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The hanfu is a traditional Chinese garment, chinese qipao dress worn by the Han Chinese before the Qing Dynasty. The hanfu is characterized by its elegant, flowing designs and consists of a variety of elements, including a tunic, a skirt, and often a sash or belt. It has deep historical roots, representing one of the oldest styles of clothing in Chinese culture. The garment is known for its loose, hanfu male layered structure and is usually made from silk or other fine fabrics. Overall, hanfu remains a potent symbol of Chinese cultural identity and historical continuity, reflecting centuries of tradition and evolving fashion. Our store B3 Chinese cheongsam stocks a range of hanfu garments which are Han dynasty style and Tang dynasty style. The Hanfu has its development through the following dynasties: Han dynasty (key features including a cross-collar design and a belt or sash), Tang dynasty (key features including wider sleeves and more complex layering with vibrant colors), Song dynasty (key features including simpler and more elegance look), and Ming dynasty (key features including more emphasis on ritual and formality in clothing with embroidery and intricate designs). Welcome to visit our store located inside Chinatown.

Dressed in a long-sleeved chiffon top and an orange pleated skirt, bilibili vlogger Shi Shanyi flourished her round fan as she faced the camera and told viewers about the beautiful hanfu, the traditional clothing of the Han ethnic group. Unlike other people who wear traditional ethnic clothing on special occasions, however, Shi encourages viewers to don hanfu on a daily basis. To demonstrate that hanfu can be worn on most occasions with modern sensibility, Shi and her friends were filmed walking through a garden, a subway station and a shopping mall in their hanfu. Shi, along with many other young Chinese people at home and abroad, is part of the hanfu movement, in which followers seek to revitalize traditional Chinese clothing, particularly that worn by the Han ethnic group. In some videos on her bilibili account-called maobuxiaojiejie (or Miss Catwalk in English)-Shi asks viewers to boldly wear hanfu if they really like the traditional outfit. Since then, the number of people adopting the ancient style of dress in modern times has grown significantly. The movement is believed to have started about 16 years ago when Wang Letian, a native of Zhengzhou, Henan province, wore hanfu in public. Though there are no official numbers showing the recent surge, one can see people wearing hanfu on the street in everyday life. Clubs dedicated to hanfu appreciation are being set up at many universities across China, providing plenty of evidence of its popularity among young people.

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In recent years, there has been a noticeable resurgence of interest in traditional Chinese clothing known as “hanfu.” Hanfu, meaning “Han clothing,” refers to the traditional attire worn by the Han ethnic majority in China for centuries. This revival not only celebrates the rich history of Chinese culture but also reflects a growing movement to reclaim and embrace traditional identities. Let’s explore the fascinating history of hanfu and its contemporary revival. It was the predominant clothing style in China until the Qing Dynasty (1644-1912) when it gradually fell out of favor. The Hanfu style was characterized by its loose, flowing robes, intricate embroidery, and distinctive layered designs, reflecting the philosophical and aesthetic values of ancient Chinese culture. Hanfu has a deep-rooted history dating back over three millennia. During the Tang (618-907) and Song (960-1279) dynasties, hanfu experienced its zenith, with various styles for different occasions and social classes. The revival of hanfu gained momentum in the early 21st century, driven by a desire to reconnect with China’s cultural heritage and express a sense of national pride. However, the subsequent centuries saw the influence of foreign fashion and cultural shifts, traditional chinese hanfu leading to the decline of hanfu in favor of more modern attire. Social media platforms played a pivotal role in popularizing hanfu, with enthusiasts sharing images of themselves wearing traditional garments, attending events, and participating in cultural activities. Designers and enthusiasts have embraced a diverse range of styles, fabrics, and colors, making hanfu accessible and appealing to people of all ages. Contemporary hanfu is not a strict replica of historical clothing but rather a modern interpretation that blends traditional elements with contemporary fashion sensibilities. The resurgence of hanfu is more than a fashion trend; it represents a cultural movement seeking to redefine Chinese identity. The wearing of hanfu has become a form of cultural expression and a way for individuals to reconnect with their heritage. Many see it as a means of breaking away from Western-centric fashion norms and embracing a unique, distinctly Chinese aesthetic. Hanfu enthusiasts often organize events, including fashion shows, tea ceremonies, and historical reenactments, creating a sense of community and fostering a deeper appreciation for China’s cultural legacy. The movement has gained international attention, with hanfu festivals and events attracting participants and admirers from around the world. While the hanfu revival has been largely celebrated, it has not been without controversy. Critics argue that the movement can sometimes oversimplify or romanticize history, ignoring the diverse and complex nature of China’s cultural evolution. The resurgence of hanfu represents a captivating journey of cultural rediscovery and self-expression. Additionally, concerns have been raised about cultural appropriation and the potential political implications of embracing traditional attire. As Chinese individuals and communities worldwide embrace this movement, it not only highlights the beauty of traditional attire but also serves as a reminder of the importance of preserving and celebrating cultural heritage in a rapidly changing world. Whether as a form of artistic expression or a means of reconnecting with one’s roots, the revival of hanfu reflects the enduring allure of China’s rich and diverse cultural tapestry.

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On the streets of Shanghai, content creator Shiyin can be seen wearing a traditional outfit from China’s Ming period. Popular on social media, she routinely shares fashion buys, beauty tips and lifestyle vlogs alongside all the latest from Gucci and Lancôme-but it’s her passion for Hanfu that really sets her apart. “Chinese” clothing is often typified by the qipao (a close-fitting dress also called the cheongsam). Styles from the Tang, Song, and Ming periods are the most popular; flowing robes in beautiful shades, embellished with intricate designs and embroidery. However, Hanfu-which is defined as a type of dress from any era when the Han Chinese ruled-is seen in China as a more authentic form of historical clothing. Right now, the movement is being led by China’s fashion-conscious youth-a little like how Regency-period hair and makeup has had a boost in popularity, thanks to Netflix’s Bridgerton-and the number of Hanfu enthusiasts almost doubled from 3.56 million in 2019 to more than six million in 2020. Among those you’ll find a purist minority who abhor any historical inaccuracies, and a majority who are attracted to its fantastical elements. Meanwhile, designs can cost between 100 yuan (roughly $15.50 ) to over 10,000 yuan ($1550), and bought from specialist brands such as Ming Hua Tang. What is most interesting though, is the collective mood that’s being spurred on by Hanfu-after decades of aspiring to western trends, the younger generation is now possibly looking closer to home for a sense of traditionalism. Hanfu videos have been viewed more than 47.7bn times. So, as interest in traditional cultural pursuits comes back around, is the past becoming cool once more? Here, Vogue meets Shiyin, one of the most popular figures in this rapidly growing subculture, to find out. Shiyin wears a series of three outfits in styles from the Ming period. “The robe comes in a square-neck style with a bu on the front. How did your interest in Hanfu start? “Growing up in Canada, traditional cheongsam I watched Chinese period dramas but I had no idea that Hanfu was a thing or where to buy it. Here, she keeps the hairstyle modern and simple. Why do you think people are attracted to it? “I can’t speak for everyone, but I imagine most get drawn in because it’s pretty. It’s only normal, you buy clothes to look good. However, I continue to wear Hanfu because it gives me confidence in my own culture. In Canada, we had days at school where you could wear national dress, yet as a Chinese person, I had no idea what to wear. Here, a jiaoling robe, referring to the wraparound collar design, in golden weave. “The pattern is called jiu yang qi tai, it features nine sheep and symbolizes luck and prosperity. How did Hanfu become one of your key content pillars? “When I moved back to Shanghai, I worked in gaming. How would you explain the difference between Hanfu, cosplay or role-playing games (RPG)? “They’re all subcultures so people often think they’re the same but they’re actually very different. How historically accurate are most Hanfu designs? Do you think a lot of people are inspired to wear Hanfu after watching popular period dramas? “It’s impossible to quantify, but it definitely has an impact. Gradually, I started creating my own content, and I uploaded a video about wearing Hanfu that became popular so I started producing more. With openings at the front and back, it was originally designed to make horse-riding easier, but this isn’t the reason why it’s called “ma mian” – the actual origins remain unclear. In all three looks, Shiyin wears a ma mian qun, literally “horse face skirt”, a pleated skirt typical of Hanfu. On your channel, you also talk about western fashion brands. Do you see this content as being totally separate from Hanfu? “Not really. The last video was on coins, and I’m planning one on fabrics like cloud brocade (yunjin), shu brocade (shujin), and Su embroidery (suxiu). I have a series called ‘What is luxury? ’, which I started by discussing brands such as Chanel and Louis Vuitton, but now I’m discussing traditional Chinese culture. Do you get a lot of attention wearing historical clothes on the streets? “Not in Shanghai, people wear all sorts, nobody really notices… How does wearing historical dress match with contemporary makeup looks? “I often do traditional hairstyles when shooting, but usually I keep the makeup modern. Once I did Tang-period makeup with very heavy rouge and a partially drawn lip, and most of the comments online were pretty negative. Do you think the next generation will increasingly look towards China’s own cultural traditions? “Hanfu is far from being popularized, but there is definitely a trend towards ‘China chic’. All rights reserved. Vogue may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. Calling All Party-Going Cool Girls! 2024 Condé Nast. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.

Hanfu is the Chinese traditional national costume. It covers a wide range of time. Chinese traditional national costume.

In the rich tapestry of Chinese history, traditional clothing is not just a matter of fabric and fashion; it’s a vivid reflection of cultural values, social hierarchy, and artistic expression. Among these historical garments, the Hanfu Warring States Robe stands out as a symbol of elegance and a repository of stories from a time when China was divided yet culturally vibrant. This article delves into the mesmerizing world of the Hanfu Warring States Robe, a garment that encapsulates the essence of an era marked by turmoil, sophistication, and enduring legacies. In this journey through time, we will explore the origins and evolution of the Warring States Robe, its significance in the broader context of Hanfu and Chinese history, and how this ancient garment continues to influence modern fashion and cultural identity. Join us as we trace the golden threads of history, discovering the timeless elegance and profound symbolism embodied in the Warring States Robe. What is Warring States robe? The main reference for the current Warring States robe on the market is the cultural relics from the Chu Tomb of Ma Mountain in Jiangling, which includes a large number of exquisite robes, matching clothing and bottoms, as well as figurines wearing these clothes. The Warring States robe, literally speaking, refers to the robes and garments from the late Eastern Zhou Dynasty and the Warring States period. Among them, the most commonly reproduced artifact by merchants is the one numbered N15. What is the form of Warring States robe? The term “Warring States robe” is commonly used to describe this type of attire. Later styles such as the “Quju” and “Zhu Zi Shen Yi” garments from the Mawangdui tomb also belong to the “Shen Yi” style. What are the characteristics of Warring States robe? The first impression of a Warring States robe is its wide and trailing appearance. A typical Warring States robe belongs to the “Shen Yi” style, which means that the upper garment and lower skirt are separately cut and then sewn together. The small diamond-patterned brocade robe with the number N15 from the Ma Mountain Chu Tomb mentioned earlier has a length of 200 centimeters and sleeves that extend up to 345 centimeters. Although some of the dimensions of the Warring States robes available on the market have been reduced, they still maintain a generous size. Additionally, the delicate and imaginative patterns in Chu culture are also powerful tools for creating visual effects. Is the Warring States robe for women? The deep garment robe was a commonly used style regardless of gender or social class during the Pre-Qin and Han dynasties. Unfortunately, the unearthed relics are all from female tombs. If men want to try wearing a Warring States robe, they can refer to existing cutting materials, production techniques, and information on the clothing style of male figurines to create their own. Any garment needs matching inner and outer clothing to form a reasonable clothing hierarchy. How is Warring States robe worn? With these layers of clothing, one can achieve a visually stunning and magnificent effect. The cultural relics unearthed from the Chu Tomb of Ma Mountain in Jiangling mainly consist of Shenyi and garment robes, but there are also Ru (a type of garment worn under the robe), single skirts, and cotton trousers. When taking photos in a Warring States robe, what hairstyle and jewelry should be worn? First of all, one can choose to go for a historically accurate look. Secondly, one can choose a broader Chinese style, such as holding a lantern, playing a guqin, or holding an incense burner, to embody the charm of a classical Chinese beauty. By searching for Warring States robe accessories on the market, one can find many works with a Pre-Qin style, which can be used for beautiful decorations. Clothing and style are two different aspects, and the styling of the Warring States robe can also be personalized and themed. Hopefully, we will see the infinite possibilities of the Warring States robe in the future. The Warring States robe exudes an elegant and noble temperament, making it suitable as ceremonial attire. If merchants offer reduced-size versions of the Warring States robe, or if the original artifact is already a suitable size, such as the N1 plain gauze robe, it can be worn as a daily dress.

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Although Hanfu is a rare dress, the overall feeling after wearing this dress is very delicate and elegant, short cheongsam so there are many girls who like Hanfu. While both exude elegance and timeless charm, they stem from distinct cultures and carry unique meanings. In this blog post, we delve into the fascinating differences between Chinese Hanfu and Kimono, exploring their designs, traditional culture significance, and historical contexts. But there are many girls who wear Hanfu to go out will always be misunderstood, especially those who do not know Hanfu, they think that this dress is kimono. A kimono is a traditional Japanese clothing known for its distinctive T-shaped, straight-lined robes with wide sleeves and a wrap-around style. Kimonos are typically made from silk or other high-quality fabrics and are adorned with intricate patterns, designs, and colors, often reflecting seasonal motifs or symbolic meanings. Kimonos are worn by both men and women and come in different styles and lengths depending on the occasion and the wearer’s gender, age, and marital status. They are traditionally secured with a wide belt called an obi, which is tied at the back in an elaborate knot. The word “kimono” translates to “thing to wear” in Japanese, indicating its status as a garment worn for various occasions. Kimonos have a long history in Japanese culture and were the standard clothing for people of all classes until the late 19th and early 20th centuries, when Western-style clothing became more prevalent. However, kimonos are still worn for special occasions such as weddings, tea ceremonies, festivals, and other formal events, as well as for traditional arts such as tea ceremony, flower arranging, and dance. Despite changes in fashion and lifestyle, the kimono remains an iconic symbol of Japanese culture and craftsmanship. In addition to the traditional kimono, there are also various modern adaptations and interpretations, including casual kimono-inspired clothing and kimono-style robes worn for relaxation and leisure. The word “kimono” translates to “thing to wear” in Japanese, indicating its status as a garment worn for various occasions. Kimonos are typically made from silk or other high-quality fabrics and are adorned with intricate patterns, designs, and colors, often reflecting seasonal motifs or symbolic meanings. A kimono is a traditional Japanese clothing known for its distinctive T-shaped, straight-lined robes with wide sleeves and a wrap-around style. Kimonos are worn by both men and women and come in different styles and lengths depending on the occasion and the wearer’s gender, age, and marital status. They are traditionally secured with a wide belt called an obi, which is tied at the back in an elaborate knot. Kimonos have a long history in Japanese culture and were the standard clothing for people of all classes until the late 19th and early 20th centuries, when Western-style clothing became more prevalent. However, kimonos are still worn for special occasions such as weddings, tea ceremonies, festivals, and other formal events, as well as for traditional arts such as tea ceremony, flower arranging, and dance. In addition to the traditional kimono, there are also various modern adaptations and interpretations, including casual kimono-inspired clothing and kimono-style robes worn for relaxation and leisure. Despite changes in fashion and lifestyle, the kimono remains an iconic symbol of Japanese culture and craftsmanship. Kimono is a traditional Japanese dress, which has a long history, influenced by Tang Dynasty costumes in China, and developed in Japan. The design of Hanfu pays attention to the smooth and natural lines, and usually adopts the characteristics of wide robes and large sleeves, and the right skirt. Hanfu is the traditional dress of the Han Chinese, which has a long history dating back to thousands of years ago. They come in a variety of jackets, including long robes, jackets and jackets, such as 褙子. Kimono design is more simple, emphasizing straight lines and geometric shapes, relatively few styles, mainly kimono coats, belts, skirts and so on. The appearance of Hanfu and kimono is different, but many girls do not understand, and it is easy to misunderstand. You can distinguish this from Belt, Neckline, Hem, Sleeves.. Kimono belts are wide and varied, with different knotting methods and decorations. Hanfu has a thin belt, which is usually tied around the waist to play a fixed and decorative role, and has various styles. Hanfu has a variety of necklines, such as cross-collar, straight collar, etc., with smooth and natural lines. The kimono neckline is generally rectangular and relatively regular. The kimono will have a closing design at the foot of the shirt. Hanfu has wide sleeves, narrow sleeves and other sleeve types, which are varied. The feet of Hanfu usually hang down naturally and have beautiful lines. The sleeves of the kimono are mostly square and relatively wide. Hanfu is rich in colors and patterns, often using a variety of bright colors and traditional patterns, such as dragons and phoenixes, flowers and birds, meaning good luck and beauty. The use of silk, elaborate embroidery, and symbolic patterns in kimonos reflects the Chinese influence, but with distinct Japanese motifs and aesthetics, such as cherry blossoms, cranes, and seasonal changes. These elements were embraced and further developed in Japanese kimono designs. The aesthetics of Hanfu often included flowing lines and harmonious colors, with an emphasis on elegance and modesty. Symbolism in the patterns and colors conveyed cultural and philosophical meanings. The symbolism in kimono patterns often reflects Japanese cultural themes, but the foundational appreciation for symbolic clothing traces back to Chinese influence. The Japanese kimono adopted similar principles of aesthetics, emphasizing elegance, simplicity, and the beauty of natural forms. Hanfu: Historically, Hanfu was worn by people of all social classes in China for everyday wear as well as formal events and ceremonies. Kimono: Kimono is primarily worn for special occasions such as weddings, tea ceremonies, festivals, and formal events in Japan. In modern times, there has been a revival of interest in Hanfu, and it is worn by enthusiasts for cultural events, festivals, and weddings. Both Hanfu and kimono carry the cultural connotation and historical tradition of their respective countries. Hanfu embodies ancient Chinese etiquette, philosophy and aesthetic concepts, and is an important part of Chinese culture. While it is less commonly worn in everyday life, there are modern adaptations and interpretations of kimono-inspired clothing for casual wear and leisure. The kimono, a quintessential symbol of Japanese culture, owes much of its development to historical exchanges with China. The influence of Hanfu, the traditional clothing of the Han Chinese people, is particularly significant. Kimono reflects the cultural characteristics and national spirit of Japan, and is one of the symbols of traditional Japanese culture. During Asuka and Nara Periods (538-794), Japan actively sought cultural and technological advancements from China. Diplomatic missions to the Tang Dynasty brought back Chinese literature, art, and clothing styles, including Hanfu. Over centuries of interaction, elements of Hanfu were integrated into Japanese clothing, shaping the evolution of the kimono. The Heian period(794-1185) saw the adaptation of Chinese clothing into what would become distinctly Japanese styles. Early Japanese court clothing, known as “karaginu,” was heavily influenced by the Chinese court dress of this era. The “junihitoe,” a multi-layered robe worn by court ladies, was inspired by the elaborate layering and flowing lines of Tang Dynasty Hanfu. While the influence of Hanfu on kimono is undeniable, the kimono evolved into a uniquely Japanese garment over time. By the Edo period (1603-1868), the kimono had developed distinct characteristics, such as the wide obi, specific patterns, and styles for different occasions and seasons. This period marked the beginning of Japan developing its unique sartorial identity, blending Chinese influences with indigenous styles. Why is Cultural Appreciation Important? Cultural appreciation is vital as it fosters understanding, respect, and dialogue between diverse communities, preserves cultural heritage, promotes social cohesion and inclusion, inspires creativity and innovation, and challenges stereotypes and prejudices, ultimately contributing to a more inclusive and interconnected world. The Japanese innovation in textile arts and dyeing techniques also set the kimono apart from its Chinese origins. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.

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This is a list of shoe styles and designs. A shoe is an item of footwear intended to protect and comfort the human foot while doing various activities. Shoes are also used as an item of decoration. Additionally, fashion has often dictated many design elements, such as whether shoes have very high heels or flat ones. Contemporary footwear varies widely in style, complexity and cost. Shoemaking is the process of making footwear. The design of shoes has varied enormously through time and from culture to culture, with appearance originally being tied to function. Originally, shoes were made one at a time by hand. Traditional handicraft shoemaking has now been largely superseded in volume of shoes produced by industrial mass production of footwear, but not necessarily in quality, attention to detail, or craftsmanship. Linares Argüelles, Mariano; Pindado Uslé, Jesús; Aedo Pérez, Carlos (1985). “Tomo I”. Santander, Cantabria: Editorial Cantabria. This page was last edited on 22 September 2024, ming dynasty hanfu male at 04:15 (UTC). Gran Enciclopedia de Cantabria. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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When talking about Chinese costumes, Tang suit (Chinese suit), the Mao suit, and Cheongsam are the three most frequently mentioned forms. Recently, with the revival of Confucian culture, Hanfu has been realized by people and more and more people like to wear Hanfu in important events, holidays or ceremonies. Besides these costumes, Hanfu is another form of traditional Chinese costume, which had been ignored for many years. 17th century, nearly 4000 years history, basing on the Han nationality culture, through the natural evolution, and then formed a unique costume system. Hanfu (or Han Chinese clothing) is one of the longest history ethnic costume in the world, from 21st century B.C. The style of Hanfu changed with the dynasties, concise beauty was respected in the early stage (Xia-Shang dynasty to Han dynasty). Unlike other ethnic costumes, Hanfu is a mass of ethnic Han clothes from Xia and Shang Dynasties to modern days with characteristics of ethnic Han. This period was a strict hierarchy society, the length of the skirt, the wideness of the sleeve or the degree of ornamentation of Shenyi (a common type of Hanfu in this period) represented different positions. Shenyi (Xia-Shang dynasty to Han dynasty), it was primarily worn by men. Shenyi (Xia-Shang dynasty to Han dynasty), it was primarily worn by women. Tang dynasty was the golden time of ancient China, the culture and economy developed rapidly. Foreign culture came in ancient China and had been well accepted, old notions like the low status of women had been changed, which directly reflected by the change of Hanfu. Hanfu n Tang dynasty. It used to call for clothes should be covered up the whole body, in Tang dynasty, Hanfu became broad and loss. ‘The proportion of the upper outer garment to lower skirt in Ming dynasty was significantly inverted. From Song dynasty to Ming dynasty, Hanfu changed a lot, the collar mainly became circular type instead of symmetrical type. Hanfu in Qing dynasty inherited these characteristics. In late Qing dynasty period, the clothing was affected by western style clothes, especially in the modern society, these western-style clothes instead of Hanfu and became people’s daily wearing. Hanfu in Song dynasty, Yuan dynasty, Ming dynasty and Qing dynasty. In Nvember, 2003, Wang Letian, an ordinary man, he wore Quju (a form of Hanfu) went to the street, which was based on the limited information and made by other Hanfu fans and himself. He is the first man who wore Hanfu in public places. Now Hanfu has become a historical heritage of ancient China, it usually appears in important festivals and media entertainment. 2004 is an important year for Hanfu, on October 7th, ‘Beijing Times’ reported a Hanfu activities, a false report appeared at night, men traditional chinese clothes and some websites changed the title and called Hanfu ‘shroud’. Journalist Zhang Congxing reported this news in ‘Lianhe Zaobao (the largest Singapore-based Chinese-language newspaper)’, and attracted worldwide attentions, this was the beginning of Hanfu renaissance. After this, Hanfu had been well-known, more and more people took part in the Hanfu revival. In 2006, the Chinese government official website changed the image of Han Chinese to Hanfu, it represented the government approved Hanfu. Hanfu amateurs sued the company and won this case. In 2009, Hanfu fans in British propagandized Hanfu, it was the first overseas Hanfu event had been reported, and it started popularity of Hanfu all over the world. In the following year, Hanfu had been proposed in CPPCC (Chinese People’s Political Consultative Conference) and the National People’s Conference that Hanfu can represent Han Chinese clothing. So far, Hanfu had been widely known by both Chinese people and foreigners, the number of Hanfu amateurs increased from only a few people to over 465,000, this is the efforts by Hanfu fans and the government support. On April 30th, 2013, the first Cross-Strait Hanfu Culture Festival was held in Fuzhou. In the following years, more and more Hanfu activities will be held, the biggest wish of Hanfu fans is that Hanfu can be accepted by the public in the future. The first time she knew it was 6 years ago, when she was a college student. Tang Yan is a big fun of Hanfu. Tang went to a Hanfu exhibition with her friend, the exhibition shared the beautiful clothes and the culture of Hanfu. After the exhibition, Tang searched more information about Hanfu, then she realized that Hanfu had become a historical and cultural sign of ancient Chinese rather than the daily clothes. It was minority, and it was hard to find someone who had the same interests, her friends could not understand why Tang suddenly liked Hanfu and wanted to wear it in daily life. ‘I fell in love with Hanfu at the first sight! ‘They said that was so strange. Hanfu is an old thing, people do not wear it now. I felt so depressed,’ Tang said. Hanfu is a vague concept to them, it only has significance to culture. With our efforts, people around us gradually accepted Hanfu, ’Tang smiled. ‘When I found Hanfu Post bar (like Google Group), I felt so happy, I made lots friends, and they are all Hanfu fans. Not everyone can understand her dressing, several time when Tang was walking along the street, people thought the clothes were Kimono (Japanese costume) or Hanbok (Korean costume). ‘Some people thought I was wearing Kimono, I had to explain it is Hanfu. In summer days, Tang and her friends organize activities together, they wear Hanfu and go to streets to introduce Hanfu. Tang and her friends want to broadcast Hanfu and arise people’s attention, not only because its historic significance, but also because Hanfu is Han Chinese’s costume. Tang Yan wore Hanfu. Actually Kimono and Hanbok are both derived from Hanfu in Tang dynasty, but now people believe Hanfu copies Kimono, that is so ridiculous! Most of her goods are Chinese ancient costumes. Tang’s Hanfu are all made by Li, a tailoress who owns an online taobao shop. Even in Hanfu was better known in 2010 than before, but for most people, they only heard Hanfu before, but did not know exactly what Hanfu is. ‘There are so many forms of Hanfu, I could not distinguish them very well at first. I really knew little about it, so I searched online, and I found I am not the only one knew little about Hanfu. The information of Hanfu was not as completely as now, there were few ways to know about it’, Li said, she had to ask her clients several times to make sure the clothing is right. From 2010, the sales of Hanfu had increased quickly, it soon become the best-selling in Li’s shop. But now things go better, Li can get the information online, the information is a complete system. At first I knew nothing about Hanfu, and now I can explain Hanfu very well, I think I am an observer of the process of Hanfu revival,’ Li laughed. ‘People hold different opinions about the Hanfu revival. Some people criticize Hanfu revival’, Caicai explained, she is a journalist who had published several news about Hanfu. ‘From 2010, I have made over 300 Hanfu. The arguments of Hanfu revival are mainly focus on three aspects. The first one is about whether Hanfu is the clothing of Han Chinese, because in the process of national assimilation, the costumes and culture of different nationalities were interacted, it is hard to define what Hanfu is. The second one is about if people can accept Hanfu well, the disappearance of Hanfu is because of historical reasons, in modern days, Hanfu cannot replace western-style clothing, some people argued there is no need to revive Hanfu in modern society. The biggest debate it that, critics argue some Hanfu fans are too radical, which may cause ultranationalist problem, some opponent even called the revival ‘Nazism’, which is unreasonable. The reconstruction of national pride and the revival of Chinese culture are the original intention of Hanfu renaissance, it is purely a cultural consciousness and heritage. In the future, Tang and her friends will continue promote Hanfu. The culture of Hanfu is a way to help people understand the history, maybe this is the biggest significance of Hanfu revival. ‘What we have done is just want to spread our culture, and we do not care the result’.

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Cao Wei, Jin and Northern and Southern dynasties. Chinese scholars also classify it as being a type of shenyi. 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). 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 popularity of ribbons later fell and the decorative hems were eventually enlarged. 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. This form of attire also spread to Goguryeo, where it is depicted in the tomb murals found in the Anak Tomb No.3. 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 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. 38 However, according In the Han and Wei period, the guipao was one of the common aristocratic costumes. 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. 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 guipao was popular in the Han dynasty, but its popularity started to fade in the late Eastern Han dynasty. The guiyi which follows the ruqun system also appeared in the Han dynasty, where it was called guichang or guishu. On the whole, the costumes of the Wei and Jin period still followed the patterns of Qin and Han dynasties. However, the clothing of women in this period were generally large and loose. The type of guiyi, which was worn in the Han dynasty, was in the form of a guipao. The carefree lifestyle brought about the development of women’s garments in the direction of extravagant and ornate beauty. The once dominant laws and orders collapsed, so did the once unchallenged power of Confucianism. 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. Buddhist scriptures were translated, Taoism was developed, and Humanitarian ideology emerged among the aristocrats. 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”. At the meantime, the philosophy of Laozi and Zhuangzi became popular. They dressed themselves in free and casual elegance. They preferred a life of truth and freedom. 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. 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. 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. Typically the guiyi was decorated with “xian” (襳) and “shao” (髾). 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. 62-64 “Xian” refers to some relatively long, silk ribbons which extended from the short-cut skirt. 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 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 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. The sleeves were broad and fringed at the cuffs with decorative borders of a different colour. Wei and Jin female appearance. Many of these styles are mentioned in historical records. During the Northern and Southern dynasties, the guiyi underwent further changes in style. 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. 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, CA: China Books & Periodicals. Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history. Jefferson, North Carolina: McFarland & Company. Xun Zhou; Chunming Gao (1987). 5000 years of Chinese costumes. Bian, Xiang Yang; Zhou, Fang (2018). “A Study on the Origin and Evolution of Shape and Structure of ‘Gui-Yi’ in Ancient China”. Hua, Mei; 华梅 (2004). Chinese clothing. 于红. Beijing: China International Press. Hongkong: 商務印書館香港分館 學林出版社. Duong, Nancy (2013). “Evolution of Chinese Clothing and Cheongsam”. Zhou, Xun; Gao, Chunming; Zhou. Chung, Young Yang (2005). Silken threads : a history of embroidery in China, Korea, Japan, and Vietnam. New York: H.N. Abrams. Lee, Junghee. “The Evolution of Koguryo Tomb Murals”. 1988-1999). The Cambridge history of Japan. 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. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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