I don’t know much about women’s hanfu, and even this about men’s hanfu is pretty surface-level and lacking in historical knowledge. In an engaging twist of trivia, did you know that the traditional attire, while steeped in centuries of tradition, can still hold its own in the face of modern cinematic appeal? Shiba Protector gets a little nutty when you get free templates, so while I have nothing against the class or its power, it’s far too much of a wild card in this game to be allowed. P.P.S. Turns out I worked on this for a little less than a month. Form: Similar to the mianfu, xuanduan started out as court dress for officials and priests performing high rituals, so there’s a natural resemblance to the Son of Heaven’s own coronation outfit. Palace service system for a long time to extend the Song, until 1321 Yuan Yingzong period only with reference to the ancient system, the development of the Son of Heaven and the hundred officials of the upper garment with the lower garment, on the tight under the short, and in the waist plus crease accumulation, the back of the shoulder to hang a large bead of the “quality of the zhisun” system, the Han people say “one color clothes” or “quality of the zhisun”.
In the course of thousands of years of development, Han costume also has a perfect system and distinctive characteristics. Tight-knit Hanfu communities and university clubs often meet up for themed activities like folk games or costume showings. Last year it was only 35 million – including business trips, students and the like. You’ll notice how complex it is, with ample cosmological symbology and a full assortment of adornments (including the 冕冠 miǎnguān, the famous hat with the beads coming down; the 蔽膝 bìxī, a special lapel worn over the skirt, and; the 大帶 dàdài, a special belt with two streamers going down) on top of a grand, very flowing version of the basic garment and skirt. Would you guys like Videl to fully acquire healing abilities including the Heal spell, Revivify, Resurrection, etc? Different Hanfu costumes derived from this long history, which dynasty of Hanfu do you like best? I can remove that class if you like.
3 days, but is still faster than the usual time it would take), I get access to True Res next level if I go the healing route, and Revive Outsider can be no-fail cast from a scroll. The hanfu first appeared in the time of this dynasty from 1600 BC to 1000 BC. 281 Under Emperor Shizong, the Jurchen were prohibited to be dressed in Chinese fashion and were forbidden from adopting Chinese personal and last names; this was because during his time (1161-1189), many Jurchen appeared to have adopted Chinese behaviours while the Jurchen had forgotten their own national traditions. Wanli Emperor wearing a red bixi as part of the mianfu, Ming dynasty. Latin script (pos 1) (help)), which was a casual outer garment worn by the female royal family, female officials, and high noble ladies of the Nguyen dynasty during informal occasions, chinese hanfu wedding dress originated from the Ming dynasty pifeng (Vietnamese: Áo Phi Phong) which was popular in China. Yudai – Fish-shaped tally bag; a pouch used in ancient China as a form of yufu (fish tally).
Please bear with me as I focus on form and function. Requesting the 3rd edition undead Corpse Creature and Bone creature. Approved for the Fell Energy rod, I’ll have to think of an appropriate LA for Bone and Corpse since they’re 3.0 templates. Int is a result of Half-Celestial, none of my other templates adjust Skill Points. Leaning into the “Fletch is always invisible and always surrounded by shadowy illumination” idea he could also keep his voice appearing from different points as if he WAS the Darkness? Wanted to write a quick intro (but still long, I’ll try to keep it concise!!!) to men’s hanfu both just so generally people who may not know as much about hanfu can get a quick up-to-speed and also so I can process my own thoughts as I think about what I want to purchase lol. I keep referring to a “knowledgeable Zhihu user” throughout, so I will just refer to him as KZU (呆蛙 if you want to look at his stuff. I will definitely be back! If you live for people’s acceptance you will die from their rejection. There is also the term changru (simplified Chinese: 长襦; traditional Chinese: 長襦; pinyin: chángrú; lit.
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Whether you’re attending a themed event or simply appreciate the rich cultural heritage of the Tang Dynasty, cheongsam bridal this Hanfu costume is sure to turn heads and bring the opulence of ancient China to life. The Communist Youth League organised a Chinese National Costume Day for the first time last year urging people to share their ethnic outfits online. Unbound hair and coats which were closed on the left side were associated with the clothing customs of the northern nomadic ethnic groups which were considered as barbarians by the Han Chinese. Han Chinese women were also found sometimes found in the paintings of the Ming dynasty, which is an atypical feature. Women wearing jacket (ru) under their skirts. Half arm and waxy skirts are made of diced fabric, which is smooth and glossy with good wrinkle resistance and light and elegant upper body. Retrieved 2022-06-13. Green is the upper robe, Green with a yellow lining! The influences of the Royal Lennies are hard to pin down, but it is possible that the Royalboys are drawing of the ancient gods of South America, often depicted in gold and green. Xi (襲) – an ancient term used to refer to the paofu which closed on the left side in a style called zuoren (左衽袍) as defined by the Shuowen jiezi.
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. According to the “Miscellaneous Records of the Western Capital”, Zhao Feiyan was granted the title of Empress at that time, and her sister sent people to weave upper and lower jackets, forming a magnificent set of clothing. This special form of armour is known as barding, and while the Royalboy Uni lacks most of the formal metal armour, it does have a cloth covering known as a caparison, covering almost the whole upper body with holes for the eyes, ears and mouth (and in Neopia, of course, for the horn). With Special But Not Exclusive Reference to Fuhchau. Discover our exclusive Hanfu range and embrace the rich heritage of China. The Royal Xweetoks are perhaps influenced by the Russian tsars of the 1700s and 1800s, with warm gloves and boots and rich red colours on their clothes. The Royal Meercas also seem to be based on the fashions of the late 1700s in Europe, with bright colours and feathers in the Royalboy’s hat.
The borders decoration in contrasting colours were used throughout the clothing history of China and were recorded early on in history (e.g. in the Liji). A few of the Royals take their cue from both the Neopian land of Shenkuu and its Earth counterparts, the Far Eastern countries like China and Japan. Yet, Jul 24, 2023, marked a turning point in the life of hanfu, as China made choices that zipped the nation forward, leaving behind the weighty cloak of empire and its most tangible artifact-the hanfu. Yet, the equilibrium they’ve found has led to something spectacular-modern hanfu that complements the cosmopolitan lifestyles of today’s trendsetters. It’s a melodic and visual ode to the past, harmonized perfectly with today’s cultural fabric. Amidst a burgeoning global interest in China’s past, pioneering designers and brands have taken up the mantle to navigate hanfu through the waters of international haute couture. Give us a shout if you have any other questions.
It’s no surprise that the royals, particularly the Royalgirl, have a Greek theme to them. The Royalgirl Yurble’s shining winged helmet is definitely worthy of such a battle goddess, and her fair braided mane is reminiscent of the Viking culture that once existed in Scandinavia, where bravery in battle and a strong, stout body like the Yurble’s would have been highly valued. Silver was another common materials in the making of Chinese ornaments and ritual items since ancient times; it also holds an irreplaceable place in Chinese culture and plays a significant role in being a carrier of Chinese traditional culture and in preserving ancient Chinese cultural heritage. 64) and the fabric materials used. Its durable materials ensure longevity and repeated use, making it a go-to accessory for any occasion that calls for a dash of cultural flair. This Song Dynasty Hanfu in the Fashion Hanfu store is not only a dress but also a splendid traditional culture of the Chinese nation for three thousand years.
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As this trend continues to gain momentum, it underscores the enduring beauty and allure of Hanfu in today’s modern world. There’s so much beauty in the world, yet the Internet is full of rage. What if we put out messages of beauty instead of outrage? The affordability of Hanfu encourages tourists visiting Xi’an to partake in this cultural experience without financial constraints, ensuring everyone can fully engage with the beauty of Han Chinese heritage. From at least the Han dynasty until the Mongol period, modern cheongsam wedding Non-Han Chinese women (regardless of social status or cultural identity) who lived in Han dynasty territories wore Han Chinese clothing. They also wore curtain hat and cover on head. The Royal Kaus are based on European monarchs, with the Royalgirl sporting a cartwheel ruff in an almost spyderweb like fashion (mostly covered by her head since conversion). 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). This elegant attire of ancient China will serve as your personal time machine, promising to transport you back to a bygone era of elegance and grandeur.
By wearing Hanfu, you can transport yourself back in time, envisioning the bustling markets and grand palaces of ancient China. From the iconic Terracotta Warriors and Big Wild Goose Pagoda to the majestic Ancient City Wall, every corner of Xi’an resonates with history. Xi’an, the capital city of 13 dynasties in ancient China, serves as a gateway to the nation’s illustrious past. Each garment narrates tales of bygone dynasties, offering insight into the elegance and sophistication of ancient Chinese society. The basic elements like Yi (upper garment) and Chang (lower garment) often come with sashes or belts to help hold the pieces in place. Yi is worn on the upper body, and Shang are worn on the lower half of the body, like a dress. This dress code also combined the clothing characteristics of both the Han Chinese and the Mongol ethnicity. The type of fashion you’re referring to is called Hanyuansu/汉元素, which means “(clothing with) Han elements”.梅影詩魂-梅雪無名’s compilation of modern hanfu contains quiet a few example of men’s clothing. 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.
1) Celestial Spring/诗礼春秋 – Sleek, minimalist designs that seamlessly meld hanfu elements with modern silhouettes. This includes clothing that incorporates hanfu elements with Western designs, and vice versa. Since you’ve also talked about the hanfu revival movement, i wondered if you know of any fashion line that incorporates hanfu elements for both men and women while keeping a western design as well? But all you see these days (in the Western media anyway) is hatred and sinophobia. So next time you see the delicate silk of a hanfu robe, remember the multifaceted stories it carries, as rich and diverse as the history of China itself. Silk may be worn comfortably even during summer heat to keep cool with the kaftans in Australia. The whole thing made me exasperated, men traditional chinese clothes and I even considered leaving Substack at one point. That’s what I was thinking about when the whole Substack drama went down in early January. And this happened right after my own personal drama with Substack!
86 hips and squeeze right. No instructions on how to return items. Others are those who want to return to their heritage, honor their history, and own something authentically Chinese hanfu culture. It encompasses attire worn by the Han ethnic group throughout history, which goes beyond the common misconception of solely representing the Han Dynasty. Hanfu, literally ‘Han clothes’, is one of the traditional types of Chinese clothing.. 93 There were two main forms of high standing collars garments based on their types of lapels and closure. “In 2021, I took on two new jobs – both of which have proved to be far more profitable than operating a hanfu store,” they wrote. In addition, there are two other distinctive styles for men. There are so many beautiful things about China and her people. Additionally, the resurgence of Hanfu in China has made it more affordable and accessible to a wider audience.
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“I think that Hanfu is currently being noticed by the mainstream media, and the leadership in China, and is probably very close to being accepted by the mainstream culture, which may take another few years… Wang Han has worked in this industry for many years and previously operated his own hanfu brand. This is because the Han nation takes the right for honour. The Xiuhefu typically has an overlapping jacket which closes to the right side (instead of the qungua central closing jacket) which is worn with an A-line skirt (qun) which looks similar to a mamianqun instead of a straight cut skirt. In the 1620s and 30s, the cut of the robe was extremely generous, the hem hitting about knee length and the sleeves almost touching the ground. The level of silk embroidery in this period was so advanced that even very complicated patterns could be produced in large quantities, and the most important feature of the robes of this period was that the patterns were more exquisite, while the cut was also slimmer.
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. Like peishi, they are normally paired with the clothing, most notably the fujin with the shenyi. This meant Western-style clothing, or clothing from China’s Imperial era were ditched in favour of a national dress that was utilitarian, which took its cues from the ‘Mao Suit’ – a dark military-style suit. Led from the top down by Communist Party chairman Mao Zedong, the period purged China’s old traditions to realise the leader’s socialist revolution. The Chinese cultural revolution placed an emphasis on a uniform dress code. Angelica Cheung’s Grandmother flushed her jewellery down the toilet during China’s Cultural Revolution. She said that during the cultural revolution, her Grandmother “out of panic flushed all her jewellery down the toilet”. Appearing like a character out of a Chinese historical drama, the 26-year-old property analyst is wearing a long Ming-dynasty-style blue tunic with sweeping sleeves and a flower design outlined in gold and silver thread, paired with a flowing, bright orange skirt.
Don’t miss out on this opportunity to immerse yourself in the world of hanfu like never before! It’s this new trend coming out of China that incorporates traditional elements into modern styles. Designed with elegance and modernity in mind, these pieces seamlessly blend traditional Chinese design elements with current fashion trends, ensuring you stand out in style without compromising on comfort. Our range of hanfu clothing for women caters to all, from the casual enthusiast to the professional who wishes to blend tradition with modernity. For those who desire a chic, yet simple aesthetic, our blouse chiffon off shoulder collection is the ideal choice. 21 It was greatly appreciated by some hermits and scholars during this period and was mentioned in some poems written by Wang Yucheng being described as “the silk wadding cap, coarse clothes and black muslin scarf” and Fan Zhongyan who described the Taoist priests as dressing themselves sprucely. But now that I know my private messages are being censored, I am considering quitting. Some of the movement’s most popular styles are from the Ming, Song and Tang dynasties – garments often clad in silk, bright colours and detailed embroidery.
At the Panjiayuan antique market in Beijing this weekend, several young ladies in flowing robes embellished with intricate embroidery became the center of attention. The designs often reflect the intricate embroidery and unique silhouettes that define this exquisite style. Hanfu flourished during the ages from Qin Dynasty (about 200 B.C) to Ming Dynasty (around the year 1600), with rich designs and materials. I do intend to read a book about the subject: 中国古代服饰研究，沈从文着, which has been described as the holy book for hanfu enthusiasts, investigating hanfu closely in correspondence with excavated materials and contemporary artwork. Xiuhefu (秀禾服): a type of aoqun worn as a Traditional Chinese Wedding dress in Qing and in modern era. Join the journey of embracing and reviving the beauty of traditional Chinese culture through our traditional Chinese dress hanfu available at AliExpress. The ladies are hanfu enthusiasts from a club dedicated to promoting the culture of hanfu, a style of clothing traditionally worn by the Han people. The style of yi which overlaps at the front and closes on the right in a y-shape is known as jiaolingyouren (Chinese: 交領右衽; pinyin: jiāolǐngyòurèn; lit.
I dunno if you’ve already talked about this, but what are your thoughts on the hanfu vs hanbok discourse? I would be interested in hearing your thoughts on it. No worries, I love tackling controversial topics. But if you don’t want to do that I get it bc some people can be very uhh vocal and mean about their thoughts and I understand if you don’t want to be harassed in the notes. Thank you for placing your trust in me. This spiralled again into a longer than necessary post about historiography, but I really enjoyed writing it and I hope you enjoy reading it too. For those of you unfamiliar with the controversy, basically there are some visual similarities between historically upper class hanbok (Korean national dress) and Ming Dynasty hanfu (Chinese national dress) styles, and nationalists from both countries would sometimes pick fights on the internet to dispute ownership or claim that the other country had ‘copied’ or ‘stolen’ their culture (though as a Chinese person I’ve seen more examples of the Chinese side doing this, not sure how big of a thing this actually is on the Korean internet). Instead of running you through a comparison of the two systems of clothing (for which please consult this post by @fouryearsofshades), I want to take a look at the historiographical concepts that enable this to be a thing in the first place. Top Google image search result, perfectly encapsulates this madness. In short, I think this ‘discourse’ is really dumb and shouldn’t exist, because it’s forcing modern (specifically 19th and 20th century) concepts like nationhood onto pre-modern phenomena that existed for very different reasons. I’ve discussed in this post that ‘hanfu’ in the meaning we know it as today was only popularized in the late 1990s and early 2000s, and it appears that ‘hanbok’, while older, was also a nationalist invention of the early 20th century to differentiate Korean dress from Western and Japanese dress in a context of anti-imperial struggle (according to Wikipedia the most trusted of sources). The words ‘hanfu’ and ‘hanbok’ are both modern era neologisms far younger than the things they claim to represent. It makes sense for hanfu and hanbok to be modern terms since they both represent ‘national’ dress, and would not have been possible in pre-modern eras when the concept of ‘nations’ itself was not yet in the public consciousness. While nowadays nationalists could see the dress of their countries as separate, individual systems with roots that can be traced to somewhere within the more or less arbitrarily drawn borders of their modern countries, that was not quite how things functioned historically. Prior to the popularization of the idea that all ‘Chinese’ people, however they were defined, belonged to one ‘nation’ in the late 19th century, Chinese society was strictly hierarchical (like most places before the modern era) and what clothes one wore were dictated by one’s position in society, depending on class, gender, age etc.. It should be noted that saying something is an invention or social construct doesn’t automatically mean it’s bad or not real, it’s simply an invitation to examine its rhetoric more critically and be aware of when it can be used for harm, which is the case with this controversy. Few would think of the clothing worn by a labourer and a high ranking official as having belonged to the same system of dress, unless they were juxtaposed with an ethnic other. I have previously attributed this similarity to ‘cultural exchange’, which I would like to retract after further thought, as I now think this was due to Chinese imperialism and the power imbalance that placed China at the center and its vassals at the periphery. Let me recount a brief history of how Chinese and Korean dress ended up in their afterlives as hanfu and hanbok. There were often more similarities between aristocratic dress of the various sinosphere countries (China, Korea, Vietnam) than between different social classes within any particular one. BS has its roots in the Ming Dynasty (1368-1644). During the Ming Dynasty, Chinese imperialism functioned through the tributary system; tributary countries would send entourages to the Chinese court, where an exchange of gifts would be made that symbolized the contract between lord and vassal. Unlike later Western models of imperialism, this system stressed the superiority of Chinese culture and civilization over physical or economic exploitation. Dress was an important part of the contract between China and Korea, and among the gifts presented to Korea were fabrics and ready-made clothing for royals and officials. The current hanfu vs. The ‘Han’ or ‘Chinese’ character of these clothes was not a national one either, as it was limited to the aristocracy and more of a uniform of sorts with heavy political symbolism. This was because the ‘restoration of Han dress’ was used by the first emperor Hongwu as a legitimizing force for his dynasty, and the gifting of new ‘Han’ designs to the Yi’s of Joseon was a reward for their aid in overthrowing the previously ruling Mongols. The Korean aristocracy and civil officialdom adopted Ming style dress not because they were imitating Chinese ‘nationality’ or even fashion, but because upper class Chinese culture, which included dress and language (written Classical Chinese), was considered prestigious within the imperialist framework. Korea was one of the, if not the most, important tributaries of the Ming, but despite the surface level friendship the two countries were not on equal footing. The Korean elite’s anxiety regarding their subordinate status and attempts at nation building could be found throughout the Ming period itself, notably in the creation of the Korean script in the 15th century, which gave written form to the vernacular spoken by the classes that did not use Classical Chinese. There was no doubt that the Ming was the lord and Joseon the vassal; the tributary trip was made to Beijing, not Seoul. The common peoples of China and Korea didn’t share clothing styles at all, with the exception being a brief period in the 1470s and 80s when skirts puffed with horsehair imported from Korea became fashionable in China, which was a short lived bourgeois fad. I’ve seen some people use this to argue that all Ming style hanfu in fact originated in Korea, which makes no sense because 1) the Ming Dynasty did not begin in the 1470s and 80s 2) what was popular in two decades was not representative of three centuries. This is why the spread of Chinese style court dress to Korea could not be considered ‘cultural exchange’, since there was a clear power imbalance. After the establishment of the Qing Dynasty (1644-1911), a new Manchu system of dress was developed for the Chinese aristocracy and civil officialdom. The Joseon rulers refused to adopt this and used the continuation of Han dress as a source of legitimacy, styling themselves as the spiritual successor to the Ming. Joseon court dress became simulacra in a way, copies of originals that no longer existed (not a bad thing!). As the Qing Dynasty progressed, what previously symbolized loyalty to China now symbolized defiance, even though Korea was also nominally a tributary to the Qing, because the idea of ‘China’ itself had changed. The question of whether the Manchu-led Qing Dynasty could be considered ‘China’ was to become a running theme in 19th and 20th century nationalism. This set it apart from its original form at the end of the Ming, rendering the claim that modern representations of it in hanbok being fossils of Ming court dress absolutely incorrect. All of this eventually became irrelevant as both China and Korea fell victim to Japanese and Western imperialism in the 19th and 20th centuries, nullifying all previous relationships between lord and vassal. Joseon court dress underwent some changes during the Qing (notably the raised waistline), a process now considered a ‘nationalizing’ one. This was the era when the concept of nationhood entered the common lexicon. Considering that modern hanbok encompassed just about everything people in Korea wore in lieu of Western or Japanese dress, it also included the dress of the aristocracy and civil officialdom which closely followed Chinese precedent in the Ming Dynasty. Modern hanbok was developed in this period of reaction to imperialism, flattening the clothes worn by all classes of Korean society into one unified ‘national’ dress. The reason why a perceived similarity between Ming and Joseon court dress became an issue in recent decades was that Ming court dress was scooped out of obscurity by the Hanfu Movement. In the early 20th century when this happened, the similarity to Ming court dress was likely a non issue as 1) no section of Chinese society dressed that way and Chinese dress was portrayed very differently at the time, causing no clashes 2) fashion history was a non existent field of study in either country, making the relationship between Ming and Joseon court dress and the actual visual appearance of Ming court dress obscure concerns. In the revolutionary atmosphere of late 19th and early 20th century China, dress had not been used extensively as a rallying point for nationalism, mostly because people had an awareness that the clothes they were wearing at the time were of Manchu ethnic origin (especially menswear). Considering that Chinese nationalism of the era was heavily anti-Manchu, contemporary Chinese dress could not be used to make ‘national’ dress. Chinese nationalists at the turn of the 20th century took a different route to modernizing clothing, namely by using Chinese construction methods to create clothing suitable for ‘modernity’ instead of fossilizing native dress and adopting Western dress as the modern standard. Individual garments like cheongsam, changshan and the Zhongshan suit later rose to prominence as representations of Chinese national character, but they never formed a coherent system of dress like hanbok or kimono did. Instead, Han ethnic identity was often represented by guzhuang and opera costumes (I cannot make this up), which were imagined to be retrieved from a pre-Manchu past. For most of the 20th century, Chinese people were at peace with being represented by clothes with supposedly Manchu features, since they were indeed clothes actually worn by Chinese people and a part of the Chinese lived experience, and there were no viable alternatives as archaeology and fashion history were not yet fully developed fields. There were isolated efforts to revive ‘ethnically Han clothing’ but none of them took on. It should be noted that while in the eyes of the Hanfu Movement, 20th century clothing like cheongsam and changshan look very ‘Manchu’ and not Han enough, to nationalists in the 20th century they were modern garments distinct from Qing Dynasty dress and practices (notably the pigtail and foot binding), which alone took on the burden of bearing all of the associations of savagery and barbarism assigned to us by Western colonizers. This changed with the inception of the Hanfu Movement in the late 1990s and early 2000s, which was more interested in origins than contemporary ethnography. Hanfu was very preoccupied with history and more accurately a revival, since it happened way after Chinese people had commonly adopted Western dress, unlike kimono or hanbok which were efforts to preserve existing native dress. The Hanfu Movement was initially not interested in the Ming Dynasty, as it was considered to be riddled with Mongol influence and not Han enough for nationalist tastes. However, this changed with fashion history publications about Ming costume like the iconic Q版大明衣冠图志 from 2011, which catapulted the Ming to canonical status in online nationalist myth in the 2010s. The epic tale of the Ming as the last Han-ruled dynasty overrun by ‘barbarians’ and the tragic death of Emperor Chongzhen suited the nationalist obsession with martyrdom perfectly. The current century saw an increase in fashion history scholarship, made possible by Shen Congwen’s ground-breaking encyclopaedia of Chinese historical dress (which didn’t exactly age well) from the 1970s and modern archaeology; the excavation of Emperor Wanli’s tomb at Dingling in the 1950s provided much information for Ming court dress. Basically, as information about Ming Dynasty dress became more readily available, it became increasingly visible within the Hanfu Movement itself. There were a variety of factors contributing to the popularity of hanfu, I think the lack of a coherent system of national dress with a recognizable name was one of them. Most Chinese people had seen Korean period dramas and had an established idea of what hanbok looked like (the anachronistic use of modern hanbok for media set in much earlier parts of the Joseon period is a problem for the Korean costuming industry to consider) but Ming style hanfu was this new thing that no one had heard of. Ming style hanfu became very popular and there were some within the hanfu community who would like to see it become the new representation of Chinese national dress, but the obvious problem was that it looked suspiciously similar to portrayals of hanbok in tv and film. I’m aware that I’m coming from a very Chinese perspective on this, mostly because I experienced it myself, but also because it’s interesting how before confronting people from other countries, hanfu enthusiasts had to first convince their ‘fellow countrymen’ of the legitimacy of their own endeavors. So naturally many people judged Ming style hanfu against their existing knowledge and jumped to the conclusion that it looked like hanbok. There were multiple reactions to and lines of reasoning for this perceived similarity, all of which are fascinating. It shows national identity in the making, as it took quite some time for hanfu to become a socially acceptable representation of Chinese national identity. And then there’s the separate but equal line which claims there are few to no similarities, and that hanfu and hanbok are distinct national cultures. Starting with the nationalist camp, there’s the pseudo anthropological stance that hanbok originated in the Ming and nicely preserved ‘our culture’ for us; what we see in hanbok is actually an earlier stage of our own fashion history. And then there’s the disturbing imperialist line that correctly identifies some hanbok styles as results of Chinese imperialism during the Ming, but then go on to argue that imperialism is good actually and glamorize the liege-vassal relationship between the Ming and Joseon, jin dynasty hanfu or even call for the return of such a relationship in the modern day (I’ve seen some wild shit). Moving on to the cosmopolitan camp. Most people in this camp argue that ethnic purity is impossible to achieve in national dress systems and that cross cultural disseminations inevitably happen, which is obviously better in intention but I think lacks a critical examination of the concept of national dress itself and historical power imbalances. How should we approach this controversy? None of these positions take into account that national and historical are not one and the same. When people ask ‘how are hanfu and hanbok different’, first we need to clarify what exactly they are referring to with ‘hanfu’ and ‘hanbok’, since they are both national dress categories that encompass a variety of things from a vast span of time before the modern era, tied together only through the nationalist imagination. I myself couldn’t help but be specific when introducing this controversy, specifying that the source of controversy lies in ‘Ming style’ hanfu and the hanbok styles taken from the upper classes, because otherwise the comparison wouldn’t make sense. Nobody compares Song style hanfu with peasants’ hanbok. Here the framework of national culture becomes absolutely useless if not outright misleading. Yes, hanfu and hanbok are useful as representations of modern identities, but a question such as ‘why the 21st century continuation of a late19th/early 20th century representation of a style of dress originating in the Ming court in the 14th century that was Koreanized throughout the ensuing five centuries or so looked similar to 21st century recreations of Ming court dress made for consumerism’ calls for an investigation of the historical thing they represent not the representations themselves. Whereas the association with the Ming was something prized by the Korean elite during the Ming and Qing, that is no longer the case nowadays because upper class Chinese culture (if it even still exists) has long lost its prestige. Neither hanfu nor hanbok are natural extensions of national character because national character isn’t a tangible real thing that exists, it’s socially constructed through collective effort and its meaning changes over time, as I have tried to illustrate in the previous sections. The concept of nationhood didn’t exist in the Ming, the period where the clothing styles in question emerged, and it meant nothing to the aristocratic classes of the Ming and Joseon who wore them. Whereas in the imperial era having influenced others was a source of power and control, modern Chinese nationalism prizes complete ownership and independence over anything else because of Western ideas about national culture. If anything, the existence of a hanbok vs. Going forward I do want to see a more critical reexamination of the effects of Chinese imperialism prior to the 19th century though. None of this would have been an issue if they were friendly. Both the fact that Chinese imperialism was often so… And I must not forget to mention the most important piece of context driving this whole fiasco: China and South Korea are not exactly friendly because of lingering Cold War era hostility. Fashion history has never been what’s at stake here. This controversy is one of those things that tell us more about the desires of the people participating in it than the objects they quarrel over themselves. Chinese and Korean nationalists have been fighting each other on the internet over heritage stuff unrelated to clothing for ages now, if they weren’t fighting over hanfu and hanbok they’d be fighting over some other trivial shit. The thing with representations is that they’re not equivalent to the thing they claim to represent, and there can exist multiple interpretations of the same source material. I haven’t had the opportunity to talk about national dress in North Korea yet, because let’s not forget there are still two Koreas. Hanbok is a representation of Korean dress as worn in the early 20th century, not Korean dress itself, and the North calls their representation of it joseon-ot. I never see any Chinese nationalists have beef with joseon-ot, especially since it’s also the name of the ethnic dress worn by ethnic Korean minorities in China. So I guess the best way to approach the ‘hanfu vs. ’ discourse is to not engage at all because it’s not a valid comparison to begin with. I think that explains everything. The very nature of hanfu and hanbok as modern flattenings of historical reality for national identity (neutral) means that they are best left to be explored on their own. Study of the interchange of dress in sinosphere countries in the imperial era is the stuff of fashion history not national clothing categories.
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After the golden week, intelligent woman going to choose to shopping, reduces the Golden Week shopping impulse, avoiding crazy crowds, this time you can use a variety of korean Party method to reward yourself, small series for your four tips to keep you in golden week with the lowest price to build the most beautiful dress. Just accept adult baptism, or is about to fade away and burn your own youth and vitality to the point where their reward, is not disturbed by the earthly disruption of carefree mood. At this age, is good. You can pick from oneself like korean styles and colors that make up its own personality, this time may not have a concept of occupational and other reasons, you have to wear an own. This year’s autumn is colorful, it may be more concerned with some colourful. Picking a few pieces of design fancy goods, the brand is not the most important, as long as you want, in a careful mix of little, inexpensive, good effect. Because this is a “showcase of autumn”. 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How many types of Hanfu are there? Understanding the types of Hanfu is like embarking on an insightful journey through Chinese history and culture. There are numerous types of Hanfu, but some of the most notable ones include Pao, Banbi, Ruqun, Shenyi, Zhiduo, Beizi, and modern variations. The styles and variations are not just influenced by the period in which they were popular, but also by the regions, social statuses, and specific occasions for which they were designed. Below, we delve into the criteria used to classify Hanfu and discuss the influence of regional variations. Historical Period: Hanfu styles can change dramatically depending on the dynasty in which they were worn. Social Status: The designs, materials, and even colors of Hanfu can indicate the wearer’s social standing. Royals and nobles often wore Hanfu made from luxurious fabrics like silk, adorned with intricate embroidery. Occasions: The purpose for which Hanfu is worn also influences its style. For instance, the opulent styles of the Tang Dynasty are notably different from the more austere fashions of the Song Dynasty. Ceremonial Hanfu, worn during special occasions or rituals, often feature more elaborate designs than everyday wear. Gender: Men’s and women’s Hanfu differ not just in terms of style but also in the cultural significance attached to them. Components: Hanfu can be broken down into various components like tops, bottoms, and overcoats, each with their own set of variations and styles. For a deep dive into the historical periods affecting Hanfu, you can refer to the Hanfu Wikipedia page. China is a country rich in geographical and cultural diversity, which naturally influences Hanfu styles. Southern Hanfu: Given the warmer climate, Southern Hanfu is often lighter and made from breathable fabrics like linen. Northern Hanfu: Typically made from thicker fabrics to provide warmth, the Hanfu styles from Northern China often feature darker colors and less elaborate designs. Western Hanfu: Influenced by the cultures along the ancient Silk Road, Western Chinese Hanfu styles often incorporate foreign elements, such as Persian patterns. Bright colors and floral patterns are more common. Shenyi is among the most traditional forms of Hanfu and holds a special place in the annals of Chinese history and culture. Eastern Hanfu: Known for its elaborate embroidery and luxurious fabrics, Eastern Hanfu is often considered the most “classic” style, closely resembling Hanfu from ancient Chinese paintings. Let’s dive into the historical background, occasions for wearing, and the variations and styles that make Shenyi unique. This iconic attire represents a blend of formality and spiritual significance. Originating from the time of the Yellow Emperor, Shenyi dates back thousands of years and has deep roots in Chinese culture. Over the centuries, it evolved but continued to maintain its essence as an attire of great import. Confucian scholars particularly favored Shenyi as it resonated with their values of propriety and ritual importance. For those interested in exploring the rich history of Shenyi, the Shenyi Wikipedia page offers a wealth of information. It was the chosen clothing for scholars and elites during ancient times and was often seen in formal and ritualistic settings. Shenyi is not your everyday outfit; it’s an attire that commands a specific occasion and setting. The garment also makes an appearance in traditional Chinese theater and cultural performances, emphasizing its ritualistic and historical significance. It is predominantly worn during formal events, religious ceremonies, and by scholars during scholarly pursuits. While Shenyi maintains a traditional structure, it is far from monolithic. During traditional festivals like the Lunar New Year or the Mid-Autumn Festival, you might see people donning Shenyi as a nod to its cultural relevance. Over time, different styles and variations have emerged, allowing for personal expression while maintaining cultural integrity. Color: The color of a Shenyi can signify the wearer’s social standing or the particular occasion. Royal blue or black Shenyi often denote a sense of formality, while lighter colors might be worn for celebratory occasions. Material: Silk is the most commonly used fabric, but variations in cotton and linen are also available for different seasons and climates. Design: Shenyi usually features a top and a skirt that are connected as a single piece. However, variations in sleeve length, neckline, and the presence or absence of adornments like embroidery can differ. Ruqun is a traditional Hanfu attire that primarily consists of a top (ru) and a skirt (qun). This iconic ensemble has seen countless variations over millennia, each tailored to fit the needs of different periods, regions, and social settings. Accessories: Traditional accessories like jade belts or specific types of headwear might accompany the Shenyi, adding to its grandeur. In this section, we’ll explore the historical background, occasions for wearing, and the variations and styles of Ruqun. Ruqun has ancient origins and traces its lineage back to the Han Dynasty. It became the staple clothing for women in various dynasties that followed, including the Tang and Song Dynasties. The garment enjoys immense popularity even today, often seen as an embodiment of grace and femininity in Chinese culture. Ruqun is versatile; it adapts itself to different occasions with remarkable ease. For those interested in delving into the history of Ruqun, the Hanfu Wikipedia page provides a detailed account. During traditional Chinese festivals like the Spring Festival or the Lantern Festival, Ruqun gains particular prominence. It’s also a favorite for photoshoots that aim to capture the essence of traditional Chinese culture. While it is a common outfit for daily wear, particularly in historical contexts, it also graces special occasions and formal events. There are multiple variations that take into account factors such as age, social standing, and personal preference. Color: Ruqun comes in a variety of colors, ranging from subtle pastels for daily wear to vibrant reds and golds for special occasions. Ruqun is far from a one-size-fits-all garment. Material: Depending on the occasion and the season, different materials like silk, cotton, or linen are used. Color symbolism is strong in Chinese culture, and the choice of color in a Ruqun often carries significant meaning. Silk Ruqun are often more formal, while cotton and linen make for comfortable daily wear. The qun (skirt) can also vary in length and style, with some having additional layers or decorative elements like embroidery. Design: The design of the ru (top) can vary in terms of sleeve length, collar design, and ornamentation. Accessories: A complete Ruqun look often includes traditional Chinese accessories like ornate hairpins, sashes, and sometimes even handheld fans or parasols for added elegance. Zhiduo is a Hanfu garment that is most commonly associated with Chinese men’s fashion, though it’s not exclusive to them. It usually consists of a long robe with broad sleeves and a straight collar. In this section, we explore the historical background, occasions for wearing, and the variations and styles of Zhiduo. The simplicity and elegance of Zhiduo have made it a popular choice across various periods in Chinese history. Zhiduo traces its roots to the Song Dynasty and was particularly popular among scholars and intellectuals. The design embodies Confucian ideals of modesty and simplicity. Over time, this garment became a staple in the Ming and Qing Dynasties as well, often symbolizing a man of learning or culture. Its appeal extends into modern times, where it serves both ceremonial and aesthetic purposes. For a more in-depth look into its historical significance, the Hanfu Wikipedia page offers plenty of information. Zhiduo is a versatile garment that suits a variety of settings and occasions. Daily Wear: In historical settings, Zhiduo was a popular choice for daily activities, especially among the educated classes. Festivals: During traditional festivals like the Lunar New Year or Confucius’ birthday, Zhiduo gains special prominence. Formal Events: In modern times, you might see Zhiduo worn at weddings, cultural ceremonies, and other formal occasions. Performances: In traditional Chinese theater and other cultural performances, Zhiduo often features as a costume to represent scholars or noblemen. Color: Dark colors like black, navy, and deep green are often chosen for their formality and elegance. However, lighter colors are also available for less formal occasions. For everyday wear, materials like linen and cotton are also popular. Material: Silk and brocade are popular materials for Zhiduo, lending the garment a sense of luxury and formality. Sleeve Design: The sleeves can range from broad and flowing to more restrained, depending on the style and the occasion. Collar and Fastenings: The straight collar is a distinctive feature of Zhiduo. Variations may include different types of fastenings, from simple ties to elaborate knotted buttons. Accessories: Pairing Zhiduo with appropriate accessories like belts, hats, or even traditional Chinese footwear can complete the look. Beizi is a traditional Hanfu garment that has been a part of Chinese fashion for centuries. This garment is similar to a tunic and is often loose-fitting with wide sleeves. For more details on the style variations of Zhiduo, the Hanfu Wikipedia page can provide further insights. It’s been worn by both men and women, though it’s more commonly associated with women’s fashion in recent times. Below, we delve into the historical background, occasions for wearing, and the various styles and variations of Beizi. Beizi made its mark during the Song Dynasty and gained widespread popularity through the Ming and Qing Dynasties. The Beizi often featured intricate embroidery and patterns, symbolizing the wearer’s social status and artistic taste. Initially worn by commoners, it eventually gained royal favor and became a versatile garment worn by people of all classes. To learn more about the history of Beizi, you can visit its Wikipedia page. Daily Wear: Beizi serves as a comfortable option for daily activities and casual gatherings. Festivals: During traditional festivals such as the Lunar New Year or Dragon Boat Festival, wearing a Beizi is a way to celebrate and honor Chinese heritage. Beizi is a garment that offers a canvas for personal expression. Color: Beizi can be found in a variety of colors, from the subdued to the vibrant, often adorned with embroidery and patterns. Formal Occasions: In certain designs and materials, Beizi is elegant enough for formal events like weddings and cultural ceremonies. Material: While silk is a popular choice for formal Beizi, cotton and linen versions are also available for everyday wear. Some have side slits for ease of movement, while others may feature detailed embroidered motifs. Length: Beizi can be short or long, with some versions extending to the knees, while others may go down to the ankles. Design Elements: The design of the sleeves, collar, and hem can vary greatly. Accessories: The garment is often paired with sashes, belts, or intricate jewelry to complete the look. Banbi is a unique and versatile piece of Hanfu clothing. For additional information on the variations and styles of Beizi, the Hanfu Wikipedia page is a reliable source. It’s a half-sleeved blouse that is usually shorter than other types of Hanfu tops. In the following, we’ll explore Banbi’s historical background, the occasions suitable for wearing it, and its many variations and styles. The Banbi has origins that can be traced back to the Tang Dynasty. While it started as a casual garment, it has evolved over the centuries into an item of elegance and style, sometimes even worn by nobility. This garment is often donned by both men and women, offering a trendy yet traditional touch to any ensemble. Its simplicity and functionality have made it popular across different ages and social statuses. Casual Wear: Its comfort and ease of movement make Banbi an excellent choice for casual daily activities. Summer Events: Because of its short sleeves and generally lighter material, Banbi is particularly popular during warm seasons and outdoor events. To dive deeper into the origins and history of Banbi, you can refer to the Hanfu Wikipedia page. Festivals: During traditional events like the Mid-Autumn Festival, Banbi can be worn to celebrate the occasion in style. Formal Gatherings: With the right material and accessories, a Banbi can be elevated to suit formal settings like ceremonies and banquets. Material: The Banbi can be made of a variety of materials, including silk for formal events and cotton or linen for casual wear. Color: From vibrant reds to subdued earth tones, Banbi can be found in a plethora of colors to suit different tastes and occasions. Pattern and Embroidery: Some Banbi feature intricate patterns or embroidery, adding an additional layer of sophistication to the garment. Sleeve Style: While the basic design includes half sleeves, there are also variations that offer different sleeve lengths and styles. Pao is an iconic type of Hanfu garment that stands as a representation of Chinese sartorial history. Accessories: Completing the look often involves matching the Banbi with belts, sashes, or even layered with other Hanfu garments for a fuller outfit. In this section, we’ll delve into its historical background, suitable occasions for wearing Pao, and the various styles and variations that make it unique. The Pao has roots that stretch back to ancient China, with its design largely standardized during the Han Dynasty. Known for its long length and often full sleeves, the Pao is a one-piece robe that is versatile enough to be worn by both men and women. Over the years, it became a quintessential garment worn by scholars, officials, and commoners alike. The Pao also holds ceremonial importance in various Chinese rituals and traditions. For those interested in exploring its rich history further, the Hanfu Wikipedia page provides comprehensive details. Ceremonial Use: Pao has been traditionally worn in religious and imperial ceremonies, making it a garment of formal significance. Festive Occasions: During major festivals like the Lunar New Year or Qixi Festival, the Pao is often donned to celebrate the cultural heritage. Daily Activities: A more simple version of Pao can often be seen worn as regular clothing, particularly in historical settings. Color: The Pao comes in an array of colors, often signaling the wearer’s social status or the specific occasion. Modern Revival: Nowadays, Pao is making a comeback in modern fashion trends and is frequently worn at Hanfu gatherings and cultural events. Material: Silk Pao is often the choice for more formal events, while cotton and linen versions are more breathable and suited for daily wear. Design: Embroideries, patterns, and even paintings could embellish the garment, adding layers of complexity and artistry. Length: While most Pao are long, reaching to the ankles, there are also shorter versions that stop around the knee area. Sleeve Styles: Pao can have various sleeve designs, from wide and flowing to narrow and straight, based on personal preference and the requirements of the occasion. Let’s dive into these lesser-explored territories of Hanfu fashion. While Hanfu garments like Pao, Banbi, and Ruqun might be well-known, there exists a spectrum of other lesser-known and modern variations that are equally rich in history and cultural significance. Yuanlingshan (圆领衫): This is a round-collared robe often worn by scholars and officials in the Ming Dynasty. It has a formal aesthetic and is usually made from high-quality materials such as silk. Shuhe (裋褐): Initially a garment for the commoners, Shuhe is a simple, loose-fitting tunic made of coarse fabric. Tieli (贴里): Tieli is often worn under the outer garment and serves as a sort of inner lining. It represents the minimalistic approach to clothing in ancient China. For those intrigued by these lesser-known types, the Hanfu Wikipedia page offers additional insights. Short-sleeved Hanfu: This is a modern twist on traditional Hanfu, tailored to suit the summer months and casual occasions. Hanfu-inspired Dresses: These are modern dresses that incorporate Hanfu elements, often worn for more formal events. They blend both Western and Eastern design principles. It adds an extra layer for warmth and comfort, especially during the colder seasons. Athletic Hanfu: Designed for active individuals, this variation takes traditional Hanfu concepts and adapts them for sportswear, utilizing breathable and stretchable fabrics. Business Hanfu: This is a fascinating blend of the traditional Hanfu style with modern business attire, offering a fresh take on corporate wear.
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‘Hanfu’ literally means Han clothing and is the name for traditional costumes worn by Han Chinese people. Hanfu influenced the development of other traditional clothing, such as the Japanese kimono and Vietnamese Áo giao linh. The costumes have thousands of years’ history and were widely worn by Han people until the Ming dynasty; however, the term hanfu is a modern development. As an initiative to revitalising Han Chinese culture, qipao traditional the ‘hanfu movement’ started in the early 2000s and has become increasingly popular amongst enthusiastic young Chinese. ‘Hanfu’ literally means Han clothing and is the name for traditional costumes worn by Han Chinese people. The costumes have thousands of years’ history and were widely worn by Han people until the Ming dynasty; however, the term hanfu is a modern development. This demonstration will give a basic introduction to the history and culture of hanfu and how styles have changed over time. Hanfu influenced the development of other traditional clothing, such as the Japanese kimono and Vietnamese Áo giao linh. As an initiative to revitalising Han Chinese culture, the ‘hanfu movement’ started in the early 2000s and has become increasingly popular amongst enthusiastic young Chinese. This demonstration will give a basic introduction to the history and culture of hanfu and how styles have changed over time.
“I think that Hanfu is currently being noticed by the mainstream media, and the leadership in China, and is probably very close to being accepted by the mainstream culture, which may take another few years… Wang Han has worked in this industry for many years and previously operated his own hanfu brand. This is because the Han nation takes the right for honour. The Xiuhefu typically has an overlapping jacket which closes to the right side (instead of the qungua central closing jacket) which is worn with an A-line skirt (qun) which looks similar to a mamianqun instead of a straight cut skirt. In the 1620s and 30s, the cut of the robe was extremely generous, the hem hitting about knee length and the sleeves almost touching the ground. The level of silk embroidery in this period was so advanced that even very complicated patterns could be produced in large quantities, and the most important feature of the robes of this period was that the patterns were more exquisite, while the cut was also slimmer.
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