Explore our exquisite Hanfu collection, from daily wear to festivals and celebrations, with a variety of styles to meet the needs of different occasions, giving traditional culture a new glow.
It eventually became fully integrated in the Hanfu system for the imperial and court dress attire. Proponents of Hanfu launched the website Hanwang (Chinese: 漢網) to promote “traditional Han clothing”. 1950s, qing dynasty hanfu it became the formal clothing for everyone from national leaders to ordinary citizens. A number of these items were thrown into the streets to embarrass the citizens. These items were regarded as symbols of bourgeois lifestyle, which represented wealth. Some examples include the standing collar of the cheongsam, which has been found in relics from the Ming dynasty, ruled by the Han Chinese, and was subsequently adopted in the Qing dynasty as Manchu clothing items. The ordinary civilians however wore coarse clothing made of cotton and linen. In the Northerners wore leather boots when horseback riding in the Northern and Southern dynasties. Since the Southern and Northern Dynasties, purple has been considered expensive for official uniforms. Zhao Feiyan once wore the “Yunying Purple Skirt”, also known as the “Liuxian Skirt”, which was a tribute from South Vietnam. Officials eligible to wear purple and crimson uniforms were required to wear a “fish bag” around their waist, which contained fish made of gold, silver, and copper to distinguish their official rank.
Common hair accessories include hair combs, hairpins, hairpins, etc. These hair accessories are usually made of precious materials such as gold, silver, jade, etc., which may be inlaid with precious gemstones or jewelry, adding charm and charm to women. Square collars are referred as fangling (方领). But the official and the people’s costumes are always clear-cut. Zhongshan suit is a four-pocket garment with a stand-up lapel and a pocket flap designed on the basis of widely absorbing European and American costumes and synthesizing the characteristics of Japanese student clothes and Chinese clothes. Another 25 pieces were also dyed with hematite powder, and the bones buried in the lower chamber of the mountaintop cave were also scattered with hematite powder particles, which may have been used for coloring clothes or as a finishing ceremony, reflecting a certain aesthetic sentiment of the mountaintop cave people. Kasaya or Baina, which was made when monks would make clothes out of a variety of useless clothes.
The city of Jiangyin held out against about 10,000 Qing troops for 83 days; when the city wall was finally breached on October 9, 1645, the Qing army, led by the Han Chinese Ming defector, General Liu Liangzuo (劉良佐), who had been ordered to “fill the city with corpses before you sheathe your swords,” massacred the entire population, traditional cheongsam killing between 74,000 and 100,000 people. It has been suggested that the most copied Chinese fashion of the 20th century is the Mao suit Zhongshan suit (simplified Chinese: 中山装; traditional Chinese: 中山裝; pinyin: Zhōngshān zhuāng) after the republican leader Sun Yat-sen (Sun Zhongshan). A yuanlingshan (Chinese: 圓領衫; pinyin: yuánlǐngshān; lit. Jiudiguan (Chinese: 九翟冠; lit. Chinese: 五翟冠; lit. Shierlongjiu fengguan (Chinese: 十二龍九鳳冠) is the 12-dragons-9-phoenixes crown. Sanlonger fengguan (Chinese: 三龍二鳳冠) is the 3-dragons-2-phoenixes crown. Liulongsan fengguan (Chinese: 六龍三鳳冠) is the 6-dragons-3-phoenixes crown.
Empress Xiaojiesu of the Ming dynasty wearing a phoenix crown and traditional Ming costume. The official attire of the Song dynasty followed the fish wearing system of the Tang dynasty. 14 The mianfu system was developed in the Western Zhou dynasty. During the Western Zhou dynasty, the hierarchical system was gradually established, and the Zhou dynasty established official positions such as “Si Fu” and “Nei Si Fu”, which were in charge of royal attire. In 1929, the government of the Republic of China promulgated the Regulations on the System of Clothing, which designated the traditional Chinese jacket and skirt, as well as the cheongsam, as women’s dresses. The most distinctive feature of public uniforms is to use “patches” to indicate the grade, in addition to the color according to the grade regulations. In the Ming dynasty, due to the emperor’s surname Zhu, Zhu was chosen as the official color. Chinese hairpin worn by empresses and emperor’s concubines. On the one hand, fashion styles in China tend to be diversified, and since 2023, styles such as “Dopamine,” “New Chinese style” have been hot, reflecting the diversity of contemporary fashion and the This reflects the diversity of contemporary fashion and the young generation’s pursuit of personalized expression.
The booming production of Hanfu has stimulated local economies, creating jobs and revitalizing traditional craftsmanship. Korean traditional clothing. It was derived from Chinese traditional clothes called Hanfu. Royal Quiggles seem to hail from Meridell, with the Royalboy sporting Meridell’s colours on his clothes. The Royalgirl Gelert has a hennin much like the Acaras and Aishas, while the Royalboy stands out in his foppishly coloured clothes. As with the Aisha, the Royal Buzz sees its influences in the royal courts of Europe during the 1700s. As with Aishas, the Royalboy Buzz seems to be based on the Musketeers, while the Royalgirl has a gown favoured by the nobility in France. There is still some debate among scholars, but it is believed that one of the possible origins for the modern rules of the game comes from Ireland in the 1850s. Both Chias sport a Regency style of dress found in late 1700s to early 1800s England, and which spread across to Ireland. The show is set in an alternate reality of England’s Regency period, accounting for the styles of the clothes, and is known for costumes of bold colours such as the distinctive green.
The Royal Kougras seem to hail from Meridell, with the Royalboy wearing a necklace sporting the country’s colours. This one is dressed in the colours of Meridell, with the country’s crest hidden under his neck fur, and a trumpet in hand to announce his proclaimation. The Royalboy also seems to reference the Kougra’s feline appearance, with a large ruff of fur around his neck like a lion – the King of the Jungle. The stone crowns, however, are probably a fanciful Neopian addition – a Chomby’s strong head and neck might support a huge chunk of stone, but it would be very tiring for a human to do the same! In the Yuan dynasty, banbi were also referred as dahu in a broad sense but could also refer to a specific type of banbi of the same name, which is a half-sleeved long robe (changpao 长袍) with a cross-collar closing to the right (jiaoling youren 交领右衽). According to Gao et al (1987), cheongsam dress wedding this type of leather belt was also originated from northern minorities and was introduced in Central plain during the Wei and Jin period. The neckline of the robe is often decorated with white or plain collars.
Both are African animals known for their distinctive white stripes. Bulletin of the School of Oriental and African Studies, University of London 58 (1995): 419-20. JSTOR. Some female servants depicted on the tomb mural of Xu Xianxiu appear to be dressed in clothing which looks closer to the Xianbei style garment than the Chinese-style clothing due to the use of narrow sleeves; however, this form of clothing is not representative of the Xianbei style clothing worn before the year 500 AD. The use of the honggaitou is not compulsory in traditional Chinese wedding as many other headwear were also used, such as the fengguan. Chinese culture; according to Chinese beliefs, the changmingsuo protect children from evil spirits and bad luck by locking its wearer’s soul and life inside of the lock. 84 When they are used as Chinese perfume pouch (or sachet), they are referred as xiangnang (Chinese: 香囊; pinyin: xiāngnáng; lit. Hanfu (Simplified Chinese: 汉服; Traditional Chinese: 漢服; pinyin: hànfū) is the traditional outfit of Chinese clothing worn by the Han people. Many young people in China have embraced this traditional outfit as a form of cultural expression.
The Royal Chombies have fur and feather outfits that remind us that even in the earliest days of civilisation people were using special decorations to mark out their rulers and wise elders. With all that said, modern hanfu wearers are free to experiment and wear whatever is most comfortable during the hot summer days. Aside from the cape, the Royalboy Gnorbu is perhaps the most modern looking royal, in a bright green suit. Their loose clothing and head coverings suit the traditions and climate of India, modern qipao dress where sari wraps like the Royalgirl Elephante’s have been worn for thousands of years. The Royalgirl Lupe sports a lotus like cartwheel ruff on top of her lavish gown. The current Royalgirl gown has been cut down from its unconverted version, where it looked much more European in style. The upper canines are filed down slightly to symbolize the effacing of the individual’s “wild” nature. Moehogs are one of the older and more simple looking royals.
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The main features of Hanfu can be summarized as collar crossing, belts fastening, long sleeves and robes. The shapes of the sleeves can also vary, such as big sleeves, narrow sleeves, large cuffs, mandarin sleeves, chinese dress cheongsam flared sleeves. You can also make just one piece and sew the sleeves in white color. The Top has pipe sleeves and kind-of cuffs. Clothing from this period was mainly composed of two parts, the Yi (a narrow-cuffed, knee-length tunic tied with a sash) on the top and the Shang (a narrow, ankle-length skirt) underneath. “There wasn’t any singular style of clothing prior to the Qing (dynasty) that was designated specifically for people of Han ethnicity,” he said in a phone interview. And I have to say you did a really great job capturing what I perceive as the essence of the ancient Chinese style of dress! They were fairly prevalent on TV, whether in documentaries, costume dramas, or children’s animated programs based on Chinese folk myths. Misses Cape Costume McCalls Sewing Pattern 8428. Size XS-XL. I get a bit miffed when people hold up the qipao as the iconic Chinese costume because it doesn’t mesh with the images I acquired from my cultural surroundings when I was growing up in China, and so it feels inauthentic.
The Qing Dynasty rulers greatly promoted Manchu hair styles and clothes, banning people from wearing Han Chinese clothing. Han Chinese clothing, or Hanfu refers to the pre -17th century traditional clothing of the Han Chinese, the predominant ethnic group of China. Han Chinese women’s jackets (including shan, ao, and gua). Song dynasty, women wore jiaolingyouren jackets and duijin jackets. Garment: More tailored, with the use of fitted jackets and layered robes creating a sense of sophistication and elegance. You can use those or try new things! You can achieve her multiple outfits with this Aoqun / Ruqun Hanfu Pattern. One-piece and two-piece style qixiong ruqun depicted in Tang dynasty painting “A palace concert”. When looking at the Hanfu from the Ming Dynasty, it’s enlightening to juxtapose it with its predecessors, such as the Tang and Song Dynasties, as well as understand its influence on subsequent eras. 1 In the early Tang dynasty, the influence of hufu was described as a pastiche of Turkic, Uyghur, Sogdian and Sasanid Persian clothing.
In modern times, calling this kind of clothing as ‘Aoqun’ is much more common (let’s remember that these names change according to dinasties) and it refers when the top covers the waist of the skirt and it’s no longer than the hips. Most of the time, the ‘Ao’ (top/jacket) covers the ‘Qun’ (skirt). Although the generic name I put it was “Daily chinese dress”, this kind of hanfu is actually 2 pieces: a top/jacket and the skirt. The square fabric shape symbolizes the concept of the earth, mens hanfu which is square in Chinese cosmology. The ‘Qun’ is refered as a horse-face skirt which is a special way to pleat the fabric. Her skirt would look amazing in 2 layers: One thick fabric and a lighter one over. When the skirt is the one covering the top, it’s called ‘Ruqun’. When the top reaches to the knees, it can be called ‘Da Ao’. It is also tied with a wide belt called dadai (大帶) is tied in the front.
JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser. As more people become aware of and interested in Hanfu, it is expected to continue to play a vital role in promoting Chinese culture and enhancing national identity. Along with the development of China’s national power, modern Chinese begin to re-recognize the essence of the nation’s traditional culture, with some people wearing Han Chinese clothing starting a campaign to reintroduce the hanfu tradition. After the overthrow of the Qing Dynasty ruled by Manchu nobles in the 1911 revolution, people began to wear western-style clothing instead of resuming hanfu tradition. There’s no denying the magnetism of hanfu’s aesthetic, something that rising stars and legal eagles like Dasha Nekrasova could attest to, embodying both dramatic presence and a deep-rooted sense of tradition. Kaguya grows up insanely fast, her parents force what they want for her onto her, she doesn’t feel connected to people, and there’s this scene in the movie where she hears people at a party talking about her and saying mean things and she just snaps.
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The baby blue color of this hanfu dress is magnificent, almost unreal. This women’s blue hanfu dress comprises a skirt, top, and belt. Nowadays, the qungua has been commercialized and remains a popular form of wedding dress. After all the other wedding ceremonies were completed, such as drinking the hejin wine, and after the groom had impressed the bride (e.g. reciting poems), hanfu traditional the bride would then proceed in revealing her face to the groom by removing the queshan from her face. Book of Han. 今王氏一姓乘朱轮华毂者二十三人，青紫貂蝉充盈幄内，鱼鳞左右。 Yiwen Leiju. 秦始皇复古冠貂蝉，汉因而不改。按忠静冠仿古玄冠，冠匡如制，以乌纱冒之，两山俱列于后。
Sandaopenglai jin (三島蓬萊巾) Representing the three islands of Mount Penglai. Li jin (吏巾) Worn by minor government officials, it resembles a wushamao but made with softer material and square top.介幘服文吏，平上幘服武官也。 Jinze (巾帻) /Jieze (介帻) / Pingshanze (平上幘) A cylindrical cap; it has a higher back and lower front.冠惠文者宜短耳，今平上幘也。宗室刘氏亦得两梁冠，示加服也。宗室刘氏亦两梁冠，示加服也。博士两梁，崇儒也。冠顶仍方中微起，三梁各压以金线，边以金缘之。四品以下，去金，缘以浅色丝线。太子则以翠羽为緌，缀以白珠，其馀但青丝而已。 Cheng zi guan (程子冠) / Fangshan jin (方山巾) Worn by Cheng Yi and Cheng Hao. Zhuangzi jin (莊子巾) Also called “Dao jin” (道巾).
Ru jin (儒巾) Ruist scarf. Jie jin (結巾) / Jiang jin (將巾) Also known as “general’s headscarf”. Zaoli jin (皁隸巾) Named after and worn by yamen runners. Dongpo jin (東坡巾) Named after and supposedly worn by Su Dongpo, but originated from Five Dynasties period. Originated from the Tang dynasty’s weimao (帷帽). Liangmao (涼帽) “Cool hat”. A hat worn by the Hakka women, a Han ethnic subgroup when working in the fields. Guardians of day and night, Han dynasty. Originally it was a soldiers’ headscarf that later developed into a head covering cap in the Han Dynasty and adopted into widespread use. The yingluo eventually became a classical neck jewellery in China while still remaining in use as a decorative ornaments in Chinese Buddhist iconography. Buddhist cosmic geography portrays the world as four cardinal continents surrounding a great mountain. What great affinity it has today that it should encounter old Monkey!
How do you put on a male hanfu? The Yi is the upper garment in the Hanfu set, often compared to a robe or tunic in Western fashion. To put on a male Hanfu, start by wearing the Yi (robe or tunic), followed by either the Chang (skirt) or Ku (trousers), then add the Pao (overcoat) if needed. The Yi can be sleeveless or come with long, flowing sleeves, depending on the design and the occasion for which it is intended. The fabric used can range from lightweight materials like silk to heavier fabrics like brocade. They typically come in various styles such as cross-collared, overlapping, or even straight down. Material Choices: From breathable silk for summer days to warm brocades for winter. Sleeve Variations: The dramatic “water sleeves” for theatrical events or simpler, narrower sleeves for daily wear. Collar Styles: Choose between styles like the classic cross-collared or the straight-collared Yi. It wraps around the waist and is usually tied in place with a sash. The Chang pairs extremely well with the Yi and can be equally varied in terms of materials, colors, and designs. Material Choices: Typically made from materials such as cotton, linen, or silk. The Chang serves as the bottom piece, which is essentially a skirt designed for men. Sash Details: Often tied with an accompanying sash, which can be plain or ornately decorated. Length and Design: Can be ankle-length for formal occasions or shorter for more casual events. They can be straight-cut or slightly baggy, usually tied at the waist and sometimes at the ankles. While the Chang is a skirt, the Ku are trousers that can also be part of the male Hanfu ensemble. Material Choices: Common materials include cotton, linen, and sometimes even hemp. Fit and Style: From loose and breathable to tailored fits for more formal settings. Waist and Ankle Ties: These help secure the Ku and can vary from simple ties to intricate knots. The Pao acts as an overcoat and adds an extra layer of complexity and elegance to the Hanfu attire. Material Choices: Often crafted from heavier fabrics like brocade, wool, or embroidered silk. Length Options: Available in long versions for formal events and shorter ones for more casual settings. It is often made from heavier materials and comes in both short and long versions. No Hanfu look is complete without the right accessories. Sleeve Styles: Can feature wide, dramatic sleeves or more practical, narrow sleeves. Decorative items like jade pendants or intricate sashes can also be added to complete the look. These can include hats, belts, and even traditional Chinese shoes. Headgear: Options range from simple cloth hats to more ornate headpieces. Jewelry: Consider adding a jade pendant or other traditional Chinese jewelry to enhance your look. Footwear: Traditional Hanfu shoes, often made from cloth or embroidered fabrics. Formal Hanfu often includes more layers, richer materials, and intricate embroideries. When it comes to deciding between formal and casual Hanfu, the key is understanding the event you’ll be attending. These are ideal for ceremonies, traditional festivals, or even weddings. Event Type: Wear formal Hanfu for ceremonies or traditional festivals. You might opt for a complete set, including Yi, Chang, and Pao, made of luxurious silk or brocade, perhaps embellished with traditional motifs like dragons or phoenixes. Material: Opt for high-quality fabrics like silk or brocade for formal occasions. Casual Hanfu, on the other hand, offers more room for flexibility. Design: Look for intricate embroideries or traditional motifs to make a statement. These sets are more suited for everyday wear or less formal gatherings. Event Type: Casual Hanfu is great for everyday wear or meeting friends. Material: Go for breathable fabrics like cotton or linen for a relaxed look. You might choose a simpler Yi and Ku set made of breathable fabrics like cotton or linen. Just as with any other type of clothing, Hanfu also has seasonal variations that can affect your choice. For summer, look for sets made of light, breathable materials like linen or thin silk. Design: Simplified patterns and fewer layers make for a more casual feel. Summer: Choose fabrics like linen and lightweight silk for a more comfortable wear. Design: Sleeveless or short-sleeved Hanfu are excellent choices for the hot weather. Sleeveless or short-sleeved options are also available for hot weather. Layering is also more common in colder seasons, so you might wear a Pao over your Yi and Chang or Ku. For winter, you’d want to go for heavier materials like wool or thicker silk. Winter: Opt for heavier materials like wool or embroidered silk to keep warm. Layering: A Pao overcoat is advisable for additional warmth in the winter season. Most Hanfu are made from delicate fabrics like silk or cotton, so you’ll want to handle them with care to avoid any snags or tears. Once you have your Hanfu set, the first thing to do is to unpack it carefully. After unpacking, it’s likely that the Hanfu will need some ironing to remove wrinkles and folds from shipping or storage. Inspect the Fabric: Check for any flaws or damage before ironing. Iron Settings: Use the appropriate settings on your iron. Ironing Surface: Always iron on a clean and smooth surface to prevent accidental marks or stains. For example, silk and wool require lower heat settings. Before donning your Hanfu, ensure that you have the appropriate undergarments. Material: Choose undergarments made from breathable materials like cotton for comfort. The right base layer can not only make the Hanfu more comfortable to wear but also help the garment sit better on your body. Color: Opt for neutral colors that won’t show through the fabric of the Hanfu. Fit: Make sure your undergarments fit well to avoid any discomfort or awkward bunching under the Hanfu. Whether it’s a sash, belt, hat, or any other traditional accessory like a jade pendant, having them organized will make the process of dressing much smoother. Once your Hanfu and undergarments are ready, it’s time to organize the accessories that will complete your look. Check for Completeness: Make sure you’re not missing any pieces, especially if you’re attending a formal event. Order of Dressing: Know the sequence in which you’ll put each accessory on to make the dressing process efficient. Starting with the Yi, which is the upper garment, make sure you have already prepared the right undergarments for a comfortable fit. Open the Yi and slip your arms through the sleeves. Depending on the collar style, you may need to fasten it in a specific way, often with hidden ties or decorative buttons. Fit: Ensure the robe sits comfortably on your shoulders and offers enough room for movement. Collar: Secure the collar, whether it’s a cross-collar or a straight collar. Fastening: Use the internal ties or buttons to secure the garment in place. Lay Them Out: Place all your accessories on a table or bed, so you can easily see what you have. Next, you’ll need to put on the lower garment, which could be either the Chang (skirt) or the Ku (trousers). For trousers, slide them up your legs and tie them securely at the waist. For the Chang, wrap it around your waist and secure it with the accompanying sash. Tying the Ku: Fasten the waist ties, and if there are ankle ties, make sure to secure those as well. Wrapping the Chang: Make sure it sits at the correct height on your waist and isn’t too tight or too loose. If your Hanfu set includes a Pao or overcoat, this is the layer you’ll put on last. Open the Pao and slide your arms into the sleeves, much like you did with the Yi. Layering: Ensure that the Pao doesn’t bunch up the layers underneath. Secure any fastenings that are part of the design. Fastenings: Depending on the design, your Pao might have front or side fastenings. Finally, it’s time to accessorize your Hanfu ensemble. Depending on the formality of the event and your personal style, this could include a variety of items, from belts and sashes to traditional Chinese hats. Headgear: Place your chosen headgear securely on your head, making sure it complements the rest of your outfit. Sleeve Alignment: Make sure the sleeves of the Pao align with the sleeves of the Yi for a harmonious look. Footwear: Slip into your Hanfu shoes, which could range from simple cloth shoes to more ornate, embroidered options. One of the best ways to infuse your personal style into your Hanfu ensemble is through the use of decorative knots and pins. Jewelry: If you’ve chosen to wear any, now is the time to put on your traditional Chinese jewelry, such as jade pendants or other decorative items. These can be used to secure sashes, fasten collars, or simply add a touch of elegance to the garment. You can choose from Chinese cloverleaf knots, for example, to add both beauty and symbolism to your attire. Pins: These can be traditional Chinese pins or modern designs that resonate with you. You can use these to secure layers of your Hanfu or simply for decoration. Types of Knots: Chinese decorative knots come in many shapes and styles. Placement: Be mindful of where you place these knots and pins, as they can change the entire dynamic of your outfit. You might place them on the waist, the collar, or even use them to secure a belt. Tradition is important, but that doesn’t mean you can’t bring some modern flair into your Hanfu ensemble. You can experiment with modern fabrics, patterns, or even add elements like pockets for a more functional twist. Patterns and Prints: Consider incorporating modern patterns or prints that still respect the traditional essence of Hanfu. Modern Fabrics: While silk and cotton are traditional, you could opt for sustainable or high-tech fabrics that are breathable and moisture-wicking. One of the common mistakes people make when wearing Hanfu is incorrect layering. Functional Additions: For a more modern touch, you might add elements like zippered pockets or elastic waistbands to make your Hanfu more functional for daily wear. Hanfu often involves multiple layers, like the Yi (tunic), Chang (skirt), Ku (trousers), and Pao (overcoat), and each has a specific sequence in which they should be worn. Check the Sequence: Make sure you’re putting on the garments in the correct order. Bulkiness: Avoid layering in a way that causes the fabric to bunch up or appear bulky. This not only affects your comfort but also alters the elegant silhouette Hanfu is known for. Typically, it’s the Yi first, followed by the Chang or Ku, and finally the Pao, if you’re wearing one. Another common pitfall is the use of mismatched accessories. Mismatched Lengths: Be aware of the lengths of each garment to ensure they complement each other, rather than clash. Your choice of belts, sashes, headgear, and even shoes should harmonize with your Hanfu, both in color and style. Color Coordination: Make sure your accessories don’t clash with the colors of your Hanfu. Style Congruence: Choose accessories that match the formality of your outfit. For example, a formal Hanfu ensemble might be best paired with traditional Chinese hats and jade jewelry. Over-accessorizing: Less can be more. Stick to complementary or neutral tones for a cohesive look. When wearing Hanfu, posture and movement become crucial elements that contribute to the overall elegance and dignity of the attire. Don’t overwhelm your Hanfu with too many accessories; choose a few key pieces that add to the outfit without distracting from it. Standing Posture: Keep your back straight and shoulders relaxed. The way you carry yourself can either enhance or detract from the Hanfu’s beauty. Walking Gracefully: Hanfu often involves long skirts or flowing sleeves that can be tripping hazards. Avoid slouching, as it not only disrupts the outfit’s silhouette but also is considered disrespectful. Walk carefully, lifting your skirt or robe slightly as needed. Use them to express subtlety and elegance. Wearing Hanfu carries cultural weight, and as such, there are a few cultural considerations to bear in mind. Hand Movements: The elongated sleeves of certain Hanfu styles are designed for graceful, sweeping hand movements. Whether you are part of the culture or an outsider wanting to participate respectfully, these points will guide you. Occasions: Hanfu can be worn for a variety of occasions, from festivals to ceremonies. However, be aware of the formality of the event and choose your Hanfu and accessories accordingly. Respect for Symbols: Some Hanfu garments come with embroidered motifs like dragons or phoenixes that have significant cultural meanings. Make sure you understand these before wearing them. Authenticity: While it’s tempting to make modern tweaks, strive to maintain the garment’s traditional essence, especially when wearing it for culturally significant events.
Hello, I see that you posts a lot of hair ornaments, there are no name for each? I couldn’t tell what’s the difference between hairpin, hairstick and hairpiece. I noticed that you also it called a “hairpiece”? I think (簪) is a hairpin? So do these 2 characters (簪子) mean hairpin, hairstick, men’s hanfu or hairpiece? But what if there’s this (子) at the end of the (簪)? What does it call? It would be very appreciate if there’s an answer to my question! Thank you very much! The posts on my blog also tend to use hairpin, hairstick, and hairpiece interchangeably. The Chinese umbrella term for hair ornaments is Fa Shi/发饰. For detailed information on the different types of Chinese hair ornaments, I highly recommend the following resources: 1) Introduction to Traditional Chinese Hair Ornaments, 2) Categories of Traditional Chinese Hair Accessories, 3) Tradition of China – Hair Ornament Culture, 4) Ten Best Hanfu Jewelry Accessories. Hi, thanks for the question! 1) Zan/簪 (aka Zan Zi/簪子, Fa Zan/发簪) – The most basic/common type of Chinese hairpin, typically used to stabilize hair. Usually decorated at one end. Also called Zan Zi/簪子 or Fa Zan/发簪 – don’t get confused, they mean the exact same thing. 2) Chai/钗 (aka Fa Chai/发钗) – Basically a two-pronged Zan. Unlike the Zan which has just one pin/stick, the Chai has two. 3) Bu Yao/步摇 – Basically a Zan or Chai with mobile attachments (pendants, tassels, fringes) that swing when the wearer walks. Hence the name Bu/步 (walk) 摇/Yao (shake). 4) Dian/钿 (aka Hua Dian/花钿) – A small hair ornament shaped like a flower (Hua/花) that is pinned to the hair for decoration (can also take other shapes). Women would bring a comb with them everywhere they went, and eventually started to put Bi on their hair as a means of decoration. Note – this is the hair ornament that Mulan wears in the Disney film! 5) Bi/篦 (aka Bi Zi/篦子) – A fine comb that was originally used to comb and clean hair. Now of course there are many more types of Chinese hair ornaments, but these are some of the most basic ones. I may update this list in the future. Again, for further information, please check out the links I listed above. You can also check out my hair ornaments tag, hairpin tag, and Q&A Masterpost for more resources. Hello, I see that you posts a lot of hair ornaments, there are no name for each?
Hanfu, or “Han clothing,” is a traditional Chinese dress that has been worn for centuries. The term “hanfu” was coined in the 20th century to distinguish traditional Han clothing from other ethnic clothing in China. Over time, the style and design of Hanfu evolved to reflect changes in fashion and social status. The history of Hanfu can be traced back to the Han Dynasty (206 BCE – 220 CE) when it served as the official attire of the ruling class. During the Tang Dynasty (618 – 907 CE), Hanfu became more diverse and elaborate, featuring intricate embroidery, vibrant colors, and flowing silhouettes. These dresses were made with luxurious materials such as silk and satin and featured ornate decorations, including dragon and phoenix motifs. One type of Hanfu that is particularly noteworthy is the royal Chinese traditional dress, which was worn by emperors and imperial concubines during the Ming (1368 – 1644 CE) and Qing (1644 – 1911 CE) Dynasties. However, the qipao only became popular in the 1920s and 1930s, long after the end of the Qing Dynasty. The most famous royal Chinese traditional dress is the qipao, cheongsam/qipao also known as the cheongsam. The traditional dress worn by empresses during the Qing Dynasty was called the “dragon robe,” which had a distinct shape and design to signify the empress’s rank and status. In recent years, there has been a renewed interest in Hanfu, particularly among young people in China who see it as a way to reconnect with their cultural heritage. Many Hanfu enthusiasts participate in events where they dress up in traditional clothing and learn about the history and culture behind Hanfu. Overall, winter hanfu the royal Chinese traditional dress hanfu is a fascinating part of Chinese history and culture that continues to captivate people around the world. Its intricate designs, rich materials, and historical significance make it a true masterpiece of traditional Chinese fashion.
Cao Wei, Jin and Northern and Southern dynasties. The zaju chuishao fu can be further divided into two categories of clothing style based on its cut and construction: the guipao, and the guichang (or guishu). Chinese scholars also classify it as being a type of shenyi. 62 On the other hand, the guichang follows yichang (or ruqun) system consisting of a ru, an upper garment, and a qun, a long skirt. The zaju chuishao fu was multi-layered and was decorated with an apron-like decorative cloth at the waist with triangular-strips at the bottom and with pieces of ribbons worn underneath the apron which would hung down from the waist. The popularity of ribbons later fell and the decorative hems were eventually enlarged. This form of attire also spread to Goguryeo, where it is depicted in the tomb murals found in the Anak Tomb No.3. The Chinese character gui《袿》in the term guiyi (袿衣) refers to the shape of its hanging part which is broad at the top region but becomes narrow at the bottom making it look like a daogui, an ancient measuring tool for Chinese medicine, in appearance. The guipao, which is a form of paofu in the broad sense, appears to have originated from one of the Queen’s ceremonial clothing dating from the Zhou dynasty called sandi (Chinese: 三翟). According to some Chinese scholars, the attire called guiyi in the Han dynasty was in the style of the quju shenyi. The term guiyi was recorded prior to the Han dynasty in the Ode to Goddess written by Song Yu, a Chinese poet from the late Warring States period, which demonstrates that the zaju chuishao fu originated earlier than the Han dynasty. The type of guiyi, which was worn in the Han dynasty, was in the form of a guipao. 38 However, according In the Han and Wei period, the guipao was one of the common aristocratic costumes. In the Han dynasty, the silk decorations were cut into the shapes of arch; these originated from the sandi recorded in the Rites of Zhou. The guiyi which follows the ruqun system also appeared in the Han dynasty, where it was called guichang or guishu. The guipao was popular in the Han dynasty, but its popularity started to fade in the late Eastern Han dynasty. However, the clothing of women in this period were generally large and loose. On the whole, the costumes of the Wei and Jin period still followed the patterns of Qin and Han dynasties. This carefree lifestyle, which was reflected in the garment and apparel of the people living in this period, can be explained by the historical circumstances which impacted the mood of the people: during the Northern and Southern dynasties was a period of volatility, the barbarians invaded Central Plain, thus, various wars and battles occurred. The carefree lifestyle brought about the development of women’s garments in the direction of extravagant and ornate beauty. At the meantime, the philosophy of Laozi and Zhuangzi became popular. The once dominant laws and orders collapsed, so did the once unchallenged power of Confucianism. However, all these posed a threat to the conservative and imperial power, which tried to crush them by force. These policies forced these scholars to seek comfort and relief in life. They were interested in various kinds of philosophy and studied a lot of the “mysterious learning”. Buddhist scriptures were translated, Taoism was developed, and Humanitarian ideology emerged among the aristocrats. They dressed themselves in free and casual elegance. The zaju chuishao fu (or guiyi), which was worn in the Wei, Jin, Northern, and Southern dynasties, was quite different from the style worn in the Han dynasty. They preferred a life of truth and freedom. 62 worn in the Han dynasty, and had wide sleeves. The guiyi are depicted with in the paintings of Gu Kaizhi. The guichang eventually became more popular than the guipao during this period as the set of attire ruqun itself had become more popular. Typically the guiyi was decorated with “xian” (襳) and “shao” (髾). 62-64 The Shao refers to pieces of silk cloth sewn onto the lower hem of the dress, which were wide at the top and narrow at the bottom, so that triangles were formed overlapping each other. 62-64 “Xian” refers to some relatively long, silk ribbons which extended from the short-cut skirt. While the wearer was walking, these lengthy ribbons made the sharp corners and the lower hem wave like a flying swallow, hence the Chinese phrase “beautiful ribbons and flying swallowtail” (華帶飛髾). 62-64 There are also two types of guiyi. The change in the shape and structure of the guiyi reflects the historical trend of the fading popularity of guipao in the late Eastern Han and the increase popularity of the guichang (or guishu) which eventually became the mainstream style in the Wei, Jin, Southern and Northern dynasties. The guiyi which follows the ‘one-piece system’ is called guipao while the other form of guiyi, guichang (or guishu), follows the ‘separate system’, consisting of ruqun which is a set of attire composed of a ru, an upper garment, and a qun as a long skirt. In the guichang, the upper garment was opened at the front and was tied at the waist. The sleeves were broad and fringed at the cuffs with decorative borders of a different colour. The skirt had spaced coloured stripes and was tied with a white silk band at the waist. There was also an apron between the upper garment and skirt for the purpose of fastening the waist. Apart from wearing a multi-coloured skirt, women also wore other kinds such as the crimson gauze-covered skirt, the red-blue striped gauze double skirt, and the barrel-shaped red gauze skirt. Wei and Jin female appearance. Many of these styles are mentioned in historical records. 62-64 The long flying ribbons were no longer seen and the swallow-tailed corners became enlarged; as a result, the flying ribbons and swallow-tailed corners were combined into one. Depictions of women wearing guiyi can also be found in Goguryeo tomb murals, as found in the Anak Tomb No.3. During the Northern and Southern dynasties, the guiyi underwent further changes in style. The tomb belongs to a male refugee called Dong Shou (died in 357 AD) who fled from Liaotong to Goguryeo according to Chinese scholar Yeh Pai, a conclusion which is also accepted in the formal Korean report issued in 1958 although some Korean scholars believe the tomb to belong to King Mi-chon. San Francisco, qipao dress CA: China Books & Periodicals. Xun Zhou; Chunming Gao (1987). 5000 years of Chinese costumes. Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history. Jefferson, North Carolina: McFarland & Company. Hua, Mei; 华梅 (2004). Chinese clothing. Bian, Xiang Yang; Zhou, Fang (2018). “A Study on the Origin and Evolution of Shape and Structure of ‘Gui-Yi’ in Ancient China”. Zhou, Xun; Gao, Chunming; Zhou. 于红. Beijing: China International Press. Duong, Nancy (2013). “Evolution of Chinese Clothing and Cheongsam”. Hongkong: 商務印書館香港分館 學林出版社. New York: H.N. Abrams. Lee, Junghee. “The Evolution of Koguryo Tomb Murals”. Chung, Young Yang (2005). Silken threads : a history of embroidery in China, Korea, Japan, and Vietnam. John Whitney Hall, ed. Cambridge, UK: Cambridge University Press. This page was last edited on 16 November 2024, at 03:37 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. 1988-1999). The Cambridge history of Japan. 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.
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.
