Ming Dynasty also brought many changes to its clothing as many dynasties do. They implemented metal buttons and the collar changed from the symmetrical type of the Song Dynasty (960-1279) to the main circular type. Compared with the costume of the Tang Dynasty (618-907), the proportion of the upper outer garment to lower skirt in the Ming Dynasty was significantly inverted. Since the upper outer garment was shorter and the lower garment was longer, the jacket gradually became longer to shorten the length of the exposed skirt. Young ladies in the mid Ming Dynasty usually preferred to dress in these waistcoats. The waistcoats in the Qing Dynasty were transformed from those of the Yuan Dynasty. There are some kinds of normal Ming Dynasty style Hanfu introductions in following paragraphs. Changa Ao (Chinese: 長襖) is the traditional Chinese attire for women. During the Ming Dynasty, Confucian codes and ideals was popularized and it has significant effect on clothing. However, it was actually developed from zhiduo during the Ming Dynasty, and is worn over a skirt. It is a form of formal wear, and is often perceived as a longer version of ruqun. There is often an optional detachable protective huling (護領, lit. The huling can be of white or any other dark colours. It is wide-sleeved, shorter than zhiduo and has no side panels (暗擺) at the side slits (thus showing the skirt worn underneath). The collar is of the same colour as the clothing. Daopao/Xingyi (道袍/行衣) is the traditional Chinese attire for men. It is a form of formal wear in the Ming Dynasty. There are side panels (暗擺) at the slits to conceal the undergarments. It is a full-length robe with side slits beginning below the waist. It is wide sleeved and has a belt (大帶). An optional detachable protective huling (護領, lit. The collar can be of the same or different colour as the clothing, but has to be of the same colour as the edges of the clothing. Chinese sources indicate it has been worn since the Song Dynasty. The huling can be of white or any other dark colours. However, other sources states that it evolved from a military-styled tunic, the kuzhe, traditional qipao that was inspired by “nomad warriors from the north”. Yuan Ling Shan (圓領衫) is a form of traditional Chinese attire. Despite its name (meaning ‘robe of Taoism’), traditional hanfu daopao is worn by all men regardless of religious background. It is also the most common form of attire for (both male and female) officials and nobles during the Ming Dynasty. The difference between civilian’s and officials’/nobles’ yuanlingshan is that officials’/nobles’ yuanlingshan has a mandarin square (補子) on it. It is a formal attire worn by men. The sleeves of the yuanlingshan are mostly curved with a narrow sleeve cuff (琵琶袖, pipa sleeve). Men’s yuanlingshan (regardless of civilian’s/officials’) have side panels (暗擺) at the side slits to conceal the undergarments. It has round collar and side slits. The collar is secured with a button, and a crossed-collar undergarment must be worn. Underneath the Yuanlingshan is worn the Da Hu(褡護, sleeveless or half sleeve vest with side panels) and the Tie Li(貼裏，men’s inner dress, sometimes replaced with the Zhi Shen). However, yuanlingshan is not worn alone. During an Imperial Funeral, Ming officers wore a grey blue Yuanlingshan (without Mandarin Square), buffalo horn panel belt(烏角帶) and wushamao. This set was known as ‘Qing Su Fu'(青素服). Lan Shan (襴衫) is the traditional Chinese attire for men. According to the Ming’s Government letter against Toyotomi Hideyoshi, the Ming Government bestowed on him a set of Chang Fu (常服羅) containing a red yuanlingshan with kirin mandarin square(大紅織金胷背麒麟圓領), dark blue Da Hu(青褡護) , and green Tie Li(綠貼裏). It is a formal attire worn by scholars and students (生員) taking the imperial examination in Ming Dynasty. It is wide sleeved, has black edges, and has a round collar secured with a button. It may or may not have side slits (with side panels (暗擺) to conceal the undergarment). It has been worn since the Tang Dynasty. Bian Fu is a traditional Chinese outfit consisting of a knee-length tunic over a skirt or pair of pants. A crossed-collar undergarment must be worn. This two-piece costume was considered to be a ceremonial dress. This was worn on top of a skirt that reached the length of the ankles. The tunic for a top that extended all the way to the knees. The pien (弁) was a cylinder-shaped hat that accommodated the outfit. The skirt under the tunic was worn only during formal occasions. Zhiduo (直裰), or Zhishen (直身), is the traditional Chinese attire for men. It was first worn in Song Dynasty. It is a form of casual wear, and is the most common form of attire for men in the Ming Dynasty. It is a full-length robe with side slits beginning below the waist, often with side panels (暗擺) at the slits as well to conceal the undergarments. The sleeves are mostly curved with a narrow sleeve cuff (琵琶袖, pipa sleeve). There is often an optional detachable protective huling (護領, lit. The huling can be of white or any other dark colours. The collar is of the same colour as the clothing.

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The wearing of ancient Chinese clothing, known as hanfu, has gone rapidly from a niche hobby to a nationwide phenomenon in recent years. The same report revealed the top three reasons consumers choose to wear hanfu: their appreciation and love of traditional Chinese culture, the way its style fits their aesthetics, and the fact hanfu lends itself well to flattering photos to post on social media. According to a report in 2022, the hanfu market in mainland China boasted an impressive 10.2 million customers. This is the first of two visual explainers about this fashion trend. Hanfu (漢服) literally means Chinese Han people’s clothing. Hanfu (漢服) or Huafu (華服) ? There is dispute over the term hanfu (漢服), as some scholars prefer Huafu (華服); “Hua”(華) represents the Chinese nation, including all 56 of its ethnic groups. It is a term used to describe the traditional clothes worn by the Han people. However, since Han Chinese are the dominant ethnic group in China, people generally refer to ancient Chinese clothing as hanfu. When a performer at the 2022 Beijing Winter Olympics opening ceremony was spotted wearing hanbok while carrying the Chinese national flag, the Koreans accused China of claiming hanbok as its own. The Chinese embassy in Seoul responded that: “These traditional cultures belong to both the peninsula and the Korean people of China, and claims of … To the untrained eye, hanfu, the Japanese kimono and the Korean hanbok may look alike. There is also an on-going controversy over whether hanfu is the origin of hanbok, the traditional Korean costume. Here are some of the unique features of the three types of attire. However, each has distinctive design elements, historical origins, and cultural significance unique to their respective countries. There is a common misconception that ancient Chinese clothing was bulky and heavy. While some garments were indeed elaborate and layered, many traditional clothes, especially those made of silk, were designed to be lightweight and comfortable. Putting on hanfu with proper decorum was important in ancient Chinese society, as it was a way to distinguish social roles. Rules on how to wear, fold, and tie garments were followed meticulously to project an image of grace, modesty, and respect. Today, some of the followers of the hanfu revival movement adopt the same principles.

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Hanfu in Ming Dynasty has the following characteristics: The official and men’s clothing in the Ming Dynasty were mainly round-necked, which was one of the measures to restore the Han clothing. The round-necked gown in Song Dynasty, and was replaced by the minority culture in Liao, Xia, Jin, and Yuan Dynasties. Based on the dress etiquette requirements of the majority of people in each ancient era (i.e., the ancient scholar and citizen class), some historical costumes are selected and summarized into a contemporary Hanfu system. Este es un resultado de búsqueda, no un anuncio. Hanfu (simplified Chinese : 汉服; traditional Chinese : 漢服; pinyin : Hànfú, lit. Este es un resultado de búsqueda, no un anuncio. Este es un resultado de búsqueda, no un anuncio. Han Chinese since the 2nd millennium BCE. Este es un resultado de búsqueda, no un anuncio. The Ming Dynasty was the last dynasty ruled by the Han nationality in China’s feudal history, and the evolution of its costumes showed irregular volatility. We will introduce several classic Ming Hanfu styles for girls, based on different collar styles. Jiao Ling (交领, cross collar) usually refers to the crossing of collars formed by the overlapping of the plackets. Let’s start by introducing the style of the Zhi Ling Da Jin Shan/Ao (直领大襟衫), qipao dress modern commonly known as Jiao Ling (交领) Shan/Ao. Hanfu is the historical dress of the Han people for all of history before the Qing Dynasty. Learn about the features, origin, and evolution of Hanfu from the Xia and Shang periods to the Ming Dynasty, and its influence in East Asia. Este es un resultado de búsqueda, no un anuncio. Examining the differences between Ming Hanfu Song and Tang Dynasty styles reveals differences in elegance, usage of fabrics, and cultural priorities. Este es un resultado de búsqueda, no un anuncio. During this period, Hanfu, the traditional attire of the Han Chinese, underwent remarkable changes in terms of shape and structure. This article provides an in-depth exploration of Hanfu fashion in the Ming Dynasty, shedding light on its exquisite designs, rich symbolism, and cultural importance. Este es un resultado de búsqueda, no un anuncio. Este es un resultado de búsqueda, no un anuncio. With the Ming Dynasty’s now world renowned textiles and sewing capabilities, new styles of shirts emerged. With the advent of metallic buttons called Zimukou 子母扣, standing collar styles (by far the most iconic characteristic of Chinese clothing) became widespread.

Tanling ruqun (Chinese: 坦領襦裙; pinyin: Tǎnlǐng rúqún; lit. 93-94 low-cut U-shaped collar upper inner garment with long sleeves, a U-shaped collar banbi upper outer garment with short sleeves, a long high-waisted skirt. It can also be adorned with a shawl, called pipo (Chinese: 披帛). It was a popular form of clothing attire in the Sui and Tang dynasty. In the 21st century, chinese new year traditional clothing the Tanling ruqun re-appeared as a result of the Hanfu movement. The 21st century Tanling ruqun was developed by reproducing the original patterns of the historical tanling ruqun while being aligned with modern aesthetics. Tanling (Chinese: 坦领; pinyin: Tǎnlǐng) refers to the U-shaped (Chinese: 坦; pinyin: Tǎn; lit. Chinese: 领; pinyin: Lǐng; lit. U-shaped banbi which is worn as an outer upper garment. The term tanling ruqun is composed of the terms tanling and ruqun. The term ruqun refers to the traditional two piece attire of the ancient Han Chinese consisting of a skirt and an upper garment called ru. 291The skirts could be embellished with stripe patterns of two colours or be found in monochrome colours. 291 The banbi could also be tucked under or worn over the long skirt. The tanling ruqun is mainly composed three parts: a long wrap skirt, a U-shaped collar inner shirt with long sleeves, and a tanling banbi (a U-shaped short sleeves outer jacket). 291In the Tang dynasty, hats of foreign origins or influence, such as the mili, weimao and humao, were worn when horseback riding. 85-86 they could also wear it together with variety of hats. Detailed of a Tang dynasty woman wearing a tanling banbi under a skirt. There is embroidered borders at the sleeves of the banbi. Woman rider wearing a tanling ruqun and a humao, Horse and female rider, Tang dynasty. Tang dynasty woman wearing a tanling ruqun and pibo (shawl), she is holding a mili. A maid wearing tanling ruqun with pipo over the shoulders, mural from the tomb of Yanfei (燕妃), Tang dynasty. 25 The new style of clothing had high waisted skirt almost similar to the Empire silhouette and the upper garments had low décolletage. The late sixth century, for example in the Sui dynasty, was marked the arrival of new style of women’s Hanfu. 25 The Sui dynasty women already liked wearing banbi over their long-sleeved clothing. Tanling garments, including the tanling banbi, was already popular in the court of the early Sui dynasty, the predecessor of the Tang dynasty. The Tang dynasty continued the clothing style of its predecessor, and women continued to wear high-waisted skirt, low-cut upper garments and long skirts. In the 7th century, palace women could wear banbi over a plain shirt and a high-waisted, A-line skirts which could be monochrome or striped. According to the New Book of Tang, “banbi, skirt, and ru are common clothes for maids served at the Eastern Palace”. Some shapes of banbi (such as the tanling banbi) worn in the early Tang appears to have been mainly influenced by the banbi worn in Qiuci. In the Tang dynasty, new styles of Tanling banbi appeared and became extremely popular. In the first decade of the 8th century, skirts in monochrome colours became more popular than stripped skirts. Maid from the tomb of Wei guifei (韋貴妃), Tang dynasty. Three female musicians wearing Tanling ruqun, Tang dynasty. 85 By the mid-Tang dynasty around the mid-8th century, upper garments with low décolletage lost popularity and women started to cover themselves with shawls; there were also new ideals of beauty favouring extremely plump and voluptuous women over the youthful slenderness of the Sui and the early Tang dynasties. Qungua (裙褂): a type of ruqun worn as a Traditional Chinese Wedding dress in Qing and in modern era. Xuanduan (玄端): a very formal dark ruqun with accessories; equivalent to the Western white tie. Xiuhefu (秀禾服): a type of aoqun worn as a Traditional Chinese Wedding dress in Qing and in modern era. Chen, Bu Yun (2013). Dressing for the Times: Fashion in Tang Dynasty China (618-907) (Thesis). 王金妍. “Hanfu: China’s traditional Han-style clothing”. Chen, BuYun (2017-01-02). “Material Girls: Silk and Self-Fashioning in Tang China (618-907)”. Fashion Theory. Chen, Buyun (2019). Empire of style : silk and fashion in Tang China. James C. Y. Watt, Prudence Oliver Harper, Metropolitan Museum of Art. China : dawn of a golden age, 200-750 AD. New York: Metropolitan Museum of Art. James C. Y. Watt, Prudence Oliver Harper, Metropolitan Museum of Art. China : dawn of a golden age, 200-750 AD. New York: Metropolitan Museum of Art. John S. Major. New Haven: Yale University Press. 李竹润., 王德华., 顾映晨. Beijing: Wu zhou chuan bo chu ban she. Steele, Valerie (1999). China chic : East meets West. Introduction to Chinese culture : cultural history, arts, festivals and rituals. Zhao, Qiwang; Lyu, Qianyun (2020). “Western Cultural Factors in Robes of Wei, Jin, Southern and Northern Dynasties as Well as Sui and Tang Dynasties” (PDF). This page was last edited on 28 January 2025, at 12:28 (UTC). Guobin Xu, Yanhui Chen, Lianhua Xu, Kaiju Chen, Xiyuan Xiong, Wenquan Wu. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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This section delves into the role of Hanfu in shaping cultural identity and the sense of belonging among Chinese communities worldwide. Experience the graceful fusion of traditional Chinese culture and contemporary fashion. Our Modern Hanfu collection showcases a harmonious fusion of classic aesthetics and contemporary design. The work of the round neck robe also integrates the characteristics of various ethnic groups, with a full sense of classicism. Glass er dang became popular from the Han dynasty to the Southern and Northern dynasties due to its bright colours and due to its glittering characteristics and translucence. Zhu Yuanzhang, the emperor Taizu of the Ming Dynasty, wedding qipao reformulated the dress system according to the tradition of the Han nationality. Visit our website to explore our full collection of Hanfu dresses and accessories. The collar can be either standing or mandarin-style and adds an air of elegance and sophistication to the dress. However, in the Song Dynasty, people turned to advocate frugality and elegance. Do you think a lot of people are inspired to wear Hanfu after watching popular period dramas? Therefore, chinese hanfu pink and greem the clothing style in this period was more simple and implicit. It changed from a wide and loose style to a more form-fitting and revealing cut, mens hanfu which put more emphasis on women’s body lines. Following the end of the Yuan dynasty, the wearing of zuoren in women’s clothing persisted in the Ming dynasty for at least Chinese women who lived in the province of Shanxi. Flying fish suit is a kind of clothing given by the Ming Dynasty. Zhishen is a kind of official dress in the Ming Dynasty. The qungua originated in Guangdong when Liang Zhu, a Guangdong Qing dynasty politician, was rewarded with a silk wedding dress embroidered with dragons and phoenixes by the Qing Emperor at the time of his daughter’s wedding. The overall look is natural and unrestrained. It was confirmed that natural materials such as animal skins could be used to sew simple clothes at that time. Not only the cuffs are made wider, but also the overall style tends to be elegant and natural. In order to distinguish it from the previous dynasties, it also has its own name, called Panlingpao (盘领袍). During the Wei and Jin Dynasties, influenced by social politics, economy, and culture, the style of Hanfu was free and easy, simple and elegant, and light and elegant. Tang made Hanfu has inherited many characteristics of previous dynasties’ costumes, such as the meticulous costumes of the Zhou Dynasty, the elegant costumes of the Wei and Jin Dynasties, and the lively costumes of the Han Dynasty. In the Tang Dynasty, the atmosphere was open and the clothing absorbed many characteristics of Hu Fu. In fact, there is little resemblance between the Ming Dynasty’s round collar robe and the Tang Dynasty’s, except for the round collar. There are small pleats above the large pleats and two pieces of horse ears on the left and right respectively. The Qin and Han Dynasties are the two unified dynasties in Chinese history, the first imperial era in Chinese history. The chenyi and the changyi differed in terms of structure: the changyi had two high side slits which allowed for greater ease of movements while the chenyi had no side slits. It also has side slits on the right and left side. Guzhuang (Chinese: 古装; pinyin: gǔzhuāng; lit. The earliest shoe styles were very rudimentary. Men’s yuanlingpao and yuanlingshan also have side panels called anbai (Chinese: 暗擺; pinyin: ànbǎi; lit. Because in ancient times, the most common form of Hanfu worn by emperors and officials was the round neck robe(Yuanling Robe). Yuanling Aoqun has long styles and short styles. The front piece of Yesa (曳撒) is cut separately and the back piece is a whole piece. Yuanling can be overlapping to the right or closing at the front in the duijin manner. How historically accurate are most Hanfu designs? Observing that the apparel most often promoted by the movement are based on the Han-era quju and zhiju, she suggests that other styles, especially that of the Tang era, would also be candidates for revival in light of this umbrella definition. The Amaia is an exquisite piece of hanfu and quality is top notch. On this basis, it has built a beautiful and moving prosperous age of the Tang Dynasty with its unique grace and magnificence and various gorgeous makeup, which makes Tang-made Hanfu still particularly popular. Han men and women were still allowed to wear the hanfu under some circumstances and/or if they fell under the exemptions of the Tifayifu policy.

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Traditional Chinese clothes were an evolution of their long, loose, straight-cut jackets and pants or gowns. They reflected traditional Chinese aesthetics, philosophy, and social values as they changed through over 3,000 years of history. The Hanfu, Zhongshan suit (Mao suit), Tang suit, and cheongsam (qipao) are the four most distinctive types of traditional Chinese clothing. Legend traces it back to over 4,000 years ago when Huangdi’s consort, Leizu, made cloth with silk. The Hanfu (‘Han clothing’ – the majority of Chinese are of Han ethnicity) is the oldest of China’s traditional clothes. Until the Han Dynasty, the Hanfu was adopted and vigorously promoted by the ruling class. It then became the national clothing of the Han ethnic people. It was constantly improved throughout several dynasties. It also had a far-reaching influence on neighboring Asian countries, such as Korea, Japan, and Vietnam. Nowadays, people seldom wear Hanfu except on special occasions, such as festivals and wedding ceremonies, or by young girls who want to show off or taking photos. People use various ornaments to decorate their Hanfu, worn on the belt or sash. The more decorations they had, the higher social status they had. The ornaments are called pei (配, which means match or decorate). Men wore hats, and women wore headpieces to go with their Hanfu. Hanfu can be divided into three styles: jacket with skirt, jacket with trousers, and one-piece dress. The most popular style is the jacket with skirt style, which is worn by women. Read more about Hanfu. Originating in the Qing Dynasty, the cheongsam has mainly developed into Beijing styles, Shanghai styles and Hong Kong styles. There are many differences in decorations, colors, materials, black cheongsam dress and designs. Read more about Qipao. The cheongsam (qipao) evolved from the Manchu women’s changpao (‘long gown’) of the Qing Dynasty (1644-1912). The Manchu ethnic people were also called the Qi people by the Han people; hence their long gown was named qipao (‘Qi gown’). Beijing’s cheongsam style is more traditional and conservative than Shanghai’s and Hong Kong’s. Shanghai-style cheongsams are more commercial and forward-looking. More Western elements are used in the designs and colors of Shanghai-style cheongsams. The colors of Beijing-style qipaos are much brighter and their decoration is more complicated than other styles’. The sleeves of Hong-Kong-style cheongsams are shorter than the Beijing and Shanghai styles’. The decorations are simpler too. Hong-Kong-style cheongsams were influenced greatly by European fashions. The Tang suit often refers to a type of Chinese jacket rather than the clothing of the Tang Dynasty (618-907). The origin of Tang suit actually only dates back to the Qing Dynasty era (1644-1911). It was developed from a type of the era’s Manchurian clothing – the magua (马褂, ‘horse gown’). This name came from the overseas Chinese. As the Tang Empire was famous for being prosperous and powerful in the world, foreigners called the overseas Chinese people “the Tang people” and the clothes they wore were called “Tang suits” (which has been translated as Tangzhuang 唐装). The Tang suit is a duijin (对襟, a kind of Chinese-style jacket with buttons down the front) with a Mandarin collar (a band collar) and “frog” buttons (knobs formed of intricately knotted cord). Traditional Tang suits, based on the magua of the Manchu ethnicity, usually have Chinese characters on them to express good luck or best wishes. The most popular characters include fu (福, ‘happiness and good luck’) and shou (寿, ‘longevity’). The Zhongshan suit, also known as the Mao suit overseas, is a type of men’s jacket. It was first advocated by Dr Sun Yat-sen (Sun Zhongshan in Mandarin, hence Zhongshan suit). Nowadays, Tang suits have become a kind of formal dress worn on some special occasions, such as Chinese New Year, wedding ceremonies, or important events. Zhongshan suits have four big pockets on the front, two up two down, equally spaced left and right. There are five central buttons on the front and three smaller buttons on each sleeve. Zhongshan suits can be worn on formal and casual occasions because of their symmetrical shape, generous appearance, elegance, and stable impression. The design of Zhongshan suits combines traditional Chinese and Western clothing styles. The colors of Zhongshan suits are various, but usually plain, including black, white, blue, and grey. Wearers choose different colors for different situations. There were no fashion shows in ancient China. Read more about Zhongshan Suit. Traditional Chinese clothing was the outcome of people’s aesthetic tastes and social customs. It varied historically, regionally, and through the social hierarchy. In addition, the overall harmony of the outfit was also emphasized. Traditional Chinese clothes usually adopted a straight cut and were loose in shape. People normally wore light colored clothing in daily life. Red, bright yellow, and purple always exclusively belonged to the emperor and the imperial family. The mass people mostly wore red at weddings. Besides that, white clothing was normally worn at a funeral. For example, for women, only an empress or official wives could wear true red while the color was prohibited to concubines. Women’s clothing was more diverse than clothing for men. Compared to men’s clothing, women’s clothing had more ornaments, items, and styles. As agricultural development increased, more clothing material appeared. In later years, linen, cotton, and silk were the prominent materials. At the very beginning, the ancient Chinese only covered their bodies with leaves. During the Ming Dynasty (1368-1644), according to the government’s policy of physiocracy and restriction of business, businessmen were forbidden to wear silk clothing, even if they were rich. Almost every dynasty had its own unique clothes, some of which were really exquisite beyond compare. Generally, traditional Chinese clothes had two basic forms: top-bottom clothes and one-piece clothes. The top-bottom clothes, consisting of an yi (衣 upper garment) and a chang (裳 lower garment) were the earliest form of clothing recorded in Chinese documents. The yi refers to any open cross-collar garment worn by both sexes, where the right side was wrapped over the left, and the shang refers to any skirt worn by both sexes, highlighted by a belt hanging from the side. This two-piece clothing is said to date back to legendary Huangdi’s reign (2697-2597 BC). The one-piece clothing was called shenyi (deep robe) and can be traced back to the late Zhou Dynasty (1046-221 BC). The shenyi was widely adopted by various dynasties throughout the history of China. It was considered to be formal dress in the Han Dynasty (206 BC – 220 AD), and it still has a great influence on modern-day one-piece clothing. The yi and the shang were sewn as one piece although they were cut separately. Less research, more enjoyment! Be the first to receive exciting updates, exclusive promotions, and valuable travel tips from our team of experts. If you have the interest to learn more facts about Chinese traditional clothes, just contact us to tell your interests and requirements and China Highlights will create a China tour for you. Instant Response, No More Waits! Your own personal guide and ride. Unparalleled flexibility, impossible on a group tour. Explore at your own pace. The Top 20% nationwide guides at your service. Authentic local culture and lifestyles. Understand the culture by living it. 20% more space on your group’s transportation. 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Discover the charm of men hanfu and dive into the rich cultural heritage that this traditional clothing style represents. Perfect for history buffs, cultural enthusiasts, and fashion-forward men, men hanfu offers a unique blend of style and heritage that is sure to turn heads. Whether you are attending a cultural event, a traditional festival, or simply want to add a touch of elegance to your wardrobe, men hanfu is the perfect choice. The flowing robes, intricate embroidery, and elegant design elements are not just fashionable, but also carry deep cultural significance. From formal events to casual outings, men hanfu can be adapted to fit any occasion, making it a versatile addition to your wardrobe. Our men hanfu collections offer a wide range of styles to suit different preferences and occasions. Whether you prefer the traditional zhongshan suit with its sharp, tailored fit, or the more relaxed yi with its loose and flowing design, we have something for everyone. Crafted with meticulous attention to detail and traditional techniques, each piece of men hanfu is a testament to the rich cultural heritage of the Han people. Our pieces are made from high-quality, breathable fabrics that ensure both comfort and style. Moreover, our men hanfu not only looks great but also promotes cultural awareness and appreciation. By wearing men hanfu, you become a proud ambassador of Chinese culture and heritage. Don’t miss out on the opportunity to experience the magic of men hanfu for yourself. Our collection includes a variety of designs, colors, and styles that cater to different tastes and preferences. It’s a fashion statement that not only enhances your personal style but also educates others about the beauty and depth of Chinese traditions. From formal attire to casual wear, our men hanfu is versatile enough to adapt to any situation. Order now and embrace the elegance and charm of men hanfu. Whether you are a history enthusiast, a fashion lover, or simply looking to add a unique touch to your wardrobe, our men hanfu is the perfect choice. Experience the joy of dressing in a garment that not only looks great but also carries a rich cultural heritage. Dive into the world of men hanfu and let your style and heritage shine!

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Shenyi (Chinese: 深衣; pinyin: shēnyī; lit. 12 or “to wrap the body deep within cloth”. Liji and advocated in Zhu Xi’s Zhuzi jiali《朱子家禮》. 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 then became the mainstream clothing choice during the Qin and Han dynasties. 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. 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. The shenyi then became a form of formal wear for scholar-officials in the Song and Ming 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. However, the shenyi’s influence persisted in the following dynasties. The shenyi was also introduced in both Goryeo and Japan, where it exerted influences on Confucian clothing attire in Korea and Japan. The shenyi is called simui in Korean, it was worn by followers of Confucianism in the Goryeo and Joseon period. 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 opposed to the combination of a top and a bottom. Combined, the term shenyi literally means “deep clothing”. 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. 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, 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. Moreover, a standard shenyi was also made up of twelve panel of fabric which were sewn together. 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. 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. 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. 12 it then further developed in the Han dynasty where small variations in styles and shapes appeared. 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. 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. 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. Nobles would wear a decorated coat over the shenyi, while commoners would wear it alone. In the Warring States period, the shenyi was a moderately formal style of clothing. 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. Man wearing a shenyi, from the Silk painting depicting a man riding a dragon. 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. 13 It was worn by both the literati and the warriors as it was both functional and simplistic in style. 16-17 Both paintings unearthed from a Chu tomb, Warring States period, 5th century BC, Changsha, Hunan Province. The design features of shenyi also match the ancient Chinese culture. 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 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). It was not made so short as to show any of the skin, nor so long as to touch the ground. 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 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. 《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 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 opening at the neck was square, as if made by means of that instrument so named. The edge at the bottom was like the steelyard of a balance, made perfectly even. The cord-like (seam) at the back descended to the ankles, as if it had been a straight line. 《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). If (only) his parents were alive, the ornamental border was blue. For ornament, while his parents and grandparents were alive, (a son) wore the dress with its border embroidered. In the case of an orphan son, the border was white. The border round the mouth of the sleeves and all the edges of the dress was an inch and a half wide. It was gathered in at each side (of the body). 《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. The outer or under garment joined on to the sleeve and covered a cubit of it. The sleeve could be turned back to the elbow. 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. The wearer’s skin should be appropriately covered to meet the first purpose. The waistband should only accentuate the outline of the waist; the outline of the rest of the body should be well hidden from view. 《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. 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. 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. These wordplays tie the physical properties of tools to virtues. The terms “squareness,” “straightness,” and “evenness” can be used to describe both the physical properties of objects and the moral qualities of people. 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 circular shape of the cuffs allows the user to raise his arms while walking, allowing him to maintain correct comportment (rong). 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. Liji emphasizes how each part of shenyi represents a moral trait, such as selflessness, straightness, and evenness. Nevertheless, the chapter Shenyi《深衣》also emphasizes the body effects on wearers. The body concealing and physical movement freedom are two significant reasons why shenyi was made in this design. 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. In early Confucian ethics, cheongsam dress having refined body comportment is regarded ethically significant. 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. 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. These two words are widely used to describe how the human body moves. 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. The users of shenyi may need to walk smoothly and firmly to keep its bottom edge even. 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. The design of the shenyi also encourages its wearer to use their bodies in a certain way. By the Mid-warring states period, however, the rules and regulations started to disintegrate. 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. During the Qin and Han dynasties, the shenyi dominated the connection method of the upper and lower parts and became the mainstream choice. 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. The shenyi found in the Mashan tombs had a straight-front which falls straight down. 16 This system adopted by Qin Shi Huang laid the foundations of the Hanfu-system in the succeeding dynasties. 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 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. The shenyi had evolved into two types of robe: the qujupao (Chinese: 曲裾袍; lit. 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. 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. The qujupao directly evolved from the wrapping-style shenyi which was worn in the pre-Qin period and became popular in the Han dynasty. Moreover, the shenyi in this period, regardless of its cut, could also be padded, lined, or unlined. Chinese: 曲裾素纱褝衣; lit. Chinese: 丝绵曲裾袍; lit. 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. 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. 14 The disrespectful nature of wearing chanyu at the court was even recorded in the Shiji. A kun (Chinese: 褌) was a form of Chinese trousers with crotches as opposed to the ku. 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. 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. 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. 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. 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. In the Eastern Han dynasty, very few people wore shenyi. 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. 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. 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. 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. Sima Guang, on the other hand, had the habit to wear the shenyi in private in his garden. 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. 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. The garment was worn by court officials, noblemen and noblewomen, palace ladies, scholars and their wives, artisans, merchants, and farmers. The robe became the formal clothing of commoners in the ancient Chinese world, reversing this reasoning. 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. In the Song dynasty, the shenyi was made with white fabric. 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. The scholar robe’s shenyi was a significant topic during the transition period between the Ming dynasty and the Qing dynasty. 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. 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. He said that the scholar’s robe’s style and function exactly matched the “great implication” (da yi) of literati values. 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. This definition of ren is narrow and particular, referring to the collar that runs from the neck to the ground. On the other hand, Huang Zongxi called ren the collar on the right folding to the left. Xuren is no longer a name for a robe portion but rather a description of how ren is tailored, according to Huang Zongxi. The phrase xuren (continuing the ren) in Records of Rituals refers to the continuance of the collar. 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. 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. 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. Kang Youwei thus wrote a controversial book in 1897, called Kongzi gaizhi kao《 孔子改制考》(lit. Confucian texts to the educational curriculum and the official recognition of Confucianism as China’s national religion. 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. 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. 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. 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 shenyi reappeared in the 21st century in China. The collar of the qujupao was deliberately made in such ways to prevent any part of its wearer’s body from being exposed. Another version of the qujupao is raojinshenyi (Chinese: 繞襟深衣; lit. Mawangdui tomb No.1 of the Western Han dynasty. 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. 16 The raojinshenyi is characterized by overlapping curved front lapel which is elongated enough to spiral around the entire body. 41 The raojinshenyi can have narrow sleeves or broad and loose sleeves. 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. Similarly to the shenyi worn from Zhou to Han dynasties, the shenyi designed in Song dynasty followed the same principles. 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 yi (衣, blouse) and chang (裳, skirt) of the shenyi is sewn together. 2 panels are fold and sewn to cover the upper body. The upper part is made up of 4 panels of ramie fabric, representing four seasons of a year. Another 2 panels of ramie fabric are sewn onto each side of the yi as two sleeves. The lower part is made up of 12 panels of fabric sewn together (十二片縫合), representing 12 months a year. Its sleeves are wide with black cuff. It is also tied with a wide belt called dadai (大帶) is tied in the front. 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. The Diyi was a set of attire which was worn as ceremonial clothing; a shenyi was also part of the diyi. In the Song dynasty, the shenyi was made with white fabric. It was introduced from China in the middle of Goryeo; however, the exact date of its introduction is unknown. The simui was worn as an outer garment by the seonbi. The seonbi in Joseon imitated the clothing attire designed by Zhu Xi, i.e. the shenyi and the literati hat. In Korea, the shenyi is called simui (Korean: 심의; Hanja: 深衣). 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 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. It is a high-waist robe and a belt (大帶; dadae) is tied to the simui. There were also various forms of simui which developed in the Joseon. Seika Fujiwara, was usually perceived as the patriarch of the Japanese Neo-Confucian movement during the Tokugawa period. 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. 171 this event also marked the beginning of the popularity of Confucianism in Japan. Please help improve this section by adding citations to reliable sources. This section does not cite any sources. Unsourced material may be challenged and removed. 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Köck, Stephan; Scheid, Bernhard; Pickl-Kolaczia, Brigitte (2021). Religion, Power, and the Rise of Shinto in Early Modern Japan. This page was last edited on 13 December 2024, at 21:34 (UTC). The Worship of Confucius in Japan. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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Livraison directe depuis la France vers la région européenne. Cette robe Qixiong Ruqun inspirée des vêtements traditionnels de la dynastie Tang. La chemise blanche et les détails en bleu apportent un contraste harmonieux, renforçant l’aspect raffiné de cette tenue. Confectionnée dans un tissu fluide et léger, cette robe est idéale pour des événements traditionnels, des cérémonies ou des représentations culturelles. La robe présente de délicates broderies florales lotus sur la jupe et le châle translucide, évoquant une sensation de légèreté et de grâce. Lorsque le produit n’est pas disponible ou qu’il est incomplet, il n’est pas possible de rédiger un avis. Veuillez noter que les tailles chinoises sont plus petites que les tailles européennes, mais la conception ample du Hanfu garantit une excellente compatibilité des tailles. Merci de votre compréhension. 2. Après le lavage, accrochez-le dans un endroit bien ventilé à l’intérieur pour qu’il sèche à l’air libre. Tenir à l’abri de la lumière directe du soleil pour éviter la décoloration.

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Recently, major news sites such as Chinanews and Guangzhou Daily has been circulating a set of illustrations to propose a modernized version of Hanfu for use as high school uniforms, and is the first seriously accepted design for Hanfu in our time. Previous to the release of this design, other “modernizing innovations” ranged from shortening the length of the shang skirt, men hanfu to adding zippers and lace in its designs. Their doubt and hesitance to quickly adapting existant elements has no doubt paid off, in the sense of confirming a public sense of what Hanfu is, differentiating itself from Korean and Japanese clothing of similar appearance. In this article, I will focus on the criticism of this rumoured proposal for a Hanfu-inspired school uniform. First off is the top – generally based off a white shirt cutting, short sleves and a low easy collar with hidden snap buttons to fasten. 90° at the point of intersection. The result is double-layering of cloth for most of the chest area. A crucial element of Hanfu is minimizing hard objects used as fasteners to ensure the most comfort – and hidden snap buttons may be a viable solution next to tied sashes. If the material is thinner (such as the thin cotton-poly cloth used in school uniforms today) it may be an embarassment for girls to have their bras peer through from the two sides that aren’t covered. A common mistake I like to often point out – the collar is opened too wide – Hanfu should wrap in a close fit with the neck, and should this design be put on a three-dimensional body, the stretching of the arms would open the collar even further than designed (as all clothing would, more or less), and produce a common flaw in most lower-end Hanfu today of opening too far and showing the lockbone. In this design, the fastening point is at the bottom of the shirt, changing the angle of the intersecting points and only providing dual-layer protection for the lower abdomen area. A Hanfu zhongyi (or whatever is worn as the first layer) should not reveal that.The use of a fastener just below/at the point of intersection: The intention is not to have the collar fall open when bending down and revealing the inside. However, Hanfu with a good fit and proper fastening at the side should not have this problem (regardless of top/bust size), and would further remove the traditional functions of a Hanfu top – to store things inside (or accessing an inside pocket, which can be done if the button didn’t exist). Upon a second reconsideration, perhaps the use of this central button can be an option, and even feature for a school crest on the button outside. The skirt of the Hanfu Uniform proposal. The skirt of the proposed design is a direct application of the mamian qun (or horse-faced skirt), from female apparel in the Ming dynasty, with modern fabric and patterns suited for a school environment. Similar to other wrap skirts or kilts, the primary problem of it is it blowing open in a crosswind – a problem that wasn’t as evident if the skirt was full-length and lined with heavy fabric. However, as the skirt is now at knee-length and probably mass-produced with a woolen material, it is now evidently an issue – and while the kilt solves the issue with the characteristic large safety pin, a hidden snap button is used for the skirt of Chinese context – another stroke of modern genius many approve. A point I hope to see manufacturers get correctly is that the definition of a mamian qun is that the broad pleate is present at both the front and back, unlike the kilt which is only at the front. Diagrams from here do not show the existance of a back ‘face’, so that may be a point which must be pointed out and corrected. Perhaps a little feature (such as a stripe) at the end of the skirt would highlight the design, or feature the uniqueness of a school. That is left for each institution to decide for themselves. The proposal also suggested safety and information features such as including on the waistband of the skirt a ‘jade’ which includes the name of the school and student in seal-script, as well a jade decoration hung from the waist (a traditional piece of decor worn by both men and women, and can be used to hold the skirt down from the wind) that contains a RFID chip containing student information much similar to the function of a student card (sometimes even with a monetary balance – to access laundry machines, printers etc.) today. The only concern of this would be security, as these are attachments and are the most visible (and most stealable or easily misplaced) articles worn. As a point of suggestion, pockets in the skirt may be much appreciated. Qipao has been a staple in Hong Kong’s uniform design. Image from HKSG Database (Maryknoll Father’s School). As Hanfu becomes more and more recognized in the mainland, the question of representation of tradition will no doubt spill over to question standing symbols of ‘Chinese-ness’. So far, the government has stood on a ‘let-be’ attitude, while the majority of the Chinese (who aren’t particularly against Hanfu) mostly submit to the idea of accepting the idea that the “Chinese” image is multifaceted and a duality of existance is needed in our time.