Hanfu, or Han-style clothing, evolved from the dress Han Chinese wore in ancient times, and is an iconic symbol of Chinese culture. In recent years, this traditional Chinese clothing has become better known and loved internationally. In Singapore, for example, fans wear it for various cultural events. Tong Weiqiang, a Chinese living in Singapore, is an avid fan of the clothing. “I was deeply impressed by the costume in martial arts dramas produced by Hong Kong TVB Channel, and began to take a liking to traditional Chinese clothing,” he said. He was first attracted to Hanfu when he was a child. Now years later, Tong established a cultural club for Hanfu lovers. “For Singaporeans who are interested in Chinese culture and appreciate the beauty of Hanfu, the club is a venue for them to learn more about China’s cultural heritage,” he said. Lin Xiaoying, vice chairperson of a Hanfu association in Singapore, is dedicated to introducing traditional Chinese culture to overseas Chinese and people of other countries. “Unknowingly, I have taken Hanfu to heart. I have been traveling around the world and organized many promotional events to display to the world the elegance of traditional Chinese clothing. In adulthood, I traveled extensively in my job, and noticed people in Japan and the Republic of Korea wearing traditional robes. The sight inspired me to share with them the traditional costume of China,” said Lin. Since a young age, I have been drawn to beautiful things, such as painting and fashion. “I wore Hanfu for the first time in 2012, and have since fallen in love with it,” said Wu Zengxin, a Taijiquan (or tai chi), coach in Singapore. “It would be pitiful for me not to wear Hanfu with full confidence,” she added. Gradually, his audience has come to realize the beauty of Hanfu. He has since chosen this dress for all performances he gives, though it is more expensive than a generic martial arts uniform. Following my example, more Taiji masters began to perform in the clothing. “I am sure that I am the first in Singapore to perform Taijiquan in Hanfu. This is the power of cultural heritage,” said Wu. The evolution of Hanfu is a reflection of the history of Chinese culture. At a Hanfu festival held on November 27, 2021, participants dressed up in Hanfu apparel take pictures in front of the entrance to the Shenyang Imperial Palace. Generally speaking, it refers to all the clothing of Han Chinese from the pre-Qin period (before 221 B.C.) to the Qing Dynasty (1644-1911). During the Spring and Autumn and Warring States periods (770-221 B.C.), the Han dress took on elements of those of nomadic ethnic groups, making it more suitable for equestrian activities and archery,” said Cai Danjun, associate professor of the School of Liberal Arts, Renmin University of China. Though traditional Chinese clothing was predominantly influenced by Confucian culture, it incorporated elements of other cultures and a variety of ethnic groups, she added. “Hanfu dates far back into history. There are many anecdotes in Chinese history involving clothing, said Cai, giving three examples. In late Eastern Han Dynasty, warlord Cao Cao became the de facto ruler of the country. The resentful emperor, Xiandi (181-234), wrote an edict with his blood, and hid it in a waistband to be sneaked out to his ministers, instructing them to assassinate Cao. Many ancient books mention that the Yellow Emperor, one of the legendary Chinese sovereigns and culture heroes, invented early Chinese clothing that consisted of the upper and lower pieces – tunic and unisex skirt – representing the heaven and earth, respectively. “This shows that the ritual, cultural and aesthetic standards of Chinese attire had taken shape in the pre-Qin period, and evolved in the following centuries as a result of the integration of different ethnic groups and cultures. Wu Zengxin has met people from all over the world in Singapore, and many people from Western countries showed interest in and affection toward the Hanfu he wore. When we delve into the history and culture behind Hanfu, we can help people in other parts of the world better understand the profound cultural meanings of this clothing,” said Cai. Being of Chinese decent, Tong Weiqiang feels the desire to share stories of Chinese culture with more people. Together with other Hanfu fans, I have also organized regular cultural activities in local libraries, sharing with fellow Singaporeans works of Chinese literature, hanfu wedding dress poetry and classical style of writing,” he said. “Hanfu conveys a profound history. “Singapore is a developed country, but society is based on a ‘grassroots culture.’ Earlier generations of Chinese migrated here looking to make a living. Later generations have also embraced a pragmatic way of thinking. Many Chinese Singaporeans and Chinese living in the country want to learn more about the culture of their ancestral land. Therefore, much needs to be done to enhance their sense of mission to carry on their traditional culture,” said Tong. Wu is delighted to see more young Singaporeans wearing Hanfu at scenic resorts. In Lin’s view, Hanfu encapsulates the 5,000-year-old Chinese civilization and gives expression to the Chinese spirit. He believes that the attire, with its rich cultural significance, is not only a token of China’s sartorial elegance, but also a lens to peep into Chinese culture. To better promote Hanfu among overseas Chinese, Cai suggested establishing a Hanfu culture system that bridges the past with the present, covers both public activities and academic studies, and puts equal emphasis on sartorial patterns and traditional aesthetic theories. She finds meaningfulness and pride in carrying on this cultural heritage. “Hanfu has deep cultural roots,” said Cai. The Doctrine of the Mean says, “When wearing a fine dress of splendid colors, one should cover it with a linen overcoat.” She explained that this is because ancient Chinese valued modesty and reserve. “How to dig into such ideas imbedded in classical attire to better combine traditional culture with modern life is an area that deserves more attention and effort of modern Chinese people,” Cai added.
0; Tickets are available both at the Lan Su Ticket Booth and for online purchase. Dress Han: Nights of Hanfu Fashion is not a typical fashion show. Special Discount for Oregon and Washington EBT Cardholders – $20/adult, up to 4 tickets per cardholder and only available in-person at Lan Su Ticket Booth. Limited casual seating is available and first come, first serve. The music performance and the Hanfu fashion show take place on the bridges and walkways of Lan Su and can be seen from multiple viewpoints of the garden and the teahouse. The event will go on as scheduled rain, shine or cold. Beverages and light snacks are available for purchase at the event bar and the teahouse. No outside food, beverages, or chairs allowed. Lan Su Chinese Garden is wheelchair friendly. No exchanges or refunds. Library passes and complimentary admission passes cannot be used for Night of Hanfu Fashion. Tickets cannot be purchased over the phone. Advanced purchase of tickets online is highly encouraged as capacity is limited. Any other re-sale ticket purchases made are strictly at your own risk and will not be honored. Purchase of tickets indicates the agreement of this policy. This July, we are brining “hanfu” fashion to the garden. Join us for a month-long celebration and re-imagination of Chinese hanfu and traditional clothing!
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During the Nara period in Japan, the period of China’s prosperous Tang Dynasty, Japan sent a large number of sent envoys to China to study culture, art, and law systems, including the clothing system. At that time, they also imitated the Tang system and issued a “clothing order”. In the early days, the kimono was a replica of the Tang suit. Although the kimono came from the development of Hanfu, it has developed its own national characteristics after a long period of history. So far, Japan still refers to the kimono as “Wu suit”, which means clothes from Wudi (now Jiangsu and Zhejiang) in China. Kimono: there is no tie on the kimono placket, and the waist is wide with a fabric. Hanfu: Hanfu’s hem is wide, from the top to the bottom is more relaxed, walking freely, will not hinder the activity. Kimono: In the kimono, the neckline of an ordinary woman’s neck wrapped her neck tightly, and the geisha neckline came across a large neck. Kimono: The hem of the kimono is basically close to the curve of the thigh, which is very narrow, and the walking can only be small and small, and the activity is limited. Hanfu: Hanfu’s wide-sleeve cutting lines are soft, in addition, the wide sleeves of Hanfu are open, and the inside can be stitched, the length of the sleeves exceeds the length of the hand. Kimono: The sleeves of the kimono are straight, a bit like blades, the lower part of the cuff is stitched (about because of the cold), length to the wrist. In general, Hanfu is elegant and kimono is restrained. Kimono: The lines of the kimono are straight lines, which are flat and straight at right angles. After the establishment of the Korean dynasty, North Korea, the kingdom of the county, enjoyed the right to be “Cifu(Emperor’s reward)” by the Ming emperor. Therefore, Hanbok also has a distinct style of Ming Hanfu, especially women’s clothing is influenced by the Ming Dynasty Aoqun(袄裙), and later joined the national aesthetic vision, the upper outer garment gradually shortened, jin dynasty hanfu forming today’s hanbok. Hanfu: Hanfu is generally “Jiaolingyouren(交领右衽, the collar is in Y shape)”, also some V-shaped collars. The Korean peninsula has long regarded China as the sovereign state, so its clothing characteristics have also changed with the changes of Chinese dynasty styles. Hanfu: the dress is attached to the upper outer garment. Hanbok: upper outer garment is outside, covering the skirt, the dress’s hem is very wide and fluffy. Most of them are chest dress.
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Life peers are not considered members of the nobility so they are separately ranked in the non-noble list. Duke: 8 lines of piping, standing brush with 5 twists, 4 pillars, 5 vanilla leaves, jade cicada. For this list, the creation and possible amendment of the Ming Statutes are required. Earl: 7 lines of piping, standing brush with 2 twists, 4 pillars, 2 vanilla leaves, hawk’s-bill turtle cicada. Marquess: 7 lines of piping, standing brush with 4 twists, 4 pillars, 4 vanilla leaves, gold cicada. Earl: 6 lines of piping, standing brush with 3 twists, 4 pillars, 3 vanilla leaves, tortoise-shell cicada. Viscount: 5 lines of piping, standing brush with 2 twists, 4 pillars, 2 vanilla leaves, silver cicada. Baron: 4 lines of piping, standing brush with 2 twist, 4 pillars, 2 vanilla leaves, black horn cicada. Of course, this is pure design as it has no historical bearing. It is logical, however, and would be a good compromise to a dead system as Chinese court dress has more or less fallen into obsoletion and out of proper usage. One would hazard a guess that no-one will know or care less since even in the modern era there are very few chances of wearing Chinese court dress and in such situations it would likely be on foreign soil (e.g. State Opening of Parliament, investitures, qipao vintage etc) where no one will know any difference or significance. These suggestions are just one idea of what the possible Standards maybe like. For these wearers, they need to know what is appropriate and logically correct and this information would be useful if one day they obtain the right to wear such court dress, however slim a chance it maybe. These are based on Ming Standard court dress. Everyday court dress of a 1st rank official. Given that the Chinese monachy is no more, there is no current Standard to look to for correctness therefore it is difficult to predict which of the two suggestions would be more appropriate. There are other less formal everyday court dress that is simpler to assign into an Order of Precedence as there are simpler indicators, for example, all nobles wear the rank badge of a ‘qilin’ (Chinese chimera) whilst non-nobles wear the rank badge as dictated by their rank and division for ‘shangfu’ (everyday court dress). The only thing would be decree from a royal source but given the very unlikeliness of this happening, the choice may fall on the wearer. The safer route would be Option 2: using existing Ming Standard but this creates anomolies as the two lesser noble degrees are ‘degraded’ into non-noble status which goes aganist the British system. Option 1 is more logical and given that there is no legislation or imperial and authoritive jurisdiction from China to say otherwise, this would be a more proper way forward as it will fit into the British system more closely and accurately. The issue would be whether accuracy or authenticity is the most important aspect of Chinese Hanfu court dress. Since these do not fall under the Order of Precedence, they are difficult to define in the whole scheme of things. If we exclude non-governmental individuals then there would be no-one that could wear court dress at all! Another point of contention would be government posts. I am still trying to figure out about this issue but it might not be worth the bother as it is highly unlikely that a government minister would wear Hanfu court dress so it might be a waste of time to bother with it… Given that members of the Orders of Chivalry are more likely to wear Chinese court dress (to investitures, etc) then it is probably more appropriate to entitle them to court dress and more probable that this would become reality than an idea on a page. All pictures by 擷芳主人. I have since come to the conclusion that Hanfu court dress is actually defunct and should not be worn. The reason is, as I said above, that there is no reigning Emperor of China to grant such governmental posts that would make the said people in these posts entitled to Hanfu court dress, nor are there any noblemen in China anymore. Secondly, those who live as a British national are therefore subject to the rules and customs of Britain, including what court dress to wear. Thus, a Han Chinese person who is born in the UK as a British national must wear British court dress if he or she wears court dress. A Non-British Han Chinese however may wear whatever they feel fit, including Hanfu if they subscribe to that as their national dress but not Hanfu court dress as they are not entitled to it by virtue of no regining Emperor of China to give entitlement to wear it, otherwise it would be classed as ‘fancy dress’. Hanfu court dress should not be worn. Those who hold dual citizenship of Britain and China (inc. HK, etc) may wear British court dress or whatever dress they see fit as for Non-British Han Chinese.
Traditional Hanfu, the traditional attire of the Han ethnic group in China, is an embodiment of elegance, grace, and cultural heritage. With its rich history dating back thousands of years, Hanfu holds a significant place in Chinese culture. The history of Hanfu can be traced back to ancient China, with its origins dating back to the Xia Dynasty (c. This article explores the beauty of Hanfu, its historical significance, styles, and variations, as well as its revival in modern times. Each dynasty left its unique mark on the style, fabric, and overall design of Hanfu, creating a diverse and fascinating tapestry of clothing. Hanfu encompasses various styles and variations, reflecting the cultural diversity and regional differences within China. From flowing robes to layered garments, Hanfu offers a range of choices for different social classes, genders, and occasions. Some popular styles include Ruqun, Daxiushan, Beizi, and Zhiduo, each with its distinctive features and occasions for wear. Hanfu carries profound significance and symbolism, representing not only fashion but also social status, virtues, and cultural identity. Hanfu acts as a visual language that communicates the wearer’s values and beliefs. The colors, patterns, and accessories used in Hanfu often convey specific meanings, such as prosperity, purity, and filial piety. Hanfu enthusiasts, known as “Hanfu Movement,” are actively promoting the revival of this ancient attire. In recent years, there has been a resurgence of interest in Hanfu, driven by a desire to reconnect with traditional Chinese culture and heritage. Wearing Hanfu is an art in itself, with specific guidelines for dressing correctly. Through social media, events, and grassroots initiatives, they are bringing Hanfu back to the forefront of fashion and cultural appreciation. This section provides a step-by-step guide on how to wear Hanfu, from selecting the appropriate layers to understanding the proper way of accessorizing. Embracing the beauty of Hanfu involves paying attention to details and adhering to the traditional customs associated with this attire. From hair ornaments to jewelry and footwear, every accessory has its significance and completes the desired look. Accessories play a vital role in complementing and enhancing the overall Hanfu ensemble. This section explores the different types of Hanfu accessories and their historical and cultural relevance, offering insights into the intricate details that make Hanfu truly exquisite. The allure of Hanfu extends beyond its historical context, making appearances in popular culture, particularly movies and TV dramas. This section highlights notable productions that feature Hanfu, discussing their impact on promoting cultural awareness and appreciation. Hanfu enthusiasts gather at various festivals and events dedicated to celebrating this traditional attire. This section explores some of the prominent Hanfu festivals and events, offering a glimpse into the vibrant community that exists around Hanfu. From grand parades to costume competitions, these gatherings provide opportunities for like-minded individuals to share their passion for Hanfu. Through these visual mediums, Hanfu has the opportunity to captivate global audiences and spark interest in its timeless beauty. This section delves into the role of Hanfu in shaping cultural identity and the sense of belonging among Chinese communities worldwide. Wearing Hanfu is not merely a fashion choice but a way for individuals to express their cultural identity and connect with their heritage. Hanfu has become a significant driver of tourism in China, with an increasing number of travelers seeking out locations that offer immersive experiences related to traditional attire. Through Hanfu, individuals can rediscover their roots and foster a deeper appreciation for their cultural legacy. This section highlights some of the notable Hanfu-related sites and destinations, providing travelers with a curated list of places to visit to indulge in the world of Hanfu and experience the beauty of ancient China. While Hanfu enjoys a growing resurgence, it is not without challenges and controversies. This section explores some of the issues faced by the Hanfu movement, such as cultural appropriation, commercialization, and the preservation of authenticity. The influence of Hanfu extends beyond traditional wear, impacting contemporary fashion and design. By addressing these challenges, the Hanfu community aims to ensure the integrity and respect for this cherished cultural heritage. Hanfu’s timeless elegance continues to captivate designers, leading to the fusion of traditional elements with modern aesthetics. This section examines the ways in which Hanfu has inspired modern fashion trends, runway collections, and even global brands. In the fast-paced modern world, Hanfu represents a bridge between the past and the present. This section explores how Hanfu enthusiasts are embracing tradition in the 21st century, integrating Hanfu into their daily lives and special occasions. By wearing Hanfu, black qipao dress individuals not only honor their heritage but also contribute to the preservation and promotion of this treasured cultural legacy. Its revival in modern times highlights the enduring fascination with tradition and the importance of cultural preservation. Traditional Hanfu stands as a testament to China’s rich cultural heritage, showcasing the beauty, elegance, and symbolism that transcends time. Q: Can anyone wear Hanfu, or is it exclusive to the Han ethnic group? A: Hanfu can be worn by anyone who appreciates and respects Chinese culture. By embracing Hanfu, individuals can embark on a captivating journey into the past, tang dynasty hanfu connecting with the roots of Chinese civilization. It is not limited to a specific ethnic group. It’s essential to research reputable sellers to ensure quality and authenticity. Q: Where can I purchase authentic Hanfu? A: Authentic Hanfu can be found in specialized Hanfu stores, both online and offline. Q: Can Hanfu be worn on any occasion, or are there specific events for its use? A: Hanfu can be worn on various occasions, from formal ceremonies to casual outings. However, some events, such as traditional weddings or cultural festivals, often have specific Hanfu dress codes. While there are no strict rules, it is advisable to consider the occasion and cultural symbolism when selecting colors and patterns. Q: Are there any rules regarding the colors and patterns of Hanfu? A: Hanfu colors and patterns are diverse and hold different meanings. Q: How can I support the preservation and promotion of Hanfu? A: Supporting local Hanfu communities, attending Hanfu events, and spreading awareness about Hanfu’s cultural significance are all ways to contribute to its preservation and promotion.
With the Chinese economy facing massive challenges, there have been concerns over its growth potential, at least in the immediate future. Last week’s five-day public holiday to mark labour day saw 295 million trips made within China, according to figures from the Ministry of Culture and Tourism. Yet a key exception is emerging in the form of domestic tourism. However, this comes as international arrivals continue to lag, with foreigners currently entering China at barely 30% of 2019 levels. The beautiful historical river town of Wuzhen, a short drive from Shanghai, is considered one of China’s top visitor sites for travellers of all types. The Transport Ministry’s figures are also staggering: 92 million rail trips; almost 10 million air trips and 1.25 billion highway journeys. A popular thing to do in Wuzhen is to pose for photos dressed in traditional hanfu clothing – as if you have really been transported back hundreds of years. Two women in their 20s, friends since high school, are visiting from Jilin Province in the north east. After arriving, they spend an hour getting their hair done in an elaborate imperial-era style – and they are full of praise for Wuzhen’s classical beauty. We ask if, following the post-Covid opening up, many of their family and other friends have been travelling much? When we arrive the little pathways and old bridges which cross narrow waterways are filled with visitors. Nearby a local man who is selling ice-creams also says tourist numbers are “not that bad lately”. As good as before Covid? Shopkeeper Wang Ying, who sells traditional snacks, echoes this sentiment with a big smile on her face. All this will be seen as good news for the Chinese government. It’s been saying that a push on domestic consumption can counter the significant faltering portions of the economy. Amid all these challenges, the Communist Party has set a target of “around 5%” GDP growth for this year. Major players in the once-mighty property sector are struggling to stay afloat, local government debt continues to rise, and persistent youth unemployment has left highly qualified university graduates uncertain of their future. Apart from the fact that analysts have long questioned the veracity of the country’s official growth figures, economists are also asking how such a target can be reached, in any genuine sense, in 2024 without significant extra stimulus. One lifeline could be a more buoyant travel scene which could bring broader business opportunities and greater service industry employment. But, while the volume of local travellers might be up, Mr Peng does point to the problem of per capita consumption which remains persistently low. Tourism industry consultant Peng Han from Travel Daily is following the investment trail to see how the business community really views the possibilities in the sector. He says general uncertainty about the Chinese economy is putting more emphasis on saving, so people are looking for good value options. They are going on holidays and paying for things but doing so much more frugally. This is where an increase in big-spending foreigners could help. In 2019, nearly 98 million international visitors came to the country. But they are simply not travelling to China in the numbers they used to. Mr Lou describes the domestic versus international market as “uneven”. Last year it was only 35 million – including business trips, students and the like. For many in the tourism industry here specialising in services for foreign travellers, “uneven” would be an understatement. Three years of harsh Covid prevention measures drove down arrivals from other countries, but that alone can’t account for the current situation. Huang Songshan, the head of the Centre for Tourism Research in the School of Business and Law at Australia’s Edith Cowan University, blames this weakness in part to “the shifting geopolitical landscape globally”. Official travel advice from some governments echo this sentiment, at times quite harshly. Australia advises “a high degree of caution” warning that “Australians may be at risk of arbitrary detention or harsh enforcement of local laws, including broadly defined National Security Laws”. Washington warns potential travellers to “reconsider travel to Mainland China due to the arbitrary enforcement of local laws, including in relation to exit bans, and the risk of wrongful detentions”. The political environment has also taken a toll on flight availability and price. As a result, red qipao dress finding a seat on a direct flight can be extremely difficult and those that are available are very expensive. This is especially the case with connections to and from North America. President Xi Jinping made a speech at a dinner on the sidelines of the Asia-Pacific Economic Cooperation conference in San Francisco last November addressing this point. The Biden administration is coming under pressure from unions and US airlines to not increase this any further because, they argue, Chinese airlines have an unfair advantage over them as they have state support; don’t face the same onerous Chinese regulations; and, crucially, can fly over Russian airspace, making trips shorter and cheaper. Washington has since increased the number of Chinese airline flights permitted to land – but only from 35 per week to 50. It is still well short of the 150 weekly trips pre-Covid. Mr Lou says the frequency of international flight connections is definitely having an impact. There are certain sites, transport options, and purchases which can only be accessed via Chinese electronic apps which are, at times, only available in Chinese. Then there are other potential turnoffs for those considering travelling in China, like the country’s state-of-the-art phone app payment and booking systems which work very smoothly for Chinese citizens and residents, but which can be an enormous headache if you have just arrived. Professor Chen Yong at Switzerland’s EHL Hospitality Business School is an authority on the economics of tourism in China. Back in Wuzhen, the presence of international travellers is much smaller than in years gone by, but there are still a few foreign faces in the crowd. He thinks that hurdles relating to payment and booking apps can pose a real problem. An Italian couple says the process of linking up to and using China’s payment apps was a challenge but that it was not insurmountable, though they add, with a laugh, that it is “much, much, much easier” if you have a Chinese friend to help you. Eliseo, from California, says he has had problems making payments to small vendors who don’t accept credit cards and really no longer deal with cash. Chinese officials have acknowledged that the foreign traveller numbers have been low but they are now trying to turn this around. One way they’re attempting to attract more foreign visitors is by increasing the number of countries whose citizens don’t need a visa to enter. Another hurdle for him has been his bank at home which has blocked some payments, flagging them as potentially fraudulent coming from China. In 23 Chinese cities, transit passengers from more than 50 countries are also able to stay for a few days visa free if they have an onward ticket. In Shanghai, hotels above a three-star level have been told that they should prepare to deal with international credit cards and an initial batch of 50 taxis have also started accepting them. He says that the culture around this can’t be changed overnight. However, Professor Chen says “it would be too optimistic to envision a long-term growth in China’s inbound tourism”. The West says China makes too much. Yet, in places like Wuzhen – where the local travellers have already returned – the tourism companies are hoping that incredible sites like theirs will eventually be too much for foreigners to resist as well. China will have 300 million pensioners. Can it afford them?
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Hanfu (汉服), meaning “Han clothing,” is a traditional Chinese attire with a rich and complex history spanning over 3,000 years. Known for its elegant lines and unique aesthetic, Hanfu reflects the essence of Chinese culture, blending style with symbolism. This article explores the evolution of Hanfu, its cultural significance, and how it has influenced fashion within and beyond China. Hanfu’s origins date back to the earliest Chinese dynasties, particularly the Shang (1600-1046 BCE) and Zhou (1046-256 BCE) Dynasties. It was during these periods that the earliest forms of Han-style clothing were developed, characterized by simple yet functional designs. The ancient garments were typically made from silk, a luxurious material that China was famous for producing. Traditional Hanfu often included long robes with wide sleeves, a cross-collar, qipao vintage and a tied sash at the waist instead of buttons or zippers. Image: Traditional Hanfu with cross-collar design. The garment’s design became more structured to reflect the wearer’s social status. During the Zhou Dynasty, Confucian philosophy began to shape Chinese society profoundly, and its emphasis on social order and propriety became evident in Hanfu. For instance, the length and color of Hanfu, as well as the number of layers worn, indicated a person’s rank. Embroidered patterns, such as dragons or phoenixes, were also reserved for the royal family, while other motifs represented various virtues like wisdom, strength, and loyalty. Han Dynasty (206 BCE-220 CE): This era saw the popularization of long, flowing robes with wide belts. Tang Dynasty (618-907 CE): Often considered the golden age of Chinese culture, the Tang period introduced more colorful Hanfu with diverse silhouettes influenced by interactions with neighboring cultures like Persia. Women wore form-fitting garments, and high-waisted skirts became fashionable. Women’s attire became more elaborate, with skirts reaching the floor and outer garments adorned with intricate patterns. Image: High-waisted Hanfu style from the Tang Dynasty. Ming Dynasty (1368-1644 CE): Hanfu styles from this era are considered the most iconic. The Ming government promoted Hanfu as a symbol of national pride, especially after the Mongol-led Yuan Dynasty, which had imposed foreign clothing styles. Hanfu designs became highly elaborate, with layers of robes and intricate embroidery. The Manchu rulers enforced their own style of clothing, the “qipao” or “cheongsam,” which differed from Hanfu’s flowing silhouette and became the dominant style across China. However, after the Ming Dynasty, the rise of the Qing Dynasty (1644-1912) led to a decline in traditional Hanfu. In recent years, Hanfu has experienced a resurgence, particularly among younger generations interested in traditional Chinese culture. The Hanfu Movement began in the early 21st century, as Chinese citizens sought to reconnect with their cultural heritage. Today, Hanfu is worn at cultural festivals, weddings, and even as everyday attire by some enthusiasts, symbolizing a revival of pride in Chinese history and identity. The timeless design of Hanfu has influenced global fashion, with elements such as loose silhouettes, wide sleeves, and delicate embroidery appearing in contemporary collections. Image: Modern Hanfu worn at a cultural festival. Hanfu stands as a testament to China’s long and storied history, reflecting the aesthetics, values, and craftsmanship of each era. Its recent revival signifies a growing appreciation for traditional Chinese culture and an enduring legacy that continues to inspire. 1. Xu, K. (2015). History of Chinese Clothing: A Cultural Perspective. Luxury brands often draw inspiration from Hanfu’s aesthetic, adapting traditional patterns and motifs to appeal to a modern audience. Beijing: China International Press. 2. Wang, Y. (2017). Chinese Dress: History, Art, and Fashion. Shanghai: Modern East Publishing.
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Shenyi (Chinese: 深衣; pinyin: shēnyī; lit. Liji and advocated in Zhu Xi’s Zhuzi jiali《朱子家禮》. 12 or “to wrap the body deep within cloth”. As cited in the Liji, the shenyi is a long robe which is created when the “upper half is connected to the bottom half to cover the body fully”. The shenyi was then developed in Zhou dynasty with a complete system of attire, being shaped by the Zhou dynasty’s strict hierarchical system in terms of social levels, gender, age, and situation and was used as a basic form of clothing. The shenyi then became the mainstream clothing choice during the Qin and Han dynasties. By the Han dynasty, the shenyi had evolved into two types of robes: the qujupao (Chinese: 曲裾袍) and the zhijupao (Chinese: 直裾袍). 13-14 The shenyi later gradually declined in popularity around the Wei, Jin, and Northern and Southern dynasties period. However, the shenyi’s influence persisted in the following dynasties. Chinese scholars also recorded and defined the meaning of shenyi since the ancient times, such as Zhu Xi in the Song dynasty, Huang Zongxi in the Ming dynasty, and Jiang Yong in the Qing dynasty. The shenyi was also introduced in both Goryeo and Japan, where it exerted influences on Confucian clothing attire in Korea and Japan. The shenyi then became a form of formal wear for scholar-officials in the Song and Ming dynasties. The shenyi is called simui in Korean, it was worn by followers of Confucianism in the Goryeo and Joseon period. Combined, the term shenyi literally means “deep clothing”. The term shenyi (Chinese: 深衣) is composed of two Chinese characters《深》which can be translated as ‘deep’ and《衣》which literally means ‘clothing’ in the broad sense. The structure of the Hanfu system is typically composed of upper and lower parts; it also typically comes into two styles: one-piece garment (where the upper and lower parts are connected together), and two-pieces garments (where the upper and lower parts are not connected). And as stated by the Liji, the shenyi was one long robe as opposite to the combination of a top and a bottom. 12 Thus, the shenyi differ structurally from the paofu, which is a one-piece robe where the lower and upper part is cut in a single fabric. However, the structure of the shenyi is made of two pieces: an upper garment called yi (Chinese: 衣; pinyin: yī) and lower garment called chang (Chinese: 裳; pinyin: cháng), which are then connected together to form a one-piece robe. Moreover, a standard shenyi was also made up of twelve panel of fabric which were sewn together. However, in the Shang and Western Zhou dynasties, people prominently wore a set of attire called yichang, which consisted of a jacket called yi and a long skirt called chang. 260 From the Spring and Autumn period to the Han dynasty, the loose shenyi with wide sleeves was fashionable amongst the members of the royal families, the aristocrats, and the elites. The loose shenyi which wrapped around the body to back and lacked a front end slit and was designed for the upper classes of society, especially for women, who wanted to avoid exposing their body parts when walking. This design of this wrap-style of shenyi was an important necessity in a period where the kun had yet to become popular amongst the general population. 16 The preoccupation of the elites with layered, loose-fitting clothing also displayed their desire to distance themselves from the labourers, signalling their high status. Following the Han dynasty, the shenyi lost popularity in the succeeding dynasties until it was revived again the Song dynasty. The Western Zhou dynasty had strict rules and regulations which regulated the daily attire of its citizen based on their social status; these regulations also governed the material, shape, sizes, colours, and decorative patterns of their garments. 12 it then further developed in the Han dynasty where small variations in styles and shapes appeared. 255 The shenyi was also shaped by the Zhou dynasty’s hierarchical system based on social class, gender, age, and the situation. However, despite these complex regulations, the shenyi was still a basic form of garment which served the needs for all classes, from nobles to commoners, old to young, men to women; and people would therefore expressed their identities through recognizable objects, decorations, colours, and materials on their outer garments. Nobles would wear a decorated coat over the shenyi, while commoners would wear it alone. Man wearing a shenyi, from the Silk painting depicting a man riding a dragon. In the Warring States period, the shenyi was a moderately formal style of clothing. In the early Eastern Zhou dynasty period, there were still strict rules and regulations which regulated the clothing of all social classes and were used to maintain social distinction between people of different classes. 13 The shenyi which was representative of the Warring States period, was designed to have the front stretched and wrapped around the body several times. Materials which were used in this period tended to be linen; however, when the shenyi was made into ceremonial garments, then black silk would be used instead. 16-17 Both paintings unearthed from a Chu tomb, Warring States period, 5th century BC, Changsha, Hunan Province. 13 It was worn by both the literati and the warriors as it was both functional and simplistic in style. 13 The shenyi was also tied right below the waist level in the front with a silk ribbon, called dadai (Chinese: 大带) or shendai (Chinese: 绅带), on which a decorative piece was attached to. In this period, the shenyi was also deeply rooted in the traditional Chinese ethics and morals which forbid close contacts between males and females. 12 In this period, the shenyi had to conform to the certain rules and regulations which were recorded in the special chapter called Shenyi《深衣》in the Liji. The design features of shenyi also match the ancient Chinese culture. It was not made so short as to show any of the skin, nor so long as to touch the ground. The sleeve was joined to the body of the dress at the armpit, so as to allow the freest movement of the elbow-joint; the length of the lower part admitted of the cuffs being turned back to the elbow. The outside pieces of the skirt joined, and were hooked together at the side; (the width of) the seam at the waist was half that at the bottom (of the skirt). 《古者深衣，蓋有制度，以應規、矩、繩、權、衡。 短毋見膚，長毋被土。 續衽，鉤邊。 要縫半下；袼之高下，可以運肘；袂之長短，反詘之及肘。 帶下毋厭髀，上毋厭脅，當無骨者。 The same chapter described the shenyi as being made of twelve panels of fabric corresponding to the twelve months and all twelve robes are cut into one clothing style. The sash was put on where there were no bones, so as not to interfere with the action of the thighs below or of the ribs above. The sleeve was made round, as if fashioned by a disk. In the making (of the garment) twelve strips (of the cloth) were used, to correspond to the twelve months. The cord-like (seam) at the back descended to the ankles, as if it had been a straight line. The edge at the bottom was like the steelyard of a balance, made perfectly even. The opening at the neck was square, as if made by means of that instrument so named. 《制：十有二幅以應十有二月；袂圜以應規；曲袷如矩以應方；負繩及踝以應直；下齊如權衡以應平。 12-13 and the explanation behind the function of these prescribed measurements, and the location of the belt referred as dai (simplified Chinese: 带; traditional Chinese: 帶). For ornament, while his parents and grandparents were alive, (a son) wore the dress with its border embroidered. If (only) his parents were alive, the ornamental border was blue. In the case of an orphan son, the border was white. 《具父母、大父母，衣純以繢；具父母，衣純以青。 如孤子，衣純以素。 純袂、緣、純邊，廣各寸半。 In the morning they wore the xuanduan; in the evening, the shenyi. It was gathered in at each side (of the body). The border round the mouth of the sleeves and all the edges of the dress was an inch and a half wide. The sleeve could be turned back to the elbow. The outer or under garment joined on to the sleeve and covered a cubit of it. The collar was 2 inches wide; the cuff, a cubit and 2 inches long; the border, 1.5 inch broad. To wear silk under or inside linen was contrary to rule. 《朝玄端，夕深衣。 深衣三袪，縫齊倍要，衽當旁，袂可以回肘。 長中繼掩尺。 袷二寸，祛尺二寸，緣廣寸半。 以帛裹布，非禮也。 There are two purposes for the loose-cut design: firstly, the body shape is less visible to others; the second reason is to allow the wearer to move the body as freely as possible. The waistband should only accentuate the outline of the waist; the outline of the rest of the body should be well hidden from view. Nonetheless, the second purpose, which engages more freedom of movement for the wearer’s body. In the chapter Shenyi《深衣》of the Liji, the making of the shenyi will match the compass called gui (Chinese: 規; lit. The wearer’s skin should be appropriately covered to meet the first purpose. Chinese: 矩; lit. Chinese: 繩; lit. Chinese: 權衡; lit. These four tools have normative connotations in Liji: The gui, ju, and sheng generally refer to the rules and standards people should follow; the quanheng defines the ability to balance all the advantages and disadvantages and result in the best solution. In appearance, rounded cuffs of the shenyi to match the compass; squared neckline to match the squareness, the seams at the back part of the shenyi drop down to the ankle to match the straightness, and steelyard balance the bottom edge to match evenness. The terms “squareness,” “straightness,” and “evenness” can be used to describe both the physical properties of objects and the moral qualities of people. These wordplays tie the physical properties of tools to virtues. The Liji also explains how the shenyi helps construct its wearer’s character through the symbolic relationship between the tools, virtues, and each part of the shenyi. Every part of shenyi has the attributes of an instrument, which gives the text multiple moral meanings. The straight seams worn in the rear (fusheng) and the square neckline worn in the front (baofang) are intended to straighten one’s approach to political issues. The bottom edge is meant to seem like a steelyard balance to calm one’s thoughts and focus one’s aim. The back seam of the shenyi is first linked to the physical characteristics of “straightness” in the sheng and then to the moral trait of “straightness.” When attention to political matters, the wearer of the shenyi will be straight in the sense of becoming “upright” the design of the square-shaped neckline indicates “making correct” correspondence to the wearer’s role performance. The circular shape of the cuffs allows the user to raise his arms while walking, allowing him to maintain correct comportment (rong). Liji emphasizes how each part of shenyi represents a moral trait, such as selflessness, straightness, and evenness. The evenness of the bottom edge is supposed to be able to keep the wearer’s thoughts “even” in the sense of “balancing,” allowing him to focus on a single goal. The body concealing and physical movement freedom are two significant reasons why shenyi was made in this design. Body mobility is brought up again in Liji, which says that the cuffs are created round to allow the wearer to cultivate his physical comportments (rong), not because roundness indicates a certain moral quality. Nevertheless, the chapter Shenyi《深衣》also emphasizes the body effects on wearers. In early Confucian ethics, having refined body comportment is regarded ethically significant. The shenyi allows the user to cultivate a person’s comportment while also cultivating one’s character by allowing a broad range of body mobility. Both the Chinese verbs “to carry” (fu) and “to embrace” (bao) employed regarding the straight seams and square-shaped neckline frequently indicate a close bodily relationship between its subject and object. The Liji also implies that the symbolic meanings of the shenyi which may be sensed by the wearer’s body, in addition to being accessed cognitively and mentally. The text implies that the wearer’s body carries and embraces the straightness and squareness. Therefore, it can be sensed through the tactile sensations when the shenyi contacts the wearer’s skin. Moreover, the evenness of the bottom border of the shenyi may be sensed when the wearer stretches it with his hands or when his thighs naturally meet it while walking. These two words are widely used to describe how the human body moves. The users of shenyi may need to walk smoothly and firmly to keep its bottom edge even. By the Mid-warring states period, however, the rules and regulations started to disintegrate. The design of the shenyi also encourages its wearer to use their bodies in a certain way. 340 – 278 BC with twelve long robes which were all cut in the approximate style of shenyi whether they were padded with silk floss (mianpao), single in layer (danyi) or lined (jiayi). Moreover, some of the textiles and decorations used in making those robes were against the rules and regulations for her ranks and violated the rules which were stipulated in the Liji. The forms of these shenyi, however, were not standardized and show variations in cut and construction. The shenyi grew in popularity during the transition period from the Warring States period to the Western Han dynasty; and with its increased in popularity, the shape of the shenyi deviated further from its earlier prescriptions. The shenyi found in the Mashan tombs had a straight-front which falls straight down. In the Qin dynasty, Qin Shi Huang abolished the mianfu-system of the Zhou dynasty and implemented the shenyi-system specifying that third ranked officials and above were required to wear shenyi made out green silk while commoners had to wear shenyi which were white in colour. 16 This system adopted by Qin Shi Huang laid the foundations of the Hanfu-system in the succeeding dynasties. The Western Han dynasty also implemented the shenyi-system, which featured the use of a cicada-shaped hat, red clothes, and a collar in the shape of tian 《田》, and garments which were sewn in the shenyi-style with an upper and lower garment sewed together. During the Qin and Han dynasties, the shenyi dominated the connection method of the upper and lower parts and became the mainstream choice. By the Western Han dynasty, the shape of the shenyi had deviated from the earlier versions as it can be found in the Mawangdui tomb of the same period belonging to Lady Dai. The shenyi had evolved into two types of robe: the qujupao (Chinese: 曲裾袍; lit. The shenyi was also worn together with the guan and shoes as a form of formal attire in the Han dynasty while in ordinary times, shanku attire and the ruqun attire were born by men and women respectively. The qujupao directly evolved from the wrapping-style shenyi which was worn in the pre-Qin period and became popular in the Han dynasty. English, and the zhijupao (Chinese: 直裾袍; lit. The qujupao was more luxurious than the zhijupao as it required approximately 40% more materials than the zhijupao; and therefore the presence of more amount of wraps in qujupao indicates that the robes are more increasingly more luxurious. More examples of unearthed archeological artefacts of shenyi made of diverse cuts and materials from the Mawangdui tomb can be found in Museums, such as the zhijusushadanyi (Chinese: 直裾素纱襌衣; pinyin: zhíjūsùshādānyī; lit. Moreover, the shenyi in this period, regardless of its cut, could also be padded, lined, or unlined. Chinese: 丝绵曲裾袍; lit. Chinese: 曲裾素纱褝衣; lit. There were also gradual changes but clear distinctions in the form of the shenyi between the early and late period of the Western Han dynasty. Hunan Museum. According to the Fangyan by Yang Xiong dating from the Western Han dynasty, the danyi (Chinese: 襌衣; lit. Others wore qujupao with a flowing extended panels which would create a tiered effects at the back. Moreover, the design of the shenyi was closely related to the evolution of the Chinese trousers, especially the ku. 14 However, when the chanyu first appeared, it was considered to be improper to use it as a ceremonial garment; it was also improper to use it outside of the house, and it was also improper to wear it at home when receiving guests. In the early Western Han, some women wore body-hugging shenyi which was floor length with wide and long sleeves, long enough to cover the hand. Reasons why the wearing of chanyu was considered improper in those circumstances might be related to the wearing of the ancient ku, which were trousers without crotches; and thus, this form of zhijupao might not have been sufficiently long to cover the body which was a disgraceful act from its wearer. A kun (Chinese: 褌) was a form of Chinese trousers with crotches as opposed to the ku. 14 The disrespectful nature of wearing chanyu at the court was even recorded in the Shiji. With time, when the kun became more popular, the zhijupao, which was shorter and easier to put on than the qujupao; the zhijupao then started replacing the qujupao which had been long enough to cover the ku. Therefore, the kun was never able to replace the ku; moreover, the design of the ancient ku had also evolved with time becoming long enough to cover the thighs, with some parts even covering the upper parts of the hips, such as the qiongku which was especially designed for women in the Western Han dynasty court. 32 The kun, however, were only popular for some people of certain occupations, such as warriors, servants, and the lower class, in the Han dynasty and was not widely used by the general population as it was not easily accepted by the traditional etiquette of the Han culture. By the middle of the Western Han dynasty, the qujupao became nearly obsolete; and by the late Western Han dynasty, the shenyi were straight rather than spiralled. In the Eastern Han dynasty, very few people wore shenyi. In the Song dynasty, Neo-Confucian philosophies determined the conduct code of the scholars which then had a great influence on the lives of the people. 184 Zhu Xi and his Neo-Confucian colleagues developed a new cosmology, moral philosophy, and political principles based on intellectuals and elites sharing responsibility for the dynasty’s management. The Neo-Confucians also re-constructed the meaning of the shenyi, restored, and re-invented it as the attire of the Neo-Confucian scholars in order to distinguish themselves from other scholars who came from school of thoughts. Some Song dynasty scholars, such as Sima Guang and Zhu Xi, made their own version of the scholar gown based on the Liji, while other scholars such as Jin Lüxiang promoted it among his peers. In his Zhuzi jiali《朱子家禮》, Zhu Xi described the style of the long garment in considerable detail. Zhu Xi himself hesitated to wear it in public due to the social stigma which were associated to it; Zhu Xi was also accused for wearing strange garments by Shi Shengzu, who also accused Zhu Xi’s followers of defying the social conventions. However, the shenyi used as a scholar gown was not popular in the Song dynasty and was even considered as “strange garment” despite some scholar-officials appreciated it. According to philosopher and ancient scholar Lü Dalin (1044-91), noblemen and scholars used the shenyi for informality and ease, whereas commoners wore it as formal clothing. Sima Guang, on the other hand, had the habit to wear the shenyi in private in his garden. The garment was worn by court officials, noblemen and noblewomen, palace ladies, scholars and their wives, artisans, merchants, and farmers. It was the traditional informal attire of the ancient nobility. The Song Neo-Confucians praised the robe not only for its elegance and simplicity but also because it represented an essential political function. The robe became the formal clothing of commoners in the ancient Chinese world, reversing this reasoning. In the Song dynasty, the shenyi was made with white fabric. In the Ming dynasty, in line with the attempt of the Hongwu Emperor to replace all the foreign clothing used by the Mongols of Yuan, with the support of the Chinese elites who had supported the military campaigns against the Mongols. This form of shenyi had suddenly become a popular form of robe for the scholars in 1368 and also became the official attire of the scholars. Moreover, the shenyi had become a symbol of status and Han ethnicity as it was devoid of all foreign influence and also denoted Chinese intellectual pride and superiority. Huang Zongxi chose Huang Runyu’s research version to serve as his contrast. According to Huang Zongxi’s research, the scholar’s robe shenyi represented the transfer of literati political values instead of dynastic politics and imperial orthodoxy. The scholar robe’s shenyi was a significant topic during the transition period between the Ming dynasty and the Qing dynasty. Identifying the specific portion known as ren is the main distinction between these two versions. Ren was casually marked in the center of Huang Runyu’s rendition and referred to the entire front piece, folding over the other side. The robe’s expanded bottom, known as xuren, was fashionable throughout the Ming dynasty and can be seen in numerous Ming paintings. He said that the scholar’s robe’s style and function exactly matched the “great implication” (da yi) of literati values. This definition of ren is narrow and particular, referring to the collar that runs from the neck to the ground. The phrase xuren (continuing the ren) in Records of Rituals refers to the continuance of the collar. Xuren is no longer a name for a robe portion but rather a description of how ren is tailored, according to Huang Zongxi. On the other hand, Huang Zongxi called ren the collar on the right folding to the left. In the 19th century, some members of the gentry class still regarded the shenyi as a Chinese symbol and as having a proper status in society. The missionaries also viewed Christianity as being a higher civilizing force than Confucianism. The Catholic missionaries in the 19th century who visited China perceived Chinese religions (being constituted of the sanjiao) as a degeneration of “true monotheism”, widespread superstition, and idolatry while the Protestant missionaries perceived them as being religions with corrupted priesthood, mindless ritualism and idolatry in the Buddhist and Taoist worship. However, this view was not accepted by all the Chinese people, such as Kang Youwei and Cheng Huanzhang. Confucianism was defective when compared to Christianity. Confucian texts to the educational curriculum and the official recognition of Confucianism as China’s national religion. Kang Youwei thus wrote a controversial book in 1897, called Kongzi gaizhi kao《 孔子改制考》(lit. He also listed 12 attributes which were associated with the religiosity of Confucianism: one of these attributes was about rufu, which according to him, was a specific form of attire consisting of the Confucian shenyi and a cap which had been designed by Confucius for his followers to wear. Confucianism as a ‘religion’ in both 1913 and 1916; the parliament gave official institutional status to five religions: Buddhism, Daoism, Catholicism, Protestantism, and Islam, and excluded Confucianism. Thus, in the written by Cheng Huanzhang also wrote the Kongjiaolun, where he argued that the rufu was the clothing attire worn by the Confucianism religion priests. The shenyi reappeared in the 21st century in China. The ancient-style shenyi in the form of both qujupao and the zhijupao reappeared and is worn by both men and women. In 2003, a man named Wang Letian wore a DIY raojinshenyi on the streets. The qujupao was a robe which was long enough to cover the ankles of its wearer; it has an overlapping front lapel which closed on the right side in a style called jiaoling youren; however, its right front piece was cut as a triangular front piece that crossed in front of the body and has rounded under hem. The collar of the qujupao was deliberately made in such ways to prevent any part of its wearer’s body from being exposed. Mawangdui tomb No.1 of the Western Han dynasty. Another version of the qujupao is raojinshenyi (Chinese: 繞襟深衣; lit. 16 The raojinshenyi is characterized by overlapping curved front lapel which is elongated enough to spiral around the entire body. 41-42 It typically has a silk belt which is tied closely around the waist and hips to prevent the garment from loosening; the position of the belt depends on the length of the garment. 41 The raojinshenyi can have narrow sleeves or broad and loose sleeves. The shenyi in later dynasties directly descended from the shenyi worn in earlier dynasties The shenyi was originally made of ramie cultivated in China. The front opening of the zhijupao would fall straight down instead of having a curving front. Ramie fabric needs to be bleached and produced 45 to 60 centimetre wide textile. The yi (衣, blouse) and chang (裳, skirt) of the shenyi is sewn together. Similarly to the shenyi worn from Zhou to Han dynasties, the shenyi designed in Song dynasty followed the same principles. The upper part is made up of 4 panels of ramie fabric, representing four seasons of a year. 2 panels are fold and sewn to cover the upper body. Another 2 panels of ramie fabric are sewn onto each side of the yi as two sleeves. Its sleeves are wide with black cuff. The lower part is made up of 12 panels of fabric sewn together (十二片縫合), representing 12 months a year. According to the Japanese scholar Riken Nakai’s shenyi template, there are four design features of the Shenyi dressing: upper and lower connections, square collar, length to the ankle, and additional coverage. It is also tied with a wide belt called dadai (大帶) is tied in the front. In the Song dynasty, the shenyi was made with white fabric. In Korea, the shenyi is called simui (Korean: 심의; Hanja: 深衣). The Diyi was a set of attire which was worn as ceremonial clothing; a shenyi was also part of the diyi. It was introduced from China in the middle of Goryeo; however, the exact date of its introduction is unknown. The seonbi in Joseon imitated the clothing attire designed by Zhu Xi, i.e. the shenyi and the literati hat. The seonbi, who valued the simui greatly, embraced it as a symbol of Confucian civilization, and continued to publish treatise on the simui starting from the sixteenth century AD. The simui was worn as an outer garment by the seonbi. The simui also influenced other clothing, such as the cheollik, the nansam, and hakchangui. The simui is white and in terms of design, it has wide sleeves and is composed on an upper and lower part which is attached together (衣裳連衣; Uisangyeonui) at the waistline; the lower part has 12 panels which represents 12 months. There were also various forms of simui which developed in the Joseon. The early Tokugawa period in Japan, some Japanese scholars, such as Seika Fujiwara and Hayashi Razan, who self-proclaimed themselves as followers of Zhu Xi wore the Confucian shenyi and gave lectures in it. Seika Fujiwara, was usually perceived as the patriarch of the Japanese Neo-Confucian movement during the Tokugawa period. It is a high-waist robe and a belt (大帶; dadae) is tied to the simui. This section does not cite any sources. Please help improve this section by adding citations to reliable sources. 171 this event also marked the beginning of the popularity of Confucianism in Japan. Unsourced material may be challenged and removed. But shenyi was not only worn by Confucian scholars; it was also commoners. In the Le dynasty, there were some ancient statues left behind, showing Confucian scholars wearing shenyi. Until the Nguyen dynasty, shenyi was still seen in a number of photos. The ‘shi’ was a social stratum in ancient China which ranked just above the class of commoners, see Sheng, 1995. After the Spring and Autumn period, it became a term for scholars and intellectuals, see Zhang, 2015, pp. Hua, Mei (2011). Chinese Clothing. Lynch, Annette; Strauss, Mitchel D. (2014). Ethnic dress in the United States : a cultural encyclopedia. Lanham, Maryland: Rowman & Littlefield Publishers. Cambridge: Cambridge University Press. Kuo, Y.-P.; Vongphantuset, J.; Joneurairatana, E. (November 16, 2021). “View of From Eastern inspiration to unisex fashion: a case study on traditional Chinese Shenyi attire”. Theobald, Ulrich (2013). “Zhuzi jiali 朱子家禮”. Los Angeles: Bridge21 Publications. Zhao, Yin; Cai, Xinzhi (2014). Snapshots of Chinese Culture. Encyclopedia of Korean Culture (in Korean). Wang, Chen (2014-09-01). “Conservation study of Ming dynasty silk costumes excavated in Jiangsu region, China”. Studies in Conservation. 59 (sup1): S177-S180. Hu, Minghui (2016). “The Scholar’s Robe: Material Culture and Political Power in Early Modern China”. Frontiers of History in China. Encyclopedia of Korean Folk Culture. Sheng, Angela (1995). “The Disappearance of Silk Weaves with Weft Effects in Early China”. 53 (2): 231-255. doi:10.3366/cost.2019.0122. Lullo, Sheri A. (September 2019). “Trailing Locks and Flowing Robes: Dimensions of Beauty during China’s Han dynasty (206 bc – ad 220)”. Costume. Ho, Wei; Lee, Eun-young (2009). “Modern Meaning of Han Chinese Clothing” (PDF). Hunan Museum. “Plain Gauze Gown”. Lüsted, Marcia Amidon (2017). Ancient Chinese daily life (1 ed.). Journal of the Korea Fashion & Costume Design Association. Zhang, Qizhi (2015). “The Rich and Colourful Social Life in Ancient China”. New York: New York : Rosen Publishing. China Academic Library. Heidelberg: Springer, Berlin, Heidelberg. Xu, Rui; Sparks, Diane (2011-01-01). “Symbolism and Evolution of Ku-form in Chinese Costume”. An introduction to Chinese history and culture. Research Journal of Textile and Apparel. 15 (1): 11-21. doi:10.1108/RJTA-15-01-2011-B002. Zang, Yingchun; 臧迎春. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. 李竹润., 王德华., 顾映晨. Cambridge, United Kingdom: Cambridge University Press. Hunan20. “Silk Painting with a Man Riding a Dragon Design of Warring States Period”. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu. Hunan21. “Silk Painting with a Lady, Phoenix and Dragon Designs of Warring States Period”. Virtual collection of Asian Masterpieces (VCM). Translated by James Legge. Hsu, N. (August 31, 2021). “Dressing as a Sage: Clothing and Self-cultivation in Early Confucian Thought”. Virtual collection of Asian Masterpieces (VCM). Translated by James Legge. David, Michael; Ing, Kaulana (2012). The Dysfunction of Ritual in Early Confucianism. Hong Kong Heritage Museum. Hong Kong Heritage Museum. Feng, Ge; Du, Zhenming (2015). Traditional Chinese Rites and Rituals. Xu, Guobin; Chen, Yanhui; Xu, Lianhua (2018), Xu, Guobin; Chen, Yanhui; Xu, Lianhua (eds.), “Clothing, Food, Housing and Transportation”, Introduction to Chinese Culture: Cultural History, Arts, Festivals and Rituals, Singapore: Springer, pp. LEONG, TAY WEI (2012-08-16). Saving the Chinese Nation and The World: Religion and Confucian Reformation, 1880s-1937 (Thesis thesis). Murray, Julia K (2014-08-28). “A heavenly aura: Confucian modes of relic veneration”. Journal of the British Academy. In Eggert, Marion; Hölscher, Lucian (eds.). Religion and Secularity: Transformations and Transfers of Religious Discourses in Europe and Asia. Blanchon, Flora; Park-Barjot, Rang-Ri (2007). La nouvel age de Confucius : modern Confucianism in China and South Korea (in French). Chen, Hsi-yüan (2013). “RELIGIONIZING CONFUCIANISM AND THE RE-ORIENTATION OF CONFUCIAN TRADITION IN MODERN CHINA”. Paris: Presses Paris Sorbonne. Gao, Chunming (1987). 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For more in regards to hanfu chinese look at our web site.
Hanfu, or Han-style clothing, evolved from the dress Han Chinese wore in ancient times, and is an iconic symbol of Chinese culture. In recent years, this traditional Chinese clothing has become better known and loved internationally. In Singapore, for example, fans wear it for various cultural events. Tong Weiqiang, a Chinese living in Singapore, is an avid fan of the clothing. “I was deeply impressed by the costume in martial arts dramas produced by Hong Kong TVB Channel, and began to take a liking to traditional Chinese clothing,” he said. He was first attracted to Hanfu when he was a child. Now years later, Tong established a cultural club for Hanfu lovers. “For Singaporeans who are interested in Chinese culture and appreciate the beauty of Hanfu, the club is a venue for them to learn more about China’s cultural heritage,” he said. Lin Xiaoying, vice chairperson of a Hanfu association in Singapore, is dedicated to introducing traditional Chinese culture to overseas Chinese and people of other countries. “Unknowingly, I have taken Hanfu to heart. I have been traveling around the world and organized many promotional events to display to the world the elegance of traditional Chinese clothing. In adulthood, I traveled extensively in my job, and noticed people in Japan and the Republic of Korea wearing traditional robes. The sight inspired me to share with them the traditional costume of China,” said Lin. Since a young age, I have been drawn to beautiful things, such as painting and fashion. “I wore Hanfu for the first time in 2012, and have since fallen in love with it,” said Wu Zengxin, a Taijiquan (or tai chi), coach in Singapore. “It would be pitiful for me not to wear Hanfu with full confidence,” she added. Gradually, his audience has come to realize the beauty of Hanfu. He has since chosen this dress for all performances he gives, though it is more expensive than a generic martial arts uniform. Following my example, more Taiji masters began to perform in the clothing. “I am sure that I am the first in Singapore to perform Taijiquan in Hanfu. This is the power of cultural heritage,” said Wu. The evolution of Hanfu is a reflection of the history of Chinese culture. At a Hanfu festival held on November 27, 2021, participants dressed up in Hanfu apparel take pictures in front of the entrance to the Shenyang Imperial Palace. Generally speaking, it refers to all the clothing of Han Chinese from the pre-Qin period (before 221 B.C.) to the Qing Dynasty (1644-1911). During the Spring and Autumn and Warring States periods (770-221 B.C.), the Han dress took on elements of those of nomadic ethnic groups, making it more suitable for equestrian activities and archery,” said Cai Danjun, associate professor of the School of Liberal Arts, Renmin University of China. Though traditional Chinese clothing was predominantly influenced by Confucian culture, it incorporated elements of other cultures and a variety of ethnic groups, she added. “Hanfu dates far back into history. There are many anecdotes in Chinese history involving clothing, said Cai, giving three examples. In late Eastern Han Dynasty, warlord Cao Cao became the de facto ruler of the country. The resentful emperor, Xiandi (181-234), wrote an edict with his blood, and hid it in a waistband to be sneaked out to his ministers, instructing them to assassinate Cao. Many ancient books mention that the Yellow Emperor, one of the legendary Chinese sovereigns and culture heroes, invented early Chinese clothing that consisted of the upper and lower pieces – tunic and unisex skirt – representing the heaven and earth, respectively. “This shows that the ritual, cultural and aesthetic standards of Chinese attire had taken shape in the pre-Qin period, and evolved in the following centuries as a result of the integration of different ethnic groups and cultures. Wu Zengxin has met people from all over the world in Singapore, and many people from Western countries showed interest in and affection toward the Hanfu he wore. When we delve into the history and culture behind Hanfu, we can help people in other parts of the world better understand the profound cultural meanings of this clothing,” said Cai. Being of Chinese decent, Tong Weiqiang feels the desire to share stories of Chinese culture with more people. Together with other Hanfu fans, I have also organized regular cultural activities in local libraries, sharing with fellow Singaporeans works of Chinese literature, hanfu wedding dress poetry and classical style of writing,” he said. “Hanfu conveys a profound history. “Singapore is a developed country, but society is based on a ‘grassroots culture.’ Earlier generations of Chinese migrated here looking to make a living. Later generations have also embraced a pragmatic way of thinking. Many Chinese Singaporeans and Chinese living in the country want to learn more about the culture of their ancestral land. Therefore, much needs to be done to enhance their sense of mission to carry on their traditional culture,” said Tong. Wu is delighted to see more young Singaporeans wearing Hanfu at scenic resorts. In Lin’s view, Hanfu encapsulates the 5,000-year-old Chinese civilization and gives expression to the Chinese spirit. He believes that the attire, with its rich cultural significance, is not only a token of China’s sartorial elegance, but also a lens to peep into Chinese culture. To better promote Hanfu among overseas Chinese, Cai suggested establishing a Hanfu culture system that bridges the past with the present, covers both public activities and academic studies, and puts equal emphasis on sartorial patterns and traditional aesthetic theories. She finds meaningfulness and pride in carrying on this cultural heritage. “Hanfu has deep cultural roots,” said Cai. The Doctrine of the Mean says, “When wearing a fine dress of splendid colors, one should cover it with a linen overcoat.” She explained that this is because ancient Chinese valued modesty and reserve. “How to dig into such ideas imbedded in classical attire to better combine traditional culture with modern life is an area that deserves more attention and effort of modern Chinese people,” Cai added.
