The Hanfu dress is a traditional Chinese garment with a rich cultural history that dates back over 3,000 years. Known for its distinctive style and elegance, Hanfu attire has become increasingly popular worldwide. One stunning variant of the Hanfu dress that captivates the hearts of many is the pink Hanfu dress. The pink Hanfu dress is admired for its soft, delicate, and feminine hue. This charming and graceful garment effortlessly combines traditional Chinese aesthetics with modern grace, making it a beloved choice for various occasions. Often chosen by those seeking to embrace their inner princess, this hue exudes a sense of elegance, innocence, and vitality. The rosy shade is typically achieved using natural dyes derived from flowers such as peonies, orchids, and roses, making every pink Hanfu dress a unique masterpiece. The pink Hanfu dress boasts an array of exquisite design elements that add to its appeal. These design elements vary, depending on the specific era of Hanfu fashion it draws inspiration from. Whether it’s the wide-sleeved flowing lines of the Tang Dynasty or the exquisite combination of pleats and intricately embroidered patterns of the Ming Dynasty, each pink Hanfu dress celebrates the beauty of traditional Chinese culture. The pink Hanfu dress is celebrated for its graceful silhouette. This flowing and ethereal silhouette allows for freedom of movement and exudes an air of femininity and gracefulness. Typically, it features a loose fit with a high waistline and floor-length hem, accentuating the natural curves of the body. The pink Hanfu dress is a versatile garment suitable for various occasions. The dress often comes with a wide belt or a silk sash that cinches the waist, adding a touch of glamour. With its vibrant pink hue and elegant design, this dress effortlessly stands out, making it a perfect choice for individuals who wish to showcase their love for ancient Chinese fashion while embracing their unique modern style. It can be worn during formal events, weddings, cultural festivals, or even as a statement piece for casual outings. In recent years, there has been a resurgence in the popularity of traditional Hanfu fashion, including the pink Hanfu dress. With the rise of social media platforms, enthusiasts around the world are increasingly drawn to the allure of Hanfu, using it as a way to express their admiration for Chinese culture. This has led to the creation of various online communities, further contributing to the acceptance and appreciation of Hanfu as a global fashion statement. The pink Hanfu dress is a timeless and exquisite representation of traditional Chinese culture and fashion. With its soft hue, elegant design, and versatile appeal, it has captured the hearts of fashion enthusiasts both in China and beyond. Wearing a pink Hanfu dress is not only a fashion statement but also a celebration of history, culture, and personal style, allowing individuals to embrace their inner princess and radiate elegance wherever they go.
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18th century during the Qing dynasty. It is traditionally handmade and is decorated with dragons and phoenixes embroideries. Nowadays, the qungua is still popular as a wedding dress in China, including in Hong Kong and Macau. Back in Ming dynasty, the women wedding dress worn by nobles and commoners was known as fengguan xiapei (traditional Chinese: 鳳冠霞帔; simplified Chinese: 凤冠霞帔) composed of the fengguan and xiapei. It eventually became the traditional wedding attire of Cantonese brides in the Guangdong regions. What is known as qungua only started to be worn in the 18th century during the Qing dynasty. The wedding dress worn in Ming dynasty continued to influence the wedding dress of the later centuries. 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. This led to the use qungua in the Guangdong area. In 18th century, Chinese mothers would start to sew the qungua as soon as a daughter was born in the family. The qungua would then be placed as a part of the daughter’s bride dowry when she gets married. The qungua follows the ancient traditional system of shangyi xiachang (Chinese: 上衣下裳; upper and lower garment). Chinese: 裙; pinyin: qún; Jyutping: kwan4; lit. The qungua is composed of two separate garments: a gua (Chinese: 褂; pinyin: guà; Jyutping: gwaa3; lit. The qun worn in the qungua is typically straight in cut. While Western wedding dress tends to be white in colour, Chinese traditional wedding clothing favours the use of red and gold colour. The skirt could be pleated. The gua was originally black in colour while the skirt was originally red in colour. Bride wearing Qing dynasty qungua. Since then the traditional black gua and red qun started to be used for the bride’s mother instead of being worn by the brides themselves. Qungua is a two-piece garment attire: black gua and red qun. Construction of a black gua jacket. It can also be decorated with other auspicious symbols, such as pomegranate (symbolism for fertility), peony flowers, lotus flowers, bats, goldfish, butterfly and birds. The qungua is typically embroidered with the Chinese dragons called long (traditional Chinese: 龍; simplified Chinese: 龙) and the Chinese phoenix called feng (traditional Chinese: 鳳; simplified Chinese: 凤). The Betawi bridal dress, partly influenced by Chinese culture and by Indonesian culture, looks similar to the Chinese qungua. The tuaki is decorated with Chinese auspicious symbols. One difference from the qungua is the use of Betawi Lotus, also known as Betawi pomegranate, a separate ornamental garment which covers the chest and shoulder areas (similar to the yunjian of the Chinese people). Like the qungua, the Betawi bridal dress is a two-piece set of attire which composed of an ankle-length with wider bottom skirt called kun and an upper garment called tuaki. The Betawi lotus was used to denote the origins of the Betawi bride, but it was eventually replaced by beads which typically follows the Spanish cherry floral pattern. The kun and tuaki must match in colour. The fengguan xiapei is a set of attire which was composed of red mang ao (traditional Chinese: 蟒襖; simplified Chinese: 蟒袄; lit. Ming dynasty-style round-collar robe decorated with dragons, which was worn by Han Chinese women as a court robe; a xiapei (Chinese: 霞帔), which is a type of long scarf in Ming and a type of stole in Qing dynasty; a mangchu (Chinese: 蟒裙; lit. Chinese Bride in Batavia in her wedding dress, 1870. The dress is heavily influenced by Chinese culture but also shows subtle differences. The Wedding attire is sometimes decorated with Chinese cloud collar known as yunjian. The qungua is distinct from another Chinese wedding set of attire called Xiuhefu (Chinese: 秀禾服). Qing dynasty fengguan xiapei (凤冠霞帔), a yunjian is on top of the attire. The Xiuhefu typically has an overlapping jacket which closes to the right side (instead of the qungua central closing jacket) which is worn with an A-line skirt (qun) which looks similar to a mamianqun instead of a straight cut skirt. The Xiuhefu is typically embroidered with flowers and birds to symbolize love for whole seasons. The qungua is different from the cheongsam which can also be worn as a Traditional Chinese wedding dress. Prior to the 1930s and the 1940s, the cheongsam was also a two-piece set of garment which was composed of a long robe and was worn with a pair of trousers. Long Feng Gua” Wedding Tradition | US-China Institute”. The qungua is a two-piece garment composed of jacket and skirts while the modern cheongsam is currently a one-piece robe. Cultural Centre, University of Malaya (masters). JNTT (2020-07-30). “SAME SAME BUT DIFFERENT”. Qiao, Nan; Tan, Yan-rong (2017). “Talk About the Chinese Wedding Dress of Modern Women”. Indonesia-Taiwan Relations: Searching for Better Understanding. Penerbit Andi. 2021. pp. Queensland Museum Collections Online. Prof. Dr. Tirta Nugraha Mursitama, Ph.D., Dr. Shidarta, M.Hum., Dr. Yi Ying, M.Lit., M.Pd. This page was last edited on 29 November 2024, vintage qipao at 08:07 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Garrett, Valery M. (2007). Chinese dress : from the Qing Dynasty to the Present. 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.
In a video reportedly filmed on August 10, a policeman accuses a young Chinese woman wearing a kimono, a traditional Japanese outfit, of “causing trouble” before arresting her. The controversy that has been stirring up Chinese social networks for the past few days surrounds a cosplayer, a person who dresses as a Japanese manga and anime character. The scene, which has gone viral online since August 14, is the subject of debate on Chinese social networks, 77 years after Japan’s surrender in World War II. In the video, she can be seen facing a police officer from behind. The cosplayer shared a video on her Weibo account, the equivalent of Twitter in China, in which a police officer reproaches her for wearing a Japanese kimono. She is wearing a blonde wig and a pink kimono with flowers, similar to the one worn by the heroine of the Japanese anime “Summer Time Rendering” (2022). She explained on her Weibo account (archive link available here) that she was queuing outside a Japanese restaurant with her photographer on August 10 after a photo shoot when the police arrived. In the original video, which had accumulated nearly 8 million views before being removed, the young woman is facing police officers. The woman takes offence and the policeman then tells her that she is suspected of “causing trouble”. The scene took place in the city of Suzhou, a neighbouring city of Shanghai. More precisely in Huaihai Street, known for its many Japanese restaurants and shops, chinese hanfu male where the cosplayer explains that she went to re-enact several scenes from an anime series. According to the young woman’s account on social networks, she was questioned for nearly five hours before being released. The Suzhou police have not officially reacted or responded to requests from several media outlets such as The Guardian, nor have they officially announced any sanctions for the cosplayer. The video has elicited widespread debate online, against a backdrop of heightened anti-Japanese sentiment in China on the occasion of the 77th anniversary of Japan’s surrender and the end of World War II. According to CNN, the young woman explained on her profile on the “Qzone” platform that the police asked her to write a letter of apology. Diplomatic relations between the two countries remain tense, with China arguing that Japan has not apologised sufficiently for abuses committed during the war, notably the 1937 Nanjing massacre. Currently, tensions are particularly high as Japan accuses China of threatening peace by carrying out military exercises in the Taiwan Strait.
Some adolescent and adult male hairstyles. Women prior to adulthood (determined by Ji Li) wear their hair similarly, but to the left and right. Traditionally, men prior to adulthood (determined by Guan Li- or coming of age ceremony) wear their hair in two knots: To the front and back. After coming of age, both male and females wear their hair up, tying them in either a simple single knot for men, or hairstyles with the hair ends still falling naturally to the back for women prior to marriage. Married women’s hairstyles have the ends of their hair tucked within the hairstyle itself. Women of all ages adorn their hair with hairpins (single-pronged 簪 Zhan, or double-pronged 釵 Chai, but these terms are used somewhat interchangeably in later ages), or with bandanas around their hair or forehead, and are also called Jin (巾). A Han-style wedding in Yunnan, 2008. All men are wearing some form of Jin matching the style and formality of their clothes. All women are wearing hairstyles befitting of their statuses. In the context of cut and styled hair of the 21st century, Hanfu restorationists have argued whether or not the idea of Shoufu should be brought back as well. Proponents for the idea argued that without the Guan, the notion of Han Chinese clothing, especially as “a superior nation of clothing and headgear (衣冠上國 Yiguan Shangguo), would be incomplete. Those against the idea argue that with most men having short hair today, wearing the Guan would simply be inviable. Almost all Guan produced today include the chin sash to stabilize itself, and some have even went as far as to replacing the sash with an elastic to reinforce the effect. In practice, full head-sized Jin became the defacto headwear for modern men in Hanfu, as they could wear the caps with relative convenience and ease without a topknot, while heightening their facial profiles much like a Guan. Wearing Hanfu without Shoufu is deemed improper traditionally, and is considered aesthetically awkward or informal today, but generally accepted. Some younger men and women with longer hair prefer to have the ends of their hair fall loose behind them, partially due to influences of the martial art heroes (武俠 wuxia) aesthetic in novels and TV media, preferring the image of the free spirit to that of a conservative, restraintive scholar; this is still considered improper, but is accepted in casual situations.
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The set features a square-necked, half-sleeved short shirt paired with a short Ma Mian skirt, black qipao dress capturing the quintessence of traditional Ming attire while catering to the tastes of the modern wearer. The overall soft pink palette is a study in subtlety and refinement, with varying shades of light pink florals set against an apricot-pink background, offering a design that’s understated yet exquisite in its detailing. The short shirt is a canvas for floral embroidery, boasting bouquets of lilies, gardenias, and lily-of-the-valley, interspersed with elegant silver floral buttons. The Ma Mian skirt introduces modern elements such as a side zipper and adjustable waist buckles, ensuring ease and comfort in everyday wear. The buttons are not mere fasteners; they are the finishing touches that enhance the shirt’s delicate charm. These thoughtful additions do not detract from the skirt’s traditional silhouette; rather, they enhance its functionality, making the grace and poise of Hanfu attire accessible to the rhythms of contemporary life. The mid-sleeve design brings a visual sense of coolness, perfect for the summer heat, while the shorter length of the shirt accentuates the waistline, crafting an illusion of height and a flattering figure.
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The red Hanfu men costume we offer is a perfect representation of this rich tradition, combining traditional elements with modern comfort and elegance. A Brief History of Hanfu The origin of Hanfu can be traced back to the Neolithic period, evolving over time with various dynasties contributing their unique styles. The Han dynasty, specifically, saw significant development and refinement in the design and materials of Hanfu. This period is often regarded as a golden age of Hanfu, with its distinctive features such as the qizi (a piece of fabric draped around the waist) and the changpao (a long robe with wide sleeves). The garment is made from high-quality, breathable cotton that ensures comfort during wear, whether you are attending a cultural event or simply enjoying a day out. Features of Hanfu Men Red Our red Hanfu men costume is meticulously crafted to preserve the essence of traditional Hanfu while incorporating contemporary designs. The vibrant red color not only highlights the vibrant history and culture of the Han people but also adds a touch of elegance and confidence to the wearer. The design of the costume includes intricate embroidery and patterns that are typical of Hanfu. The neckline is typically designed in a V-shape, which is a hallmark of Hanfu and symbolizes the openness and inclusivity of the Han culture. The front and back panels feature elegant patterns that tell stories of ancient China, while the sleeves are generously sized to provide ample movement and comfort. Use Cases for Hanfu Men Red Our Hanfu men red is versatile and can be used in a variety of settings. It also makes for a stunning choice for photography, weddings, and other formal occasions. The elegance and sophistication of the costume can help you stand out and make a lasting impression. It is perfect for traditional festivals, cultural events, and historical reenactments. FAQ Section Q: What is Hanfu? A: Hanfu is the traditional clothing of the Han ethnic group in China, with a history dating back over two thousand years. It is known for its distinctive designs, vibrant colors, and intricate patterns. Q: How does the Hanfu men red differ from other Hanfu styles? A: The red Hanfu men costume stands out due to its vibrant color, which symbolizes vitality and happiness in Chinese culture. Q: What is the fabric like? It features traditional patterns and designs that are both elegant and striking. The fabric is also lightweight, making it suitable for various weather conditions. Q: How do I care for my Hanfu? A: To maintain the quality and beauty of your Hanfu, hand wash it in cold water with mild soap. A: The red Hanfu men costume is made from high-quality, breathable cotton, ensuring comfort and ease of movement. Avoid using fabric softeners and hang it to dry to prevent creasing. Q: Can I wear it for both formal and informal events? A: Absolutely! The versatility of our Hanfu men red makes it suitable for both formal and informal events. Q: What are the sizes available? It can be dressed up for special occasions or paired with casual wear for everyday use. A: We offer a range of sizes to fit different body types. Please refer to our size chart to ensure a perfect fit. If you have any specific requirements, feel free to contact our customer service team for assistance. A: We offer customization options, including embroidery and color choices. If you have specific requests, our team can work with you to create a truly unique piece. Q: Can I customize the design? A: Yes, we use reliable shipping partners to ensure fast and secure delivery. Q: Is shipping reliable and fast? Tracking information will be provided, and you can monitor the status of your order online. Q: Are there any return policies? A: We have a generous return policy, allowing you to return the product if it does not meet your expectations. Please contact our customer service team for detailed information and instructions. Conclusion The red Hanfu men costume is a beautiful representation of the rich cultural heritage of China, combining traditional design with modern comfort. Whether you are a history enthusiast, a cultural admirer, or simply someone looking to stand out in a crowd, our Hanfu men red is the perfect choice. Explore our collection and bring a touch of ancient China to your wardrobe today!
Yajin (simplified Chinese: 压襟; traditional Chinese: 壓襟; pinyin: Yājīn), also known as shijian er (Chinese: 事件儿; pinyin: Shìjiàn er), is a type of Chinese accessory which is placed at the lapels of Chinese clothing (robes and jackets); they would typically hanged down on the right side (sometimes at the front depending on the clothing closure) of the chest area in order to press on the clothing. The yajin appeared as early as the Tang dynasty and became popular in the Ming and Qing dynasties. Yajin can also be used as accessories on the cheongsam, where it is tied on the pankou knots. There are various styles of yajin, including a dangling pendant-style (which is similar to jinbu or tassels in style) and a bracelet-style, known as shibazi (Chinese: 十八子; pinyin: Shíbāzi; lit. It may also include tassels. The pendant-style yajin may consist of string of beads, metal chains, and pendants (including precious stones, yupei-like materials, or metal filigree) which comes in various shapes such as flowers, animals, and auspicious motifs/ themes/ Chinese characters. In Qing dynasty, Han Chinese women also wore pendant-like charms made of diverse materials (such as jade, amber, gold) at the top button on the side of their ao jackets. In the late Qing, people sometimes used old silver coins to make their yajin. They would also hang purses on the top button of their jacket. They also wore other forms of pendants, such as pendants made of metal filigree in the shape of potpourri container which would be filled with fragrant herbs and long silver pendants with small silver charms which were filled with bells which would frightened evil spirits away when they tickled as they wore. A shibazi is a type of 18-beads bracelet which originated from the japamala and could also be used as a form of yajin. Shibazi sometimes have hanging buckles; they would be hung on the right lapels of the clothing or could be worn around the wrist like a regular bracelet. There were no strict regulations on its wearing etiquette. This page was last edited on 24 March 2023, at 14:20 (UTC). Garrett, Valery M. (2007). Chinese dress : from the Qing Dynasty to the Present. 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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Chinese clothing worn by the Han Chinese. The qixiong ruqun is a unique style of ruqun (Chinese: 襦裙), which is characterized with a high waistline qun, Chinese skirt. Sui dynasty, Tang dynasty and Five Dynasties and Ten Kingdoms period. The qun used in the qixiong ruqun is generally tied above the bust level. The style was also revived in the early and middle Ming dynasty. Some records of clothing history refer to it as the high-waist ruqun. Since the Han dynasty and Jin (Chinese state), the waist of the skirt has typically been tied on the waist, while in the Sui dynasty, Tang dynasty and Five Dynasties, the waistband of the dress was much higher, many of which were usually above the chest or under the armpit. The qixiong ruqun was a typical form of women hanfu in the Tang dynasty. Later, it was renamed to qixiong ruqun, according to the current inspection and certification by people. Tang dynasty’s high-waisted skirt with a short ru (襦) or from a later revival of the Tang dynasty fashion. The qixiong ruqun was named after its location on its wearer’s body. It is distinguished from the gaoyao ruqun (高腰襦裙; high-waisted ruqun), which is attached below the chest and above the waist. Qixiong ruqun was also adopted by the Khitan women and continued to be worn in Liao dynasty even after the fall of the Tang dynasty. In ancient times, ruqun dresses for women were not very high waisted, but ruqun dresses with very high waists appeared from the Northern and Southern dynasties to the Sui dynasty, Tang dynasty and Five Dynasties. Some clothing history records call it the high-waisted ruqun, and it was later changed to qixiong ruqun according to the current people’s examination and certification of it. The qixiong ruqun first appeared in the Northern and Southern dynasties. Qiyao ruqun (齐腰襦裙; waist ruqun) is tied at the waist while qixiong ruqun is tied under the armpit. Prior to the Putong period (520-527 AD) of the Liang dynasty, the waistline of the women’s ruqun were located at the waist. Song dynasty, when, upon Neo-Confucianism’s rise, the fashion of Tang dynasty faded. Their ruqun belt line became higher and the skirt was attached at the chest level. During the Southern dynasties, the women’s ruqun evolved and was tied higher. Their ru (襦) had open necklines. The ru (襦) with open neckline started since the Datong period (527-529 AD); prior to that, the collars of the women’s ru were designed to be tight-fitting from the Southern Qi dynasty (479-502 AD) to the Liang dynasty. During the Sui dynasty, the dress code of the Han dynasty was revised and a clothing system with the characteristic of the Han Chinese was established. During the Sui dynasty and Tang dynasty, blouses were generally worn as short ru (襦); banbi (半臂) (i.e. short-sleeved upper garment)and pibo (an accessory which looked like a long shawl) both constituted an integral part of ruqun at the time. Musicians wearing qixiong ruqun, Sui dynasty figurines. In this period, the ru (襦) with short sleeves became a popular trend for the time. The Tang dynasty was the heyday of economic, cultural, artistic and diplomatic history in Chinese history. It also created the characteristics of this dynasty’s freedom, gracefulness, and colourful clothing. Sui dynasty female attendants wearing qixiong ruqun. Tang dynasty people wore short sleeved ru (襦) and a floor-length skirt, but after the heyday of the Tang dynasty, chinese traditional clothing hanfu the aristocratic costumes turned to become large and complex. Qixiong ruqun is a representative costume of the Tang dynasty and was very popular among Tang dynasty ladies. In the Tang dynasty, qixiong ruqun was typically worn long a wide-sleeved blouse, long-full skirt, and long silk scarves with painted motifs as part of the set of attire. During the High Tang period, women were less constrained by feudal ideas and wore clothing which would allowed the exposure of cleavage. It was typically worn by noble ladies or female attendants who served in high status households, such as in important families and even the royal family. The traditional form of ruqun worn in the previous dynasties was maintained in the Tang dynasty, but the “V” collar of the ru was deepened to the point that the cleavage was exposed. The skirt waistband being tied at the chest or at the armpits allowed the neck and chest regions to be exposed. When the skirt (qun, 裙), ru (襦), and pibo (披帛) are paired together, the woman’s grace and temperament in the Tang dynasty were fully presented, showing a poetic beauty and rhythm. The styles of qixiong ruqun with shoulder straps are often found in pottery figurines or paintings unearthed before the Tang dynasty. Until the development of the Kaiyuan (开元) period of the Tang dynasty, when the style became fixed under the armpit. The qixiong ruqun with shoulder straps appeared to have been rarely used in China during the Tang dynasty. There were variety of skirts during the Tang dynasty. At the beginning of the Tang dynasty, the skirts were narrow but became looser in the High Tang period. The style of the skirt is stitched with four fabrics, the upper part is narrow, the lower part is loose, and the hem hangs down to the ground. The ru (襦) neckline varied, and the most popular one was daxiushan (大袖衫), which was full of the spirit of the people’s ideological emancipation during the Tang dynasty. Skirt (qun; 裙) fabrics were mainly silk fabrics. The more expensive the materials, the better. Silk is used at the waist of the skirt, and laces are sewn at both ends. The design of the waist of the skirt was much improved. Pomegranate skirt (Shiliuqun: 石榴裙): the colour pomegranate red was famous for the longest time. Zhou dynasty’s bell skirt: A skirt which was decorated with twelve bells at the four corners of the dress. Striped skirt (jianqun): High-waisted striped skirts became mainstream since the Northern dynasties and lasted until the Sui-Tang dynasties. When people walked, they made a “jingle” noise, which was seen as very graceful and beautiful. For example, the famous picture Court Ladies Preparing Newly Woven Silk in the heyday of the Tang dynasty shows similar costumes. Many unearthed cultural relics and antique paintings have record of the qixiong ruqun. Court Ladies Preparing Newly Woven Silk (捣练图). One-piece and two-piece style qixiong ruqun depicted in Tang dynasty painting “A palace concert”. A Group of Tang Dynasty Musicians from the Tomb of Li Shou. Noble Ladies Worshipping Buddha, Tang dynasty painting. During the Song dynasty, the fashion of Song was different from the fashion of the Tang dynasty. Qixiong ruqun continued to be worn in the Five dynasties and Ten Kingdoms period. The clothing of the Tang dynasty which emphasized on body curves and the low-cut garments which exposed cleaved and was once favoured by the Tang dynasty women was perceived as sensual and obscene by the Song dynasty women. With the rise of Neo-Confucianism, Song dynasty women were encouraged to reject the extravagant fashion of the Tang dynasty. The qixiong ruqun however continued to be depicted in the paintings of the Song dynasty. Buddhist donatress Chang (張氏供養人), painting from Mo-kao Caves, Five Dynasties and Ten Kingdoms. Buddhist donatress, Yü-lin Caves 19, Five Dynasties and Ten Kingdoms, d.926 AD. Detail of a Mural Painting from Tomb of Wang Ch’u-chih (王處直), Five Dynasties and Ten Kingdoms. Mural Painting of a woman from Tomb of Wang Ch’u-chih (王處直), Five Dynasties and Ten Kingdoms. Mural Painting of a woman from Tomb of Wang Ch’u-chih (王處直), Five Dynasties and Ten Kingdoms. Buddhist donors from Cave 98 at Mo-kao, Five Dynasties or early Northern Song dynasty. Qixiong ruqun, Southern Song painting by Wang Shên. Buddhist donors in qixiong ruqun, early Northern Song dynasty, 983 A.D. This strongly influenced the development of the Korean hanbok. Spring Morning in the Han Palace, by the Ming dynasty painter Qiu Ying. In modern times with the increasing popularity of hanfu and driven by the hanfu movement, the qixiong ruqun gained high popularity among young women. Spring Morning in the Han Palace, by the Ming dynasty painter Qiu Ying. 2. two-piece style with a slit under the waist. The former is well accepted as being an authentic shape as such form of skirt was unearthed in archeological findings; thus proving the correctness of the one-piece style qixiong ruqun whereas the latter is controversial as it is a style which (so far) can only be found in ancient paintings, such as the Tang dynasty “A palace concert” painting. The modern qixiong ruqun is controversial due to the rarity of unearthed historical clothing. The qixiong ruqun can be found into a one-piece and two-pieces skirts. The two-piece style qixiong ruqun consists of two pieces of fabrics. The one-piece style qixiong ruqun is a traditional Chinese one-piece skirt which is tied like a wrap-skirt. The method to tie the two-piece qixiong ruqun is different from the traditional one-piece skirt: first, the rear section is tied, and then the front section is tied. It is presented as two pieces of fabric incompletely sewn together on the side to form a rear and a front section and with two sets of ties. During the Tang dynasty, Central Asian women also were depicted wearing Han Chinese style clothing. After the fall of the Tang dynasty, the Tang-style Han Chinese clothing continued to be worn in the Liao. From at least the Han dynasty until the Mongol period, Non-Han Chinese women (regardless of social status or cultural identity) who lived in Han dynasty territories wore Han Chinese clothing. Qixiong ruqun, Liao dynasty. Qixiong ruqun, Liao dynasty. A female attendant wearing qixiong ruqun, mural tomb in Aohan, Liao dynasty. In Dunhuang, the clothing fashion of the 8th and 9th century AD closely followed the Tang dynasty’s fashion. The Khitans inherited the Hanfu from the Later Jin dynasty; the clothing of the Later Jin were actually clothing from the Tang dynasty. This trend later changed in the 10th century AD when the Uyghur clothing and Sino-Uygur headdress became more prominent. In Silla, the clothing of Korean women were influenced by the fashion of the Tang dynasty due to the cultural interactions. Chinese-style clothing and Chinese fashion was introduced in the Unified Silla period. The skirts worn over the jackets was a distinctive clothing style of the Tang dynasty’s women. Under the Tang dynasty influence, the skirts in Silla were similarly worn at chest-level and was tied with long ribbons. Some clay figures found in that period shows the high-waist line skirt worn over the jacket and appears to have shoulder straps attached to it. The qixiong ruqun with shoulder straps was also worn in China, but they appeared to have been rarely used in China during the Tang dynasty. When Balhae established peaceful diplomatic relations with the Tang dynasty, Chinese culture was vigorously introduced by the Balhae court. Other relics also show the ornamental differences between the Balhae and Tang dynasty women in the use of different types of shawl. Balhae also adopted the women clothing of the Tang dynasty and assimilated the clothing of the Tang dynasty. It is also likely that the current women’s hanbok has been derived from the Tang dynasty’s high-waisted skirt with a short ru (襦) or from a later revival of the Tang dynasty fashion. This form of high-waisted skirt which ties to the chest can still be seen in the chima worn in the modern days Korean women’s hanbok. Nowadays women hanbok is modelled after the Joseon aristocratic women hanbok. Although there were influences from the previous dynasties, the clothing worn in Silla period was gradually altered during the Joseon dynasty until its forms became what is now known as hanbok. Its costumes tended to be bright, colourful, and diverse. Tang dynasty was a dynasty with a prosperous economy and relatively open social fashion. Jiaoling Qixiong ruqun (crossed collar type). Duijin qixiong ruqun (parallel collar type) – Duijin qixiong ruqun was and is generally more widely used. Ruqun consists of a ru (襦) and a skirt (qun, 裙; also known as Chang, 裳), it is a typical upper and lower garment system. Qixiong Ruqun is a style of ruqun. Because it must match the Qixiong skirt that was worn, the ru were usually very short. The hezi is a corset-like garment that is attributed to Yang Guifei. The hezi is tied from the back to the front, and the lower part has a rope so that the waist part of the skirt can be tied at the same time. The patterns on clothes also had different requirements according to the characteristics of different dynasties, for example, flowers and plants were often used as patterns in Tang dynasty. This accessory bears resemblance to the Qing dynasty Dudou (肚兜). Hezi is worn in the Tang dynasty, Song dynasty and Ming dynasty. Hezi can be seen in ancient Chinese frescoes and cultural relics, for example, the famous Dunhuang (敦煌) Mural. Pibo is often used as decoration for qixiong ruqun. Pibo often appears in the murals of Sui dynasty and Tang dynasty, and Tang dynasty is the most popular period. It is made of silver or gold chiffon, one end of which is fixed on the belt of the half arm then draped over the shoulder and wound around the arms. Pibo evolved from a long shawl, and later gradually became a ribbon between the arms, this is the typical costume of ancient Chinese ladies. There are two kinds of pibo: one type of banner is broader and shorter, which is mostly used by married women. Another can reach more than two meters in length, primarily used by unmarried women. Women’s clothing styles in the middle and late Tang dynasty tend to be more and more loose and elegant, so most of them are decorated with pibo. It is a type of decoration that influenced the dupatta in India. Daxiushan is also used to match the dress with the skirt. The material of daxiushan upper garment is compared commonly flimsy. In ancient times, qixiong ruqun with a daxiushan can be worn as a formal dress. Its lace-up position is located in the lower part of clothing. Zhou Fang, who was a very influential painter in the middle Tang dynasty. The cuff of daxiushan upper garment has 4.37 feet above commonly. The qixiong ruqun and/or qixiong ruqun-style clothing continued to be depicted in the paintings and/or illustrations of the Ming dynasty and Qing dynasty. Many costumes can be used with daxiushan, which is commonly seen with narrow sleeves, straight sleeves and wide sleeves blouse (ru). Illustration by Chen Hongshou, late Ming dynasty. Chen Hongshou, late Ming dynasty. Magu (the goddess of flowers), Qing dynasty painting. Qixiong ruqun and/or qixiong ruqun-style clothing is occasionally depicted in the costumes worn by actors in Chinese television dramas, in movies, and other forms of entertainment. Painting by late Qing dynasty painting, plus size qipao Ren Xiong. 网易. 汉服同袍圈. They are also sometimes depicted in Korean dramas. Zhang, Tianwei (2020-11-25). “Putting China’s Traditional Hanfu on the World Stage”. Valerie Steele. Farmington Hills, MI: Charles Scribner’s Sons. Ju-Ri, Yu; Jeong-Mee, Kim (2006). “A Study on Costume Culture Interchange Resulting from Political Factors”. Journal of the Korean Society of Clothing and Textiles. Korean Costumes through the Ages: Commemorating the Centennial of Korean Immigration to the United States. Encyclopedia of clothing and fashion. The National Folk Museum of Korea (South Korea). Journal of the Korean Society of Costume. Senior Honors Theses – via Liberty University. Hua, Mei; 华梅 (2004). Zhongguo fu shi (Di 1 ban ed.). Beijing: Wu zhou chuan bo chu ban she. Tibberts, Jennifer (2021-01-01). “Investigating How Qipao and Hanfu Dresses are Representative of China”. Encyclopedia of clothing and fashion. Shea, Eiren L. (2020). Mongol court dress, identity formation, and global exchange. New York, NY. pp. 张, 珊 (2017). “东晋南朝女性襦裙探析”. Xv, Zhaofang (2014). “An Attempt to Analyze the Implicitness of the Aesthetic Features of Chinese Art Taking the Aesthetic Features of Women’s Clothing in the Flourishing Period of Tang Dynasty as an Example”. Proceedings of the International Conference on Education, Language, Art and Intercultural Communication. Valerie Steele. Farmington Hills, MI: Charles Scribner’s Sons. Vol. 3. Atlantis Press. Ding, Ying (2016). “The Effects of Foreign Cultures to the Women Clothes in the Tang Dynasty”. Vol. 45. Atlantis Press. Chinese). 千華駐 崧博. Hinsch, Bret (2021). Women in Song and Yuan China. Proceedings of the International Conference on Electronics, Mechanics, Culture and Medicine. Xu, Jiaxuan (2019). “Exploring Hanfu”. Wong, Dorothy C. (1993). “A Reassessment of the Representation of Mt. Wutai from Dunhuang Cave 61”. Archives of Asian Art. Shea, Eiren L. (2020). Mongol court dress, identity formation, and global exchange. New York, NY. p. Johnson, Linda Cooke (2011). Women of the conquest dynasties : gender and identity in Liao and Jin China. Honolulu: University of Hawaiʻi Press. Kuhn, Dieter (2000). “”Liao Architecture”: Qidan Innovations and Han-Chinese Traditions?”. Lee, Samuel Songhoon (2013). Hanbok : Timeless fashion tradition. Han’guk Kukche Kyoryu Chaedan. Russell-Smith, Lilla (2005). Uygur patronage in Dunhuang : regional art centres on the northern Silk Road in the tenth and eleventh centuries. Lee, Ki-baik (1988). A New History of Korea. A new history of Parhae. Edward W. Wagner, Edward J. Schultz. John B. Duncan, Tongbuga Yŏksa Chaedan, Tongbuga Yo⁺їksa Chaedan. The Greenwood encyclopedia of clothing through world history. Leiden: Global Oriental. 2012. pp. Jill Condra. Westport, Connecticut. Encyclopedia of national dress : traditional clothing around the world. Jill Condra. Santa Barbara, Calif. The Empress of China””.
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