Life peers are not considered members of the nobility so they are separately ranked in the non-noble list. Duke: 8 lines of piping, standing brush with 5 twists, 4 pillars, 5 vanilla leaves, jade cicada. For this list, the creation and possible amendment of the Ming Statutes are required. Marquess: 7 lines of piping, standing brush with 4 twists, 4 pillars, 4 vanilla leaves, gold cicada. Earl: 6 lines of piping, standing brush with 3 twists, 4 pillars, 3 vanilla leaves, tortoise-shell cicada. Earl: 7 lines of piping, standing brush with 2 twists, 4 pillars, 2 vanilla leaves, hawk’s-bill turtle cicada. Baron: 4 lines of piping, standing brush with 2 twist, 4 pillars, 2 vanilla leaves, black horn cicada. These suggestions are just one idea of what the possible Standards maybe like. Of course, this is pure design as it has no historical bearing. Viscount: 5 lines of piping, standing brush with 2 twists, 4 pillars, 2 vanilla leaves, silver cicada. One would hazard a guess that no-one will know or care less since even in the modern era there are very few chances of wearing Chinese court dress and in such situations it would likely be on foreign soil (e.g. State Opening of Parliament, investitures, etc) where no one will know any difference or significance. It is logical, however, and would be a good compromise to a dead system as Chinese court dress has more or less fallen into obsoletion and out of proper usage. For these wearers, they need to know what is appropriate and logically correct and this information would be useful if one day they obtain the right to wear such court dress, however slim a chance it maybe. These are based on Ming Standard court dress. There are other less formal everyday court dress that is simpler to assign into an Order of Precedence as there are simpler indicators, for example, all nobles wear the rank badge of a ‘qilin’ (Chinese chimera) whilst non-nobles wear the rank badge as dictated by their rank and division for ‘shangfu’ (everyday court dress). Given that the Chinese monachy is no more, there is no current Standard to look to for correctness therefore it is difficult to predict which of the two suggestions would be more appropriate. Everyday court dress of a 1st rank official. The safer route would be Option 2: using existing Ming Standard but this creates anomolies as the two lesser noble degrees are ‘degraded’ into non-noble status which goes aganist the British system. The only thing would be decree from a royal source but given the very unlikeliness of this happening, the choice may fall on the wearer. Option 1 is more logical and given that there is no legislation or imperial and authoritive jurisdiction from China to say otherwise, this would be a more proper way forward as it will fit into the British system more closely and accurately. The issue would be whether accuracy or authenticity is the most important aspect of Chinese Hanfu court dress. Since these do not fall under the Order of Precedence, summer hanfu they are difficult to define in the whole scheme of things. If we exclude non-governmental individuals then there would be no-one that could wear court dress at all! I am still trying to figure out about this issue but it might not be worth the bother as it is highly unlikely that a government minister would wear Hanfu court dress so it might be a waste of time to bother with it… Given that members of the Orders of Chivalry are more likely to wear Chinese court dress (to investitures, etc) then it is probably more appropriate to entitle them to court dress and more probable that this would become reality than an idea on a page. All pictures by 擷芳主人. Another point of contention would be government posts. The reason is, as I said above, that there is no reigning Emperor of China to grant such governmental posts that would make the said people in these posts entitled to Hanfu court dress, nor are there any noblemen in China anymore. I have since come to the conclusion that Hanfu court dress is actually defunct and should not be worn. Secondly, those who live as a British national are therefore subject to the rules and customs of Britain, including what court dress to wear. Thus, a Han Chinese person who is born in the UK as a British national must wear British court dress if he or she wears court dress. Hanfu court dress should not be worn. A Non-British Han Chinese however may wear whatever they feel fit, including Hanfu if they subscribe to that as their national dress but not Hanfu court dress as they are not entitled to it by virtue of no regining Emperor of China to give entitlement to wear it, otherwise it would be classed as ‘fancy dress’. Those who hold dual citizenship of Britain and China (inc. HK, etc) may wear British court dress or whatever dress they see fit as for Non-British Han Chinese.

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Han Chinese fashion. It finds its manifestation in the wearing in public of the traditional Han attire of pre-Qing era. It began as the elegant pastime of a historically-conscious subculture and has evolved into a trendy nationwide movement boasting millions of young consumers and led by fashion-conscious youth. It has also slowly gained traction amongst the overseas Chinese diaspora, especially in countries like Singapore. The Hanfu movement developed in China in 2003. Its emergence can be credited to Singaporean-Chinese Zhang Congxing, who wrote an article about Wang LeTian, a man from Zhengzhou who was spotted dressed in a homemade shenyi (a type of attire). This spurred online discussion and spontaneous acts of imitation, culminating in the formation of a quickly growing organic movement. Its ready adoption by young and trendy fashion-conscious women has been accelerated by social media, which has helped to propagate the trend. Platforms such as Bilibili, Douyin, Instagram and others have contributed to its resurgence by allowing youth to showcase their dressing online. Elements of retro-cool permeate the movement. The popularity of the movement – especially gen Z and gen Y, can be attributed to a burgeoning desire to reconnect with the past, to draw sustenance from it, and to express a national and cultural identity, along with a growing self-confidence in that identity. The desses worn are typically those of royalty and aristocrats, court officials and soldiers. The fact that Han traditional dress has a universally pleasing and classically elegant aesthetic and is therefore apt to produce socially acceptable, flattering images that can be readily shared on social media has driven its popularity. Lastly, it is seen as a more authentic form of clothing than the cheongsam and qipao, which are now seen products of repression, and as imposed from the outside. It can be seen as an attempt to redeem an important part of Han culture, to restore the classical norms of beauty prevailing in earlier times. The desire to reconnect with one’s cultural heritage has not been the only driver of the movement. Hanfu’s classical elegance and unique aesthetic, and the ease with which one can produce flattering photos for social media by wearing it, continue to drive the movement’s popularity. According to the iMedia 2018 survey, women make up 88.2% of the Hanfu enthusiasts and 75.8% of the Hanfu stores on Taobao and Tmall platforms only sell hanfu for women. Women have also been the principal drivers of the Hanfu movement by emphasizing its fashionable aspect. The key design elements of Hanfu are no exception. Chinese culture accords great significance to ritual and the power of symbols. Proponents of the movement emphasize the symbolic value of Hanfu and the ethical and ritual significance of its all its aspects. 2. The expansive cutting and board sleeve represents the concord or harmony between nature and human creative power. They also note that China, in the face of rising prosperity and modern social pressures, an increasing need to fashion a sense of national identity. On this view, the Hanfu Movement is a natural and intrinsic part of the Chinese Dream – “the Great Rejuvenation of the Chinese Nation” and seeks to recover lost cultural heritage as well as to promote traditional Chinese culture. This term, which is not commonly used in ancient times, can be found in some historical records from Han, Tang, Song, Ming, Qing dynasties and the Republican era in China. Because of its constant evolution, she questions which period’s style can rightly be regarded as traditional. Nonetheless, she explains that hanfu has historically been used to broadly refer to indigenous Chinese clothing in general. Observing that the apparel most often promoted by the movement are based on the Han-era quju and zhiju, she suggests that other styles, especially that of the Tang era, would also be candidates for revival in light of this umbrella definition. Chinese researcher Hua Mei (Chinese: 華梅), interviewed by student advocates of the Hanfu Movement in 2007, recognizes that defining hanfu is no simple matter, as there was no uniform style of Chinese fashion throughout the millennia of its history. Like Hua, he noted that the term hanfu classically referred to the clothing worn by Han people in general, but he argued that there are differences between historical hanfu and the contemporary hanfu introduced by some participants of the movement. Zhou Xing (Chinese: 周星), cultural anthropologist and professor at Aichi University, states that the term hanfu was not commonly used in ancient times and referred to some of the costumes worn by Hanfu Movement participants as being historically inaccurate because they contain modern design elements. On March 8, 2021, the magazine Vogue published an article on modern hanfu defining it as a “type of dress from any era when Han Chinese ruled”. These include a wide and loose style of cross-collar garments with the right lapel covering the left, the use of a flat cutting, and the employment of belts and lace as closures in place of buttons. They acknowledge that the hanfu costumes in some photo studios, movies, and TV dramas are not authentic representations of ancient hanfu, but contemporary hanfu modified based on ancient hanfu for the purposes of visual effects, cost saving and convenience of wearing. There were numerous attempts to reintroduce Han Chinese clothing immediately after the fall of the Qing and in the revolutionary period. Enthusiasts in the Hanfu movement have reached their own consensus as to what would qualify as Hanfu. After the Qing was toppled in the 1911 Xinhai Revolution, the Taoist dress and topknot was adopted by the ordinary gentry and “Society for Restoring Ancient Ways” (復古會) on the Sichuan and Hubei border where the White Lotus and Gelaohui operated. Hanfu movement as part of a broader effort to stimulate a cultural renaissance. Singaporean-Chinese journalist Zhang Congxing, who then decided to write an article on him which was published on the Lianhe Zaobao, a Singapore newspaper. Adoption was rapid – in the same year, people started wearing hanfu in public, forming communities of Hanfu enthusiasts and organizing activities related to hanfu and other elements of traditional Chinese culture. Proponents of Hanfu launched the website Hanwang (Chinese: 漢網) to promote “traditional Han clothing”. The movement had significant online support. In the early years of the Hanfu Movement, there were no existing stores from which to purchase hanfu. The first manufacturers and sellers of Hanfu were the early Hanfu enthusiasts who possessed the necessary skills to DIY hanfu by themselves. They made hanfu in small quantities, and mainly relied on hanfu forums and enthusiasts communities to advertise their products. Around the year 2005, the first online hanfu store appeared. Since then, more and more hanfu stores emerged both online and offline. In 2006, the first physical hanfu store was opened under the trademark Chong Hui Han Tang (重回漢唐), which literally means “Coming back to the Han and Tang Dynasties” in Chengdu, Sichuan province of China. These clubs focused on to organizing offline social activities in the instead of being largely online based. From the year 2007, various hanfu-related clubs started to appear. Other difficulties were psychological and included shyness. Many users reported having first to overcome the fear of social derision before daring to wear Hanfu in public. In the same year, a proposal to change the current western style academic dress to hanfu style was also made by Liu Minghua, a deputy of the National People’s congress. In February 2007, advocates of hanfu submitted a proposal to the Chinese Olympic Committee to have it be the official clothing of the Chinese team in the 2008 Summer Olympics. In 2007, a member of the CPPCC, Ye Hongming, proposed to define Hanfu as the national uniform. Since then, chinese traditional women’s clothing it has been held successfully in subsequent years and is continue to be held annually. In 2013, the first Xitang Hanfu Culture Week was held in the city of Xitang, Zhejiang province. In 2014, a project called Travelling with Hanfu was launched through the collaboration between Chinese photographer and freelancer Dang Xiaoshi, and Chinese actor Xu Jiao. Together, they posted series of photos online which quickly attracted many public attention. The estimated revenue sales for 2019 was 1.4 billion yuan ($199.3 million). In 2019, it was estimated that there were 1,188 online hanfu stores on Tmall and Taobao which shows an increase of 45.77% over the previous year. The hanfu stores Chong Hui Han Tang ranked third on Tmall in 2019 after the hanfu store Hanshang Hualian and Shisanyu. In 2018, it was estimated that the hanfu market consisted of 2 million potential consumers. By 2020, according to a study done by Forward Industry Research Institute (a Chinese research institute), the number of hanfu enthusiasts in China has reached 5.163 million, creating a market size equivalent to 6.36 billion yuan (US$980 million), a proportional increase of over 40% compared to the previous year. In 2021, a lawmaker named Cheng Xinxiang submitted a proposal for a National Hanfu Day. This would take place on the Double Third Festival, or the third day of the third month on the Chinese Calendar. In the 2019 edition of the Xitang Hanfu Culture Week, it was estimated that it attracted 40,000 Hanfu enthusiast participants. The traditional form of Han Chinese clothing changed drastically during the Manchu-led Qing dynasty. Meanwhile, it is projected that by the end of 2021, the total number of hanfu enthusiasts across China will exceed 7 million, and that the market size of hanfu will exceed nine billion yuan (US$1.39 billion). Although the implementation of the latter two was more limited in both scope, traditional features of Han Chinese attire, found in all earlier dynasties, disappeared nearly completely from public life. Against this context, the Hanfu movement is a grassroots movement which seeks to restore the dress and attire and to recover the aesthetic sensibilities of Han Chinese dress from previous eras recognized as high points for Han culture – principally the Ming, Tang, Song and Han. It seeks to popularize hanfu as fashionable daily wear, and to integrate traditional Han elements into the design of modern clothing. When the Manchus established the Qing dynasty, there were three Manchu cultural impositions which were placed upon the Han people: the queue hairstyle which was universally implemented and strictly implemented, the wearing of Manchu-style clothing in official dress and the learning of Manchu language. How shall it be said that you have no clothes? There is also a clear social and communal aspect to the movement. 豈曰無衣、與子同袍。 When the king is raising his forces, new year hanfu I will prepare my lance and spear and be your comrade. 王于興師、脩我戈矛、與子同仇。 I will share my long robes with you. The term tongpao is literally translated as “wearing the same style of robe” and is also a pun of tongbao (同胞) meaning “fellow compatriots”. Manchu hairstyle by shaving their hair on the front of the head and braiding the hair on the back of the head into pigtails known as queue (辮子), as well as to adopt Manchu clothing such as changshan (長衫). Upon establishing the Qing dynasty, the Manchu authorities also issued a decree known as Tifayifu (剃髮易服, lit. Those who violated the Tifayifu policy were heavy punished, sometimes with death. This policy caused significant discontentment among other ethnicities, including the Han Chinese, and provoked numerous uprisings across the country. Qing Manchu prince Dorgon initially canceled the order to shave for all men in Ming territories south of the Great wall (post 1644 additions to the Qing). However, those uprisings were violently suppressed. Ironically, it was Han officials from Shandong, Sun Zhixie and Li Ruolin who, in obsequious displays of loyalty to the new political order, had voluntarily shaved their foreheads and then demanded Qing Prince Dorgon impose the queue hairstyle on the entire population. Certain groups of people were exempted from the Tifayifu, including women, children, and clerics. Neither Taoist priests nor Buddhist monks were required to wear the queue by the Qing or to change their attire. Throughout the Qing dynasty, Han Chinese women continued to wear the styles of clothing from the Ming dynasty. They continued to wear their traditional hairstyles: completely shaved heads for Buddhist monks, and long hair bound in the traditional Chinese topknot for Taoist priests. Taoist priests continued to wear Taoist traditional dress (a style of hanfu called “daopao”). Their garments were unchanged. The Qing imposed the shaved head hairstyle on men of all ethnicities under its rule even before 1644 like upon the Nanai people in the 1630s who had to shave their foreheads. The policy had precedent. However, the shaving policy was not enforced in the Tusi autonomous chiefdoms in Southwestern China where many minorities lived, and on one Han Chinese Tusi, the Chiefdom of Kokang populated by Han Kokang people. The men of certain ethnicities who came under Qing rule later like Salar people and Uyghur people already shaved all their heads bald so the shaving order was redundant. From the earliest years, the Tifayifu policy was encountered with strong objection from the Han Chinese, whose hairstyle and clothing had remained mostly unchanged for over thousands of years. The hair was regarded as an integral part of the body – a gift from parents, and cutting it unnecessarily was seen as contrary to filial piety. The Qing government implemented the Tifayifu policy on Han Chinese people with increased pressure, leading to conflicts and massacres. It was not until early 20th century when the democratic revolutionaries repudiated the queue, calling it backward, and advocating short hairstyles for men. During the final years of Ming, General Zheng Chenggong criticized the Qing hairstyle by referring to the shaven pate looking like a fly. Qing demanded Zheng Chenggong and his men to abide to the Tifayifu policy in exchange for recognizing Zheng Chenggong as a feudatory. The Qing also demanded that Zheng Jing and his men on Taiwan shave in order to receive recognition as a fiefdom. However, Zheng Jing’s men and Ming prince Zhu Shugui fiercely objected to the shaving and adopting Manchu clothing, thus also refused to surrender. However, Zheng Chenggong refused to surrender. The Manchu rulers made the Tifayifu policy increasingly strict over the early years of the Qing dynasty, requiring all male citizens to not only wear a queue, but also to shave their forehead. This was encountered with greater opposition from the Han Chinese than the queue. The Taiping rebels forced everybody in their territory to grow out their hair, which in turn was disliked by many people who had, by then, grown accustomed to shaving their foreheads. Both the Qing forces and the rebels killed people for having the ‘wrong’ hairstyle, as hairstyle was seen as an indicator of political affilitiation. From thence on, Han rebels including those involved in the Taiping Rebellion grew hair on the front of their heads as a symbol of their rebellion against the Qing even while retaining the queue. In an attempt to alleviate the public discontentment toward Tifayifu policy, the Qing government eventually decided to adopt a series of compromise policies. Taoist and Buddhist monks, theatrical actors were allowed to maintain Hanfu and maintain their customs. Furthermore, with the consent of the Qing government, traditional chinese clothing traditional Ming dynasty Hanfu robes given by the Ming Emperors to the Chinese noble Dukes Yansheng descended from Confucius were preserved in the Confucius Mansion alongside robes from the Qing emperors. This series of compromise policies, referred as the shicong shibucong (Chinese: 十从十不从; lit. This compromise mirrored that of the Jurchens in the Jin dynasty and the Mongols in the Yuan dynasty who had continued to patronize and support the Confucian Duke Yansheng. Throughout the years, influence of the Hanfu Movement has reached the overseas Chinese diaspora and has led to the establishment of Hanfu Movement associations outside China, with the goal of promoting Chinese culture. Since the beginning of the Hanfu Movement, defining what would constitute as authentic hanfu has been a subject of debate and can even be a critical issue for hanfu event organizations, and diverse schools of thought have emerged. In other words, they consider both contemporary hanfu and ancient hanfu as hanfu. While the Cheongsam tend to be used as the representative of the national identity in the previous generation of the overseas diaspora, nowadays, the young people within the overseas Chinese diaspora are more incline in the use of hanfu. Instead, they believe that the modern hanfu should incorporate modern aesthetics, including allowing some adjustments to the lengths of the attire or sleeves, despite following the general principles of Han Chinese clotings. Some consider that the Hanfu Movement is not intended to completely imitate the ancient clothing as it would be difficult to replicate clothing that are identical to historical artefacts and 100% historically accurate. Concerns have been expressed about the poor quality and inauthenticity of Hanfu currently on the market. This has damaged the reputation of Hanfu and discouraging the manufacture of authentic or original designs. Factors inhibiting the market for authentic and high-quality hanfu include absence of consumer knowledge and the cheaper cost of inauthentic and poorly made spin-offs. The great Han: race, nationalism, and tradition in China today, by Carrico, Kevin, Univ. In 2007, skeptics feared that designating Hanfu as China’s national costume could spark ethnic tensions, as China has 56 ethnicities, each with distinctive traditional clothing. The Great Han: Race, Nationalism, and Tradition in China Today. KevinCarrico, The Great Han: Race, Nationalism, and Tradition in China Today.

HER clothes are like the floating clouds and her face is like flowers, when the spring breeze brushes banisters and the dew glitters,” ­comes from the poem “Qing Ping Diao,” written by poet Li Bai from the Tang Dynasty (AD 618-907). Readers are not only enraptured by the beauty of Yang Yuhuan, the favorite concubine of Tang emperor Li Longji but also the beauty of her traditional Chinese dresses. Now more and more youngsters are falling in love with these pretty, artisanal robes with historical roots. Hanfu is seeing a revival in interest, with elements related to the design of hanfu introduced in modern clothing styles and erciyuan culture, or a two-dimensional space, a term referring to anime, manga and games. The name hanfu is given to pre-17th century traditional clothing of the Han Chinese, the country’s predominant ethnic group. In the music video of “Yihonglian (Reminiscence of the Red Lotus),” virtual artist Luo Tianyi, the Chinese counterpart of Hatsune Miku, a persona of a Japanese voice-imitated project Vocaloid, who is now a global icon, dresses in a red-and-white hanfu and sings an ancient Chinese-style song. During the National Day holiday, people, especially young girls, brighten up the streets and tourist attractions with their hanfu clothing. Xu Qinren, a local 29-year-old woman, chinese traditional dress hanfu wears hanfu clothing every day. The revival is also seen in the daily lives of people. Xu Qinren, a local 29-year-old woman, wears hanfu clothing every day. Xu Qinren, a local 29-year-old woman, wears hanfu clothing every day. While others put on shirts and jeans or modern clothes, she dresses herself in ruqun, a wrap-around skirt, and banbi, a form of waistcoat or outerwear worn over a ruqun with half-length sleeves. Xu Qinren, a local 29-year-old woman, wears hanfu clothing every day. “At the very beginning, I saw my friend dressed in hanfu and found it very beautiful,” Xu said. Since some hanfu styles are suitable for daily wear, she has been dressing in hanfu for a long time. Her affection for hanfu grew through these activities and she began to study traditional Chinese culture in depth. “I believe that making hanfu daily wear is a real embracement of it, instead of placing them on a pedestal,” she said. She spends around 2,000 yuan a year on buying hanfu clothing. Xu thinks wearing hanfu every day can promote traditional Chinese culture. “During the first few years that I became fond of hanfu, around 2010 to 2014, people often mistook what I wore as a Japanese kimono or Korean hanbok,” Xu said. “But now I find more and more people understand what hanfu is and almost every pedestrian who saw my dress knows it’s hanfu. She even took hanfu as her wedding dress. “Every time I had to explain that it’s hanfu, our traditional clothes. Hanfu culture gathers her and many friends with the same interest. Her husband also wore hanfu to the ceremony, cheongsam shirt which follows traditional han people’s marriage customs. “My friends and I also established a group for han dance. “The friendship that generates from the same interest is very pure and stable,” said Xu. “Costume dramas sometimes don’t pay much attention about whether the costumes actors or actresses wore were authentic. However, she still worries that some costume dramas and online pictures don’t show the real hanfu. They cared more about whether they were eye-catching,” she said. Xu thinks these dramas, as one of the most effective promotion ways, don’t work well on telling people what hanfu is, and misleads them with fake hanfu. She also said some online stores sold fake hanfu. Zhou Yingxi, 20, from Fujian Province, started wearing hanfu in 2013 and made the ancient attire daily wear after she went to college. She hopes the festival can continue and gain more support from authorities. She jokes about being very poor so that she wears hanfu in daily life. “I began being attracted by hanfu when I saw some friends posting information about it on my WeChat and found these clothes very charming,” she said. “Wearing hanfu makes me save money for many other clothes,” she says. Her mother supports her interest and often asks her to wear the clothes and take pictures. “During a recent tour to Ningbo (a city in Zhejiang Province), I wore a mix-and-match of beizi (a large, loose coat in hanfu) and jeans when riding on a bicycle and met two girls on an electric bicycle,” Zhou said. “I heard the girl on the back seat telling her friend on the phone that she saw a lady wearing hanfu and some other related things. The role played by hanfu is not only a bridge between those wearing hanfu and ordinary people but also a bond between hanfu dressers. “When she looked back, she found I was looking at her and felt embarrassed. “I can always recall the first hanfu event I participated in,” said Zhou. However, the organizer treated her like an old friend and guided her to a seat. The tongpao, a name for hanfu lovers, that she knew two years ago are still close friends. “When the activity started, there was no awkwardness nor strangeness and everything was very nice,” she said. She says it’s nice to see more and more people wearing hanfu and that there are some clubs emerging at her school.

Young Chinese people are increasingly favouring hanfu, clothes once worn by ancient Han Chinese. Explore our visual guide on how to wear hanfu correctly and the economics behind this growing trend. This is the second instalment of our two-part graphics series on Chinese hanfu. For some, it signifies a way to reestablish a connection with their Chinese heritage and traditional culture, promoting cultural preservation and continuity. For Hanfu Hong Kong, which was founded in 2013, the practice is a way of life that embodies a unique lifestyle choice rather than just a passing trend. There are many reasons why people still wear hanfu today. The hanfu movement is progress rather than adhering to past practices, root-seeking rather than just a vintage style, chinese traditional dress cheongsam a lifestyle rather than performance. There have been debates within the hanfu community on how to wear hanfu in modern times. Others would prioritise aesthetics above all else, believing hanfu can be worn with fewer strict guidelines. Here are some tips from the local hanfu enthusiasts, showing some common looks that strike a balance between honouring ancient culture, looking good and also being practical for daily wear. Want to start wearing hanfu but worry about getting it wrong? Some see hanfu as a tribute to Chinese civilisation and believe it should be treated with respect and hanfu style rules should be followed. It is difficult for newcomers to distinguish between cheap knockoffs and items created based on historical research. Hanfu enthusiasts from mainland China have compiled a list of commonly used terms associated with knockoff products that can be found online. Members of Hanfu Hong Kong encourage people to join their group and share information on acquiring hanfu in the correct format. Examples include: 古裝 (ancient costume), 仙女 (female divinity) , 民族風 (ethnic style), 表演服 (performance), and 貴妃 (imperial concubine). Local hanfu enthusiasts Kaspar, Sammi, Scarlett and Carol share with us some of the most popular hanfu and matching hairstyles. For example, cutting hair was considered harmful to the body, because hair is considered a gift from one’s parents. The Han Chinese people have historically had a strong cultural connection with Confucianism and its teachings, one of which is the idea of ‘filial piety’, or respect for one’s parents. This belief led to Han Chinese people coiling it up or wearing more elaborate hairstyles instead of cutting their hair. The hairstyle also shows social status, leaving all the hair untied is considered a bad habit. This is the beginning of filial piety. For modern hanfu lovers, it’s very common to purchase a semi-readymade wig for styling and to add volume to the hairdo. Ancient paintings and sculptures are always their source of inspiration for hair styling. Our bodies, every hair and every bit of skin, are given to us by our parents, and we must not presume to injure or wound them. China’s clothing system has a long history dating back to the Xia dynasty (2100BC) and has gone through various changes and developments over time. The modern hanfu industry chain finds its roots in academic and cultural studies, from institutions such as the China Silk Museum in Hangzhou, the country’s largest museum specialising in textiles. By the end of the Qing dynasty (1911AD), western-style clothing had become increasingly popular among the upper class, and traditional Chinese clothing was gradually phased out. It hosts exhibitions that showcase research and important findings about ancient Chinese clothing. These exhibitions have a strong influence on the annual hanfu trend, guiding modern hanfu designers as they create new garments for hanfu enthusiasts. For example, Cao County in Shandong Province is currently the biggest hanfu export centre in China. The popularity of hanfu has led to the growth of many related industries. In Cao County alone, there are more than 2,000 hanfu related enterprises, including hanfu fabric making, embroidery, dyeing, pattern making, hanfu professional pleating, wholesale and retail stores. Currently throughout China there are numerous hanfu organisations that promote activities of all kinds, such as fashion shows and performances. Some tourist attractions like scenic areas and ancient towns (Panmen Scenic Area of Suzhou Ancient City, Ehu Rose cultural Park in Jiangsu, World Kejia Muqinyuan Square in Fujian, hanfu inspired wedding dress Qingyan Ancient Town in Guizhou) offer free admission to people wearing hanfu. Hanfu rental services have gained significant popularity in recent years. They provide visitors the opportunity to experience traditional Chinese clothing and select their desired hanfu style. These services are especially popular around ancient cities like Beijing and Xian where people could wear hanfu while travelling around the tourist attractions for photo opportunities. On the other hand, electronic business platforms like Taobao are the most common way to purchase hanfu products for individual customers. According to a market research in mainland China, the majority of buyers would spend between 100 to 500 yuan (US$14-69) on a single piece.

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Chinese Hanfu is the traditional Chinese style of clothing worn by the Han Chinese. Ruqun: This is an upper-body garment with a long outer skirt. The traditional attire holds a significant place in Chinese history and culture. Natural fabrics are mainly the focus, such as silk and linen. The hanfu dress is typically loose, with flowing robes and wide sleeves. Let’s do a deep dive to learn the beautiful details of Chinese Hanfu. This blog article is all about covering different aspects of this beautiful Chinese traditional attire. Hanfu style in Chinese culture has different style representations. When it comes to speaking and writing, it is portrayed in two different styles. Hanfu consists of a paofu robe or a ru jacket. It is worn as the upper garment with a qun skirt. The literal meaning is simply “Han (Chinese) attire”. The literal meaning of Hanfu is simply Chinese Han people’s clothing. It is a traditional term used for the traditional clothes worn by the Han people. Hanfu embodies intricate designs, vibrant colors, and a deep connection to ancient traditions. The roots of Chinese Hanfu date back to the Han Dynasty (206 BCE-220 CE). It has been the dominant Chinese clothing style for centuries, for both men and women. Hanfu clothing experienced evolution through different dynasties and cultural shifts over time. They are worn over an inner garment and paired with wide-legged pants. A cross-collar robe (known as zhishen or beizi) is a typical traditional Hanfu for men. On the other hand, women’s attire, such as ruqun, reflects femininity and elegance in different designs and decorative elements. The Hanfu movement is an ongoing social movement aiming to popularize Hanfu in the design of modern Chinese clothing. The style and cut of the robe vary depending on the historical periods and regional influences. On November 22, 2003, Lianhe Zaobao newspaper published the hanfu story of a man named Wang Letian who wore a DIY shenyi in public. Recent years have been drastic for Chinese Hanfu clothing. This attracted the public and was perceived as the beginning of the modern Hanfu movement. According to a report in 2022, Mainland China had 10.2 million impressive customers. It has rapidly gone from a hobby to a nationwide phenomenon in recent years. Chinese Hanfu clothing style has been largely appreciated in the West and other parts of the world. The charisma of the dress shows how Chinese culture boasts diversity, even in ancient traditional Chinese culture. There are several types of Hanfu clothing styles for both male and female. Men’s hanfu has different forms and styles. Banbi/半臂 – half-sleeve jacket & Beizi/褙子 – jacket. Upper garments may have tighter or looser cuffs and sleeves depending on the style. A short skirt or weighted braid is added to improve the aesthetics or comfort of the basic ruqun. Zhongyi (中衣): It is usually the inner garment much like a Western T-shirt and pants. Ruqun (襦裙): Two traditional forms of ruqun are primarily worn by women. It is also good to wear along in casual. Beizi/褙子: A long, loose-fitting robe with narrow sleeves. Aoqun/袄裙: Two-piece outfit consisting of an upper garment (袄) and a skirt (裙). Qun (skirt)/下裙: A long, flowing skirt perfect to wear on any Hanfu top. However, the revival movement has worked in its favor, and modern Chinese youth are embracing it. A couple of decades ago, the hanfu style was mostly seen in historical movies and TV shows. Chinese youth and enthusiasts worldwide share their outfits on social media, attend events, and participate in cultural activities. Q2: Are Hanfu and Qipao different clothing styles? Today, the Hanfu style is widely seen at weddings, frespect and avoid cultural appropriation. Qipao was the most common traditional Chinese clothing before the revival of hand. It is also known as Cheongsam and originated in the 1920s. The qipao showcases elegance and grace. The qipao is widely seen as a contemporary interpretation of the more traditional Hanfu dress. Designers are infusing traditional looks with different fabrics, cuts, and embellishments. Hanfu and Qipao have cultural and historical importance. This has led to a broader appreciation and acceptance. Chinese Hanfu is an ancient, exquisite, and graceful clothing form that shows the beauty of Chinese culture. The Han ethnicity is approximately 92% of the population, and imagine when this traditional attire will be in dominant form. You can easily find Hanfu dresses online. However, you have to be careful with quality, authenticity, and proper sizing. Wearing the dress isn’t bad outside of China; nevertheless, shows respect for this cultural identity. Chinese people wear hanfu because of cultural identity, history, fashion and aesthetics, and community and social connections. The best time is at some Chinese festival or event to make it appropriate according to Chinese culture. Clothing style represents a harmonious blend of elegance, tradition, and cultural identity. The rich history and symbolic significance continue to captivate individuals worldwide. The legacy of the Hanfu style seems to have regained its place in Chinese history. This new resurgence is both a representation of timeless beauty and a testament to the enduring appeal of Chinese culture. Many universities have Hanfu societies. Its profound beauty and representation of a rich cultural heritage are preserved as a legacy. This is used as an opportunity to introduce their Hanfu garments to others. Many supporters also believe that wearing Hanfu gives a sense of national identity. Hanfu had a far-reaching influence on clothing in Asian countries, like the Japanese kimono, the Korean hanbok, and the Vietnamese Áo giao lĩnh. Members of these societies wear Hanfu to celebrate traditional Chinese festivals. The kimono is traditional Japanese clothing. Traditional Chinese hanfu is regaining the importance that it once had in Chinese culture. The Japanese adoption of Chinese clothing started in the 5th century. Social media is the next step in spreading the beauty of Chinese culture. Thanks to the movement that started at the beginning of this century, Students have a special role in spreading this Chinese cultural attire. It is popularizing it globally. Q1: Can non-Chinese people wear Hanfu? Chinese youth wear different designs, which leads to incredibly beautiful photographs that they upload on social media. The appreciation and acceptance of Chinese hanfu see expansion beyond cultural boundaries. People from diverse backgrounds are embracing its beauty. You should refrain from using it as a mere costume or trend as part of your approach to show. However, it is always important to show respect and cultural sensitivity. WuKong teachers provide high-quality, customized, and valuable educational content for children aged 3 to 18 worldwide. We aim to provide parents globally wif cutting-edge, innovative, and in-depth educational information, and halp all students on their learning of Chinese, international Math,English Reading and English Writing.

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Jeongjagwan (Korean: 정자관) is a type of gwanmo (관모; 冠帽). It was first seen in the Five Dynasties period at the latest. It is a traditional men’s hat in Hanfu and Hanbok. In the Song Dynasty, two notable Confucian scholars, Cheng Yi (程颐) and Cheng Hao (程灏), often wore this kind of hat, so they were also known as Cheng hats (程子冠). It is mainly woven with horsetail hair, and it was a hat worn by men from the yangban, nuwa hanfu the upper class of the Joseon period. The system of Jeongjagwan is slightly modified following the barrel-shaped Dongpo hat of the Song Dynasty. It was mostly worn at home as a daily headgear instead of a gat, a formal headgear. 조선시대 남자의 모자, 종류별로 모아보니… Jeongjagwan is made with horse hair. 정자관 (程子冠) (in Korean). 이렇게 많구나 (in Korean). 정자관 (程子冠) (in Korean). Wikimedia Commons has media related to Jeongjagwan. This fashion-related article is a stub. You can help Wikipedia by expanding it. This Korea-related article is a stub. You can help Wikipedia by expanding it. This page was last edited on 21 November 2024, at 14:48 (UTC). 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., chinese new year clothing traditions a non-profit organization.

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Dressed in a flowing long robe adorned with beaded floral embroidery from a bygone era, stylist Xiao Hang looks like she surfaced from a time machine as she strides across the bustling Beijing metro, attracting curious glances and inquisitive questions. China has embraced Western fashion and futuristic technology as its economy boomed in recent decades, but a growing number of young people like Xiao are looking to the past for their sartorial choices and donning traditional “hanfu”, red qipao dress or “Han clothing”. These historic costumes of the Han ethnic majority are enjoying a renaissance in part because the government is promoting traditional culture in a bid to boost patriotism and national identity. Period dramas have also contributed to the surge in interest for traditional Chinese garb — “The Story of Minglan”, a TV series set in the Song Dynasty, garnered more than 400 million viewers in three days when it debuted earlier this year. There is no uniform definition of what counts as hanfu since each Han-dominated dynasty had its own style, but the outfits are characterised by loose, flowing robes that drape around the body, with sleeves that hang down to the knees. Xiao, who used to work at a state-owned machine manufacturing company, now runs her own hanfu business, chinese traditional hanfu dress where she dresses customers for photo shoots and even plans hanfu-style weddings. In modern China, the hanfu community spans the gamut: from history enthusiasts to anime fans, to students and even young professionals.

Yang Jiaming, a high school student in Beijing, wears his outfit under his school uniform. Tang-style beige gown and black boots at a hanfu gathering, adding that his classmates and teachers have been supportive of his style. A government-supported revival in Chinese culture has given the hanfu community a boost: since he entered office in 2012, President Xi Jinping has supported the idea of promoting a Han-centric version of heritage. A live broadcast of the event drew some 20 million viewers, alongside a visceral outpouring of emotions. Bilibili, a video streaming platform popular among young anime, comic and gaming fans in China. In April, the Communist Youth League of China launched a two-day conference for traditional Chinese garb, including hanfu. Clothes are the “foundation of culture,” said Jiang Xue, who is part of Beijing-based hanfu club Mowutianxia, which has received funding from the Communist Youth League. There is some way before the style reaches mainstream acceptance in China. Others say they’re deterred by the odd looks they get when wearing hanfu in public. In March, two students in Shijiazhuang Medical College in northern China were reportedly threatened with expulsion for wearing the outfits to school. The 37-year-old said she overcame her reservations after going out dressed in a full outfit last year. Cheng Xia told AFP. Meanwhile, the movement to revive Han ethnic clothing is raising questions about nationalism and Han-ethnocentrism — a sensitive issue in China where the government is wary of any inter-ethnic conflict. For instance, within the hanfu community, there is long-running opposition towards the qipao, the high-collared, figure-hugging garment that used to be a staple of women’s wardrobes. Its popularity took off in 1920s Shanghai when it was modified into a fitted must-have, favoured by actresses and intellectuals as a symbol of femininity and refinement. Chinese culture scholar Gong Pengcheng. Yang, the high school student, is more upbeat.

What was ancient Chinese fashion like? This infographic shows how Women’s dress fashion evolved in China throughout the age, and shows how much each new ruler sought to impose their style on its Chinese denizens. How did it evolve as Dynasties changed and replaced each other? In 1644, a dramatic shift in ruling occurred in China. One consequence of this epic battle of dynasties, mid autumn festival hanfu that is still visible today? The Manchus took over from the Hans and started the Qing Dynasty. A new form of clothing, the Qipao, – which is what we now associate with China – came to replace the traditional dress of the Han people, the Hanfu. Ancient Chinese Fashion timeline of Women’s clothing -This week’s infographic was made by Nannaia, in an effort to document the evolution of Chinese Women’s clothing across the ages. 🏮 Ninchanese is an incredible app for learning Chinese! ” I actually graduated from the University of Edinburgh with a MA in Chinese. I’ve used Ninchanese daily, and it has helped me a lot! Read on and click through to learn more about the evolution of Chinese clothing throughout the Dynasties. A battle of Dynasties: Hanfu vs. Over the years in China, each new ruling Dynasty was intent on imposing their style to leave a trace. None really dared to revolution the Chinese traditional style of clothing however, until the Qings arrived. The Qipaos, not really Chinese? Qipaos, especially the modern, 1920s Shanghai-inspired, form-fitting Qipaos, are the first type of dresses that spring to mind when one thinks about traditional Chinese clothing. However, this form of dress was actually brought in by the Manchu-ruled Qing Dynasty in the 17th century (1644) and is therefore relatively “new” by Chinese standards. The Qing Dynasty was one of the longest lasting ones in Chinese history (around 300 years), and the last dynasty before China became a republic, chinese hanfu dress which may be why many mistake the Qipao for the Chinese ethnic dress. The Hanfu is said to have appeared during China’s first Empire, about 5,000 years ago and then remained the outfit of choice in China for the next thousand years (its main appearance remaining more or less same over the years, save for a few details). Until the Manchus took over, that is. The Hanfu is even considered to have inspired the Japanese Kimono and the Korean Hanbok. If you want to know more about the Hanfu origins and style, read this and this introduction to Hanfu clothing. The original Chinese traditional dress was, in fact, the Hanfu, 汉服 (literally Han clothing), pink and blue hanfu also know as Hanzhuang (漢裝) or Huafu (華服). Some are even pushing for daily wear. Reinstating the Hanfu style? While Chinese actresses often wear Qipaos to world events, a movement started in 2003 to reinstate the Hanfu as China’s traditional outfit. Which do you like best? The Qipao? The Hanfu? Which would you wear? Stay in touch with us on Facebook, Twitter, Instagram, and Pinterest. See here and here for pictures of modern-day Hanfu-wearing. Try the best way to learn Chinese today. Ninchanese is free to use!

Tangzhuang (Chinese: 唐裝; pinyin: Tángzhuāng; lit. 50 is a kind of Chinese jacket with Manchu origins and Han influences, characterized with a mandarin collar closing at the front with frog buttons. Nowadays, the tangzhuang is one of the main formal clothing worn by Chinese men on various occasions; overseas Chinese also wear it as a form of fashion or to express their cultural identity. It is an updated form of the Qing magua, itself a more fashionable adaptation of the riding jacket once worn by Manchu horsemen. Its spelling may vary a little in other romanizations or dialects. Tángzhuāng is the pinyin romanization of the Mandarin pronunciation of the clothes’ Chinese name, written as 唐裝 in traditional characters and as 唐装 in the simplified characters now used in mainland China. The origin of the term “Tangzhuang” also has a taste of “export to domestic sales”. Foreigners call “China town” as “Tang People Street”, and naturally call Chinese clothing “Tangzhuang”. In southern China and among the Chinese diaspora, dialects like Cantonese refer to Han Chinese-as opposed to all Chinese nationals-as “Tang people” rather than “Han”. It is thus also sometimes translated as a Chinese jacket. In fact, “Tangzhuang” is basically the Chinese style of dress in the late Qing Dynasty. Instead, most Chinese people came to accept the designers’ original name for the garment and some even expanded it to describe any form of traditional Chinese clothing. Over time, it evolved from a protective apron for the changshan into an item of Chinese fashion in its own right and even a mark of imperial favor. Han officials’ clothing under the Qing Empire. Following the 1911 Xinhai Revolution and 1949 Communist victory in the Chinese Civil War, the “Mao suit” (Zhōngshān zhuāng) gradually displaced the changshan and magua in most contexts. After the fall of the Gang of Four in the late 1970s and the beginning of Deng Xiaoping’s Opening Up Policy in the 1980s, traditional clothing began to experience a revival in mainland China. Variants of the magua became noticeably more common in Chinese fashion from the mid-1990s. In 1993, US president Bill Clinton tried to bring trade talks back on track by inviting the heads of the APEC member economies to personally attend what had until then been a ministerial conference. He requested leaders’ clothes remain informal and presented each with a leather bomber jacket bearing the APEC logo as a memento. The next year, Indonesia followed suit and presented batik shirts; the world leaders then humored Suharto’s request that they wear them for a group photo. The jackets given to the APEC leaders were a blend of Chinese motifs and western design, made from silk supposedly artificially enhanced to be stronger, softer, more wrinkle-resistant, more water-absorbent, and better ventilated, with longer-lasting and brighter colors. Mao suits had been displaced by western-style suits; minority groups often had recognizable ethnic costumes but styles of Han clothing (hànfú) had varied from dynasty to dynasty, with the most recent Qing forms heavily influenced by the Manchus and their oppressive dress codes. Shanghai Science and Technology Museum on 21 October 2001 and for the “Leaders’ Family Portrait” afterwards that closed the event. They featured cotton knotwork instead of buttons and a design of peonies surrounding the letters “APEC”. Beijing to other large towns around the country as far afield as Lanzhou in Gansu by the next Chinese New Year. The tangzhuang-and its perceived inauthenticity as ethnic clothing-is also credited by members of the hanfu movement with having inspired their cause and a revival of actual traditional Han clothing, despite the Chinese public’s usual confusion about its origin. Even after the end of its fad, the tangzhuang continues to have a place in Chinese fashion. China used the “Tang suit jackets” again for its 2014 APEC summit, but with an updated style in maroon, green, and blue that The Guardian unflatteringly compared to Star Trek uniforms. The APEC jackets were intended to reflect “both traditional Chinese flavor and modern ideals”. The original version also employed shoulder pads to give a stronger silhouette. Tangzhuang are available in a variety of colors, although the most common are red or blue. 3D “solid-cutting” (t 立體裁剪, s 立体裁剪, lìtǐ cáijiǎn) process developed in Europe. Common designs involve the repetition of auspicious Chinese characters such as fú (福, “happiness”) or shòu (t 壽, s 寿, “longevity”) for good luck and good wishes. The brocade is often decorated with a repeated pattern of embroidery. Tangzhuang are usually fastened with decorative knotwork instead of buttons. Religious diversity in Muslim-majority states in Southeast Asia : areas of toleration nad conflict. Ding, Min (2019). Rethinking Chinese cultural identity : “the Hualish” as an innovative concept. J. Saravanamuttu, Bernhard Platzdasch, Institute of Southeast Asian Studies. Singapore: Institute of Southeast Asian Studies. The China Quarterly; Cambridge. Chew, Matthew (2007). “Contemporary Re-emergence of the Qipao: Political Nationalism, Cultural Production and Popular Consumption of a Traditional Chinese Dress”. Dev. Report (2002), p. Dickinson & al. (1990), p. Butcher, Asa (18 Apr 2017), “The Tang Suit and Its Qing Dynasty Origins”, GB Times. Official site, Beijing: Sina Corporation. Carrico, Kevin (29 Aug 2017), “Young People in China Have Started a Fashion Movement Built around Nationalism and Racial Purity”, Quartz, New York: Atlantic Media. Dickinson, Gary; et al. Finnane, Antonia (2008), Changing Clothes in China: Fashion, History, Nation, New York: Columbia University Press. 1990), Imperial Wardrobe, Bamboo. Hew Wai-weng (2013), “Expressing Chineseness, Marketing Islam: The Hybrid Performance of Chinese Muslim Preachers”, Chinese Indonesians Reassessed: History, Religion, and Belonging, Abingdon: Routledge, pp. Qiao Hong (September 2009), “Chinese Clothing: From Gray-Blue to Coloured Years”, Confucius Institute Magazine, hanfu graduation vol. McMillan, Alex Frew (21 Oct 2001), “‘Shanghai Accord’ Sets APEC Trade Agenda”, CNN, New York: Time Warner. Taylor, Adam (10 November 2014), “APEC’s Silly Shirts: The Awkward Tradition That Won’t Go Away”, The Washington Post. 4, Beijing: Office of the Chinese Language Council International. Zhang Wenjie (26 Nov 2003), “China’s Silk Industry: A ‘New Silk Road’ to the International Market”, CCTV, Beijing: SAPPRFT. Wong, Stephen (26 Aug 2006), “Han Follow Suit in Cultural Renaissance”, Asia Times, Hong Kong: Asia Times Online. Zhao, Andrew Jianhua (2008), Fashioning Change: The Cultural Economy of Clothing in Contemporary China (PDF), Pittsburgh: University of Pittsburgh. This page was last edited on 2 March 2024, at 05:25 (UTC). Zhao, Andrew Jianhua (2013), “Designing a National Style: The Tangzhuang Phenomenon”, The Chinese Fashion Industry: An Ethnographic Approach, London: Bloomsbury, pp. 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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