. Then what is characteristic is that the buttons on the clothes are like a frog’s knot and are made by hand. Generally, the materials used are silk and brocade fabrics. In addition, Tangzhuang is more often used as a couple of clothes with symmetrical shapes and high collars. However, for now, Tangzhuang’s version of clothing has been mixed with western styles. This can be seen from the shoulders, which are padded so that the clothes look more comfortable and fit when they are worn. This shirt was introduced to the public in the nineteenth century and is often used for big events and special day celebrations. Zhongshan jacket, or better known as Jas Mao, is one of the traditional Chinese clothes that has been integrated with western culture. This dress was even introduced by the People’s Republic of China’s former leader, namely Mao Zedong. Also, the form itself is also like a service in general, but only has the characteristics of the Chinese nation. This Zhongshan suit itself is an adaptation of Mao’s suit. In addition, it is the people of western China who wear clothes the most. Dudou is a type of bra that is often worn by ancient Chinese people and was first introduced during the Qing dynasty. At that time, this outfit sounded a little “weird” because it was used to flatter a woman’s chest to look more elegant. Because at that time, women looked more beautiful and elegant if they had a flat chest. At the same time, the protruding form was considered too seductive, so that people at that time outsmarted it by using Dudou. In addition, the shape of Dodou itself is like an apron and is made of silk which has a square shape and functions to cover the chest and stomach. Ruqun itself is a term for a garment, which means “Ru” or a shirt, and “Quran,” which means skirt. The Ruqun dress is an adaptation of the song style during the ancient dynasty. This shirt combines various concepts such as a shirt with a skirt that is wrapped around the body. The Min dynasty from 1368 to 1644 was the nation that introduced this tradition. Initially, the Ruqun dress came as a form of adaptation of the Song dynasty to the ideas of modesty from Confucianism. Then on the outside, it is equipped with a Beizi or long jacket with a straight collar. When a woman wears these clothes, it will give a feminine impression. In general, women in the past, when wearing these clothes, always styled their hair with patterns so that they could give a graceful and polite charm. When looking at a variety of traditional Chinese clothing, it looks almost entirely similar. But still able to give a simple and closed impression. Cheongsam is the clothes most favored by various ethnic Chinese and even nations from other countries. However, it has its own characteristics. Apart from that, the shape is simple, but it already represents and contains the essence of China. This is because the clothing model is more flexible so that it can be used for various formal events or not. These clothes themselves are generally made with various bright colors and floral and other motifs. The making is now more modern and easy. As previously discussed, the Cheongsam is traditional Chinese clothing that is often worn by men. It’s just more popular among men. This model dress is just as popular as the Cheongsam. Chinese people often choose this outfit because it is more flexible and can be used for various official events, such as Chinese New Year celebrations, hanfu chinese and to attend weddings. They now prefer to mix and match traditional clothes with a more modern style. Enjoy Shanghai is one of the best and largest news portals in China and has been proving with meaningful and helpful news for over a decade. We are delicate to share the useful information for you about everything in shanghai.

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Liangmao (Chinese: 涼帽; lit. Hakka people who perform manual work, such as farming and fishing. Hakka women wore it when working in the fields. The liangmao is made and is most commonly worn by the Hakka people who were originally from Northern China. Some Hakka women still wear the liangmao when working outdoors nowadays. It also worn by non-Hakka women who work outdoors. Gankeng town is the home of Liangmao village. After the founding of the People’s Republic of China in 1949, Gankeng town was the biggest producer of liangmao. In the 1970s and 1980s, every household in Liangmao Village would produce liangmao which would then be exported to Southeast Asia, Britain, and France. In the late 1970s, the liangmao lost its market appeal and the demand for the hat shrank. The people of Gankeng have been making liangmao for more than 200 years. In 2002, the last Hakka hat maker died; and no more residents of Gankeng town made the hats anymore. In 2013, the Hakka hat-making craft was added to the Guangdong’s provincial intangible cultural heritage list. In 2006, hanfu winter the Gankeng bamboo hat was included on the Shenzhen Municipal Intangible Cultural Heritage list. Zhang Guanxian and Zhang Hangyan, who are both veterans liangmao craftsmen, were named as the inheritors of the Hakka liangmao. Liangmao Baby – a statue of an ethnic Hakka girl wearing liangmao was erected on 29 September 2016 in Gankeng New Town, Longgang district of Shenzhen, Guangdong province, as a new mascot. There is a hole in the centre of the hat which is trimmed with black embroidered cotton. The liangmao is made of a flat disc of woven bamboo and/or straw. The lack of crown on top of the hat allows the head to remain cool. The cotton fringe covers the shoulders and give protection from insects. The cotton fringe around the edge of the hat is about 15 cm deep. It also keep the sun off from the face of its wearer, and in winter, the cotton fringe would offer some warmth. Davison, Gary Marvin (1998). Culture and customs of Taiwan. In summer, the cotton cloth could be removed, and the hat would be secured by attaching ties through the loops that were attached to the central hole. Barbara E. Reed. Westport, Conn.: Greenwood Press. Berkeley: University of Calif. Garrett, Valery (2012). Chinese Dress : From the Qing Dynasty to the Present. New York: Tuttle Pub. Constable, Nicole (1994). Christian souls and Chinese spirits : a Hakka community in Hong Kong. This page was last edited on 14 September 2024, at 20:10 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

Outfitted in a tall black hat and floor-length robe with loose sleeves, 27-year-old Li Baichuan could be mistaken for his Han ancestors who lived over centuries ago if it weren’t for his modern glasses and cellphone. Donning Hanfu, a set of traditional Han clothing composed of several layers — most notably, a ground-sweeping robe — is their most overt attempt at bringing Han style back. Although his traditional outfit provokes reactions and attracts attention from passersby, Li, and thousands of hobbyists like him, believe it is important to revive the traditions and lifestyle of their Han ancestors. A traditional Hanfu is a set consisting of two or three layers. Nowadays, Hanfu is usually only worn by hobbyists or participants in cultural exercises, but some religious figures, like Taoists and Buddhist monks, wear the garments every day. A light T-shirt and shorts set is worn under a long, wide-sleeved robe, and a typical set may also include a hat, sashes worn to secure the robe and a jacket that stays open at the front. Li, who makes all the traditional Han clothing items by hand and sells them, wears a robe that follows the ancient pattern, with the left side of the robe diagonally crossed over the right. He chose red cuff and collar accents to set off his black robe. To promote the use of Hanfu, Li taught himself how to tailor the traditional garments, and he hopes to make the clothes shorter and more convenient for people to wear today. Li has sold nine hanfu sets in the past two weeks. Li has found it difficult to convince the public in China, which is largely Han, to accept and adopt the traditional clothing of their ancestors. Even Li wears modern clothes like button-down shirts and sweaters beneath his Hanfu robe, allowing the collars of his contemporary wardrobe to poke out from under the traditional robe. The hanfu style was gradually replaced by Manchu style, which offered the cheongsam, or qipao, for women and the changshan for men. After feudalism was overthrown in 1911, the changshan and other similar clothing styles were gradually replaced by Western fashion in China. Only in the past 10 years have people started to call for a revival of Han Chinese clothing, donning such clothing in daily life, during festivals or on other special occasions, according to Li Baichuan. In 1644, the Manchu rulers of the Qing Dynasty (1644-1911) ordered all Han people to adopt Manchu-style clothing or face harsh punishment. When he started to wear Hanfu in public, Li was often mistaken for a street performer or a Japanese person, as the Hanfu robe looks a lot like a Japanese kimono. For the sake of authenticity, he felt a dagger tied to his robe was a must-have accessory, but the dagger once prompted police to escort him out of a subway station. Li also said it is difficult to find people who understand the message that Hanfu hobbyists are trying to convey, traditional chinese clothing for men especially in small towns. While no figure is available on the exact number of such hobbyists, about 2,000 to 3,000 such hobbyists live in Beijing, according to Li’s estimates. He also estimates that most Hanfu hobbyists are in their 20s and 30s and that few have adopted Hanfu as part of their everyday, public wardrobes. Hobbyists join small clubs that rely heavily on personal contributions from members, and their meet-ups, which include costume shows, exhibitions and a pitch-pot game that was a popular way to entertain guests in ancient times, are usually held in parks and other free venues, he said. Most Hanfu hobbyists in China are from big cities. Supporters said popularizing Hanfu would boost national pride and promote national unity, and they believed that such clothing called to mind China’s ancient glories and could best represent China on formal occasions. Hanfu sparked debate in 2007, when Chinese political advisor Ye Hongming proposed adopting Hanfu as China’s national clothing. Others said the move was unnecessary and a symbol of Han chauvinism.

Have you ever thought about collecting Hanfu in all shapes and styles from all dynasties? Let’s start with the Hanfu skirt. But besides collecting them, we also have to know how to differentiate them. Here I will summarize several types of Hanfu skirts and their characteristics. Zhequn or pleated skirt is one of the most frequently seen types of skirts. Hanfu skirts are usually made of one or two pieces of cloth, in the form of a flat, pleated, or non-pleated sheet wrapped around the body and tied with a ribbon. The skirt consists of straight knife pleats from the head of the skirt down to half or the full length of the skirt, with pleats typically ranging from 2 – 4 cm wide. This skirt is also often combined with Hanyuansu (汉元素). But, why can we still wear a broken skirt? Translated directly, po 破 means broken. The meaning of the word ‘po’ in this context is not ‘broken’, but rather a piece of cloth cut into a long trapezoidal shape. Poqun is made of an even number of strips of cloth, usually 4 – 12, but there are also 32, sewn lengthwise to make a skirt that is wider at the bottom than at the top. Poqun evolved and created 四破三裥裙 (sì pò sān jiǎn qún), often shortened to Sanjianqun. This skirt was popular from the Wei and Jin periods to the Tang dynasty. The part of the Sanjianqun that makes it different from the Poqun is the three inverted box kick pleats between the Po of the skirt, one in the front center and two on either side, creating a unique silhouette with three pleated slits. This skirt is also often paired with Hanyuansu (汉元素), as it looks very similar to modern skirts. Baidiequn is characterized by very narrow pleats measuring 1 – 2 cm, usually made of a softer and thinner fabric. Baidiequn, often referred to as a hundred changes skirt. Baidiequn can be divided into three categories: full Baidiequn, circular Baidiequn, and high-low Baidiequn. The full Baidiequn is the most commonly seen type, usually worn alone. A circular Baidiequn, or Hewei Baidiequn (合围百迭裙), is an overskirt that is usually worn over another skirt or pants. High-low Baidiequn, or 前短后长百迭裙, the front is cut shorter than other pleated skirts, creating a T-shape when worn. When worn, the front is shorter, while the sides and back are longer. It is shorter than a full skirt, usually reaching mid-calf, and can be draped around the body over an underlay of a similar or contrasting color. One of the simplest skirts is Xuanqun. Xuanqun is considered unique in that it has no pleats but is made from two flat rectangular pieces of cloth that overlap each other and are connected at the head of the skirt. Mamianqun consists of three Chinese characters: ‘mǎ 马’ which means ‘horse’ ; ‘miàn 面’ which means ‘face’ ; and ‘qún 裙’ which means ‘skirt’. Mamianqun has undergone a series of changes from the Ming dynasty to the Qing dynasty and then became the beauty and simplicity of the Republic of China, but the “horse face” structure has always been deeply rooted. Mamianqun is the most distinctive style of women’s clothing in the Ming and Qing dynasties. In the 21st century, Mamianqun made a comeback with the rise of the Hanfu movement. When worn the Manzhequn looks similar to the usual Zhequn, the skirt is pleated, with the folds being wider than usual, usually around 3 – 5 cm. But like Mamianqun, Manzhequn is made of two different pieces of cloth, overlapping on the sides when worn. The Manzhequn was also a popular Ming dynasty skirt, offering the same mobility as the Mamianqun but without the flat skirt doors. The difference is that Mamianqun has a flat part called the door of the skirt at each end.

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The Tang official headwear or Chuijiao Putou (垂腳襆頭), lit. Tang dynasty officials. It consisted of a black hat with two wing-like flaps. However, contrary to the similar Song official headwear in the Song dynasty, the flaps drooped down. This article related to the history of China is a stub. You can help Wikipedia by expanding it. This clothing-related article is a stub. This page was last edited on 13 July 2024, at 06:49 (UTC). You can help Wikipedia by expanding it. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. 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.

Hanfu, the traditional attire of the Han Chinese, is a cultural treasure that spans thousands of years. Rich in history and symbolism, Hanfu comes in a variety of styles, each reflecting the aesthetics of different dynasties and social classes. In this comprehensive guide, we will delve into the fascinating world of Hanfu, exploring the many types available and unraveling the intricate layers that contribute to its timeless elegance. While it’s challenging to provide an exhaustive list due to the multitude of regional variations and historical influences, I can introduce you to some of the major types of Hanfu. Hanfu, the traditional clothing of the Han Chinese, encompasses a diverse range of styles that have evolved over thousands of years. The Ruqun is one of the most iconic and versatile types of Hanfu. Each type is associated with specific dynasties, social classes, or occasions. The Ruqun has been worn by both men and women throughout various dynasties and is characterized by its simple yet elegant design. This style was popularized by Tang Dynasty court dancers and has a dynamic and graceful appearance. Originating from the Tang Dynasty, the Quju features a distinctive asymmetrical skirt that is longer in the back and shorter in the front. The Beizi is a long, flowing outer robe that was often worn over other layers of clothing. Beizi can be plain or adorned with elaborate embroidery, making it suitable for both everyday wear and formal occasions. It became particularly popular during the Ming and Qing Dynasties. It features a cross-collar top with a wide, straight-cut lower garment. The Shenyi is a style that emerged during the Shang and Zhou Dynasties. Shenyi is known for its loose and comfortable fit, making it a practical choice for various activities. These two-piece ensembles consist of an upper garment (Shangyi) and a lower garment (Zhongyi). Zhongyi and Shangyi combinations offer a range of possibilities for mixing and matching to create unique looks. A style with a straight, parallel-cut skirt that was prevalent during the Han and Wei-Jin periods. The Shangyi is typically a cross-collar jacket, while the Zhongyi can vary in style. Zhiju is characterized by its simplicity and elegance. What are the different layers of Hanfu? Generally, a complete Hanfu outfit consists of several layers, each contributing to the overall elegance and symbolism of the attire. The traditional Hanfu ensemble is characterized by its multilayered structure, and the number of layers can vary depending on the specific type of Hanfu, the occasion, and personal preferences. These base layers provide a foundation for additional garments and contribute to the overall aesthetic of the outfit. The middle layer typically consists of the Ru (short jacket) and Qun (skirt) combination, forming the core of many Hanfu styles. The Ru is often tied with a decorative sash or ribbon, adding a touch of flair to the ensemble. The outer layer varies depending on the specific Hanfu style. The base layer of Hanfu often includes a Dahu, a wide-sleeved undershirt, or a Daxiushan, a robe with large, flowing sleeves. Other overgarments, such as capes or sleeveless robes, may be added for additional layers of complexity and visual interest. The Beizi, a long outer robe, is a common choice, especially for formal occasions. Accessories play a crucial role in completing a Hanfu ensemble. Traditional headdresses, such as the hairpin and crown, are often worn. Belts and sashes are used not only for practical purposes but also as decorative elements, accentuating the waist and adding detail to the outfit. Different colors in Hanfu carry specific meanings. Jewelry, including earrings, necklaces, and bracelets, adds a final touch of sophistication and cultural significance. Red symbolizes joy and good fortune, while blue may represent tranquility and wisdom. The choice of color can reflect the wearer’s social status, personal preferences, or the significance of the occasion. Elaborate embroidery is a hallmark of many Hanfu styles. Traditional patterns often depict auspicious symbols, flowers, and mythical creatures. The intricate embroidery not only enhances the visual appeal but also conveys deeper cultural meanings. Wide sleeves, known as “da xiu” (大袖), are a common feature, adding a sense of grace and elegance to the overall silhouette. The style of sleeves in Hanfu can vary significantly. Sleeve styles may change based on the wearer’s gender, the specific historical period, and the formality of the occasion. Hanfu, with its diverse styles and intricate layers, represents a living testament to China’s rich cultural heritage. The various types of Hanfu and the art of layering showcase the adaptability and timelessness of this traditional attire. Whether worn for everyday occasions or special ceremonies, Hanfu continues to captivate hearts around the world, bridging the gap between the past and the present in a tapestry of colors, patterns, and symbolic significance.

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Chinese clothing worn by the Han Chinese. The qixiong ruqun is a unique style of ruqun (Chinese: 襦裙), which is characterized with a high waistline qun, Chinese skirt. Sui dynasty, Tang dynasty and Five Dynasties and Ten Kingdoms period. The qun used in the qixiong ruqun is generally tied above the bust level. Since the Han dynasty and Jin (Chinese state), the waist of the skirt has typically been tied on the waist, while in the Sui dynasty, Tang dynasty and Five Dynasties, the waistband of the dress was much higher, many of which were usually above the chest or under the armpit. The style was also revived in the early and middle Ming dynasty. Some records of clothing history refer to it as the high-waist ruqun. Later, it was renamed to qixiong ruqun, according to the current inspection and certification by people. The qixiong ruqun was a typical form of women hanfu in the Tang dynasty. Tang dynasty’s high-waisted skirt with a short ru (襦) or from a later revival of the Tang dynasty fashion. Qixiong ruqun was also adopted by the Khitan women and continued to be worn in Liao dynasty even after the fall of the Tang dynasty. It is distinguished from the gaoyao ruqun (高腰襦裙; high-waisted ruqun), which is attached below the chest and above the waist. Qiyao ruqun (齐腰襦裙; waist ruqun) is tied at the waist while qixiong ruqun is tied under the armpit. The qixiong ruqun was named after its location on its wearer’s body. Some clothing history records call it the high-waisted ruqun, and it was later changed to qixiong ruqun according to the current people’s examination and certification of it. In ancient times, ruqun dresses for women were not very high waisted, but ruqun dresses with very high waists appeared from the Northern and Southern dynasties to the Sui dynasty, Tang dynasty and Five Dynasties. Song dynasty, when, upon Neo-Confucianism’s rise, the fashion of Tang dynasty faded. Prior to the Putong period (520-527 AD) of the Liang dynasty, the waistline of the women’s ruqun were located at the waist. The qixiong ruqun first appeared in the Northern and Southern dynasties. During the Southern dynasties, the women’s ruqun evolved and was tied higher. Their ru (襦) had open necklines. The ru (襦) with open neckline started since the Datong period (527-529 AD); prior to that, the collars of the women’s ru were designed to be tight-fitting from the Southern Qi dynasty (479-502 AD) to the Liang dynasty. During the Sui dynasty and Tang dynasty, blouses were generally worn as short ru (襦); banbi (半臂) (i.e. short-sleeved upper garment)and pibo (an accessory which looked like a long shawl) both constituted an integral part of ruqun at the time. During the Sui dynasty, the dress code of the Han dynasty was revised and a clothing system with the characteristic of the Han Chinese was established. Their ruqun belt line became higher and the skirt was attached at the chest level. Musicians wearing qixiong ruqun, Sui dynasty figurines. Sui dynasty female attendants wearing qixiong ruqun. In this period, the ru (襦) with short sleeves became a popular trend for the time. It also created the characteristics of this dynasty’s freedom, gracefulness, and colourful clothing. The Tang dynasty was the heyday of economic, cultural, artistic and diplomatic history in Chinese history. Qixiong ruqun is a representative costume of the Tang dynasty and was very popular among Tang dynasty ladies. Tang dynasty people wore short sleeved ru (襦) and a floor-length skirt, but after the heyday of the Tang dynasty, the aristocratic costumes turned to become large and complex. In the Tang dynasty, qixiong ruqun was typically worn long a wide-sleeved blouse, long-full skirt, and long silk scarves with painted motifs as part of the set of attire. During the High Tang period, women were less constrained by feudal ideas and wore clothing which would allowed the exposure of cleavage. It was typically worn by noble ladies or female attendants who served in high status households, such as in important families and even the royal family. The skirt waistband being tied at the chest or at the armpits allowed the neck and chest regions to be exposed. When the skirt (qun, 裙), ru (襦), and pibo (披帛) are paired together, the woman’s grace and temperament in the Tang dynasty were fully presented, showing a poetic beauty and rhythm. The traditional form of ruqun worn in the previous dynasties was maintained in the Tang dynasty, but the “V” collar of the ru was deepened to the point that the cleavage was exposed. The styles of qixiong ruqun with shoulder straps are often found in pottery figurines or paintings unearthed before the Tang dynasty. Until the development of the Kaiyuan (开元) period of the Tang dynasty, when the style became fixed under the armpit. The qixiong ruqun with shoulder straps appeared to have been rarely used in China during the Tang dynasty. The ru (襦) neckline varied, and the most popular one was daxiushan (大袖衫), which was full of the spirit of the people’s ideological emancipation during the Tang dynasty. There were variety of skirts during the Tang dynasty. The style of the skirt is stitched with four fabrics, the upper part is narrow, the lower part is loose, and the hem hangs down to the ground. At the beginning of the Tang dynasty, the skirts were narrow but became looser in the High Tang period. Skirt (qun; 裙) fabrics were mainly silk fabrics. Silk is used at the waist of the skirt, and laces are sewn at both ends. The design of the waist of the skirt was much improved. Striped skirt (jianqun): High-waisted striped skirts became mainstream since the Northern dynasties and lasted until the Sui-Tang dynasties. The more expensive the materials, the better. Zhou dynasty’s bell skirt: A skirt which was decorated with twelve bells at the four corners of the dress. Pomegranate skirt (Shiliuqun: 石榴裙): the colour pomegranate red was famous for the longest time. Many unearthed cultural relics and antique paintings have record of the qixiong ruqun. For example, the famous picture Court Ladies Preparing Newly Woven Silk in the heyday of the Tang dynasty shows similar costumes. When people walked, they made a “jingle” noise, which was seen as very graceful and beautiful. A Group of Tang Dynasty Musicians from the Tomb of Li Shou. Court Ladies Preparing Newly Woven Silk (捣练图). One-piece and two-piece style qixiong ruqun depicted in Tang dynasty painting “A palace concert”. Noble Ladies Worshipping Buddha, Tang dynasty painting. Qixiong ruqun continued to be worn in the Five dynasties and Ten Kingdoms period. With the rise of Neo-Confucianism, Song dynasty women were encouraged to reject the extravagant fashion of the Tang dynasty. During the Song dynasty, the fashion of Song was different from the fashion of the Tang dynasty. The qixiong ruqun however continued to be depicted in the paintings of the Song dynasty. The clothing of the Tang dynasty which emphasized on body curves and the low-cut garments which exposed cleaved and was once favoured by the Tang dynasty women was perceived as sensual and obscene by the Song dynasty women. Buddhist donatress, Yü-lin Caves 19, Five Dynasties and Ten Kingdoms, d.926 AD. Buddhist donatress Chang (張氏供養人), painting from Mo-kao Caves, Five Dynasties and Ten Kingdoms. Detail of a Mural Painting from Tomb of Wang Ch’u-chih (王處直), Five Dynasties and Ten Kingdoms. Mural Painting of a woman from Tomb of Wang Ch’u-chih (王處直), Five Dynasties and Ten Kingdoms. Mural Painting of a woman from Tomb of Wang Ch’u-chih (王處直), Five Dynasties and Ten Kingdoms. Buddhist donors from Cave 98 at Mo-kao, Five Dynasties or early Northern Song dynasty. Buddhist donors in qixiong ruqun, early Northern Song dynasty, 983 A.D. This strongly influenced the development of the Korean hanbok. Qixiong ruqun, Southern Song painting by Wang Shên. Spring Morning in the Han Palace, by the Ming dynasty painter Qiu Ying. Spring Morning in the Han Palace, by the Ming dynasty painter Qiu Ying. The modern qixiong ruqun is controversial due to the rarity of unearthed historical clothing. 2. two-piece style with a slit under the waist. In modern times with the increasing popularity of hanfu and driven by the hanfu movement, the qixiong ruqun gained high popularity among young women. The qixiong ruqun can be found into a one-piece and two-pieces skirts. The one-piece style qixiong ruqun is a traditional Chinese one-piece skirt which is tied like a wrap-skirt. The former is well accepted as being an authentic shape as such form of skirt was unearthed in archeological findings; thus proving the correctness of the one-piece style qixiong ruqun whereas the latter is controversial as it is a style which (so far) can only be found in ancient paintings, such as the Tang dynasty “A palace concert” painting. It is presented as two pieces of fabric incompletely sewn together on the side to form a rear and a front section and with two sets of ties. The two-piece style qixiong ruqun consists of two pieces of fabrics. The method to tie the two-piece qixiong ruqun is different from the traditional one-piece skirt: first, the rear section is tied, and then the front section is tied. During the Tang dynasty, Central Asian women also were depicted wearing Han Chinese style clothing. After the fall of the Tang dynasty, the Tang-style Han Chinese clothing continued to be worn in the Liao. From at least the Han dynasty until the Mongol period, Non-Han Chinese women (regardless of social status or cultural identity) who lived in Han dynasty territories wore Han Chinese clothing. The Khitans inherited the Hanfu from the Later Jin dynasty; the clothing of the Later Jin were actually clothing from the Tang dynasty. Qixiong ruqun, Liao dynasty. A female attendant wearing qixiong ruqun, mural tomb in Aohan, Liao dynasty. Qixiong ruqun, Liao dynasty. This trend later changed in the 10th century AD when the Uyghur clothing and Sino-Uygur headdress became more prominent. In Dunhuang, the clothing fashion of the 8th and 9th century AD closely followed the Tang dynasty’s fashion. In Silla, the clothing of Korean women were influenced by the fashion of the Tang dynasty due to the cultural interactions. Chinese-style clothing and Chinese fashion was introduced in the Unified Silla period. The skirts worn over the jackets was a distinctive clothing style of the Tang dynasty’s women. Some clay figures found in that period shows the high-waist line skirt worn over the jacket and appears to have shoulder straps attached to it. Under the Tang dynasty influence, the skirts in Silla were similarly worn at chest-level and was tied with long ribbons. The qixiong ruqun with shoulder straps was also worn in China, but they appeared to have been rarely used in China during the Tang dynasty. When Balhae established peaceful diplomatic relations with the Tang dynasty, Chinese culture was vigorously introduced by the Balhae court. Balhae also adopted the women clothing of the Tang dynasty and assimilated the clothing of the Tang dynasty. This form of high-waisted skirt which ties to the chest can still be seen in the chima worn in the modern days Korean women’s hanbok. It is also likely that the current women’s hanbok has been derived from the Tang dynasty’s high-waisted skirt with a short ru (襦) or from a later revival of the Tang dynasty fashion. Other relics also show the ornamental differences between the Balhae and Tang dynasty women in the use of different types of shawl. Although there were influences from the previous dynasties, the clothing worn in Silla period was gradually altered during the Joseon dynasty until its forms became what is now known as hanbok. Nowadays women hanbok is modelled after the Joseon aristocratic women hanbok. Tang dynasty was a dynasty with a prosperous economy and relatively open social fashion. Its costumes tended to be bright, colourful, and diverse. Jiaoling Qixiong ruqun (crossed collar type). Qixiong Ruqun is a style of ruqun. Duijin qixiong ruqun (parallel collar type) – Duijin qixiong ruqun was and is generally more widely used. Ruqun consists of a ru (襦) and a skirt (qun, 裙; also known as Chang, 裳), it is a typical upper and lower garment system. Because it must match the Qixiong skirt that was worn, the ru were usually very short. The hezi is a corset-like garment that is attributed to Yang Guifei. The hezi is tied from the back to the front, and the lower part has a rope so that the waist part of the skirt can be tied at the same time. The patterns on clothes also had different requirements according to the characteristics of different dynasties, for example, flowers and plants were often used as patterns in Tang dynasty. This accessory bears resemblance to the Qing dynasty Dudou (肚兜). Hezi can be seen in ancient Chinese frescoes and cultural relics, for example, the famous Dunhuang (敦煌) Mural. Hezi is worn in the Tang dynasty, Song dynasty and Ming dynasty. Pibo evolved from a long shawl, and later gradually became a ribbon between the arms, this is the typical costume of ancient Chinese ladies. Pibo often appears in the murals of Sui dynasty and Tang dynasty, and Tang dynasty is the most popular period. Pibo is often used as decoration for qixiong ruqun. It is made of silver or gold chiffon, traditional chinese clothing for men one end of which is fixed on the belt of the half arm then draped over the shoulder and wound around the arms. There are two kinds of pibo: one type of banner is broader and shorter, which is mostly used by married women. Another can reach more than two meters in length, primarily used by unmarried women. It is a type of decoration that influenced the dupatta in India. Women’s clothing styles in the middle and late Tang dynasty tend to be more and more loose and elegant, so most of them are decorated with pibo. Daxiushan is also used to match the dress with the skirt. In ancient times, qixiong ruqun with a daxiushan can be worn as a formal dress. The material of daxiushan upper garment is compared commonly flimsy. Zhou Fang, who was a very influential painter in the middle Tang dynasty. The cuff of daxiushan upper garment has 4.37 feet above commonly. Its lace-up position is located in the lower part of clothing. The qixiong ruqun and/or qixiong ruqun-style clothing continued to be depicted in the paintings and/or illustrations of the Ming dynasty and Qing dynasty. Many costumes can be used with daxiushan, which is commonly seen with narrow sleeves, straight sleeves and wide sleeves blouse (ru). Chen Hongshou, late Ming dynasty. Illustration by Chen Hongshou, late Ming dynasty. Painting by late Qing dynasty painting, Ren Xiong. Magu (the goddess of flowers), Qing dynasty painting. Qixiong ruqun and/or qixiong ruqun-style clothing is occasionally depicted in the costumes worn by actors in Chinese television dramas, in movies, and other forms of entertainment. They are also sometimes depicted in Korean dramas. 网易. 汉服同袍圈. Zhang, Tianwei (2020-11-25). “Putting China’s Traditional Hanfu on the World Stage”. Valerie Steele. Farmington Hills, MI: Charles Scribner’s Sons. Ju-Ri, Yu; Jeong-Mee, Kim (2006). “A Study on Costume Culture Interchange Resulting from Political Factors”. Encyclopedia of clothing and fashion. Journal of the Korean Society of Clothing and Textiles. Korean Costumes through the Ages: Commemorating the Centennial of Korean Immigration to the United States. The National Folk Museum of Korea (South Korea). Journal of the Korean Society of Costume. Tibberts, Jennifer (2021-01-01). “Investigating How Qipao and Hanfu Dresses are Representative of China”. Hua, Mei; 华梅 (2004). Zhongguo fu shi (Di 1 ban ed.). Senior Honors Theses – via Liberty University. Encyclopedia of clothing and fashion. Beijing: Wu zhou chuan bo chu ban she. Shea, Eiren L. (2020). Mongol court dress, identity formation, and global exchange. Valerie Steele. Farmington Hills, MI: Charles Scribner’s Sons. New York, NY. pp. 张, 珊 (2017). “东晋南朝女性襦裙探析”. Xv, Zhaofang (2014). “An Attempt to Analyze the Implicitness of the Aesthetic Features of Chinese Art Taking the Aesthetic Features of Women’s Clothing in the Flourishing Period of Tang Dynasty as an Example”. Vol. 3. Atlantis Press. Proceedings of the International Conference on Education, Language, Art and Intercultural Communication. Ding, Ying (2016). “The Effects of Foreign Cultures to the Women Clothes in the Tang Dynasty”. Proceedings of the International Conference on Electronics, Mechanics, Culture and Medicine. Vol. 45. Atlantis Press. Chinese). 千華駐 崧博. Hinsch, Bret (2021). Women in Song and Yuan China. Xu, Jiaxuan (2019). “Exploring Hanfu”. Wong, Dorothy C. (1993). “A Reassessment of the Representation of Mt. Wutai from Dunhuang Cave 61”. Archives of Asian Art. Shea, Eiren L. (2020). Mongol court dress, identity formation, and global exchange. Johnson, Linda Cooke (2011). Women of the conquest dynasties : gender and identity in Liao and Jin China. New York, NY. p. Honolulu: University of Hawaiʻi Press. Kuhn, Dieter (2000). “”Liao Architecture”: Qidan Innovations and Han-Chinese Traditions?”. Russell-Smith, Lilla (2005). Uygur patronage in Dunhuang : regional art centres on the northern Silk Road in the tenth and eleventh centuries. Lee, Samuel Songhoon (2013). Hanbok : Timeless fashion tradition. Han’guk Kukche Kyoryu Chaedan. Edward W. Wagner, Edward J. Schultz. Lee, Ki-baik (1988). A New History of Korea. A new history of Parhae. John B. Duncan, Tongbuga Yŏksa Chaedan, Tongbuga Yo⁺їksa Chaedan. The Greenwood encyclopedia of clothing through world history. Leiden: Global Oriental. 2012. pp. Encyclopedia of national dress : traditional clothing around the world. Jill Condra. Westport, Connecticut. Jill Condra. Santa Barbara, Calif. The Empress of China””.

Ella Tennant does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment. Keele University provides funding as a member of The Conversation UK. A woman in Suzhou, China, was reportedly detained recently for “provoking trouble”. Her alleged crime was being spotted outside wearing a kimono. Arresting her might seem dramatic but there is more at play here than a simple fashion faux pas. Clothing is a cultural identifier and, to many, a symbol of national identity and pride. When you think of the kimono you might think of Japan. The woman was dressed like a character from a manga (a Japanese comic). However, the garment is rarely worn in Japan now, other than at traditional festivals or celebrations. The kimono worn today, however, is not an indigenous invention of the Japanese. As a result, the kimono industry, which experienced a boom in the 1980s, is currently experiencing a massive downturn. It can be traced back to the 7th century when the Imperial Court began to wear garments adapted from Chinese styles. And, in many Asian countries, particularly those which were brutally colonised by Japan, the kimono remains a symbol of oppression. There is a long history of sartorial similarities between Japan and China. Chinese explorers in southern parts of ancient Japan around the 3rd century BC observed people wearing simple tunics, poncho-type garments and a type of pleated trouser and top. Despite these Chinese origins, the kimono is a major cultural signifier of Japan globally. Images of priestess-queens and tribal chiefs in 4th century AD Japan also show figures wearing clothing like those worn by the Han dynasty China. The first ancestor of the kimono appeared in Japan in the Heian period (794-1185). Still often worn with Chinese-style hakama (pleated trousers or long skirts), this garment was made from straight pieces of cloth fastened with a narrow sash at the hips. These were similar to clothes worn in parts of China at that time. By the Edo period (1603-1868), everyone wore a unisex garment known as a kosode, made from straight pieces of fabric sewn together like today’s kimono. In the early 1600s, Japan was unified by the Shogun Tokugawa into a feudal shogunate (a kind of military dictatorship) with Edo (now Tokyo) as the capital. Folk clothing and work clothes were also based on front wrapping (left over right), drop-sleeved tops and fastened with strings or cords following a basic kimono pattern. Japanese culture developed during this period with almost no outside influence, and the kosode, as a precursor to the kimono, came to represent what it meant to be Japanese. After previous eras of a “closed” Japan, the Meiji era (1868-1912) marked a period of rapid modernisation and foreign influence. The role of kimono-making developed, and the value of some kimonos increased to the level of priceless works of art. This was despite a new imperial edict that rejected old dress as “effeminate” and “un-Japanese”. As a result, men, government officials and military personnel were encouraged to wear western clothing, yōfuku, rather than traditional wafuku. The kimono, meaning “the thing to wear” had a proper name and officially came into being. Women started wearing more western-style clothes, specifically underwear for women, after the Great Kanto earthquake in 1923. It was felt that a sense of shame in exposing themselves prevented many women from jumping or being rescued from the upper floors of buildings. But as Japan was undergoing fundamental change on multiple levels, tang dynasty male hanfu the sight of women wearing kimono was reassuring and a popular symbol of Japaneseness. The possibility that fewer women would have lost their lives in the disaster had they been wearing yōfuku or at least underwear beneath their kimonos was a catalyst for general westernisation. Japan’s Showa era began in 1926 when Emperor Hirohito ascended to the throne. This period spanned two world wars and the rise of strident cultural ultranationalism and has been described as the most momentous, calamitous, successful and glamorous period in Japan’s recent history. For those with a belief in the idea of Japanese uniqueness (Nihonjin-ron), which became especially popular after the second world war, the kimono (along with other aspects of Japanese culture) was considered superior to the western alternative. While the actual wearing of the garment decreased, the kimono’s symbolic status in Japan increased. So, while people in Japan were “dressing the part” in a bold attempt to look powerful to the west, Japanese occupiers in Taiwan and Korea were actively encouraging local women to wear the kimono in order to display Japan’s superior role and “greater east Asian co-prosperity” in the region. A study of how the kimono was perceived in Taiwan and Korea during the Japanese colonial period from 1895 to 1945 showed that the Japanese kimono is clearly linked to Japan’s colonial control and war responsibilities. By the 1930s, Japan was a major colonial power, having transformed from a weak, feudal society into a modern, industrial, military power in the 1890s. As such, the nation had launched territorial conquests into neighbouring countries. The weaponisation of such a beautiful and elegant item of clothing has clearly left its mark. The kimono remains a symbol of Japanese tradition and a reminder of the dangers of nationalism for countries of wartime occupation and atrocities. If you would be wearing Hanfu (Chinese traditional clothing), I never would have said this, but you are wearing a kimono, as a Chinese. But as Japan is preparing to double its defence budget, raising questions over its pacifist identity since the post-war period, and China is flexing its muscles in Hong Kong and Taiwan, there should be more for officials to worry about than a woman clad in a kimono.

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