China during the early Republican Era. Supported by the Empire of Japan, its members sought to restore the Chinese monarchy under the Qing dynasty by launching insurgencies and advocating the secession of Manchuria and Inner Mongolia from the rest of China. Party of the Aisin Gioro Cult. They sold their collections of paintings and antiques to raise money for the anti-republican resistance. Shanqi (Prince Su), Puwei (Prince Gong), General Tieliang, Duke Tsai-tse and Yü-liang. At the time, parts of the Royalist Party advocated for the foundation of a secessionist “Manchuria-Mongolia” state to at least preserve the monarchy in northern China. The situation for the Qing imperial government was increasingly undermined by military and political setbacks caused by the opposing republicans, and the Republic of China was proclaimed first in the country’s south on 1 January 1912. The Qing court and its leading officials realised that their position was becoming untenable. The matter was discussed among the Qing princes during a conference on 17-20 January, where the Royalist Party’s members took a hardline stance against any agreement which included the monarchy’s abolition. The conference came to no real conclusion. Other princes believed that they had to yield to the republicans, while a large number remained neutral. While Empress Dowager Longyu was ready to agree to Yuan’s proposal and abdicate, the Qing hardliners strongly objected and became determined enemies of Yuan. General Feng Guozhang had claimed that he could crush the revolution if the royalists could provide him with sufficient sums of money, providing a morale boost to the hardliners. Beiyang Army declared its support for the republicans. The Royalist Party started to undermine Yuan, and managed to greatly weaken him by 25 January. Royalist Party members dispersed and fled into the foreign concessions. Yuan Shikai became China’s first president and de facto military dictator. Manchu living in Manchuria and Beijing. The Royalist Party was not finished, however, and its members continued to plot against the Republic. Qing restorationism enjoyed genuine support in northeastern China, especially due to the failure of the first Republican government to restore stability to China. Shanqi even gained Japanese support in 1912 for the creation of a separatist state in Inner Mongolia where Puyi could be restored as emperor. The party also advocated that the Qing court be moved to Manchuria, but this proposal was “repressed” by the republican authorities. This venture eventually failed. The continued activism by the Royalist Party was widely perceived as grave threat to the Republic. It was feared that a civil war and consequent partition of China could result from the royalists becoming too strong. Despite this, President Yuan Shikai initially dealt with the party in a lenient manner. Qing court to keep its loyalists in check. Fearing that the Royalist Party’s activity could cause a foreign intervention or the revocation of the court’s favorable treatment, Empress Dowager Longyu ordered the party’s dissolution in March 1912. Her order had no effect, but convinced the authorities that the royalists acted without the influence of the court. He appointed Puyi’s former tutor Xu Shichang as minister of state in an effort to gain their support. The party became increasingly militant from March 1912, stirring up unrest in northern China. Having failed to disband the Royalist Party, Yuan consequently attempted to sway them to his side. Royalist Party members spread anti-republican propaganda among the rural population, as well as Mongol nomads, and incited dissatisfied soldiers to mutiny. It tried to undermine President Yuan in any way possible to achieve the restoration of the monarchy. It launched an open rebellion, calling for the death of “all republican traitors” and the full restoration of the Qing dynasty. By April 1912, the party’s Hubei branch had allied with the bandit Bai Lang and a number of secret societies. In the provinces of Manchuria, Royalist Party members began recruiting and arming militants, and even produced cheques marked with “Great Qing Empire”. The president again offered reconciliation, and invited various Manchu princes to the funeral of Empress Dowager Longyu in Beijing on 27 February 1913 “to dispel the clouds of suspicion” on part of the Royalist Party. Shanqi called upon Qing loyalists to join the armed resistance. This stance changed when his republican opponents launched their own uprising, the “Second Revolution”, in July 1913. Yuan used the revolution as an excuse for drastic actions against all his rivals, including the royalists. He declared martial law and had the Royalist Party leadership in Henan arrested and executed. Despite this, other parts of the party remained active, further influencing the campaign of Bai Lang. However, the bandit opted to abandon the declining monarchist cause later in 1913, hanfu winter cloak and aligned with the anti-Yuan republicans. Japanese to establish separatist movements in Inner Mongolia and Manchuria. In 1916, the Japanese and the Royalist Party were planning a rebellion in Manchuria, using Shanqi’s private army which consisted partially of Mongolian bandits and had raided northern China up to this point. Zhang had already made overtures to the Royalist Party. The royalists would capture Mukden, and then assist anti-Yuan forces in the National Protection War. However, Zhang never fully joined this conspiracy, and eventually issued warnings to his soldiers that they should be on guard for royalist attacks. As result of financial and political difficulties, the Mukden operation was eventually cancelled by Tanaka Giichi. Shen was appointed Minister of Education by Zhang, but when the restoration failed, he retired from politics completely. Following the Japanese invasion of Manchuria in 1931, Puwei proclaimed himself the head of the Manchurian independence movement and candidate for ruler of Manchukuo. Nevertheless, the Japanese appointed Puyi as Chief Executive (later Emperor) of the new state. Qing loyalists generally believed that it was only a matter of time until the republican “experiment” failed. In the following years, Royalist Party members increasingly focused on issues relating to Manchuria, arguing that an independent monarchy located there could provide the local people with better living conditions. By 1912, the party was divided into two factions. Though both aimed for the restoration of the monarchy and were united in their opposition to Yuan Shikai, the factions differed on certain points. The “extremists” were only ready to accept the Manchu Qing dynasty as rulers of China, whereas the moderates believed that another Manchu or Han Chinese dynasty would also be acceptable. The royalists believed that Manchuria could offer them a secure base from where they could not only revive Imperial rule, but also protect themselves from counter-attacks by republicans from other parts of China. Initially, the local population of bannermen and Mongols was also sympathetic to their struggle. However, nationalist concepts later gained more traction in the Royalist Party, as many Manchus and bannermen suffered under discrimination in the new Republic. By the 1930s, Qing restorationists framed their struggle for an independent Manchuria as a chance at creating “a better place for the Manchus and banner people to live”. In the 1910s, appeals for separatism were still largely tied to the concept of “loyalty to the emperor”, a cause which found more support among the multiethnic population of northeastern China than nationalist ideas. The Qing loyalists also exhibited conservative and revisionist tendencies, as they continued to use the old dynastic calendar, and espoused traditional arts such as Classical Chinese poetry, and calligraphy. Phil Billingsley only reports that “rumor had it” that Zhang was affiliated with the party. One of the most notable intellectuals of the Royalist Party, ex-Qing official and scholar Shen Zengjie, co-founded the Confucian Society of Shanghai. Altman & Schiffrin (1972), pp. Altman & Schiffrin (1972), p. 6 (4): 385-400. doi:10.1017/s0026749x00004273. Altman, Albert A.; Schiffrin, Harold Z. (1972). “Sun Yat-sen and the Japanese: 1914-16”. Modern Asian Studies. Stanford, California: Stanford University Press. Billingsley, Phil (1988). Bandits in Republican China. Bonner, Joey (1986). Wang Kuo-wei: An Intellectual Biography. Cambridge, London: Harvard University Press. Folkestone: Global Oriental (Brill). Chi, Madeleine (1970). China Diplomacy, 1914-1918. Cambridge, hanfu men Massachusetts: Harvard University Press. Boyd, James (2011). Japanese-Mongolian Relations, 1873-1945: Faith, Race and Strategy. Crossley, Pamela Kyle (1990). Orphan Warriors: Three Manchu Generations and the End of the Qing World. Princeton, New Jersey: Princeton University Press. Dickinson, Frederick R. (1999). War and National Reinvention: Japan in the Great War, 1914-1919. Cambridge, Massachusetts: Harvard University Press. In Milinda Banerjee; Charlotte Backerra; Cathleen Sarti (eds.). Transnational Histories of the ‘Royal Nation’. Feng, Jia (2017). “The Dragon Flag in the Republican Nation: The Dowager Empress Longyu’s Death Ritual in 1913 and Contested Political Legitimacy in Early Republican China”. London: Palgrave Macmillan. pp. Hattori, Ryûji (March 2011). “Japan’s Continental Expansion Policy and the Chinese National Revolution Movement”. JAPAN-CHINA JOINT HISTORY RESEARCH REPORT: MODERN AND CONTEMPORARY HISTORY. Geng, Yunzhi (2015). An Introductory Study on China’s Cultural Transformation in Recent Times. Kit-ching, Chan Lau (1978). Anglo-Chinese Diplomacy 1906-1920: In the Careers of Sir John Jordan and Yüan Shih-kai (in German). Vol.1 (PDF). Japan-China Joint History Research Committee. Hong Kong: Hong Kong University Press. Lo, Hui-Min (1978). The Correspondence of G. E. Morrison 1912-1920. Volume 2. Cambridge: Cambridge University Press. Rhoads, Edward J. M. (2000). Manchus & Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861-1928. Seattle, London: University of Washington Press. Powell, Ralph L. (1955). Rise of the Chinese Military Power (in German). Shao, Dan (2011). Remote Homeland, Recovered Borderland: Manchus, Manchoukuo, and Manchuria, 1907-1985. University of Hawaiʻi Press: Honolulu. Princeton, New Jersey: Princeton University Press. Seuberlich, Wolfgang (2001). Zur Verwaltungsgeschichte der Mandschurei (1644-1930) (in German). Woodhouse, Eiko (2004). The Chinese Hsinhai Revolution: G. E. Morrison and Anglo-Japanese Relations, 1897-1920. Abingdon-on-Thames: Routledge. This page was last edited on 3 April 2025, at 19:23 (UTC). Kuzmin, S. L.; Dmitriev, S. V. (2020). “Movement for the restoration of monarchy after the Xinhai Revolution (data from Russian archives). Early stage of the activity of Zongshedang Party”. 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.

“The Hanfu exhibition celebrates one of China’s most ancient and elegant traditional garments. Han ethnic group, the largest ethnic group in China, for over 4,000 years. Visitors will journey through various eras, witnessing how Hanfu styles changed from the Qin Dynasty to the Ming Dynasty. Each dynasty brought unique design elements, from the long, flowing robes of the Tang Dynasty, symbolizing prosperity and openness, to the more intricate and layered designs of the Ming Dynasty, representing sophistication and hierarchy. In addition to showcasing authentic garments, the exhibition features immersive displays on Hanfu’s cultural significance. This exhibition offers a rich exploration of Hanfu’s history, culture and evolution, reflecting the grandeur of China’s imperial dynasties. Whether you are a fashion enthusiast or a cultural history lover, this exhibition highlights Hanfu’s impact on Chinese identity and its resurgence in modern times, as people rediscover the beauty and symbolism of their heritage. Through videos, interactive activities, and various costumes and accessories, you can explore how Hanfu represents principles of harmony and order in traditional Chinese culture with each garment type signifying social rank, gender, and occasion, and the wishes for happiness and blessing in the patterns. Prepare to be captivated by the artistry, craftsmanship, and timeless elegance of Hanfu as you walk through this fascinating window into China’s sartorial past.

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Thank you to all who attended! Come back for Dress Han when it is back in summer of 2025! Come back for Dress Han when it is back in summer of 2025! Thank you to all who chinese clothing traditional attended! Thank you to all who attended! Come back for Dress Han when it is back in summer of 2025!

This Article Contains Spoilers – WARNING: This article contains major spoilers. If you do not wish to know vital information on plot / character elements in a story, you may not wish to read beyond this warning: We hold no responsibility for any negative effects these facts may have on your enjoyment of said media should you continue. Tasting poisons and experimenting. Maomao is highly intelligent and was trained as an apothecary by her father, which gives her a general understanding of poison and diseases. She was voiced by Aoi Yūki in Japanese and Emi Lo in English, both of whom also voiced Lucyna Kushinada in Cyberpunk: Edgerunners. This skillset helps her perform her job as a poison taster, lady-in-waiting, and unofficial investigator in the Inner Palace. Maomao is a young, petite girl with light skin, dark green hair, and blue eyes. Her hair is styled in two low ponytails, which she drapes over her shoulders, and ties with two sets of decorative beads. She wears her hair half up, with a blue bow keeping the upper section in a messy bun. She wears makeup, including fake freckles, to make herself look unassuming. She is rather pretty when not trying to make herself look plain, and when she wears formal makeup, she is noted to be quite beautiful. The upper beads are pink, and the lower set are blue. She can also be very intimidating when excited or angry, and her face takes on a more sinister look. The inner layer of her top is white, and the collar is pale and dark green. She wears an Aoqun hanfu, with a light green top and a long, burgundy skirt. Maomao also has white bandages on her left arm, which conceal several scars she gained from her experiments with poisons and herbs. Maomao is generally rather subdued, and tries to navigate life without getting involved in other people’s troubles. She also wears dark green flats. Maomao also has a deep fascination with herbs and poisons, which she is incredibly enthusiastic and excited about. Maomao is curious, perceptive, and highly intelligent. However, she is a hard worker and actually does care for others, as evidenced by her constant efforts to help people with their issues, despite initial hesitation. She was an apprentice to her father, the doctor Luomen, who taught her extensive medical knowledge and skills such as patience and being observant. Maomao prioritizes knowledge about the effects of medicines and herbs even above her own personal safety, to the point that she frequently experiments on herself to learn about their effects. As a result, she has come to learn many things about them, and has even developed an immunity to many poisons by building up her tolerance. For this reason, she is actually very excited to be a poison taster, counter to everyone’s expectations. She is also frequently consulted by the high consorts and Jinshi when mysterious events occur in the rear palace, since she is often able to help solve the issues at hand. Maomao has a strong moral compass and sense of responsibility. Many of the other ladies in waiting find Maomao to be frightening since she does not hold back with scoldings, and has even slapped those who deserve it before. In truth, Maomao is rather kind-hearted, and does her best to make sure as many people as possible can be happy and safe. She is not afraid to scold others, including the attendants of Lady Lishu and Lady Lihua, who were either directly undermining or carelessly endangering the consorts they were attending. At times, she will even upset the hierarchical order in order to speak up for one consort or another, or will deliberately hide certain information she has in order to prevent harm to the people around her, despite potential personal risk if she is found out. She is very aware of her position in society, and the dangers of being a young woman in the time period. Maomao is somewhat cynical and very practical due to her upbringing and knowledge of the world. Although there are things Maomao would rather avoid, such as death, being kidnapped again, or becoming a courtesan, she rarely exhibits much distress. She is respectful to those higher in the palace than her, and while she develops amicable relationships with many of them, she is also still aware of the inherent power imbalance her job causes. She is not typically fearful, and is instead more likely to try and think of practical ways to avoid unpleasant matters. She has a suprisingly flippant attitude towards these things, and reacts somewhat abnormally to danger. Maomao’s name means “cat”, doubly, in Chinese, reflecting to the gag of her having cat ears and other feline features. Let’s Go, Eevee!, Hibiki Tachibana in Senki Zesshou Symphogear, Sticks the Badger in Sonic Boom, Iris in Pokémon the Series: Black and White, Lulu in League of Legends, Menat in Street Fighter V, Summer Adams in Yo-kai Watch Shadowside, Noramyako in Doraemon movie, Nodoka Hanadera in Healin’ Good♡Pretty Cure, Mélie in Radiant, Meme Tatane in Soul Eater NOT! Finch in Xenoblade Chronicles 2, Female Inugami in Gugure! Her Japanese Voice Actress, Aoi Yūki, also voiced Lucyna Kushinada in Cyberpunk: Edgerunners, Setsuna Tokage and Tsuyu Asui in My Hero Academia, Madoka Kaname in Puella Magi Madoka Magica, Lysithea von Ordelia in Fire Emblem: Three Houses, Female Rookie in Sonic Forces, Eevee in Pokémon: Let’s Go, Pikachu! Kokkuri-san, Traveler in Genshin Impact, Tatsumaki in One Punch Man, Diane in The Seven Deadly Sins, Tanya von Degurechaff in Youjo Senki: Saga of Tanya the Evil, Yuuki Konno in Sword Art Online, Futaba Sakura in Persona 5, Rita Rossweisse in Honkai Impact 3rd, Platinum the Trinity and Trinity Glassfield in BlazBlue: Continuum Shift Extend, Azusa Aizawa in I’ve Been Killing Slimes for 300 Years and Maxed Out My Level, Tamaki Kotatsu in Fire Force, Jubei Yagyu in Samurai Girls, Peashy in Hyperdimension Neptunia Victory, Shizuno Urushibara in World Break: Aria of Curse for a Holy Swordsman, Sariphi in Sacrificial Princess and the King of Beasts (Drama CD), and Gina Chamber in Undead Unluck. Her English Voice Actress, Emi Lo, also voiced Lucyna Kushinada in Cyberpunk: Edgerunners, Sariphi in Sacrificial Princess and the King of Beasts, Miri Unasaka in Buddy Daddies, Sisbell Lou Nebulis IX in Our Last Crusade or the Rise of a New World, Rena Ryuuguu in Higurashi: When They Cry (2020 series), Tsugumi Hattori in ORIENT, Destiny in Takt Op, Uta in Bubble, Tomo Aizawa (young) in Tomo-chan Is A Girl, Delmin in Show By Rock! Mashumairesh!!, Michiru Inukai in Talentless Nana, Hawks (young) in My Hero Academia, Suma in Demon Slayer: Kimetsu no Yaiba, Mian Long in SHY, and Nekomamushi (young) in One Piece.

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This 15-day suggested itinerary covers different elements of China: the historical heritage sites, natural scenery, unique culture, and adorable giant pandas. It makes an ideal tour for first-time visitors who are panda fans or those traveling with children. Tips to tailor-make your trip are offered as inspiration. The itinerary below is only one possibility. Send us details of your preferences and our travel experts will customize this trip to suit your interests, tastes, and budget. He met our every need above and beyond our expectations. Discover real reviews of Highlights Travel Family’s best-rated service across trusted platforms. My Chinese-speaking parents and my English-dominant children clearly understood all that was explained. My family of 6 had such a wonderful and memorable holiday.He is patient, well-versed and eloquent in both English and Mandarin. No questions too big and requests too small.. He included insights and aspects at each attraction that is not commonly known expanding our appreciation of the places we went. We will certainly look for Mark again on our next trip to Beijing and strongly recommend him to all and sundry if they plan to visit Beijing. Every meal he arranged over the 5 days was very thoughtfully planned and had such variety that we were spoilt and well fed indeed. We were in Beijing for 7 days and went to the Great Wall, Gubei Watertown, Forbidden City, Summer Palace, Lama Temple, Beihai Park, Confucius Temple, Ming and Qing Tombs. Also went to watch the Acrobatic Show and the Golden Mask Show. The views are fantastic and the shows are amazing. Our tour guide, Colin, from China Highlights was awesome. He planned our itinerary flawlessly and took us to restaurants that served great authentic local food. Thank you, Colin, for making my trip memorable. Extremely delighted with my Beijing tours. I was so fortunate to get Mark as my guide. Hang to patiently drive us everywhere.Mark is extremely knowledgeable. Colin is very caring of my elderly mother and provided superb service. I am also grateful to Leaky of China highlights for planning an incredible itinerary for me. Hang is sweet and mindful of my age. Here is a suggested itinerary. Your private guide will be ready to meet and greet you at the arrival hall in Beijing. We are happy to customize a tour according to your interests. A comfortable private car with an experienced driver will transfer you directly to your hotel. Your guide will help you to check-in. Explore Tian’anmen Square, the world’s largest city square in Beijing. Admire its iconic Tiananmen Gate, surrounded by significant cultural landmarks, including government buildings, museums, and Chairman Mao’s Mausoleum. Experience authentic Chinese culture in the Hutong district. Choose from three immersive activities: Facial Makeup for Peaking Opera, Chinese Calligraphy, or Chinese Paper Cutting. Discover the time-honored charm of Hutong on a rickshaw tour. Unveil the secrets of the awe-inspiring Forbidden City with our exclusive Emperor’s Tour. Ride through narrow alleys, visit a local family, and learn about traditional courtyard houses. Explore 12 carefully chosen locations, delving into the history and splendor of China’s imperial past. The temple’s park is a vibrant hub of activity, where local elderly people gather in the morning for tai chi, singing, and exercise. Immerse yourself in ancient China with a visit to the Temple of Heaven, a stunning complex of Taoist buildings built during the Ming dynasty in 1420. Emperors of the Ming and Qing dynasties held annual ceremonies here to pray for bountiful harvests. Explore the park, covering 273 hectares in the heart of Beijing, with an easy 1-1½ hour walk (1½ kilometers). Ranked as the top Great Wall section on TripAdvisor, it offers a child-friendly atmosphere and multiple visiting options. For a quintessential Great Wall experience, head to the Mutianyu section, renowned for its breathtaking scenery and beautifully-restored architecture. Enjoy the convenience of a chairlift to reach a picturesque portion of the Wall, avoiding a steep climb. Just a 1.5-hour drive from downtown Beijing, this section boasts a fully restored 2½-kilometer stretch. From there, wander through ancient watchtowers while marveling at the sweeping views of rolling hills and majestic mountains. Conclude your adventure with an exhilarating toboggan ride down, a thrilling experience suitable for both adults and children. Escape to the Summer Palace, an enchanting retreat located 12 kilometers northwest of Beijing’s city center. This magnificent imperial garden, the largest and best-preserved in China, stands as one of Beijing’s premier attractions. Originally built as a theater for the Empress Dowager, the Garden of Virtue and Harmony showcases superb craftsmanship and captivating architecture. Construction began in 1891 during Emperor Guangxu’s reign and took five years to complete. Equally renowned as the Forbidden City, it is called ‘Yiheyuan’ in Chinese, meaning the ‘Garden of Nurtured Harmony’. Renowned opera singers of the era performed for the Empress Dowager in this revered theater, known as the “Cradle of Beijing Opera”. The three-story theater stage, adorned with delicate design and a magnificent wooden structure, is of immense scientific and artistic value. Visit the remarkable Terracotta Army, which consists of over 7000 soldiers, archers, horses, and chariots, standing as guardians of Emperor Qin’s tomb since 210 BC. Select princes, dukes, and cabinet ministers were also granted special permission to watch Beijing opera here. Each figure is unique, and ongoing repair and excavation efforts take place in three protected pits. Inside huge hangars, visitors can also explore an excellent museum and watch a film about the vaults’ history. Located within the picturesque Da Ci’en Temple grounds, the elegant brick Pagoda is a significant Buddhist site. Originating from the 7th century, it was built to house Buddhist materials brought back from India by Xuanzang, also known as Tripitaka. Remember to wear comfortable walking shoes and feel free to take photos without using flash. Don’t miss the opportunity to discover your Chinese zodiac information and browse a shop offering Chinese calligraphy and painting. Serving as one of the oldest and most intact city defenses in existence, the Ancient City Wall was constructed in the 13th century on the foundations of the original Tang Forbidden City. Explore the temple complex, where large halls showcase impressive Buddhist statues and murals. Surrounding the city center, it includes walls, ramparts, gates, and watchtowers. Take a leisurely walk or opt to rent a bike for an additional cost (CNY40 per person) or an electric cart (CNY80 per person) to travel the full 14km circuit. Enjoy magnificent views of the city on both sides as you explore this historical landmark. Immerse yourself in the rich cultural heritage of Xi’an. Visit an ancient academy from the Ming and Qing dynasties and delve into the world of Hanfu, China’s traditional national costume. Embark on a food adventure through the vibrant Muslim Quarter, known for its unique and flavorful cuisine. Get dressed in Hanfu and experience the elegance of ancient traditions. Delight in the diverse flavors of Xi’an as you try local specialties such as roujiamo, biangbiang noodles, and more. Your guide will introduce each dish and explain its cultural significance. Located 6 miles north of Chengdu City, the Chengdu Panda Base is a sanctuary for giant pandas, red pandas, and other endangered species. Challenge your taste buds and discover the culinary delights of the region. Observe the pandas at rest or play, and visit the panda museum for more information about these fascinating creatures. Explore the nursery amidst bamboo groves and shady walkways to witness the highly successful breeding program. Cruise to the east of Leshan City, Sichuan Province, where the Lingyun Mountain marks the meeting point of the Min River, Qingyi River, and Dadu River. Here, you will find the awe-inspiring Leshan Giant Buddha, the largest stone-carved sitting Buddhist statue in the world. Continue your exploration of the Leshan Giant Buddha, located in Leshan City, Sichuan Province. Board a boat to have a magnificent overlook of this majestic monument. Situated on the Lingyun Mountain, this statue offers a captivating and impressive sight. Marvel at the intricate stone carving and soak in the spiritual atmosphere surrounding this renowned cultural icon. Located at an elevation of 1,043 meters above sea level, the Monastery of Ten Thousand Years is a site rich in history, dating back to the 4th century. Inside, you’ll find a remarkable copper and bronze statue of the Bodhisattva Puxian, riding a white elephant, standing at an impressive height of 8.5 meters. This statue has been in place since 980 AD. Although it has faced destruction by fire multiple times over the centuries, the present brick building was rebuilt during the Ming dynasty (1368-1644). The Brick Hall, adorned with small stupas, is a domed structure made entirely of bricks. Explore the Baoguo Monastery, which dates back to the 16th century, with subsequent enlargements and recent rebuilding efforts. As you enter the monastery’s gate, you’ll notice a rockery showcasing potted miniature trees and rare plants, adding a touch of natural beauty to the surroundings. Experience the tranquility of People’s Park, an oasis in the heart of the bustling city. Stroll through refreshing bonsai gardens, admire artificial lakes and rockeries, and discover historical monuments within the park. Don’t miss the chance to embrace a traditional Chengdu custom by visiting a local tea house. You might even indulge in a rejuvenating local massage while enjoying the serene atmosphere. Join retired locals who spend hours chatting over a cup of tea, paying a modest fee. Explore the charming and restored Kuan-zhai Lane, also known as Wide and Narrow Alley, located in the heart of old Chengdu. Indulge in a variety of dining options including Western cuisine, takeaways, coffee shops, and even art galleries. This area offers a glimpse into the traditional lifestyle of Chengdu while providing a fusion of Western and local flavors. Immerse yourself in the lively and captivating atmosphere of Wenshu Monastery, a grand Zen Buddhist temple. Admire the exquisitely decorated halls showcasing an impressive collection of artworks, statues, and curios. Don’t miss the opportunity to dine at the popular vegetarian restaurant within the premises or relax in one of the teahouses, soaking in the vibrant atmosphere created by the worshippers and visitors. Upon your arrival at Zhangjiajie Airport or Train Station, your local tour guide will be waiting for you at the arrival hall or exit, respectively, holding a nameplate with your name. Experience the disappearing traditions of a local farmer’s market, a place deeply rooted in the daily lives, delectable local delicacies, and strong community bonds. They will ensure a seamless transfer to your hotel in a private van, allowing you to relax and rejuvenate after your journey. This unique experience offers a chance to get closer to the local culture and lifestyle. Additionally, learn the art of dumpling-making from a skilled shopkeeper who can effortlessly create perfect dumplings within minutes. Zhangjiajie National Forest Park is a famous tourism destination in Hunan province. It was officially recognized as a UNESCO World Heritage Site in 1992. The pillar-like formations seen through the park are the result of many years of erosion. With over 90% forest coverage, the scenic area comprises Yuanjiajie, Yangjiajie, Jinbian Stream and Wulongzhai. Join in the bustling market atmosphere and try your hand at bargaining like a local. The Minority culture and folklores are represented in nearby villages and towns, inhabited by Tujia, Bai, Miao and Hui people, making worthwhile side trips. Yuanjiajie(include the Hallelujah Mountains) : Yuanjiajie is in the northern corner of Zhangjiajie National Park. Ecstasy Spot, Backyard and First Bridge are the top 3 attractions at Yuanjiajie. Pictures of ‘First Bridge in the World’ from ‘Viewing Bridge Platform’ (Wangqiaotai) are a bonus. This area is famous and popular for its Hallelujah Mountain, named after Avatar’s floating rocks. To avoid crowds, your guide will take you there around 5:00 for photography travelers. Afternoon is the best time to photograph the Yuanjiajie area. Visit Mt.Tianzishan : It is known for 4 natural spectacles – the clouds of mist that circle the peaks of the mountain,the amazing views of the rising sun,the moonlit nights and snowcapped winter peaks.They include more than 80 natural platforms to take in the magnificent scenery.Take the cable to Tianzi Mountain to enjoy the views upway and relax. You can reach Tianzi Mountain and Yangjia Valley from here.Highlights includes First Bridge in the World, Hallelujah Mountain and Viewing Bridge Platform. Tips: At rush hours it might take you one hour just waiting in line to take the cable car. Ask your guide to arrange time for you to avoid rush hours. Bailong sightseeing elevator is the highest and fastest sightseeing elevator in the world and provides a spectacular view of the Sandstone Peak Forest. It only takes 2 minutes to travel to the top of the mountain. Tips; At rush hours it might take 2 hours waiting in line to take the elevator. It has a height of 335 meters and can carry 3,000 people an hour in the fours transparent elevators. Explore the breathtaking Zhangjiajie Grand Canyon, a natural wonderland of mountains, streams, caves, cliffs, and forests. Ask your guide to arrange time to avoid rush hours. This recently-developed attraction promises a captivating experience. Walking on the glass bottom bridge, suspended 300 meters above the ground, will undoubtedly be the highlight of your tour. Don’t miss the opportunity to visit the world’s longest and highest glass bridge, located within this scenic area. If you prefer not to walk on the glass bridge, an alternate route can be arranged to ensure you still enjoy the attraction. This mountain boasts splendid views of ancient trees, karst hillocks, and winding roads carved into cliff faces. Discover the majestic Tianmen Mountain, often referred to as the ‘soul’ of Zhangjiajie. This cable car holds the record for being the longest in the world. Embark on a thrilling cable car ride, lasting approximately 30 minutes, from the city center to the mountaintop. This glass walkway, jutting out from a sheer 1,430-meter cliff, stands amongst the world’s highest observation platforms. With a width of 1.6 meters and a length of 60 meters, the awe-inspiring walkway offers both exhilarating thrills and sweeping views of the mountains below. Make your way to the Tianmen Mountain Glass Walkway, situated in the renowned Tianmen Mountain National Park. It’s often compared to the famous ‘skywalk’ at the Grand Canyon in Arizona, USA. You will be picked up from your hotel or bus station in Zhangjiajie city area, by personal English-speaking tour guide, car and driver, and transfer directly to from Changsha to Guilin. Prepare to be captivated by the breathtaking scenery that unravels with each twist and turn. Delight in the sight of majestic limestone peaks, graceful bamboo groves, and diligent farmers tending to rice paddies. Embark on an unforgettable journey as you cruise along the Li River. Keep an eye out for water buffaloes cooling off in the river or pulling carts. You might even spot skillful fishermen gliding along on narrow bamboo rafts, and if luck is on your side, catch a glimpse of the famous fishing cormorants. Departure points vary depending on the river’s height at different times of the year. Indulge in a delightful buffet lunch aboard the ship, making your Li River cruise even more memorable. For a comfortable experience, we have handpicked a newly operated 4-star boat that accommodates around 80 passengers. With a history spanning over 1400 years, this street is a cultural melting pot where Chinese and Western influences seamlessly blend together. Immerse yourself in the lively atmosphere as you stroll past charming bars, cozy hotels, internet cafes, and vibrant handicraft shops. Explore the vibrant West Street, also known as Foreigners’ Street due to its popularity among international visitors. The unique architectural style of the buildings adds an extra touch of fascination, making West Street an ideal spot for indulging in the local ambiance and mingling with fellow travelers. If you’re a photography enthusiast or simply appreciate magnificent landscapes, a visit to Xianggong Hill is a must. Situated just a short drive from Yangshuo, this hill offers awe-inspiring views, particularly during sunrise. After a 20-minute ascent, you’ll be rewarded with panoramic vistas that showcase the Li River bending gracefully against the backdrop of stunning Karst scenery. Watch in awe as the river flows around a right-angled bend, creating a picture-perfect setting. Immerse yourself in the picturesque countryside of Yangshuo, renowned for its enchanting landscapes, unique rock formations that reach toward the heavens, and the tranquil pace of local farming life. Get your camera ready to capture the beauty that unfolds at Xianggong Hill, an experience that will leave you breathless. Prepare to be awestruck by the breathtaking beauty that surrounds you – from the mesmerizing karst peaks and lush rice fields to crystal-clear waters and vibrant green bamboo forests. Accompanied by your knowledgeable guide, you’ll explore the village, learning about the authentic countryside lifestyle. During this 1.5-hour trip, not only will you revel in nature’s wonders, but you’ll also have the opportunity to gain insights into local life by visiting a nearby village. Prepare to be captivated by one of Yangshuo’s highlights – the stunning bamboo rafting experience along the enchanting Yulong River. The river’s gentle current ensures a seamless journey, even for first-time rafters. Enjoy awe-inspiring scenery at every turn, featuring karst peaks, sprawling rice fields, pristine waters, and lush green bamboo forests. As you embark on this unique adventure, the modern world fades away, leaving you completely immersed in the natural beauty that surrounds you. Each bend in the river unveils new wonders, allowing you to fully appreciate the captivating landscape.

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Hello, I see that you posts a lot of hair ornaments, there are no name for each? I couldn’t tell what’s the difference between hairpin, hairstick and hairpiece. I noticed that you also it called a “hairpiece”? So do these 2 characters (簪子) mean hairpin, hairstick, or hairpiece? But what if there’s this (子) at the end of the (簪)? What does it call? It would be very appreciate if there’s an answer to my question! I think (簪) is a hairpin? Hi, thanks for the question! The posts on my blog also tend to use hairpin, hairstick, and hairpiece interchangeably. The Chinese umbrella term for hair ornaments is Fa Shi/发饰. For detailed information on the different types of Chinese hair ornaments, I highly recommend the following resources: 1) Introduction to Traditional Chinese Hair Ornaments, 2) Categories of Traditional Chinese Hair Accessories, 3) Tradition of China – Hair Ornament Culture, purple hanfu 4) Ten Best Hanfu Jewelry Accessories. Thank you very much! 1) Zan/簪 (aka Zan Zi/簪子, Fa Zan/发簪) – The most basic/common type of Chinese hairpin, typically used to stabilize hair. Also called Zan Zi/簪子 or Fa Zan/发簪 – don’t get confused, they mean the exact same thing. 2) Chai/钗 (aka Fa Chai/发钗) – Basically a two-pronged Zan. Usually decorated at one end. 3) Bu Yao/步摇 – Basically a Zan or Chai with mobile attachments (pendants, tassels, fringes) that swing when the wearer walks. Unlike the Zan which has just one pin/stick, the Chai has two. Hence the name Bu/步 (walk) 摇/Yao (shake). 4) Dian/钿 (aka Hua Dian/花钿) – A small hair ornament shaped like a flower (Hua/花) that is pinned to the hair for decoration (can also take other shapes). 5) Bi/篦 (aka Bi Zi/篦子) – A fine comb that was originally used to comb and clean hair. Women would bring a comb with them everywhere they went, and eventually started to put Bi on their hair as a means of decoration. Note – this is the hair ornament that Mulan wears in the Disney film! Now of course there are many more types of Chinese hair ornaments, but these are some of the most basic ones. I may update this list in the future. Again, for further information, please check out the links I listed above. You can also check out my hair ornaments tag, hairpin tag, and Q&A Masterpost for more resources. Hello, I see that you posts a lot of hair ornaments, there are no name for each?

Shanku (simplified Chinese: 衫裤; traditional Chinese: 衫褲; pinyin: shānkù; lit. Chinese upper garment which typically overlaps and closes on the right side which could be called shan (衫), ru (襦), ao (袄; 襖), and a pair of long trousers called ku (裤; 褲). 1 shopkeepers, or retainers from wealthy households. The shanku was originally worn by both genders. It is still worn in present-day China and can be found in rural areas. Chinese: 襦裤; traditional Chinese: 襦褲; pinyin: rúkù; lit. The term duanda (Chinese: 短打), duanhe (Chinese: 短褐; lit. Shanku is sometimes referred as aoku (simplified Chinese: 袄裤; traditional Chinese: 襖褲; pinyin: ǎokù; lit. The generic term kuzhe (Chinese: 袴褶; lit. Chinese: 竖褐; lit. Chinese characters (袴褶), is typically used to refer to military or riding style attire which is composed of a jacket or coat and trousers. 45 According to the Shiming, the coat, xi (褶; sometimes referred as zhe), typically used as part of the kuxi, was a xi (襲). A xi (襲) was a paofu with a zuoren closure according to the Shuowen Jiezi (說文解字). The term daxi (Chinese: 大褶; lit. 23-26 Although the kuxi/kuzhe attire were oftentimes associated with Hufu, some of these garment items and styles were in fact Chinese innovations. In the English language, shanku is commonly written as samfoo in British English or samfu. The Oxford Advanced Learner’s Dictionary and the Concise Oxford English Dictionary indicate that the term samfu originated in the 1950s from the Cantonese term shaam foò, with shaam meaning ‘coat’ and foò meaning ‘trousers’. According to the Collins English Dictionary, the term samfu (pronounced: /ˈsæmfuː/) originated from the combination of the Chinese (Cantonese) words sam (dress) and fu (trousers). 1272 Among English dictionaries, there are variations in the definition of samfu. The shanku is a two-piece set of attire, which is composed of a jacket as an upper garment and a pair of trousers as a lower garment. The shan and the ku were typically made of similar fabrics. More precisely, the shanku is composed of the shan and the trousers generally known as ku. 50 or yi (衣) all refer to Chinese upper garment, which typically has a side fastening to the right, known as youren. Jiaoling youren style (left) vs. However, the two garments were sometimes made separately and did not belong to the same set of clothing. Prior to the Qing dynasty, the shape of the collar and closure of the upper garment were typically jiaoling youren, a collar which crosses or overlaps in the front and closed to the right side similar to the letter y in shape, as the ones worn in the Ming dynasty and earlier, instead of the pianjin-style, the curved or slanted overlap closure which appears similar to the letter s, which was commonly worn in the late Qing dynasty. The shan could have a mandarin collar or a high standing collar. The bodice of the shan varied in length depending on the time period, but it could also be thigh-length. The sleeves could be wide or narrow, and the shape of the cuff could vary depending on styles and time period. The ku (裤; 褲), as a general term, was a pair of long trousers which could be loose or narrow. Trousers with close rises were typically referred as kun to differentiate from the ku which typically referred to trousers without rises. There are many types of ku with some having closed rises while others have opened rise. The shanku is traditionally loose in terms of fitting. The shanku was typically dyed in black, blue or grey. The waistband of the ku was typically made of lighter coloured fabric, such as blue or white. However, the colours of the shanku could vary depending on ethnic groups. In the Neolithic period, the trousers were known as jingyi (Chinese: 胫衣) and were the original form of the ku without crotches. They were knee-high trousers which were tied on the calves and only covered the knees and the ankles; thus allowing its wearer’s thighs to be exposed; due to this reason, ancient Chinese wore yichang, a set of attire consisting of the yi and chang, on top of their jingyi to cover their lower body. The form of the Neolithic jingyi was different from the trousers worn nowadays as it came in pairs of legs like shoes. This form of jingyi continued to be worn until the early Han dynasty. The Hanfu can be traced back at least to the Shang dynasty. 121 Prior to the introduction of foreigners’ clothing, known as Hufu, during the Warring States period, a set of attire known as ruku (襦裤; ‘jacket and trousers’) was already worn by the ancient Chinese people. 121 In the Shang dynasty, the slaveholders wore a youren yi with ku and/or chang. 23-26 as the trousers in this period still lacked a rise. In the Zhou Li (周禮 – lit. During the Warring States period, King Wuling of Zhao (r. 15 The yi, which was worn, was similar to a knee-length tunic. Hufuqishe (Chinese: 胡服騎射; lit. Hufu to facilitate horse riding. The nomadic clothes adopted by King Wuling consisted of belts, short upper garment, and trousers. 16 The Hufu introduced by King Wuling can be designated as shangxi xiaku (Chinese: 上褶下袴; lit. 23-26 However, the style of trousers, which was introduced in Central China by King Wuling of Zhao, had a loose, close rise and differed from the indigenous Chinese ku; it is thus a style referred as kun (裈) instead of ku. The short garment was a coat was called xi (Chinese: 褶; lit. Under the influence of the kun, the jingyi-style ku evolved until the thighs were lengthened to cover the thighs forming a newly improved ku-trousers; it also had a waist enclosure which was added; however, as the improved ku-trousers still had an open rise and rear, which would allowed for excretion purposes, the yichang still continued to be worn on top of the ku. 23-26 King Wuling was also known for wearing Hufu-style long trousers and upper garments with narrow sleeves. The trousers with loose rise, kun, which was adopted from the Hufuqishe policy was mainly worn by the military troops and servants while the general population typically continued to wear the jingyi-style ku and the newly improved ku. Thus, the nomadic-style kun never fully replaced the ku and was only worn by military and by the lower class. Compared to the nomadic kun which did not fit in the traditional norms of the Chinese people, cheongsam with skirt the ku was well-accepted by the Chinese as it was more aligned with the Han Chinese tradition. These forms of kun-trousers were Chinese innovations. In Qin dynasty, short clothing became more common and trousers were generally worn from what can be observed from the unearthed Qin dynasty tomb figures. The nomadic-style loose rise kun later influenced the formation of other forms of kun trousers, such as dashao (i.e. trousers with extremely wide legs) which appeared in the Han dynasty and dakouku (i.e. trousers with tied strings under the knees). As a general term for trousers, the ku was worn with jackets ru (襦), also known as shangru (Chinese: 上襦) along with daru (Chinese: 大襦; lit. The trousers were often wide at the top and narrower at the bottom and could be find with rise. Terracotta warriors, for example, wears a type of long robe which is worn on top of skirt and trousers. Horseman wearing shanku consisting of a pair of white trousers with red upper garment, Han dynasty tomb mural. The Qin artisans valued contrasting colours; for example, the upper garments which were green in colour were often decorated with red or purple border; this upper garment would often be worn together with blue, or purple, or red trousers. A guard wearing a zhijupao with trousers, Han tomb figurines. Starting since the Eastern Han dynasty, trousers with rise, kun, gradually started to be worn, the zhijupao of the Han dynasty gradually replaced the qujupao. 16 Manual labourers tended to be wear even shorter upper garment and lower garment as due to their convenient use for work. 43 While the long robe known as shenyi was mainly worn for formal occasions in the Han dynasty, men wore a waist-length ru and trousers in their ordinary days while women wore ruqun. In the Han dynasty, the kun trousers came in variety of styles, such as dashao and dakouku, while a derivative of the ku-trousers known as qiongku was developed. The dakouku were trousers which were tied with strings under the knees. The qiongku continued to be worn for a long period of time, and was even worn in the Ming dynasty. The dashao was worn with a loose robe (either shenyi or paofu) in the Han dynasty by both military and civil officials. In the early medieval period of China (220-589 AD), male and female commoners, including servants and field labourers, wore a full-sleeved, jiaoling youren long jacket (which were either waist or knee length) which was tied with a belt. Common women could either wear skirts or trousers under their jackets. Full trousers with slightly tempered cuffs or trousers which were tied just below the knees were worn under the jacket. In tombs inventories dating to the early 600s, cases of shanku (衫裤; 衫褲), xiku (褶袴), and kunshan (裈衫) can be found. The kuzhe was a popular form of clothing attire and was worn by both genders; it was worn by both military and civil officials in the Northern and Southern dynasties. The kuzhe or kuxi consisted of the dakouku and a xi, a tight-fitting upper garment, jiaoling youren yi, which reached the knee level. Western Jin to increase ease of movements when horseback riding or when on military duty. The kuzhe which appeared in the late Northern dynasty, was created by assimilating non-Han cultures in order to create a new design which reflected the Han Chinese culture. 319 In the Wei, Jin, Northern and Southern dynasties, the dakouku, especially the ones with a wide bottom, became popular among aristocrats and commoners alike. During this period, the nomadic tribes, which also wore their own Hufu-styles of kuzhe, also ended up being influenced by the Han Chinese style due to the multiculturalism aspect of this period. While this style of kun was associated with the Hufu worn by foreigners and non-Chinese minority ethnicities due to the use of felt chords, a textile associated with foreigners; it was actually not a stylistic invention from the Northern people and were not a form of nomad clothing. The xi which was in the form of the yuanlingshan with tight sleeves originated from the Northern minorities was also adopted by the Chinese before being localized and developed Chinese characteristics; the xi was slightly longer than the ru worn by the Chinese and had a yuanling, round collar. Men wearing shanku. Painting from Yanju’s tomb, also known as Jiuquan Dingjia Gate No. 5 Tomb, 5th century AD. However, the kuzhe which had been worn in the previous dynasties remained popular until the Sui and Tang dynasties period. In Tang dynasty, the trousers which were worn by men were mainly worn with a form of paofu known as yuanlingpao. In Song dynasty, labourers who performed heavy tasks preferred to wear short jackets and trousers due to its convenience. In the Song to the Yuan dynasty, the xiaoku, trousers with narrow legs, was worn by the general population during this period. 53 In this period, the duanhe worn by poor people were short length clothing and were made out of coarse fabric. In Ming dynasty, the trousers with open-rise and close-rise were worn by men and women. In Yuan dynasty, some scholars and commoners wore the terlig, a Mongol-style kuzhe, which was braided at the waists and had pleats and narrow-fitting sleeves. Women in Ming continued to wear trousers under their skirts. In the late Ming dynasty, jackets with high collars started to appear. In women garments of the Ming dynasty, the standup collar with gold and silver interlocking buckles became one of the most distinctive and popular form of clothing structure; it became commonly used in women’s clothing reflecting the conservative concept of Ming women’s chastity by keeping their bodies covered and due to the climate changes during the Ming dynasty (i.e. the average temperature was low in China). The appearance of interlocking buckle promoted the emergence and the popularity of the standup collar and the Chinese jacket with buttons at the front, and laid the foundation of the use of Chinese knot buckles. The high collar jacket continued to be worn in Qing dynasty, but it was not a common feature until the 20th century. 93-94 In the late Qing, the high collar become more popular and was integrated to the jacket and robe of the Chinese and the Manchu becoming a regular garment feature instead of an occasional feature. For the Han Chinese women, the stand-up collar became a defining feature of their long jacket; this long jacket with high collar could be worn over their trousers but also over their skirts (i.e. aoqun). The high collar remained a defining feature of their jacket even in the first few years of the republic. In Qing dynasty, Han Chinese women who wore shanku without wearing a skirt on top of their trousers were typically people born from the lower social class. 82 Otherwise, they would wear trousers under their skirts which is in accordance with the traditions since the Han dynasty. In Mesny’s Chinese Miscellany written in 1897 by William Mesny, it was however observed that skirts were worn by Chinese women over their trousers in some regions of China, but that in most areas, skirts were only used when women would go out for paying visits. 371 He also observed that the wearing of trousers was a national custom for Chinese women and that trousers were worn in their homes when they would do house chores; he observed that women were dressed almost like men when working at home, except that their trousers had trims at the bottom of different coloured materials. In the 19th century, the shan was long in length and the trousers ku was wide. In the late 19th century, men stopped wearing the shan which closes to the right and started wearing a jacket with a central-opening which looks similar to the Tangzhuang. In the 20th century, the 19th-century long shan gradually became shorter and become more fitted. The neckband of the shan was also narrow. In the 1950s, women of lower status and those worked on farms would sometimes wear shanku which was decorated with floral patterns and checks. People living in urban areas started to wear Western clothing while people in rural areas continued to wear shanku. In Hong Kong, shanku continued to be worn when people were away from their workplace. During the Great Leap Forward, the Mao suit became popular. While in cities, children started to wear Western style clothing, the children in the rural areas continued to wear the traditional shanku which were made of cotton checked fabrics, stripe fabrics, or other patterned fabrics. Sleeveless and short-sleeved shanku also existed in the 20th century. Both Han Chinese women and men of the labouring classes wore shanku. 1 The trousers, which could be found either narrow or wide, were a form of standard clothing for the Han Chinese. Hakka men and women wear it. The preferred colours of the Hakka shanku is typically blue and black. The Hoklo people wears shanku which is composed of fitted-style of shan which has a deeply curved hem and black-coloured trousers ku. Their shan was characterized by the bands decoration at the sleeves edges and at the garment opening as well as the collar of the shan which was very narrow and also consisted of piping rows. The Tanka people also wear shanku which is distinctive in style wherein the shan and the ku matched in colour; they prefer wearing colours which are lighter and brighter, such as pale green, pale blue, turquoise, yellow and pink. These lighter colours tended to be preferred by younger women or by newly married women; they were also worn on special occasions. On the other hand, darker colours were favoured by older women. In the 15th century (from 1407 to 1478), the Vietnamese women adopted Chinese trousers under the occupation of the Ming dynasty. They typically wore bright colours such as light blue as every day wear while colours such as purple, deep blue, deep turquoise were reserved for special occasions. The Nguyen lords ordered that southern men and women had to wear Chinese-stye trousers and long front-buttoning tunics to differentiate themselves from the people living in the North. During the 17th and 18th century, Vietnam was divided in two regions with the Nguyen lords ruling the South. In the pre-20th century, Vietnamese people of both sexes continue to maintain old Ming-style of Chinese clothing consisting of a long and loose knee-length tunics and ankle-length, loose trousers. This form of outfit developed with time over the next century becoming the precursor of the áo dài, the outfit generally consisted of trousers, loose-fitting shirt with a stand-up collar and a diagonal right side closure which run from the neck to the armpit; these features were inspired by the Chinese and the Manchu clothing. In the 1920s, the form ensemble outfit was refitted to become the Vietnamese dress female national dress, the ladies’ áo dài. What did Ancient Chinese Peasants Wear?

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The Hanfu clothing style takes its name from the Han Dynasty, one of the most influential periods in Chinese history. The Yi, Chang, Pao, and Ru were all common elements during the Han Dynasty, albeit in slightly different forms than today. In the Ming dynasty, beizi can be secured at the front either with a metal or jade clasp button called zimu kou (Chinese: 子母扣). The Chang Wikipedia page can provide further information about its historical variations. For those interested in the evolution of this garment, the Yi Wikipedia page offers a detailed history. For an in-depth look into the Han Dynasty’s influence on Chinese culture and clothing, the Han Dynasty Wikipedia page is a great resource. For an in-depth look at the Pao, you might find the Pao Wikipedia page beneficial. Film makers join in to record all the influencers and models in their look. It’s suitable for both formal and casual settings. The Pao is a long robe often worn over the Yi for formal events and ceremonies. Even though the Chinese traditional dress has a history dating back over four thousand years, there is now a renewal of interest in wearing this dress. Materials used for making Yi range from cotton for everyday wear to fine silk for more formal settings. Brazilian carnival costumes are used only during the four days of Carnival by Samba schools members. It saw a decline in popularity as Western clothing became dominant. The red color in these shirts represents good fortune and prosperity, making them an excellent choice for festivals, ceremonies, or for those who appreciate a blend of Eastern and Western aesthetics. These items not only provide comfort but also represent the pinnacle of style, with their rich red hues exuding confidence and power. Whether it’s a bold red jacket, a pair of statement red shoes, or a simple red T-shirt, these items cater to the diverse tastes and preferences of modern men. As in Western fashion, women are freer to experiment with men’s Hanfu than the other way around. It usually takes the form of a skirt or a pair of trousers. Embroidery and patterns on the Yi often carry significant symbolism, such as dragons or phoenixes, representing nobility and grace. The “cruciform structure,” representing a traditional method of clothes making, is shown on garments. One of the great things about Hanfu is that many of its styles are not limited to a specific gender, to the point that couples can go out wearing exactly identical clothes if they wish. It was big skirt with full selves and with a trouser. Hanbok, which is traditional korean clothes. Mianfu (Chinese: 冕服; pinyin: miǎnfú; lit. Chinese: 官帽; pinyin: guānmào; lit. In 1321 AD, during the rule of Emperor Yingzong, the zhisunfu (Chinese: 质孙服) dressing code was officially formulated. Liulongsan fengguan (Chinese: 六龍三鳳冠) is the 6-dragons-3-phoenixes crown. Chinese: 巾; lit. Darker colours were favoured over light ones. The long-sleeved jacket has a cross-collar with right lapel and often features pleated sleeves. Cheongsam of the late 1910s and early 1920s had relatively loose cutting with long, wide sleeves. The sleeves of the garments would be wide, and loose fitting, with sashes being added as ornamentation. Typically, it features a cross-collar, wrapped right over left, and is secured with a sash at the waist. The garments from this time laid the groundwork for what we today recognize as Hanfu. Today, hanfu enthusiasts revel in the panoply of styles that echo ancient mores, yet speak a contemporary language. I think the more pertinent question is, which styles of Hanfu aren’t unisex? Materials used for Ru are similar to those of the Yi, ranging from everyday cotton to more luxurious silks and brocades. Lavish garments like hanfu deserve equally remarkable complements-and the panoply of accessories serves just that purpose. Historically, it was a status symbol, as the patterns and materials used indicated the wearer’s social rank. You can commonly find Pao made of luxurious materials like silk, brocade, and even embroidered with gold thread for especially grand occasions. Skirt-style Chang is pleated and can have various designs, including embroidered patterns and symbolic motifs like clouds or mountains, often inspired by natural elements. It’s a versatile piece that can be worn for both casual and formal occasions. Are there any styles of hanfu that are unisex? They are also rather durable, even the earth can’t break it down that easily. This makes it a one-stop-shop for fashion enthusiasts, offering a wide array of clothing options that cater to a multitude of styles and occasions. In such a system, however, deals break all the time. The zhiduo was, however, spared from this policy as it was part of the ten exceptions. Right: Lady Aisin-Gioro Hengxiang, the birth mother of Wanrong, wearing the traditional Manchu one-piece robe, a chenyi, that later inspired the cheongsam.

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Chunyu (纯欲 or 純欲) is a term used to describe an aesthetic that is “chun” – innocent and cute – but also “yu” – sexy and alluring. It combines girlish youthfulness with womanly sensuality. It is feminine and classy, but can also have a tomboyish girl-next-door vibe to it. Chunyu is paradoxical in nature as it requires the woman to look both innocent and sexy. Chunyu is often attached to the old Chinese saying, “Angel face and devil body”, which refers to the purity of the face and seductiveness of the figure. To achieve a flawless Chunyu look, a woman must style herself to look beautiful, but without it seeming as if she is trying to be beautiful. Some have also described the Chunyu aesthetic as “sweet and salty”. During the early 2020s, Chunyu first spread in popularity in the form of makeup among Chinese beauty gurus on the social media platform Xiaohongshu, which is also known as China’s alternative to Instagram. Her Chunyu aesthetic should appear effortless and elegant. Various Chinese makeup styles also managed to archive widespread popularity within Japan fueled by the increasing mainstream use of Tiktok, including Chaiborg and Chunyu makeup. With the increasing popularity, Chunyu started to expand into an aesthetic with an own distinct style in regards to hair and fashion. Chunyu fashion has to strike a balance between being cute and sexy. The style follows major brands and is broad due to this fact. It has also become trendy to wear Chunyu makeup with qipao, hanfu (traditional Han Chinese clothing), and hanyuansu (modernised hanfu). Typical clothing includes oversized sweaters, knitted dresses, faux fur coats, high waisted jeans, cropped T-shirts, hair accessories, cardigans, short skirts, and spaghetti strap singlets. Chunyu makeup prioritizes warm colors and clear skin. A common characteristic of Chinese makeup is the use of red blush that continues around the eyes, hanfu for chinese new year and is sometimes applied to the tip of the nose to seem more youthful. Blush, lip gloss, glitter, arched eyebrows, spiky fake lashes, and warm lipstick are used to create a doll-like face. Chunyu conforms to a number of Chinese beauty standards. This is an influence from Chinese opera makeup. Defined collarbones, double eyelids, broad shoulders, aegyo sal (pocket of fat found directly under the eye, known as “wocan” in Chinese), thin nose, hourglass figure, small face, V-shaped chin, perfect teeth, long legs, good posture, and thin physique are desirable. Highlighter can be applied on the collarbones to accentuate them. Fingernails may be adorned with elegant nail art. The hairstyle and hair color should look natural. Exposing the arms, legs, shoulders, and midriff is acceptable to look “sexy” but too much cleavage is often avoided as it is thought to ruin the “pure” feeling. The hair should be soft, voluminous, and lush but can also be a bit unkempt to maintain a feeling of realism. It combines some “purity” aspects of the earlier Chunyu aesthetic but with the “wildness” of Western aesthetics. Hair is usually kept in its original black or dyed brown. Some have described it as the “jiejie” (older sister) to Chunyu. Chunye has a more mature look than Chunyu, and oftentimes more glamorous and ethereal as well. Chunye makeup uses extensive contouring to create more facial depth. Though Chunye itself could be considered a type of “Chunyu”. This style of makeup usually accentuates the eyes and lips. The fashion of chunye is luxurious and sexy. Chunye makeup uses contouring and highlighting eye makeup to create a three-dimensional bone appearance. Chunye has more jewellery and bold colors associated with it than Chunyu. This style of makeup often accentuates the eyes and uses a large amount of glitter. This aesthetic became popular in the West through Tiktok where it has been dubbed “Douyin makeup”, after the Chinese version of TikTok, Douyin. Many Chinese makeup styles, including Chunyu ones, became popular internationally through Tiktok in the early 2020s where they have been erroneously dubbed “Douyin makeup” by Southeast Asian, and later international observers. Some have criticized the term “Douyin makeup” as racist (more specifically anti-Chinese racism or Sinophobia) as it attempts to obscure its Chinese origins or misattribute it to other East Asian countries such as South Korea, inaccurate as most styles do not even originate from Douyin, and the erasure of Chinese voices by Western chauvinists hence the spread of misinformation regarding it. Within China itself, “Douyin makeup” is simply known as “Chinese makeup” (中国妆). According to Chinese news outlets on the other hand, ByteDance started to push viral makeup styles as “Douyin makeup” on purpose in order to maintain an association as free form of advertisment for its social media platforms, debunking the “racism” claims by overseas netizens. External links to help get a better understanding of this aesthetic. What is the “Chunyu makeup” from China? ↑ Popular on TikTok! A thorough explanation of its meaning, key points, and celebrity references.

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