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

Traditional Chinese wedding dress is a collective term which refers to all the different forms and styles of traditional wedding attire worn by the Han Chinese when performing their marriage ceremony, including the traditional Chinese marriage. There are various forms of traditional Chinese wedding dress in the history of China. Since the Zhou dynasty, there have national laws and rules which regulated the different categories of clothing and personal accessories; these regulations have created various categories of clothing attire, including the traditional wedding attire of the Chinese people. The cheongsam (Chinese: 旗袍), or zansae also known as qipao, sometimes referred to as the mandarin gown, traces its origins to the Qing dynasty. The fengguan xiapei (Chinese: 凤冠霞帔) is a type of wedding set of attire categorized under Hanfu. Nowadays, the cheongsam can also be worn as a wedding dress. It was worn in Ming and Qing dynasties. The fengguan xiapei attire was composed an upper and lower garment following the traditional yichang system. In the Qing dynasty, it was composed of an ao, a type of upper garment, called mangao (Chinese: 蟒袄; lit. The mangao was a type of yuanlingshan fashioned in the style of the Ming dynasty which was red in colour; it used to be worn by the Han Chinese women as a court robe. The two accessories items from which the set of attire of gained its name was the fengguan, which was a type of guan, and the xiapei (Chinese: 霞帔). The mangchu was a qun which could either be red or green in colour; it was embroidered with dragons and phoenixes on the front and back lapel of the skirt. The fengguan xiapei was sometimes adorned with the yunjian. The appearance of the xiapei appearance and construction differed depending on the time period: in the Ming dynasty, the xiapei was similar to a long scarf or stole in appearance; however, it became a type of waistcoat in the Qing dynasty. Following the wedding ceremony, married women were expected to wear the fengguan xiapei on formal occasions, however, Chinese trousers or leggings were worn beneath instead of the skirt. The qungua, also commonly known as longfenggua, guaqun or longfeng qungua is a set of attire which follows the traditional yichang system. Initially, the qungua was sewn by the mother of the bride as soon as the bride was born due to the time-consuming process of the handcraft; it would then be given later on as the part of the bride’s dowry from her family when she would get married. There are 5 different types of qungua (Guahuang, Guahou, Dawufu, Zhongwufu, Xiaowufu) which are based on the amount of embroideries which were crafted on the dress. Nowadays, the qungua has been commercialized and remains a popular form of wedding dress. The tradition of wearing the qungua as a wedding dress originated in the Qing dynasty during the 18th century. The Xiuhefu (simplified Chinese: 秀禾服; traditional Chinese: 繡和服) is a set of attire which follows the traditional yichang system; it is a composed of a waist-length liling dajin ao and a long A-line qun, which looks similar to a mamianqun. The precursor of the Xiuhefu can be traced back to the Qing dynasty where a Qing dynasty-style aoqun, consisted of liling dajin changao and a mamianqun, was worn as a form of wedding dress during this period. The Xiuhefu is typically embroidered with flowers and birds to symbolize love for whole seasons. What is currently known as the Xiuhefu became popular in 2001 when Zhou Xun, the actress who played the role of Xiu He, wore a modern recreation version of the Qing dynasty wedding aoqun in the Chinese television drama Orange turned red (Chinese: 橘子紅了) thus gaining its contemporary name from name of the character, Xiu He. Yang, Feng gang; Tamney, Joseph B. (2012). Confucianism and spiritual traditions in modern China and beyond. Manchu bride in her wedding clothes, c. Hua, Mei (2011). Chinese clothing (Updated ed.). Religion in Chinese societies. Cultural Centre, University of Malaya (masters). Garrett, Valery M. (2007). Chinese dress : from the Qing Dynasty to the Present. JNTT (2020-07-30). “SAME SAME BUT DIFFERENT”. Queensland Museum Collections Online. Si, Yuye (2020). “To Have And To Embroider: The “Long Feng Gua” Wedding Tradition”. Long Feng Gua” Wedding Tradition | US-China Institute”. This page was last edited on 30 January 2024, at 18:48 (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.

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Zhanjiao Futou (展角幞頭, lit. Chinese dynasties dated from Song to Ming. The thin flaps were stiff and straight, and could extend up to almost a meter each. It consisted of a black hat with two wing-like flaps. It is rumoured that the founder of the Song dynasty, Emperor Taizu of Song, chinese dress qipao designed this hat so that during assemblies his officials would be kept apart by the flaps and would not whisper to each other. The style was also later adapted (with modifications) by the Ming dynasty, authorized for court wear. Was a Classic Chinese Hat an Early Form of Social Distancing? 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 3 June 2024, at 03:12 (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.

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From my understanding, the word 汉服 hanfu in the meaning we know it as today was first used in the 1990s, when some nationalist historical costume enthusiasts decided to start a movement to revive “traditional Chinese clothing” (in quotation marks because the definition is kind of vague), giving birth to the Hanfu Movement. “Han” is the majority ethnicity in China, and “fu” just means “clothing”, “garb” or “costume”, therefore “hanfu” linguistically refers to clothing worn by Han Chinese people. The controversy surrounding this view is that while it is true that the term “hanfu” was used in some historical texts, they were often used in opposition to clothing worn by foreign peoples or 胡服 hufu (literatlly “foreign garb”) and not as a standalone term. Kind of like how we humans wouldn’t refer to our clothing styles as “Earth clothing” unless we come into contact with alien peoples whose ethnic dress is significantly different to ours. A common explanation for why they picked the word hanfu was that it was selected from ancient texts describing clothing worn by Han Chinese people. The word “kimono” or 着物 just means “clothing” in Japanese, and it wasn’t until Japan came into contact with the West, whose clothing styles were very different, that kimono came to refer to Japanese clothing specifically. Ok forget about aliens, there’s a better analogy. If you asked a Chinese person from, say, the 1580s to describe their fashion, they would probably go into detail about whatever garment or style was trendy at the moment and not respond with a simple “I wear hanfu”. This is not how we use this word today, though. Whereas if you asked the same person to describe the differences between Chinese fashion and Spanish fashion, they might use the term hanfu. Another idea I’ve been fascinated by is the theory that hanfu was invented to make a catchy term for historical Chinese clothing comparable to kimono or hanbok. This was probably true to some extent, since there was quite a bit of nationalism among early hanfu enthusiasts and I can see where the need to be “on a par” with Japan and Korea on this matter of representation comes from. Since the inception of the Hanfu Movement in the 90s, there have been multiple mainstream definitions for the term, and hanfu is a pretty decentralized and leaderless movement nowadays so everybody could attribute to it the meaning they like. Most people consider it every type of Han Chinese clothing worn from Antiquity to the end of the Ming Dynasty, though some people expand hanfu to include Han clothing of the Yuan or early Qing. Some people considered hanfu to be specifically clothing worn during the Han Dynasty, which isn’t a common view anymore. On a side note, hanfu doesn’t appear to be a common word used in academia, where scholars usually just say “historical Chinese clothing”, or refer to specific garment styles by name, further adding to the confusion. Some people consider tv and film costumes which aren’t exactly historically accurate hanfu as well. Nowadays people commonly use hanfu to refer to the community that developed from the 1990s Hanfu Movement and the clothing styles produced and worn by hanfu enthusiasts, and its exact definitions really depend on who you ask. I personally just use it to refer to anything related to the community or Chinese historical clothing pre Qing in general. Although hanfu styles are drawn from history, the original aim of the Hanfu Movement was to revive traditional Chinese clothing not conserve, making the concept of hanfu a relatively new one. Throughout the Qing and 20th century, people did have an idea of how Han clothing was a unique system different to Manchu or Western dress, but they just went with the flow and let Han clothing do whatever was considered fashionable. Clothing styles with a 大襟 dajin or curved front closure which are commonly considered “too Manchu” in modern hanfu discourse, such as changshan, cheongsam, aoqun and aoku, were the poster children for Han clothing for most of the 20th century. Han clothing was more commonly referred to as 汉装 hanzhuang (also “Han garb”) in this period, not hanfu. When hanfu came along, it challenged this established notion and proposed a different approach to “traditional clothing”–looking for older clothing styles prior to the absorption of Manchu influence. This means that hanfu isn’t so much as a traditional or conservationist community, but rather a modern, revivalist one. Because most hanfu styles popular nowadays are reproductions made by companies established in the 2010s and not directly passed down to us from older generations, we can’t guarantee that they’re 100% authentic. I’ll paraphrase this quote about Gothic Revival architecture I read which also fits the Hanfu Movement quite nicely: “it went in search of origins but came back with originality”. Some people get offended by this notion, which I don’t quite understand because it’s not a bad thing at all. TLDR, the word itself is older, but the use of this term as a standalone word not in opposition to foreign dress is a modern thing. There’s been plenty of debate (and still ongoing) on what the term “hanfu” does and doesn’t include ever since the beginning of the hanfu movement, but it has never been considered to be just the clothing worn during the Han dynasty, at least among revivalists (x). I really like that last quote – “it went in search of origins but came back with originality” – definitely captures the current spirit and trajectory of the hanfu revival movement. Thankfully these days I see less of it, but for a long time it was the number one misunderstanding people had regarding hanfu. This incorrect definition was mainly used by uninformed journalists (both Chinese and foreign) who didn’t bother to do research on the topic, thereby spreading the misconception even further. TV and film costumes which aren’t exactly historically accurate are typically called guzhuang/古装 (“ancient costume”) or yinglouzhuang/影楼装 (“photo studio costume”) (1, 2), and they are not considered hanfu by revivalists (who are fond of criticizing the historical inaccuracies of guzhuang). Wafuku/Kimono came up in opposition to Western fashion. Hanbok rose up in opposition to Wafuku. Still there is significant overlap, as modern hanfu are often inspired by guzhuang, and many hanfu shops aim to recreate guzhuang looks from popular media. Hanfu rose up in opposition to Wafuku & Hanbok. Việt phục then rose up in opposition to Hanfu.

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Many people only see antique Chinese costumes (hanfu) in movies or museums, so it is difficult for them to imagine that in international cosmopolitan Hong Kong, there are young people who wear hanfu every day to espouse traditional Chinese culture and aesthetics. Huang Haiyun, Year Four translation student, says. Two years ago, Haiyun decided to dress in hanfu every day. Haiyun joined traditional cultural associations at high school, and showed her clothes to teachers and students, cheongsam dress red as well as organised hanfu publicity activities on campus. On an occasion when a group of educational experts from the US visited the school, she seized the opportunity to show them hanfu with Chinese dancing and music. Her success has given her the confidence to wear and popularise hanfu.

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Ming Dynasty also brought many changes to its clothing as many dynasties do. They implemented metal buttons and the collar changed from the symmetrical type of the Song Dynasty (960-1279) to the main circular type. Compared with the costume of the Tang Dynasty (618-907), the proportion of the upper outer garment to lower skirt in the Ming Dynasty was significantly inverted. Young ladies in the mid Ming Dynasty usually preferred to dress in these waistcoats. The waistcoats in the Qing Dynasty were transformed from those of the Yuan Dynasty. Since the upper outer garment was shorter and the lower garment was longer, the jacket gradually became longer to shorten the length of the exposed skirt. During the Ming Dynasty, Confucian codes and ideals was popularized and it has significant effect on clothing. Changa Ao (Chinese: 長襖) is the traditional Chinese attire for women. There are some kinds of normal Ming Dynasty style Hanfu introductions in following paragraphs. However, it was actually developed from zhiduo during the Ming Dynasty, and is worn over a skirt. It is wide-sleeved, shorter than zhiduo and has no side panels (暗擺) at the side slits (thus showing the skirt worn underneath). It is a form of formal wear, and is often perceived as a longer version of ruqun. There is often an optional detachable protective huling (護領, lit. The huling can be of white or any other dark colours. The collar is of the same colour as the clothing. Daopao/Xingyi (道袍/行衣) is the traditional Chinese attire for men. It is a full-length robe with side slits beginning below the waist. It is a form of formal wear in the Ming Dynasty. There are side panels (暗擺) at the slits to conceal the undergarments. The collar can be of the same or different colour as the clothing, but has to be of the same colour as the edges of the clothing. It is wide sleeved and has a belt (大帶). The huling can be of white or any other dark colours. An optional detachable protective huling (護領, lit. However, other sources states that it evolved from a military-styled tunic, the kuzhe, that was inspired by “nomad warriors from the north”. Despite its name (meaning ‘robe of Taoism’), daopao is worn by all men regardless of religious background. Yuan Ling Shan (圓領衫) is a form of traditional Chinese attire. Chinese sources indicate it has been worn since the Song Dynasty. It is a formal attire worn by men. It is also the most common form of attire for (both male and female) officials and nobles during the Ming Dynasty. The sleeves of the yuanlingshan are mostly curved with a narrow sleeve cuff (琵琶袖, pipa sleeve). It has round collar and side slits. The difference between civilian’s and officials’/nobles’ yuanlingshan is that officials’/nobles’ yuanlingshan has a mandarin square (補子) on it. Men’s yuanlingshan (regardless of civilian’s/officials’) have side panels (暗擺) at the side slits to conceal the undergarments. However, yuanlingshan is not worn alone. Underneath the Yuanlingshan is worn the Da Hu(褡護, sleeveless or half sleeve vest with side panels) and the Tie Li(貼裏，men’s inner dress, sometimes replaced with the Zhi Shen). The collar is secured with a button, and a crossed-collar undergarment must be worn. During an Imperial Funeral, Ming officers wore a grey blue Yuanlingshan (without Mandarin Square), traditional chinese clothing for male buffalo horn panel belt(烏角帶) and wushamao. According to the Ming’s Government letter against Toyotomi Hideyoshi, the Ming Government bestowed on him a set of Chang Fu (常服羅) containing a red yuanlingshan with kirin mandarin square(大紅織金胷背麒麟圓領), dark blue Da Hu(青褡護) , and green Tie Li(綠貼裏). This set was known as ‘Qing Su Fu'(青素服). It is a formal attire worn by scholars and students (生員) taking the imperial examination in Ming Dynasty. Lan Shan (襴衫) is the traditional Chinese attire for men. A crossed-collar undergarment must be worn. It is wide sleeved, has black edges, and has a round collar secured with a button. It may or may not have side slits (with side panels (暗擺) to conceal the undergarment). Bian Fu is a traditional Chinese outfit consisting of a knee-length tunic over a skirt or pair of pants. This two-piece costume was considered to be a ceremonial dress. The tunic for a top that extended all the way to the knees. It has been worn since the Tang Dynasty. This was worn on top of a skirt that reached the length of the ankles. The pien (弁) was a cylinder-shaped hat that accommodated the outfit. The skirt under the tunic was worn only during formal occasions. Zhiduo (直裰), or Zhishen (直身), is the traditional Chinese attire for men. It is a form of casual wear, and is the most common form of attire for men in the Ming Dynasty. It was first worn in Song Dynasty. It is a full-length robe with side slits beginning below the waist, often with side panels (暗擺) at the slits as well to conceal the undergarments. The sleeves are mostly curved with a narrow sleeve cuff (琵琶袖, pipa sleeve). There is often an optional detachable protective huling (護領, lit. The huling can be of white or any other dark colours. The collar is of the same colour as the clothing.

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Hanfu clothing was formed through the natural evolution, and based on unique Han style and personality. The traditional Chinese clothing and accessories system, Hanfu, obviously different from that of other ethnic groups in China, is the embodiment of traditional Chinese etiquette culture, and Han Chinese culture — the dominant idea for most dynasties in Chinese history. It carries the outstanding handicrafts and aesthetics of the Han nationality, such as dyeing, weaving and embroidery, and inherits more than 30 Chinese intangible cultural heritages as well as the protected Chinese arts and crafts. Han Chinese Clothing, Hanfu originated from the Yellow Emperor’s crown dress, which was prepared by Yao and Shun (the following emperors after Yellow Emperor). It was formed in the Zhou Dynasty, and developed through the Han Dynasty, when a complete system of crown and clothing was created and recorded in the Four Books and Five Classics. Thereafter the emperors of the successive Han dynasties all considered inheriting the clothing of the Han Dynasty as a national event when ascending the throng. Hanfu costumes then also became a part of the sacrifice rituals. Hanfu has also influenced the entire Han cultural circle through the Chinese legal system. Traditional costumes of some Asian countries, such as Japan, Korea, Vietnam, Mongolia, and Bhutan, all borrowed the characteristics of Hanfu clothing. What is China’s Traditional Clothing – Hanfu? The denotative meaning of Hanfu is the costume of the whole Han nation. Han clothing is made of a piece of cloth with a width of 2 chi 2 cun (about 50cm), and it can be divided into ten parts: collar, lapel, gusset, label, skirt (the full front of a Chinese gown), sleeve, cufflinks, belt, cross straps, and ba (a ceremonial dress in ancient China). But when talking in the narrower sense, it refers to the dress and etiquette system of the Han Dynasty, thus also named Chinese Han dynasty clothing. The shapes and systems of Hanfu mainly include “Shen Yi (深衣)” system (the coat and dress are sew up), “Xia Chang (下裳)” system (separating the coat and lower skirt), and “skirt (襦裙)” system (short coat). Among them, the shape of the coat and the skirt was thought to follow the will of heaven, therefore was sacred and the most ceremonious and formal dress for the kings and the royals. The ordinary working people usually wore short clothes and trousers. For a piece of Hanfu, the left front of the garment crosses the right front of the garment across the chest, it naturally forms the cross of the neckline, so it is called “crossed collar”. The two straight lines intersecting in the middle of the garment represent the symmetry of traditional Chinese culture, showing a unique charm of fair and justice. The robe (shen yi) was worn by officials and scholar-officials, while the skirt was worn by women. While westerners restrict the development of female body with breastplate and skirt, the wide hanfu costumes allowed the body to stretch freely. Compared with the western clothing of the same period, Hanfu has indisputable excellence in human nature. There are two kinds of hidden buckles: with and without buckles. In general, there is no button for hanfu. The outfit is usually tied with a knot using straps. Even if buttons are used, the buttons are hidden. The belts can be used to make knots, fastening the clothing, or are simply decorations symbolizing power. There are usually wide belts and long belts around the waist, made of the same cloth that was used to make the costume. Hanfu consists of clothes, hair dress, hairstyle, face decoration, shoes, accessories and other accessories to make it an integrated clothing system. The cloth of Hanfu is mainly brocade, silk, cloth, cotton, linen, hemp, yarn, and printing and dyeing cloth. Each cloth is used in different ways. For instances, grass cloth was usually used to make clothes for mourning and sacrifice. Noble dress was made of embroidery cloth, brocade and silk. Men often wore crowns, scarves or hats to fix hair. The ancient Han men and women tied their hair into a bun, put it on your head after reaching adulthood. They also wore curtain hat and cover on head. Women’s buns can be combed into a variety of styles, and wear jewels, step shake, hairpins and other ornaments on the bun. There are also other accessories for Hanfu such as knee covering, silk wraps, silk scarf socks, sachets, swords, ivory plate, leather belt, jade belt, etc. The furniture for storing Hanfu was a garment suitcase called yī qiè (衣箧), and the hanger on which Hangfu was hung was called a yī héng (衣桁). An important feature of the decoration of the Hanfu clothing is that people like to wear jade pendant. Women’s Hanfu clothing of Jin Dynasty style was in accordance with the way of the Qin and Han dynasties, the overall clothing was relatively loose. The upper part of this kind of hanfu looked simple, while the lower part was the long pleated skirt, and looked complicated. There are mainly two types of Hanfu in Tang Dynasty. The first type was the short skirts in the early Tang Dynasty. The main feature of short skirts is that the sleeves of the upper section are small and narrow, and the lower body is matched with a tight skirt, usually with silk ribbon to fasten the skirt. Women at that time did not have any special headwear, but would cover the head with a scarf or jade silk. In the middle and late Tang Dynasty, the clothing strengthened the traditional aesthetic concept of Chinese culture, so loose clothes with big sleeves of Qin and Han Dynasties were popular again, but more elegant and sexier. The Hanfu in Song Dynasty was mainly based on the old style of the Sui and Tang dynasties. Compared with Tang Hanfu clothing, the skirt of Song Hanfu is narrower and has more pleats. Simply put, Hanfu in the Song Dynasty was simple and elegant. The upper jacket was usually worn at the front of the skirt. At that time, qipao cheongsam dress woman’s hair ornaments were also relatively simple. Although they followed the noble hair style of the late Tang Dynasty, but they usually had their hair decorated with only hairpins or flowers, without many expensive ornaments. The Chinese horse face skirt is made of two large pieces of fabric sewn together by a single waistband, creating an overlapping look. Mamianqun or Mamian Qun (马面裙, literally horse face skirt) was the most typical style of female Hanfu clothing during the Ming and Qing dynasties. There are four panels of fabric in total called “qunmen” (skirt doors). The outer skirt door is decorated, while the inner skirt door is not. The horse-faced skirt is pleated on the sides, while flat on the front and back. The Mamianqun originated in the Song Dynasty, became popular in the Ming Dynasty, stayed popular during the Qing Dynasty, and was still worn by people in the Republic of China (1912 to 1949). Wearing the traditional Chinese Mamian skirt has become a fashion craze again in recent years, especially among young people. During the Chenghua period (1465-1487) of the Ming Dynasty, women in the capital were all fond of the Mamian skirt. Moreover, the unsewn doors give women enough mobility to ride horses without revealing any underwear. The texture, decoration, chinese clothes traditional and color of Mamianqun skirts vary significantly among different social classes. The style of Mamianqun was comparatively simple and elegant during the Ming Dynasty. During this period, the Mamianqun style was more luxurious. The Mamianqun gradually developed into the daily attire for women in the Qing Dynasty, and became the iconic skirt style for women of the Qing Dynasty. There are several theories about how the horse-face skirt got its name. One theory is that the shape of the Mamianqun looks like the mamian fortress of an ancient city wall in China. Another saying is that the front of the Mamianqun is similar to a long horse face. Wearing hanfu has become a trend in recent years. In the streets, parks, scenic spots, bookstores, and museums, such as the Palace Museum of Forbidden City, you can always see fans of Hanfu wearing this kind of Han Chinese traditional clothing, with their hair tied in a bun. Previously Hanfu was mainly used for traditional festivals and special occasions. These days, with the popularity of Hanfu and the deepening understanding of Hanfu among the public, especially the youngest, more and more people hope to wear Hanfu in their daily life. Hanfu is one of the many clothes of choice today, just like suits, cheongsam, and tunic suits.

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