By purchasing our Hanfu, you can not only own beautiful clothes, but also participate in the protection and dissemination of Chinese traditional culture.
Baloch traditional clothing (Balochi:جامگ، پوچ) is a historical and contemporary aspect of Baloch heritage and deep association between the traditional dress and Baloch ethnic identity. The clothing of the Baloch people consists of various styles of kameez and shalwar, turban, shoes and head scarfs. Balochi embroidery decorations on dresses is a tradition in Baloch culture including Balochi cap, jackets, belts, ladies purse, shoulder bags, and many other items. The Baloch dress and personal upkeeping very much resemble the Parthian ways. Dress code and personal upkeeping are among the cultural values, which distinguish a Baloch from others. Surprisingly, no significant changes can be observed in the Balochi dress since the ancient times. Balochi needlework or Balochi embroidery, which is used on Balochi women’s clothing, in some sources, the beginning of this art is 100 to 200 years before Islam, and the available evidence indicates that this method of sewing has been common among the Baloch people since the beginning of Islam, and in The Ilkhanate era, especially the Timurid and Safavid eras, has reached its peak. Baloch men wear a dress named Jameh or Jamak. Parthian pants, but narrow near the hem or hem, and twisting causes folds in it. It consists of two parts; one is upper body clothing and the other is a loose skirt reaching to the knee. Chakan doz is a hand-embroidered hat of the nobles, this type of hat is made of fabric on which needlework is done. Shawl(Balochi:شال) is a woolen coat worn in winter. Balochi women wear loose dresses which are Balochi needlework and embroidered in local designs which include Balochi silk-thread chain-stitch embroidery. The female Balochi suit consists of the head scarf, long dress and a shalwar(Pajamak). Footwear: Baloch women use four types of shoes, namely Sawas, Mochi, Katuk and Takkul. Serig: It is a kind of big rectangular scarf that is decorated with embroidery. Balochi embroidery alone has 118 different basic designs. Baloch women use a large scarf to cover their heads called a sareg. Mahtab Norouzi was an Iranian Baluchi master artisan, she was known for her textiles and women’s clothing. Balochi ornaments are used for head and hair, ears, hands and feet. File:Balochi National dress use as a uniform in Taftan air. Baloch earrings(Balochi:در(durr)): The women wear it. Balochi brooch(Balochi:سنجاک سینه): it is tied in the front pocket of the shirt in the chest area. Haar and touq(necklace and bracelet). Pulu and Pulluk(Balochi:پلّک):It is placed in the nostril with a clip. Sangah or Tali(Balochi:سنگاه یا تالی): rings around hands. Mundriek(Balochi:پلّک):rings in hand and foot fingers. Roch(Balochi:روچ): It is an ornament that is often hung on the chest. Teetuk(Balochi:تیتوک): is made on women’s forehead or cheek. Balochi bracelet(Balochi:گبّ): The silver bangle. The baloch wear the shoes named Chawats (traditional footwear). Sawas is balochi shoes that is woven with wild date from the leaves of a desert shrub. 1904. This article incorporates text from this source, which is in the public domain. Matin, Payam (2004). Iranian clothing (in Persian). دفتر پژوهشهاى فرهنگى. p. Afshar, Iraj (1992). Balochistan and its ancient civilization (in Persian). Rehman Khan, F. and Malghani, M. and Ayyaz, S., “Construction of Baloch Ethnic Identity through Ethnolinguistic Awareness and Cultural Dynamics”, Clark, pp. سازمان چاپ و انتشارات وزارت فرهنگ و ارشاد اسلامى،. Nasseri, Abdollah (1980). The culture of the Baloch people (in Persian). Ahmady, Kameel (2004). From Border to Border. ایسنا (ISNA) (in Persian). Afshar, Iraj (1992). Balochistan and its ancient civilization (in Persian). سازمان چاپ و انتشارات وزارت فرهنگ و ارشاد اسلامى،. Afshar, Iraj (1992). Balochistan and its ancient civilization (in Persian). سازمان چاپ و انتشارات وزارت فرهنگ و ارشاد اسلامى،. PDF). Indiana University Bloomington. BBC News فارسی (in Persian). ایسنا (ISNA) (in Persian). Dashti, mamian qun skirt Naseer (2007). In a Baloch Perspective. Nasseri, Abdollah (1980). The culture of the Baloch people (in Persian). Baloch, Mumtaz A.; Ali, Imdad; Baloch, Hamid Ali (20 December 2017). “WHAT IS BALOCHISTAN’S COTTAGE INDUSTRY WORTH? A SOCIO- ECONOMIC PROFILE OF THE ČAWAŢ (CHAWAT) MANUFACTURING BUSINESS IN QUETTA, BALOCHISTAN”. Wikimedia Commons has media related to Baloch clothing. Breseeg, Taj Mohammad (2001). Baloch Nationalism Its Origin And Development. This page was last edited on 27 October 2024, at 00:25 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
A strip titled “Evolution” from Alfonso Wong’s “Old Master Q” comic series, drawn in the 1950’s to 1980’s Hong Kong, ironically but accurately predicted the return of Hanfu. Hanfu has experienced a 360-year discontinuation, and has faced tremendous challenges in attempting to restore itself as the representation of a people who consists of one fifth of the world’s population. We, the people of the Internet and Television era, may have only heard of or seen these clothing on the glowing display screens showing martial arts flicks and staged opera, and specific styles of these clothes represent certain eras of the Chinese past. However, how much of these are stereotypes? Even if a style of clothing is said to be “xx-dynasty style”, do all people of that time wear that? Hence, it is important to discuss Hanfu as all other (active) fashion should be: by function and formality. If not, what do the others wear? Despite each dynasty having its own unique features in its official clothing standards, it does not stray far from the Book of Rites and five major functions of society. Reviving this tradition in a world without a monarchical reign means that many of the social strata requirements attached to these clothing will have to be redefined. In all the dynasties’ official standards, the first entry on defining clothing is always the Emperor’s ceremonial clothes, reserved specifically for the most important occasions like ascension to the throne and the Heavenly Sacrifice on Mount Tai. Doing away with monarchy and related concepts of social hierarchy, what becomes of the system of objects that has structured the way we have been dressed for the past 4,000 years? In turn, the modern redefinition of Hanfu challenges the previous archaeologically centred view of observing the features and peculiarities of particular period depictions, resisting the notion of Hanfu as an “ancient Chinese clothing” or something be put on a pedestal in a museum. Upon re-investigation and mutual decision, no other factor can defeat functionality and form as the prime qualities of classifying clothing, for these two directly address the internal and external raison d’être for what we garb onto our bodies. As a longtime researcher of the movement, I have observed and openly stated an outline of what a systematic, structurized diagram of Hanfu organized by function and form would be, throughout the pages and posts of this blog. I have written extensively on the classification of robes (shenyi included) and headdresses, and is published as a Powerpoint slideshow, accessible from this very website as a promotional and informational resource. Beginning in early 2011, A Baidu netizen and German expatriate known as Yizhanfeng (“A goblet of wind”) created the Hanfu Wiki and digital zine Hanfu Shidai in aims to perfect and publicize this new understanding of Hanfu as a living system of fashion. However, it is only all the more convincing when yet another member of the Hanfu community (outside of the eyes and hands of academia) actively scribes and formulates an extensive (if not attempting at exhaustive) description of this system which the community has been building in mutual acknowledgement. Allow me to stop now in my own words and begin to relay his messages in the following paragraphs below and subsequent sub-pages attached to this cover, in translation to the best of my ability, to bring this glorious recovery of knowledge worldwide, and sharing the Chinese grassroots-driven enlightenment in global synchronization. The lack in standards of form has constantly haunted the Hanfu Movement and impeded its development. The mess of classifications and names have led to various ways of calling it among different people, and causing a situation where “you have your word, I have mine, and no one gets what the other is saying.” Rifts form among the community, where as a result, our promotion and research efforts become blockaded. An idea sparked: Why not create a contemporary system for Hanfu? The writer has read through various essays on the classification and division of Hanfu shapes and forms, and discover that most are scattered at best, and could not form a holistic picture of the system. But fortunately, we have a wide community base of Hanfu restorationists, who have been trained in various fields of specialities and have access to a range of professional knowledge. I strongly believe that if we can sort out this knowledge, the result would definitely be a marvel to behold. The author is an organizer and a participant, and am looking forward to everyone’s opinion. Hence, the author decided to build an encyclopedia based on Wikipedia’s framework – allowing everyone to build our contemporary Hanfu system. But such ways in gathering netizens’ collective intellectual base are often looked down by certain groups of people – they believe that the stuff of the Internet can only be used for recreation or entertainment, and knowledge is best left to the professional hands of academicians. 5. The process of building is promotion in itself. The reality is, however, precisely because there is no current standard or authority on the matter, the only way to get commensurate and reasonable results is obtain collective approval, legitimizing it as a mutually-recognized standard. As long as we have the approval of the majority, we can come to believe that this standard is reasonable. Hanfu is not a natural science, but the concensus of a group of people. As well, from the point of practical operation, it is too unpredictable to simply sit and wait for academia or administration bodies of power to dictate standards. The Hanfu community is full of professionals and experts, and their knowledge base are of an impeccably high standard in content. Our generation no longer allow the development and understanding of Hanfu sit in stagnation: The Hanfu Movement rose and sprouted from among the citizens, and as a cultural phenomenon, should be narrated and propelled from the forces of the citizenry. If this quality can successfully resist and counter the doubts in our time, hanfu dress then it also guarantees the foundational rationality of our system itself. Tieba. Then according to the opinions and suggestions of the community, the framework was expanded and enriched to our current version. As the collector and organizer of this project, I am overjoyed to see the healthy maturity of this gem. This not only proved the method’s plausibility, but also the diligence and contributions of the community, and it shall continue on well into the future. The first official version does not mean the full maturity of Hanfu as a system of objects: it is actually quite the opposite. We recognize the notion that Hanfu refers to “the traditional clothing of the ethnic Han Chinese”, and encompasses the temporal band from the Sage Kings to the Ming Dynasty. Don’t underestimate this short little sentence, as every term in it was fiercely debated and gave a rude awakening to many comrades. This is the representation of an indomitable contribution by our forerunners. After years of progress, we have essentially reached this first level of Hanfu as a concept. This refers to taking Hanfu’s innate features and functions as a basis for sorting and classifying its various individual specimens. This project directs to solve this layer of understanding. Form refers the “shape” and “style” of a thing, which means that form defines the details of Hanfu itself. We have already received many accomplishments, but we have to admit that we still have many issues yet to solve, and require more dedicated work. How long and wide must each panel of cloth be, the ratio of waist to body, proportions of the design, the patterns used for the situation… Imagine: would a Western suit tailored to not fit the body bring out the ideal effect? “form”. “Details determine the success or failure”, as any mature fashion must certainly contain years of practical experience into designing a piece of clothing with the maximum practical result. But regrettably, because of the disconnect of the tradition for the last few centuries, our precious experience is almost all but lost, and we are building from the ashes of our cultural ruins. For the past few years, our forerunners have already bore much fruit, such as the investigation and reproduction of various designs – but these results come in individual tidbits and scattered, without relation to the framework of Hanfu as a whole or a platform. Neither would a piece of Hanfu made without consideration of every last detail. The author wishes that through building this system, we can perfect our understanding of our Hanfu, and provide a reasonable framework to understanding it. As mentioned in the previous version, the author mentioned that netizens called for an encyclopedic glossary or database for Hanfu, for ease of organizing related information. The author believes that that is due to the lack of building towards the second layer we now know as the construction of a “Hanfu System of Objects”. With the help of fellow Hanfu comrades, we have been continually eliminating mistakes, and clarifying our thought patterns, and can finally present a new version. Luckily, we did it. Version 2.0 takes on primary data in the Hanfu Baike, and the author is every editor in every article in the project. Pictures used in the Wiki all come from online sources. If there are any infringements of photo rights or copyrights in fair use, please tell us so. Version 2.1 combines the advice and corrections from fellow comrades and rearranged various illustrations. Particular expansions have been made about formal dress, and “individual Hanfu pieces” have been renamed to “Hanfu styles”, while the original article of Hanfu styles is now renamed to “Hanfu functions”.
This Chinese tradition goes all the way back to the Northern and Southern dynasties (420-589 AD). In the Song Dynasty (960-1279 AD), everyone would show off their new clothing as they visited friends on New Year’s Day. New clothes are a part of Spring Festival celebrations, just like the New Year’s Eve reunion dinner. In the Republican period (1912-1949), beautiful new clothes were needed as the youths paid their respects to the elders. You might be able to guess why. The Spring Festival is a time of change and new beginnings. Forget about the misfortunes and be ready for good luck. In addition, new clothes are auspicious and can protect you from evil spirits. Practically every activity during the Spring Festival has the purpose of removing the old and welcoming the new. Like the New Year couplets and other decorations, new clothes also add to the festivity. There was only one harvest per year in the north and two to three in the south. Throughout the entire year, people scrimped and saved. In the past, China was an agrarian society. But during Chinese New Year, people could finally splurge and treat themselves. This side of new clothes is a little lost on the younger generations. But that’s a sign that the current standard of living is higher than before. Still, it’s important to be aware of the historical significance of new clothes during this time. But often they will be given as gifts from the family. Because it’s a sign of a fresh start, it’s best to wear your new attire on New Year’s Day. You can buy yourself new clothes. What should you wear? There actually aren’t any special requirements as to what kind of new clothing you should wear. There’s nothing wrong with you doing the same as well. In ancient China, people would follow the fashion trends of that time. Most traditional-wear still popular today are from the Qing dynasty. But if you want to have more of a traditional flare, there are some styles you can choose from. But the “new” Tang suit is a jacket that combines the man riding jacket (Qing dynasty) and the western suit. A Tang suit (唐装 / táng zhuāng) used to refer to dress from the Tang dynasty. If you’re a fan of Chinese martial arts, you might have seen this type of clothing in movies. The Tang suit was also the dress code for the 2001 APEC meeting. Jackie Chan especially seems to like wearing them. It has an upturned collar and straight lapels. The material is usually brocade, a luxury fabric in ancient times. The suit features traditional Chinese knots (frog buttons). This allowed for comfortable movement, but the looseness doesn’t quite fit modern aesthetics. Most Tang suits nowadays are modified and tailored. Originally, it was seamless between the body and sleeves. The qipao (旗袍 / qí páo) entered mainstream Chinese culture during the Qing dynasty. But the modern styles we know today are very different from the original. Many have auspicious symbols and words embroidered into the shirt. It began as a conservative dress with straight and loose cuts. Through colonization, the qipao became westernized. Intricate designs were embroidered into the fabric. Styles vary between long and short, tight and loose. The qipao has changed consistently starting in the mid-1800s. Nowadays, the qipao is usually very tight-fitting (it’s recommended to get the dress custom-made). Openings can start as high up as the thigh. Popular embroidered designs include flowers, birds and phoenixes. However, modern styles still preserve the stiff straight collar and frog buttons. However, it literally means “long shirt/dress.” It is loose-fitting and usually worn by men now. The term “cheongsam” (长衫 / cháng shān) is usually used by westerners to refer to women’s qipao. The length of the cheongsam also represents status, since longer clothing is unsuitable for physical labor. In the Republican era, it was the clothing of educated scholars. It is a modified version of Qing dynasty clothing and was formal wear during the 1900s. The cut for the sideways lapel symbolizes wealth and prosperity. This means there are too many types and variations to count. Generally, a hanfu outfit includes a shirt and a skirt. “Hanfu” (汉服 / hàn fú) translates to “clothing of the Han ethnicity.” It encompasses traditional clothing up until the Qing dynasty. The shirt has crossed lapels and the sleeves are long and wide. The skirt is long and sometimes starts above the bosom. The elegant cuts and fresh colors will bring something unique to your wardrobe. There are also modern versions, including shorter skirts and more western elements. Tang dynasty hanfu influenced the Japanese kimono, while the Ming dynasty influenced the Korean hanbok. If you’re looking for something dressier and eye-catching, hanfu is the answer. However, be careful with your timing, as some Chinese, especially Cantonese, are superstitious about buying shoes during the Chinese New Year holiday. If you’re looking for some stylish kicks, you’re in luck, as many major brands have started releasing Chinese New Year themed shoes leading up to the holiday. Also, you should never give shoes as a gift, since in Chinese the word for shoes 鞋 (xié) sounds like the word for “evil” or “bad luck” 邪 (xié). In ancient times, men were not allowed to go without a headdress. But that’s not necessarily the case anymore. So make sure you grab a pair before the festivities start. There are fancier choices for women. You can choose whatever handsome hairstyle you like. Instead, ornate wands are used. Using chopsticks as hair accessories is a misconception. They are usually inlaid with jewels and taper off to an intricate design with trinkets hanging off the end. When buying clothes for Chinese New Year, go for red. If you wear a hanfu, you can also add a pendant to the waistband. Stay away from black and white, as they are unlucky and negative (for more unlucky things to avoid, check out our list of the top 10 taboos. This is the best color for the occasion. The Tang suit is the most popular choice. Also remember that new clothes are a set part of Spring Festival celebrations, but it’s not necessary to wear full traditional gear to a dinner party. Qipaos are also accepted, although the nature of the dress isn’t the best for the winter season. The hanfu (and cheongsam) is regaining popularity, but is still not as widely accepted. Be careful of cultural appropriation when wearing traditional clothing of another culture. Many native Chinese people are okay with it. However, many Chinese expats in other countries find it uncomfortable. In fact, they’ll be delighted if they see foreigners in traditional clothing. If a Chinese friend is the host or guest of the party, it never hurts to ask them how they feel about it. Other than that, welcome the coming year with a fresh new look and a smile! What’s Lunar New Year? Who is the monster Nian? Why is it the Year of the Snake?
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Xiuhuaxie (Chinese: 绣花鞋; pinyin: xiùhuāxié; lit. Chinese cloth shoes (中国布鞋; zhōngguó bùxié); the xiuhuaxie are deeply rooted in Chinese culture and are characterized by its use of elaborate and colourful Chinese embroideries to create pattern on the shoes (including the shoe cover from heal to toe, the sole of the shoes, and even the shoe padding). The traditional handicraft of making xiuhuaxie is fully indigenous to China, having been created by Chinese people since the ancient times, and combines Chinese shoe culture and the art of Chinese embroidery. This craft is believed to have originated during the Spring and Autumn period about 2600 years ago in Shanxi province; the traditional craft was then handed down from generation to generation by Chinese women. Nowadays, the xiuhuaxie continue to be used as a type of footwear item in Hanfu, and are also used as traditional Chinese wedding shoes. Ethnic minorities in China also have their own styles of xiuhuaxie and their own traditional customs around these shoes. The traditional social division of labour in ancient China has been based on the concept of Nangeng Nüzhi (Chinese: 男耕女织; pinyin: nángēng nǚzhī; lit. China was replaced by a patrilineal one. Chinese cloth shoes has a history of more than 3000 years; and, although cloth shoes are rare in urban areas of China nowadays, this form of shoes remain an important irreplaceable aspect of Chinese along with Confucianism and Buddhism. Chinese embroideries have reflected and expressed the subtle changes in aesthetic concepts, cultural traditions, ethics and morals of the Chinese people throughout the millennia. Basic embroideries patterns tend to be flowers, birds, animals, scenery, and figures from traditional Chinese opera; it can also be decorated with more auspicious patterns such lotus seeds, which symbolizes the birth of a child, pomegranate which symbolized multiple offspring, and the Longfei fengwu (Chinese: 龙飞凤舞; pinyin: lóngfēifèngwǔ; lit. According to the popular Chinese tale, Jinguo Xie《晋国鞋》, literally ‘Jin state shoes’, Jin Xiangong expanded his territory by merging ten vassal states in 606 BC; and to immortalize his cultural and military achievements in the mind of the general population, he ordered that all women’s shoes had to depict ten fruits or flower patterns; this patterns could include pomegranate blossoms, peach blossoms, grapes, etc; he also ordered that all civilian women had to wear the Shiguoxie (Chinese: 十果鞋; lit. Similarly, the xiuhuaxie also reflect Chinese aesthetics through the use of beautiful embroidery patterns in the shoe cover. The Shiguoxie worn by women was thus also known Jinguo Xie at this period. 111 For example, in Jinzhong county, Chinese brides used to sew and embroider shoes, known as kanxie (看鞋), prior to their wedding; these shoes would later be sent to the home of the groom one day before the wedding ceremony; the bride’s mother-in-law, sister-in-law, and neighbours would then comment on the skills of the bride almost acting as judges. In the past, Han Chinese brides’ sewing skills were best reflected in the making of shoes. Chinese shoes firms in the United States, on the other hand, would mainly sell the xiuhuaxie to Chinese people who were living in the United States. Boot and Shoe Recorder. In the early 20th century, the xiuhuaxie manufactured in China were imported to the United States where they were sold in American stores to American women as boudoir shoes; none of this imported xiuhuaxie were sold to Chinese people. This page was last edited on 24 April 2024, at 17:36 (UTC). Evy Wong, ed. (2012). Chinese auspicious culture. 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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Mistress Antonia brings us these delightful outfits for Charley and Posey Panda – late Sui, early Tang Dynasty garb for the categories Out Of Your Comfort Zone (being from the Far East!), One Metre Material Project, chinese traditional men’s clothing and Togs Togs Undies! I can only offer the most modest documentation… Posey’s outfit is modelled on images of court women of the Tang dynasty. She’s wearing a two-piece outfit (襦裙), a typical Tang dynasty outfit consisting of a blouse (襦, ru) and a wrap-around skirt (裙). Charley’s wearing formal attire, consisting of a round-collared robe (yuanlingshan 圓領衫) over an inner robe (tie li, 貼裏). I didn’t have a lot of information about Tang underwear specifically, so I modelled them on more modern Hanfu underwear. Both pandas have a full set of underclothes. I gave Posey a pink peony headdress because large flowers on heads crop up in some Tang Dynasty paintings, such as Zhou Fang’s Beauties wearing flowers. Everything was made from fabric I already had, and almost all of it just scrap. I wanted some version of the typical scholar’s/official’s hat for Charley, but it wasn’t really something I could make myself, and buying one was financially prohibitive, but I spotted felt bowler hats with ears on Ebay for just $5- and I thought that maybe a panda would rather have room for his ears than for a topknot he doesn’t have anyway. Total expenditure for the project (excluding pandas) was about $15.
The Hanfu or 漢服 literally means the traditional clothing of the Han Chinese people. The Hanfu changes with each passing dynasty, much like a natural progression (At least until the advent of the Qing Dynasty). Generally, the Chinese Hanfu consists of a piece of clothing with loose lapels, open upper garments, skirts (“chang” or 裳), long loose sleeves, collars that are diagonal with the left side of the clothing crossing over the right side, with Belts and sashes that are used to secure the garments around the waist. A Hanfu can consist of two or three layers. The next layer is the main layer of clothing which is closed at the front. The first layer of clothing is mostly the zhongyi (中衣) which is much like modern-day T-shirt and pants. There can be an optional third layer, an overcoat called a zhaoshan which is open at the front. There are also accessories with tassels, pendants , cloth pouches, cloth purses and other ornaments, which are commonly hung from the belt or sash, known as pei (珮).For footwear, the common man wear long white socks and cloth shoes (with white soles), but in the past, shoes may have a front face panel attached to the tip of the shoes. The Chinese also commonly wear Headpieces (Men) and Hairpieces(Women) that separates them from other cultures. More complicated sets of Hanfu can have many more layers. There are different varieties of Hanfus for different professions in China, be it peasant, artisan, soldier, scholar, monk,priest, merchant or even Royalty. Common Misconceptions: The Qipao or Cheongsam is NOT the costume of the Han Chinese. It is the ethnic costume of the Manchu, although with some influence from Hanfu. The Manchu-ruled Qing Dynasty forced the Qipao (and the “infamous” pigtail) upon the Chinese Majority. The Qing dynasty lasted for around 300 years, which is a reason why majority of the Chinese have forgotten the Hanfu or mistaken the Qipao for their ethnic dress This is a result why the Hanfu movement started in the current era. The Hanfu also have a formal, semi-formal and informal versions for ceremonies and daily life. China in the past is the Superpower of the East. Fun Titbit: The Hanfu can be considered the precursor to the Hanbok, aó đầm and the Japanese Kimono. Indeed, the Kimono in particular, share many similaries to the Hanfu, especially in the previous dynasties. Many non-Chinese within the Chinese sphere of influence are interested in adopting Chinese culture (Writing system etc.) and court dress (Considered the most civilised and trending clothing at the time). Please see the related links below for examples of the Chinese Hanfu, comparisons between the Hanfu and Japanese Kimono, and much more.
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Ping means flat. One of the key elements of Hanfu is that it doesn’t have shoulder lines, meaning the outfit uses just one plain cut of fabric. Zhong means centralized. The cutting and tailoring abide by the rule of symmetrical tailoring and stitching. Jiao means the elements of Hanfu are designed to cross and overlap, upholding a belief in traditional Chinese culture: the balance of Yin and Yang. The word “You” is stressed, meaning everything must move to the right, including how the front is closed. The fifth one is Kuan, meaning width. Hanfu outfits have loose-fitting upper sleeves and bottom. It reminds the wearer to walk with grace and to observe etiquettes. The edges have to be neat and clean with no dangling threads, while the sleeves should come together and meet. Tuan and He refer to the edges and sleeves. Last, traditional clothing chinese but not least is the embellishment. Instead of buttons, a band is used to hold up all the pieces.
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A few weeks ago, we had the opportunity to dress up in traditional clothing attire. Hanfu (meaning clothing of the Han people) is a name for pre-17th century traditional clothing of the Han Chinese, which are the predominant ethnic group of China. We were told about an upcoming Chengdu street activity that we would participate in. Madi (another intern on the PMSA program) and I, work for the same NGO albeit in different departments. It involved walking around the bustling Kwanzhai Alleys and taking pictures at designated spots with the activity card and then sharing it with our WeChat friends. On the day before the activity we joined some of the other Chinese girls working at other projects and went to a traditional clothing hire store. I’m not entirely sure what the objective of the activity was but one of them was to keep the traditional clothing alive and merge that culture into the current context. Choosing our own attire to wear was mixed with both enthusiasm and trial as we didn’t know where to start and, there was an intricate process involved in dressing up. There was a variety of clothing from the different dynasties and they ranged from soft silk to brocade silk styles with long flowing sleeves and with overcoats with fur hoodies covering all of the attire in a majestic way. Although going through the colours and styles was fun, it was pretty disappointing as well as most of the tops and bottoms were mismatched and we were finding it difficult to choose something elaborate that would actually be beautiful and a good fit! We were allowed to try on a minimum of three garments and choose one of them for hire. There was a long sleeved, white undershirt that crossed over on the front and got tied to the sides. Then the skirt went on and there was a choice to tie a bow and leave the ends hanging or tuck and loop the remaining long ends into the belt bit. The top was cream coloured and silk with long flowing sleeves and came down almost three-quarter lengths. I feel that there was supposed to be an overcoat to go above all this but we weren’t given one. Nonetheless I couldn’t complain as the outfit was simple but so elegant and oh so comfortable! The skirt was navy and gold made of brocade silk and was beautifully designed and that was my best part of the costume! Later on, that night, heart window cheongsam I googled images and found out that they were from the Ming Dynasty era 1368-1644 AD. Some even took sneaky photos of us! We did get some looks from the locals as we got on the metro from our apartments and made our way to the office and then to the activity centre at Kwanzhai Alley. It was very unusual for foreigners to dress up in Hanfu dresses. At the end of the day I think I blended right in and felt really authentic and graceful. I reflected on that era 300-600 years before and pondered on what it would have felt like for those princesses and empresses that adorned these dresses daily. China has a rich and charming culture and I was so honoured and humbled to experience the Hanfu dressing.
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