Carrico argued that Han Chinese wore all types of clothing styles through the dynasties – so there isn’t one Hanfu style but dozens depending on the time period, geographic region and socioeconomic class. The clothes of the Qin and Han Dynasties mainly inherited the influence of the Zhou Dynasty, and still took the robe as the typical clothing style, which was mainly divided into straight trains and curved trains. Descendants of Chinese immigrants or overseas Chinese in Western countries, such as Canada, may wear cheongsam on events such as weddings, graduation ceremonies, and other occasions; however, the cheongsam is not always perceived as being traditional Chinese clothing; for example, some Canadians of Han Chinese descent still remember the use of aoqun as their traditional Chinese dress. 277 The use of cheongsam as a cultural marker of Chineseness can be thus perceived as ironic, and a cultural stereotype of Chineseness as the cheongsam is not associated with any specific ancestral clothing of Chinese immigrants.

It now embodies an identity of being ethnic Chinese and thus is used for important diplomatic occasions. It was eventually accepted by the People’s Republic of China as a form of hanfu, thus becoming transnational and representative of a generic Chinese national identity rather than an ethnic or ancestral identity. A resurgence of traditional culture and a fast-growing overseas population fuel a new chapter for Han Chinese ethnic clothing. However, the cheongsam is a type of Chinese clothing which was developed in the 20th century under the influences of several cultures, including Western culture, Manchu culture, and the Han Chinese culture. 100 It originated in China where it was used by the Qing dynasty court prior to the mid-18th century. Well, modern hanfu dress okay REALLY ancient clothing is known as Hanfu (which literally means Han Dynasty clothing). From the start, there was no unifying style for the dress like the Republicans intended; Chinese women had no respect for the Clothing Regulations of 1929, which tried to control individuality.

It is also used as a style Traditional Chinese wedding dress among many others. There are a variety of Long Island wedding halls to choose from but it’s necessary for the happy couple to pick out the one which can provide for their demands. It is common for many brides to have both a traditional white wedding dress and a cheongsam or a guaqun (another kind of wedding attire) to be worn during the tea ceremony. But what do you need to know about choosing the right white hanfu? The underskirt is a white cotton full slip, hemmed slightly shorter than the cheongsam, and has slits at the sides like the cheongsam, although the slits are deeper. Cheongsam clothing made from batik is very attractive fashion, there are clothing models that are suitable to wear during Chinese New Year celebrations. Cheongsams are a popular outfit choice for festive seasons like Chinese New Year.

The schools which use this standard include True Light Girls’ College, St. Paul’s Co-educational College, Heep Yunn School, St. Stephen’s Girls’ College, Ying Wa Girls’ School, etc. These cheongsams are usually straight, with no waist shaping, and the cheongsam hem must reach mid-thigh. Many schools also require underskirts to be worn with the cheongsam. Many students feel it is an ordeal, yet it is a visible manifestation of the strict discipline that is the hallmark of prestigious secondary schools in Hong Kong, and many students and their parents like that. In countries with significant Chinese populations, such as Malaysia, Singapore, Hong Kong, and Taiwan, it is common for women to have new cheongsams tailored in preparation for the New Year. Lindsey Lohan’s 11 year old character has a prominent scene wearing a pink qipao, paired with a little matching fluffy pink trimmed purse, also an iconic Y2k accessory. 83 However, the wearing the cheongsam is mixed amongst Canadians with Chinese heritage. However, as conversations of cultural appropriation increase and social awareness is spread through media platforms and social media, qipao inspired dress these racially insensitive costumes have since been left more in the past.

If you cherished this short article and you would like to receive additional information with regards to winter hanfu kindly pay a visit to the internet site.

Is hanfu considered a traditional form of Chinese clothing? Liberal leader James Tien was ejected from the Chinese People’s Political Consultative Conference (CPPCC) after he called on Chief Executive CY Leung to resign during the 2014 Hong Kong protests. Wu considered social developments like liberal democracy unable to proceed simply from new authorities. Over time, the style and design of Hanfu evolved to reflect changes in fashion and social status. 52 It was also associated with fast changes in fashion styles. 40 It also lead to the execution of Liu Zhenyu during the Qianlong era for urging the clothing to be changed to what is presumed to Ming-style fashion; however, during this period, only the scholar-official elite were required to wear Manchu style and not the entire male population, chinese traditional clothes for men so the great majority of men were allowed to dressed in Ming-style fashion. Yes, the style of wearing hanfu robes with just one shoulder for men existed historically, during the Tang dynasty. Is calling hanfu “robes” in writing appropriate?

CMG hosts Liu Xin and Miao Lin introduced the various styles and forms of Hanfu in both Chinese and English, showcasing the unique charm and beauty of Chinese culture to the world. For many young Chinese people, putting on hanfu serves as a reminder of their cultural heritage and history, and inspires them to delve deeper. Many Chinese people, including those who used to be skeptical of or were generally alienated from Chinese tradition, today regard hanfu as a way to reconnect with tradition. Hanfu is one of the oldest and most traditional Chinese garments. This period saw the emergence of garments that skillfully blended the two cultures. There are similarities, but apart from being Asian, these two sets of people do not look exactly the same. In recent years, there has been a renewed interest in Hanfu, particularly among young people in China who see it as a way to reconnect with their cultural heritage. By wearing light blue Hanfu, individuals pay homage to the Han Chinese ancestors, connecting with their traditions and passing them on to future generations. Learn about the features, origin, evolution, and influence of Hanfu, and how it was outlawed and revived in modern times.

The Chinese Hanfu in Modern Times. Center for Chinese Studies University of California, American Council of Learned Societies. Central Asian roundels which would run down at the center of the robe as a form of partial decoration. Traditional hanfu for men typically consists of a cross-collar robe (known as zhishen or beizi) worn over an inner garment and paired with wide-legged pants. Initially the zhiduo was mostly worn by monks, but in the Song dynasty and in the subsequent dynasties, it became a form of daily clothing for Han Chinese men. One type of Hanfu that is particularly noteworthy is the royal Chinese traditional dress, which was worn by emperors and imperial concubines during the Ming (1368 – 1644 CE) and Qing (1644 – 1911 CE) Dynasties. Overall, the royal Chinese traditional dress hanfu is a fascinating part of Chinese history and culture that continues to captivate people around the world. For instance, while many may consider the tight-fitting, high-necked “qipao” as an example of typical Chinese period clothing, in the Hanfu community, it’s not considered Han clothing because it originated from the ethnic Manchu people. Traditional Chinese culture covers large geographical territories, where each region is usually divided into distinct sub-cultures.

Many Hanfu enthusiasts participate in events where they dress up in traditional clothing and learn about the history and culture behind Hanfu. This disambiguation page lists articles associated with the title Chinese dress. Chinese traditional garments are among some of the most stunning designs that you can choose from, whether you enjoy traditional or modern styles of fashion. This is an especially stylish modern Hanfu costume for young girls. This two-piece costume was considered to be a ceremonial dress. In the Chinese clothing past, the Chinese clothing collar Chinese clothes, Asian clothes and oriental clothes the Chinese clothing costume was the Chinese traditional costume and Chinese ancient dress made high and tight-fitting Chinese costume, Asian costume and oriental costume keep warm. ’s Chinese people wearing Western-style clothing, and otherwise overwrite the culture behind your character’s outfit with Western culture. “robes” brings to mind like, bathrobes, or wizard robes, which aren’t exactly what people are going to be expecting an average person on the street to be wearing. I think “robe” implied that there are some layering, and it is closed at front. I think robe refers to “long, loose outer garment”. It’s composed of a white silk round collar undershirt 圆领汗衫中衣, a jacket called a banbi 半臂, and a round collar robe 圓領袍.

If you have any questions about the place and how to use chinese hanfu clothing, you can make contact with us at the site.

Also deals Hanfu related accessories. Whether or not Hanfu is inherently political and racialized, the ongoing debate reflects the complexity of fashion and trends. In 2014 in the midst of the constitutional reform debate and the Occupy Central movement, the Information Office of the State Council published a white paper titled The Practice of the ‘One Country, Two Systems’ Policy in the Hong Kong Special Administrative Region, written by Chinese conservative legal theorist Jiang Shigong formerly working at the Beijing’s Liaison Office in Hong Kong, raised concerns among the Hong Kong public. In 2011, Chin Wan, an assistant professor in the Lingnan University’s Chinese department published the book, On the Hong Kong City-State in 2011 which triggered fierce public debate and was popular among the young generation. The Business and Professionals Federation of Hong Kong (BPF) headed by Vincent Lo was formed in 1990. The Liberal Democratic Federation of Hong Kong (LDF) led by Hu Fa-kuang and Maria Tam was formed in November 1990 with the support of the grassroots organisations Progressive Hong Kong Society (PHKS) and the Hong Kong Civic Association (HKCA). In the following November District Council election, the DAB suffered a great defeat which led to the resignation of Tsang Yok-sing as the party chairman.

After the election, Beijing called for a reconciliation of the two camps. In the light of the first ever Legislative Council direct election, the conservatives in the BLDC and BLCC formed several organisations. The New Hong Kong Alliance led by Lo Tak-shing was formed in 1989 by the conservative wing of the BLDC and BLCC group. However, Lam was seen more politically conservative and was labelled as “CY 2.0” who would follow Leung’s hardline and divisive policies, as compared to Tsang who called for reconciliation with the opposition camp. Tsang who was seen as ultraconservative on his fiscal policy was challenged by Lam’s call for a “new fiscal philosophy” to adopt more proactive approach in investing for Hong Kong and relieving people’s burdens with the record-breaking fiscal surplus. However the compromise model divided the group between the one who favoured compromise and the ones who favoured the pro-Beijing model put forward by the New Hong Kong Alliance (NHKA). Therefore, the xuezi was therefore allowed to be worn and continues to be worn even in present days, where it is now one of the most common form of costumes worn on stage.

The Ez sofei Women Chinese Traditional Ancient Stage Performance Costume Hanfu Dress is a beautifully crafted attire that embodies the elegance and cultural heritage of ancient China. Jiang Shigong also employed Schmitt’s ideas extensively in his 2010 book China’s Hong Kong to resolve tensions between sovereignty and the rule of law in favour of the Chinese Communist Party and provided rationale for the autocratisation in Hong Kong. In the following years, the kidnappings of the Causeway Bay Books staffs who published books critical of Xi Jinping and the Communist Party and the abduction of a Hong Kong-residing Chinese billionaire Xiao Jianhua raised alarm of the increasingly blur border between Hong Kong and mainland China. About the same time, the traditional leftists, which were now considered to be conservative, also formed in the Democratic Alliance for the Betterment and Progress of Hong Kong (DAB) led by Tsang Yok-sing in 1992. The business elites, professionals, and rural leaders also further grouped themselves in the Hong Kong Progressive Alliance (HKPA) headed by Ambrose Lau in 1994 under the direction of the New China News Agency (NCNA). To counter the occupy movement, the conservative activists led by former radio host Robert Chow also formed the Alliance for Peace and Democracy to launch signature campaigns to oppose the occupy movement.

More than one conservative candidates ran in the 2012 Chief Executive election. Various national governments expressed concern that the Chinese plans would undermine Hong Kong autonomy and the “One Country, Two Systems” policy and cancelled their extradition treaties with Hong Kong. The pro-democrats supported Tsang as they saw Tsang as the “lesser evil” of the two. On the other hand, Liberals received a great victory by winning two geographical constituencies directly elected seats in the 2004 Legislative Council election. In December, the Tsang administration’s constitutional reform blueprint proposed the Election Committee selecting the Chief Executive be widened from 800 to 1,600 members in 2007 and empowered directly elected and appointed District Council members to elect six of the expanded 70-member Legislative Council in 2008. The bill was ultimately defeated by the pan-democracy camp as they argued the Tsang’s reform blueprint was too conservative while the conservatives accused the liberals of being obstinate. Although Leung eventually became the favourite of Beijing and won the election with the support of the Central Government Liaison Office, chinese cheongsam dress the election divided the conservative bloc into a Tang camp and a Leung camp. Liberal leader James Tien was ejected from the Chinese People’s Political Consultative Conference (CPPCC) after he called on Chief Executive CY Leung to resign during the 2014 Hong Kong protests.

If you want to ask what’s the best hanfu style, then the Ming dynasty hanfu is the answer, an incredible work of art. Maid from the tomb of Wei guifei (韋貴妃), Tang dynasty. There are various kinds of women’s hair accessories in the Tang dynasty, each with its own name. Establish a reasonable budget and look for Tang suits within your price range. KZU suggests to avoid “black and red combos”, probably like this, as this apparently is classic 影樓/影楼 “film studio” look that isn’t very accurate. The best bet for choosing and tailoring a traditional hanfu garment is to find a tailor who speaks English, like the Yaxiu Clothing Market in Beijing or Huaihai Road Market in Shanghai. Read about tips for designing a qipao as well as where in Beijing to buy one, or visit one of the many tailors that will happily help you design one. At the time of publication of this article, a skilled bargainer could buy a silk robe for as little as 30-50 RMB (3.50-8.00 USD).

There are also other types such as: áo tràng vạt (long-flap robe). Often it is a silk dress but can be made using other types of fabric to fit the occasion. Perhaps the most distinctive feature of the hanfu is the billowy sleeves, trimmed with silk cuffs. A simpler, easier souvenir idea is the classic silk Chinese robe. This evolution was achieved through the addition of a new seam structure called lan (襕; lán), which aligned with the traditional Hanfu style and followed the Han Chinese’s shenyi robe. It gets its name from the Han dynasty, during which the style came about. Along with this came traditional headgear – a hat for men and headpiece for ladies. Following the shenyi was the changpao, a one-piece garment that came to the ankles. Shenyi 深衣 is a style of hanfu that worn during the earliest dynasties: Spring & Autumn Period, Warring States, Qin, and Han. The shenyi rose to prominence beginning in the Eastern Zhou Dynasty.

The hanfu production skills and clothing materials used to make traditional Chinese costumes in the Ming Dynasty were at the pinnacle of ancient China. What Did People Once Wear in China? 100 The number of hebao they would require to make would depend on the numbers of people (e.g. musicians, singers and guests) who would attend their wedding ceremony. And this combination works perfectly to make an awesome Hanfu set. Make a statement – and an elegant one at that – at your next party with this Manchu style dress. A dress up with breathtakingly gorgeous, hand-painted clothing and accessories, crafted by the Chinese illustrator Shū yì fēi. The game has a hand-painted quality and pastel color palette that is just amazing. Tassels: Tassels, often found on the ends of sashes, add movement and grace to the Hanfu. These can be found at most clothing markets, but be sure to bargain the price, as vendors will often quote outrageously high prices. They reinterpret traditional ornaments with a modern twist, crafting pieces that can adorn a hanfu or a blazer with equal grace.

Modern clothes can also be classified into the Hanfu category if they absorb its clothing elements. You can also visit museums or cultural centers that showcase Hanfu clothing. From a domestic perspective, qipao inspired dress there is a need to overcome societal stereotypes and misconceptions associated with wearing traditional clothing. And some of you may feel like you need to because you’re not a bad person so as a good person you should be on their side. But what good is there to add to the existing outrage? What if we put out messages of beauty instead of outrage? There’s so much beauty in the world, yet the Internet is full of rage. CNN retains full editorial control over subject matter, reporting and frequency of the articles and videos within the sponsorship, in compliance with our policy. Enter your email to receive editorial updates, special offers and breaking news alerts from Vogue Business. From the elegance of the princess hanfu dress to the whimsy of the fairy hanfu dress, we cater to a variety of styles and occasions. This dress has become a symbol of Chinese fashion and has been long cherished for its simple elegance. Ming dynasty hanfu clothing is recognized as the most gorgeous and luxurious traditional Chinese dress.

If you have any type of inquiries concerning where and how you can make use of hanfu graduation gown, you can contact us at the web site.

On the streets of Shanghai, content creator Shiyin can be seen wearing a traditional outfit from China’s Ming period. Popular on social media, she routinely shares fashion buys, beauty tips and lifestyle vlogs alongside all the latest from Gucci and Lancôme-but it’s her passion for Hanfu that really sets her apart. “Chinese” clothing is often typified by the qipao (a close-fitting dress also called the cheongsam). However, Hanfu-which is defined as a type of dress from any era when the Han Chinese ruled-is seen in China as a more authentic form of historical clothing. Styles from the Tang, Song, and Ming periods are the most popular; flowing robes in beautiful shades, embellished with intricate designs and embroidery. Meanwhile, designs can cost between 100 yuan (roughly $15.50 ) to over 10,000 yuan ($1550), and bought from specialist brands such as Ming Hua Tang. Right now, the movement is being led by China’s fashion-conscious youth-a little like how Regency-period hair and makeup has had a boost in popularity, thanks to Netflix’s Bridgerton-and the number of Hanfu enthusiasts almost doubled from 3.56 million in 2019 to more than six million in 2020. Among those you’ll find a purist minority who abhor any historical inaccuracies, and a majority who are attracted to its fantastical elements. What is most interesting though, is the collective mood that’s being spurred on by Hanfu-after decades of aspiring to western trends, the younger generation is now possibly looking closer to home for a sense of traditionalism. So, as interest in traditional cultural pursuits comes back around, is the past becoming cool once more? Here, Vogue meets Shiyin, one of the most popular figures in this rapidly growing subculture, to find out. Shiyin wears a series of three outfits in styles from the Ming period. Hanfu videos have been viewed more than 47.7bn times. Here, she keeps the hairstyle modern and simple. “The robe comes in a square-neck style with a bu on the front. Why do you think people are attracted to it? “I can’t speak for everyone, but I imagine most get drawn in because it’s pretty. How did your interest in Hanfu start? “Growing up in Canada, I watched Chinese period dramas but I had no idea that Hanfu was a thing or where to buy it. It’s only normal, you buy clothes to look good. In Canada, we had days at school where you could wear national dress, yet as a Chinese person, I had no idea what to wear. Here, a jiaoling robe, referring to the wraparound collar design, in golden weave. “The pattern is called jiu yang qi tai, it features nine sheep and symbolizes luck and prosperity. However, I continue to wear Hanfu because it gives me confidence in my own culture. Gradually, I started creating my own content, and I uploaded a video about wearing Hanfu that became popular so I started producing more. How did Hanfu become one of your key content pillars? “When I moved back to Shanghai, I worked in gaming. How would you explain the difference between Hanfu, cosplay or role-playing games (RPG)? “They’re all subcultures so people often think they’re the same but they’re actually very different. How historically accurate are most Hanfu designs? Do you think a lot of people are inspired to wear Hanfu after watching popular period dramas? “It’s impossible to quantify, but it definitely has an impact. With openings at the front and back, it was originally designed to make horse-riding easier, but this isn’t the reason why it’s called “ma mian” – the actual origins remain unclear. In all three looks, Shiyin wears a ma mian qun, literally “horse face skirt”, a pleated skirt typical of Hanfu. On your channel, you also talk about western fashion brands. I have a series called ‘What is luxury? ’, which I started by discussing brands such as Chanel and Louis Vuitton, but now I’m discussing traditional Chinese culture. The last video was on coins, and I’m planning one on fabrics like cloud brocade (yunjin), shu brocade (shujin), and Su embroidery (suxiu). Do you see this content as being totally separate from Hanfu? “Not really. Once I did Tang-period makeup with very heavy rouge and a partially drawn lip, and most of the comments online were pretty negative. Do you get a lot of attention wearing historical clothes on the streets? “Not in Shanghai, people wear all sorts, nobody really notices… How does wearing historical dress match with contemporary makeup looks? “I often do traditional hairstyles when shooting, but usually I keep the makeup modern. Do you think the next generation will increasingly look towards China’s own cultural traditions? “Hanfu is far from being popularized, but there is definitely a trend towards ‘China chic’. 2024 Condé Nast. All rights reserved. Vogue may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.

If you cherished this article and you would like to get more details concerning cheongsam style dress kindly take a look at the web site.

A queue or cue is a hairstyle worn by the Jurchen and Manchu peoples of Manchuria, and was later required to be worn by male subjects of Qing China. Hair on top of the scalp is grown long and is often braided, while the front portion of the head is shaved. The edict that Han Chinese men and others under Manchu rule give up their traditional hairstyles and wear the queue, the Tifayifu, was met with resistance, although opinions about the queue did change over time. Han women were never required to wear their hair in the traditional women’s Manchu style, liangbatou, although that too was a symbol of Manchu identity. The queue hairstyle predates the Manchus. The Chinese word for queue, bian, meant plaited hair or a cord. The term bian, when used to describe the braid in the Manchu hairstyle, was originally applied by the Han dynasty to the Xiongnu. The distinctive hairstyle led to its wearers being targeted during anti-Chinese riots in Australia and the United States. Jurchen people wore a queue like the Manchu, the Khitan people wore theirs in Tartar style and during the Tang dynasty, tribes in the west wore braids. The Xianbei and Wuhuan were said to shave their heads, while Xiongnu had queues. Other evidence from Chinese histories indicate that the Tuoba or Tabgach groups of the Xianbei wore braids, since they were called “braided” by the southern Chinese. However, their hairstyle is hidden in depictions due to a hood they wore. A braid of hair was found at Zhalairuoer in a Tuoba grave. Han Chinese also made the peoples they conquered undo their queues. To show submission to the Han Chinese of the Sui dynasty, the people of Turfan (Gaochang) undid their queues, as did the Göktürks upon surrendering to the Tang dynasty. Hairstyles showed affiliation to a tribal confederation or dynasty. The Liu Song dynasty’s records called them “braided caitiff”, suolu, while Southern Qi’s history said they wore their “hair hanging down the back” (pifa), and called them suotou, “braided”. After overthrowing the Mongol Yuan dynasty, Zhu Yuanzhang, the first Ming emperor passed a law on mandatory hairstyle on 24 September 1392 mandating that all males grow their hair long and making it illegal for them to shave part of their foreheads while leaving strands of hair, which was the Mongol hairstyle. The penalty for both the barber and the person who was shaved and his sons was castration if they cut their hair and their families were to be sent to the borders for exile. This helped eradicate the partially shaved Mongol hairstyles. In the Western Wei cave 285 at the Mogao Caves in Dunhuang, Xianbei people are depicted with small queues hanging from their necks. It resembled a monk’s hairstyle but was not exactly like their tonsure, it left the face to be framed on the sides and forehead by a fringe of hair by shaving the head top and leaving it bald. This made sure the Tibetans and Song Chinese could be told apart from shaved Tanguts. The Tangut people of the Western Xia may have inherited hairstyle influences from the Tuoba. It was imposed by the Tangut emperor, Jingzong, threatening that their throats would be cut if they did not shave within three days. The emperor was the first one to shave. Unlike the tonsure of the Tangut Western Xia, the Jurchen hairstyle of wearing the queue combined with shaving the crown was not the invention of an emperor of the dynasty but was an established Jurchen hairstyle which showed who submitted to Jin rule. This Jurchen queue and shaving hairstyle was not enforced on the Han Chinese in the Jin after an initial attempt to do so which was a rebuke to Jurchen values. The Jin at first attempted to impose Jurchen hairstyle and clothes on the Han population during the Jin but the order was taken back. Manchu Jurchen men had queues, while Mongol men swept their hair behind their ears and plaited them, Turk men wore loose hair and Xiongnu men braided their hair. They also banned intermarriage. The Han Chinese men living in the Liao dynasty were not required to wear the shaved Khitan hairstyle which Khitan men wore to distinguish their ethnicity, unlike the Qing dynasty which mandated wearing of the Manchu hairstyle for men. Khitan males grew hair from their temples but shaved the crown of their heads. Khitan men left only two separate patches of hair on each of the forehead’s sides in front of each ear in tresses while they shaved the top of their head. Khitan wore felt hats, fur clothes and woolen cloth and the Liao emperor switched between Han and Khitan clothing. Khitan wore the long side fringes and shaved pates. Khitan officials used gold ornamented ribbons to found their hair locks around their foreheads, covering their heads with felt hats according to the Ye Longli’s (Yeh Lung-li) Qidan Guozhi (Ch’i-tan kuo-chih). Only at the temples were hair left while the crown was shaven. Tomb murals of Khitan hairstyle show only some hair remaining near the neck and forehead with the rest of the head shaved. The absence of Khitan clothes and hairstyles on a painting of riders previously identified as Khitan has led to experts questioning their purported identity. Khitan men might have differentiate between classes by wearing different patterns on their small braids hanging off their shaved foreheads. They wore the braids occasionally with a forehead fringe with some shaving off all the forehead. Some Han men adopted and mixed or combined Han clothing with Khitan clothing with Khitan boots and Han clothes or wearing Khitan clothes. Han women on the other hand did not adopt Khitan dress and continued wearing Han dress. Jurchen men, like their Manchu descendants, wore their hair in queues. Some Han rebels impersonated Jurchen by wearing their hair in the Jurchen “pigtail” to strike fear within the Jurchen population. In 1126, the Jurchen ordered male Han within their conquered territories to adopt the Jurchen hairstyle by shaving the front of their heads and to adopt Jurchen dress, but the order was lifted. The queue was a specifically male hairstyle worn by the Manchu from central Manchuria and later imposed on the Han Chinese during the Qing dynasty. The hair on the front of the head was shaved off above the temples every ten days and the remainder of the hair was braided into a long braid. The Manchu hairstyle was forcefully introduced to Han Chinese and other ethnicities like the Nanai in the early 17th century during the transition from Ming to Qing. The Ming general of Fushun, Li Yongfang, defected to Nurhaci after Nurhaci promised him rewards, titles, and Nurhaci’s own granddaughter in marriage. Nurhaci of the Aisin Gioro clan declared the establishment of the Later Jin dynasty, later becoming the Qing dynasty of China, after Ming dynasty forces in Liaodong defected to his side. Other Han Chinese generals in Liaodong proceeded to defect with their armies to Nurhaci and were given women from the Aisin Gioro family in marriage. Once firmly in power, Nurhaci commanded all men in the areas he conquered to adopt the Manchu hairstyle. The hairstyle was compulsory for all males and the penalty for non-compliance was execution for treason. The Manchu hairstyle signified all ethnic groups submission to Qing rule, and also aided the Manchu identification of those Han who refused to accept Qing dynasty domination. After the fall of the Qing dynasty in 1912, the Chinese no longer had to wear the Manchu queue. The Amur peoples already wore the queue on the back of their heads but did not shave the front until the Qing subjected them and ordered them to shave. The term “shaved-head people” was used to describe the Nanai people by Ulch people. Qing dynasty during the seventeenth century. Ryukyuan people of the Ryukyu Kingdom, a tributary of China, requested and were granted an exemption from the mandate. The Nanais at first fought against the Nurhaci and the Manchus, led by their own Nanai Hurka chief Sosoku before surrendering to Hongtaiji in 1631. Mandatory shaving of the front of all male heads was imposed on Amur peoples like the Nanai people who were conquered by the Qing. Traditionally, adult Han Chinese did not cut their hair for philosophical and cultural reasons. This idea is the quintessence of filial duty. We are given our body, skin and hair from our parents; which we ought not to damage. As a result of this ideology, both men and women wound their hair into a bun (a topknot) or other various hairstyles. 身體髮膚，受之父母，不敢毀傷，孝之始也。 Han Chinese did not object to wearing the queue braid on the back of the head as they traditionally wore all their hair long, but fiercely objected to shaving the forehead so the Qing government exclusively focused on forcing people to shave the forehead rather than wear the braid. Han rebels in the first half of the Qing who objected to Qing hairstyle wore the braid but defied orders to shave the front of the head. One person was executed for refusing to shave the front but he had willingly braided the back of his hair. It was only later that westernized revolutionaries began to view the braid as backwards and advocated adopting short-haired western styles. Han rebels against the Qing like the Taiping retained their queue braids on the back but rebelled by growing hair on the front of their heads. Koxinga criticized the Qing hairstyle by referring to the shaven pate looking like a fly. This caused the Qing government to view shaving the front of the head as the primary sign of loyalty rather than wearing the braid on the back, which did not violate Han customs and traditional Han did not object to. Koxinga and his men objected to shaving when the Qing demanded they shave in exchange for recognizing Koxinga as a feudatory. The Qing demanded that Zheng Jing and his men on Taiwan shave to receive recognition as a fiefdom. His men and Ming prince Zhu Shugui fiercely objected to shaving. In 1644, Beijing was sacked by a coalition of rebel forces led by Li Zicheng, a minor Ming dynasty official turned leader of a peasant revolt. The Chongzhen Emperor committed suicide when the city fell, marking the official end of the Ming dynasty. The Han Chinese Ming general Wu Sangui and his army then defected to the Qing and allowed them through Shanhai pass. They then forced Han Chinese to adopt the queue as a sign of submission. They then seized control of Beijing, overthrowing Li’s short-lived Shun dynasty. A year later, after the Qing armies reached South China, on 21 July 1645, the regent Dorgon issued an edict ordering all Han men to shave their foreheads and braid the rest of their hair into a queue identical to those worn by the Manchus. Qing Manchu prince Dorgon initially canceled the order for all men in Ming territories south of the Great wall (post 1644 additions to the Qing) to shave. The Han Chinese were given 10 days to comply or face death. It was a Han official from Shandong, Sun Zhixie and Li Ruolin who voluntarily shaved their foreheads and demanded Qing Prince Dorgon impose the queue hairstyle on the entire population which led to the queue order. In the edict, Dorgon specifically emphasized the fact that Manchus and the Qing Emperor himself all wore the queue and shaved their foreheads, so that by following the queue order, Han Chinese would look like the Manchus and the Emperor. Though Dorgon admitted that followers of Confucianism might have grounds for objection, most Han officials cited the Ming dynasty’s traditional System of Rites and Music as their reason for resistance. This invoked the Confucian notion that the people were like the sons of the emperor, and should be similar in their appearance. The slogan adopted by the Qing was “Cut the hair and keep the head, (or) keep the hair and cut the head” (Chinese: 留髮不留頭，留頭不留髮; pinyin: liú fà bù liú tóu, liú tóu bù liú fà). People who resisted the order were met with deadly force. Han rebels in Shandong tortured the Qing official who suggested the queue order to Dorgon to death and killed his relatives. The imposition of this order was not uniform; it took up to 10 years of martial enforcement for all of China to be brought into compliance, and while it was the Qing who imposed the queue hairstyle on the general population, they did not always personally execute those who did not obey. It was Han Chinese defectors who carried out massacres against people refusing to wear the queue. The third massacre left few survivors. The three massacres at Jiading District are some of the most infamous, with estimated death tolls in the tens or even hundreds of thousands. Jiangyin also held out against about 10,000 Qing troops for 83 days. When the city wall was finally breached on 9 October 1645, the Qing army, led by the Han Chinese Ming defector Liu Liangzuo (劉良佐), who had been ordered to “fill the city with corpses before you sheathe your swords,” massacred the entire population, killing between 74,000 and 100,000 people. Han Chinese soldiers in 1645 under Han General Hong Chengchou forced the queue on the people of Jiangnan, while Han people were initially paid silver to wear the queue in Fuzhou when it was first implemented. Jiading within a month, resulting in tens of thousands of deaths. The Qing required people serving as officials to wear Manchu clothing, but allowed other Han civilians to continue wearing Hanfu (Han clothing). The queue was the only aspect of Manchu culture that the Qing forced on the common Han population. Throughout the Qing dynasty Han women continued to wear Han clothing. Changshan of their own free will. However, the shaving policy was not enforced in the Tusi autonomous chiefdoms in Southwestern China where many minorities lived. There was one Han Chinese Tusi, the Chiefdom of Kokang populated by Han Kokang people. During the Qing Salar men shaved their hair bald while when they went to journey in public they put on artificial queues. Uyghur males at the present still shave their heads bald in the summer. Uyghur men shaved their hair bald during the Qing. However, after Jahangir Khoja invaded Kashgar, Turkistani Muslim begs and officials in Xinjiang eagerly fought for the “privilege” of wearing a queue to show their steadfast loyalty to the Empire. Chen Cheng observed that Muslim Turks in 14th-15th century Turfan and Kumul shaved their heads while non-Muslim Turks grew long hair. High-ranking begs were granted this right. The purpose of the Queue Order was to demonstrate loyalty to the Qing, and refusing to shave one’s hair came to symbolize revolutionary ideals, as seen during the White Lotus Rebellion. Because of this, the members of the Taiping Rebellion were sometimes called the Long hairs (長毛) or Hair rebels (髮逆). Han Chinese resistance to adopting the queue was widespread and bloody. The Chinese in the Liaodong Peninsula rebelled in 1622 and 1625 in response to the implementation of the mandatory hairstyle. The Manchus responded swiftly by killing the educated elite and instituting a stricter separation between Han Chinese and Manchus. In 1645, the enforcement of the queue order was taken a step further by the ruling Manchus when it was decreed that any man who did not adopt the Manchu hairstyle within ten days would be executed. The intellectual Lu Xun summed up the Chinese reaction to the implementation of the mandatory Manchu hairstyle by stating, “In fact, the Chinese people in those days revolted not because the country was on the verge of ruin, but because they had to wear queues.” In 1683 Zheng Keshuang surrendered and wore a queue. Some revolutionists, supporters of the Hundred Days’ Reform or students who studied abroad cut their braids. The queue became a symbol of the Qing dynasty and a custom except among Buddhist monastics. The Xinhai Revolution in 1911 led to a complete change in hairstyle almost overnight. Many people were violating the Qing laws on hair at the end of the dynasty. Some Chinese chose to wear the queue but not to shave their crown, while those people who cut the queue off and did not shave were considered revolutionary and others maintained the state-mandated combination of the queue and shaved crown. Neither Taoist priests nor Buddhist monks were required to wear the queue by the Qing; they continued to wear their traditional hairstyles, completely shaved heads for Buddhist monks, and long hair in the traditional Chinese topknot for Taoist priests. The Manchus’ willingness to impose the queue and their dress style on the men of China was viewed as an example to emulate by some foreign observers. Cantonese outlaw bandit pirates in the Guangdong maritime frontier with Vietnam in the 17th, 18th and 19th centuries wore their hair long in defiance of the Qing laws which mandated cutting. In his view, the British administration should have outlawed practises such as Sati much earlier than 1829, which James ascribed to a British unwillingness to challenge long-held Indian traditions, no matter how detrimental they were to the country. H. E. M. James, a British civil servant in India, wrote in 1887 that the British ought to act in a similarly decisive way when imposing their will in India. The Yangtze valley was controlled by Qing officials such as Liu Kunyi and Zhang Zhidong, who were not under Beijing’s influence and whom Boulger believed Britain could work with to stabilize China. He proposed that at Nanjing and Hankou a force of Chinese soldiers trained by the British be deployed and in Hong Kong, Weihaiwei and the Yangtze valley and it would have no allegiance to the Qing, and as such they in his idea would forgo the queue and be made to grow their hair long as a symbolic measure to “increasing the confidence of the Chinese in the advent of a new era”. English adventurer Augustus Frederick Lindley wrote that the beardless, youthful long haired Han Chinese rebels from Hunan in the Taiping armies who grew all their hair long while fighting against the Qing dynasty were among the most beautiful men in the world unlike, in his mind, the Han Chinese who wore the queue, with Lindley calling the shaved part “a disfigurement”. After Nguyễn Huệ defeated the Later Lê dynasty, high ranking Lê loyalists and the last Lê emperor Lê Chiêu Thống fled Vietnam for asylum in Qing China. British author Demetrius Charles Boulger in 1899 proposed that Britain form and head an alliance of “Philo-Chinese Powers” in setting up a new government for China based in Shanghai and Nanking as two capitals along the River Yangtze, to counter the interests of other powers in the region like the Russians due to what he believed was the imminent collapse of the Qing dynasty. They adopted Qing clothing and adopt the queue hairstyle, effectively becoming naturalized subjects of the Qing dynasty affording them protection against Vietnamese demands for extradition. Some Lê loyalists were also sent to Central Asia in Urumqi. They went to Beijing where Lê Chiêu Thống was appointed a Chinese mandarin of the fourth rank in the Han Yellow Bordered Banner, while lower ranking loyalists were sent to cultivate government land and join the Green Standard Army in Sichuan and Zhejiang. Modern descendants of the Lê monarch can be traced to southern Vietnam and Urumqi, Xinjiang. The queue is also a Native American hairstyle, as described in the book House Made of Dawn by N. Scott Momaday. In the 18th century, European soldiers styled their traditionally long hair into a queue called the “soldier’s queue.” The 18th century custom of tying long curly wigs (which normally reached down the back and chest) behind the neck began among soldiers and hunters, as seen as early as 1678 in a depiction of King Louis XIV hunting with his hair tied back. A 1697 depiction of a royal guard during the wedding of the Duke of Burgundy shows the sporting of this hairstyle, which came to influence civilian fashions due to the frequent wars France engaged in during Louis’ reign. The queue, either curled or covered with a silk bag (known as a bag wig), gradually replaced the unwieldy big wigs and remained important to men’s fashion until the change of dress in the 1790s effected by the French Revolution. For civilian men, the tyewig (a wig tied into a queue) and the bag wig became widespread after the death of Louis XIV; wigs that did not feature a queue such as the bob wig were favoured by those who could not afford a long wig. By the 1730s, the queue had spread from the military and became widespread among civilians. The type of wig became an indicator of one’s rank, occupation and political leanings. The first western army in which the wearing of a queue by its soldiers was forbidden was the Russian army in the 1780s. Grigory Potemkin, a Russian statesman and favourite of Catherine the Great, abhorred the tight uniforms and uncomfortable powdered wigs tied in a queue worn by soldiers of the Russian Army and instigated a complete revision of both. The French army plaited their wigs into a short queue (the French word for “tail”) tied with a ribbon in the back, while the British military used the Ramillies wig, which featured a very long queue tied with two black ribbons, one at the neck and one at the tail end. Along with comfortable, practical, well-fitting uniforms, his reforms introduced neat, natural hairstyles for all, with no wigs, powder and grease, or hair-tying evident. The French army continued keeping queues until the French Consulate period (1799-1804), when Napoleon Bonaparte and other officers promoted close cropped hair, known as à la Titus. Marshal Jean Lannes notably stood out due to his refusal to cut his queue. While not always braided, the hair was pulled back very tight into a single tail, wrapped around a piece of leather and tied down with a ribbon. British soldiers and sailors during the 18th century also wore their hair in a queue. The hair was often greased and powdered in a fashion similar to powdered wigs, or tarred in the case of sailors. The use of white hair powder in the British Army was discontinued in 1796 and queues were ordered to be cut off four years later. It was said that the soldiers’ hair was pulled back so tightly that they had difficulty closing their eyes afterwards. They continued to be worn in the Royal Navy for a while longer, where they were known as “pigtails”. In the Prussian Army and those of several other states within the Holy Roman Empire, can you wear a hanfu for chinese new year the soldier’s queue was mandatory under the reign of Frederick William I of Prussia. An artificial or “patent” queue was issued to recruits whose hair was too short to plait. The order was highly unpopular with both officers and men, leading to several desertions and threats of resignation. In the United States Army, the order to remove all queues was issued on 30 April 1801 by Major General James Wilkinson. Evans, Thammy (2006). Great Wall of China: Beijing & Northern China. Bradt Travel Guide Great Wall of China. Bradt Travel Guides. p. One senior officer, Lieutenant Colonel Thomas Butler, was eventually court-martialled in 1803 for failing to cut his hair. University of Hawai’i Art Gallery. University of Hawaii at Manoa Art Gallery; Chazen Museum of Art; Museum of International Folk Art (N.M.); Evergrand Art Museum (Taoyuan, Taiwan) (2009). Writing with Thread: Traditional Textiles of South Minorities : a Special Exhibition from the Collection of Huang Ying Feng and the Evergrand Art Museum in Taoyuan, Taiwan. Ebrey, Patricia Buckley; Walthall, Anne; Palais, James B. (2006). Pre-modern East Asia: To 1800: A Cultural, Social, and Political History. Millward, James (1998). Beyond the Pass: Economy, Ethnicity, and Empire in Qing Central Asia, 1759-1864 (illustrated ed.). Stanford University Press. p. 2013). Sport Across Asia: Politics, Cultures, and Identities. Bromber, Katrin; Krawietz, Birgit; Maguire, Joseph, eds. Vol. 21 (illustrated ed.). The World of Chinese. Pyun, Kyunghee; Wong, Aida Yuen (2018). Fashion, Identity, and Power in Modern Asia. East Asian History. 1994. p. Rubo, Han; Liu, Hatty (23 July 2019). “Hairy History”. Kuwayama, George (1991). Ancient Mortuary Traditions of China: Papers on Chinese Ceramic Funerary Sculptures. Godley, Michael R. (December 1994). “The End of the Queue: Hair as a Symbol in Chinese History” (PDF). Abramson, Marc Samuel (2005). “4 Deep Eyes and High Noses : Physiognomy and the depiction of barbarians in Tang China”. In Di Cosmo, Nicola; Wyatt, Don J (eds.). Far Eastern Art Council, Los Angeles County Museum of Art. Political Frontiers, Ethnic Boundaries and Human Geographies in Chinese History (illustrated ed.). Duan, Wenjie; Kapila Vatsyayan (1994). Tan, Chung (ed.). Indira Gandhi National Centre for the Arts. Dunhuang Art: Through the Eyes of Duan Wenjie. Keay, John (2011). China: A History. Keay, John (2011). China: A History. Chan, Hok-Lam (2009). “Ming Taizu’s ‘Placards’ on Harsh Regulations and Punishments Revealed in Gu Qiyuan’s ‘Kezuo Zhuiyu.'”. Tackett, Nicolas (2017). The Origins of the Chinese Nation: Song China and the Forging of an East Asian World Order. Franke, Herbert; Twitchett, Denis C. (1994). The Cambridge History of China: Volume 6, Alien Regimes and Border States, 907-1368. Cambridge University Press. Cambridge University Press. p. The Cambridge China Library. Zhu, Ruixi; Zhang, Bangwei; Liu, Fusheng; Cai, Chongbang; Wang, Zengyu (2016). A Social History of Medieval China. Cambridge University Press. p. Bang Qian Zhu (translator), Peter Ditmanson (contributor) (illustrated ed.). Liu, Cary Yee-Wei; Ching, Dora C. Y., eds. 1999). Arts of the Sung and Yüan: Ritual, Ethnicity, and Style in Painting. Metropolitan Museum of Art (New York, N.Y.), Princeton University. Art Museum, Kuo li ku kung po wu yüan, Guo li gu gong bo wu yuan. Art Museum, Princeton University. 2006). Gilded Splendor: Treasures of China’s Liao Empire. Shen, Hsueh-man; Asia Society, eds. Harry N. Abrams. p. Asia Society Museum, Museum für Ostasiatische Kunst (Berlin, Germany), Museum Rietberg (illustrated ed.). Zhou, Xun; Gao, Chunming; Shang-hai shih hsi chʿü hsüeh hsiao.; Chung-kuo fu chuang shih yen chiu tsu (1987). 5000 years of Chinese costumes (reprint ed.). Museum of Fine Arts. Tung, W. U.; Tung, Wu; Museum of Fine Arts, Boston (1997). Tales from the Land of Dragons: 1000 Years of Chinese Painting (illustrated ed.). Johnson, Linda Cooke (2011). Women of the Conquest Dynasties: Gender and Identity in Liao and Jin China. UPCC book collections on Project MUSE (illustrated ed.). University of Hawaiʻi Press. Johnson, Linda Cooke (2011). Women of the Conquest Dynasties: Gender and Identity in Liao and Jin China. University of Hawaiʻi Press. 张博泉 (Zhang Boquan) (1984), pp. Forsyth, James (1994). A History of the Peoples of Siberia: Russia’s North Asian Colony 1581-1990 (illustrated, reprint, revised ed.). Cambridge University Press. p. UPCC book collections on Project MUSE (illustrated ed.). Majewicz, Alfred F., ed. 2011). Materials for the Study of Tungusic Languages and Folklore (illustrated, reprint ed.).

Walter de Gruyter. p. Paolo Santangelo (2013). Zibuyu, “What The Master Would Not Discuss”, according to Yuan Mei (1716-1798): A Collection of Supernatural Stories (2 vols). Evelyn S. Rawski (1998). The Last Emperors: A Social History of Qing Imperial Institutions. 薙发易服”政策”. De Bary; William T. (1999). Sources of Chinese Tradition. University of California Press. Columbia University Press. p. Godley, Michael R. (September 2011). “The End of the Queue: Hair as Symbol in Chinese History”. Meyer-Fong, Tobie (2013). What Remains: Coming to Terms with Civil War in 19th Century China (illustrated ed.). China Heritage Quarterly (27). China Heritage Project, ANU College of Asia & the Pacific (CAP), The Australian National University. Hang, Xing (2016). Conflict and Commerce in Maritime East Asia: The Zheng Family and the Shaping of the Modern World, c. Stanford University Press. p. Hang, Xing (2016). Conflict and Commerce in Maritime East Asia: The Zheng Family and the Shaping of the Modern World, c. 1620-1720. Cambridge University Press. 1620-1720. Cambridge University Press. Hang, Xing (2016). Conflict and Commerce in Maritime East Asia: The Zheng Family and the Shaping of the Modern World, c. 1620-1720. Cambridge University Press. Kuhn, Philip A. (1990). Soulstealers: The Chinese Sorcery Scare of 1768. Harvard University Press. 662; Dennerline (2002), p. Wakeman (1985), p. 647; Struve (1988), p. Lui, Adam Yuen-chung (1989). Two Rulers in One Reign: Dorgon and Shun-chih, 1644-1660. Faculty of Asian Studies monographs // The Australian National University (illustrated ed.). Faculty of Asian Studies, Australian National University. Cheng, Weikun (1998). “6 politics of the queue: agitation and resistance in the beginning and end of qing china”. In Hiltebeitel, Alf; Miller, Barbara D. (eds.). Hair: Its Power and Meaning in Asian Cultures (illustrated ed.). Conflict and Commerce in Maritime East Asia: The Zheng Family and the Shaping of the Modern World, c. Hang, Xing (2016). “2 From smuggler-pirates to loyal Confucians”. 1620-1720. Cambridge University Press. 2001). Alternate Identities: The Chinese of Contemporary Thailand. Godley, Michael R. (September 2011). “The End of the Queue: Hair as Symbol in Chinese History”. China Heritage Quarterly (27). China Heritage Project, The Australian National University. Justus Doolittle (1876). Social Life of the Chinese: With Some Account of Their Religious, Governmental, Educational, and Business Customs and Opinions. With Special But Not Exclusive Reference to Fuhchau. Edward J. M. Rhoads (2000). Manchus and Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861-1928. University of Washington Press. Chee Kiong Tong; et al. 周锡保. 《中国古代服饰史》. 中国戏剧出版社. Twitchett, Denis; Fairbank, John K. (2008) Cambridge History of China Volume 9 Part 1 The Ch’ing Empire to 1800, pp. Lipman, Jonathan N. (1997). “4 / Strategies of Resistance Integration by Violence”. Familiar Strangers : A History of Muslims in Northwest China. University of Washington Press. Lipman, Jonathan N. (2011). Familiar Strangers: A History of Muslims in Northwest China. University of Washington Press. Lipman, Jonathan N. (1997). Familiar Strangers: A History of Muslims in Northwest China. University of Washington Press. Otto Harrassowitz Verlag. p. Pamela Kyle Crossley; Helen F. Siu; Donald S. Sutton (2006). Empire at the Margins: Culture, Ethnicity, and Frontier in Early Modern China. University of California Press. Arienne M. Dwyer (2007). Salar. Chen, Yangbin (2008). Muslim Uyghur Students in a Chinese Boarding School: Social Recapitalization as a Response to Ethnic Integration. Emerging Perspectives on Education in China. Yakup, Abdurishid (2005). The Turfan Dialect of Uyghur. Vol. 63 of Turcologica Series (illustrated ed.). Otto Harrassowitz Verlag. p. Brophy, David (2016). Uyghur Nation: Reform and Revolution on the Russia-China Frontier. James Millward (1998). Beyond the Pass: Economy, Ethnicity, and Empire in Qing Central Asia, 1759-1864. Stanford University Press. State University of New York Press. Hiltebeitel, Alf, ed. (1998). Hair: Its Power and Meaning in Asian Cultures. 2003). Old Hong Kong – Volume One. Central, Hong Kong: Text Form Asia books Ltd. Modern Chinese Literature and Culture, Volume 19, Issue 1. Foreign Language Publications. Edward J. M. Rhoads (2000). Manchus and Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861-1928. University of Washington Press. Anthony, Robert J. (2014). “Violence and Predation on the Sino-Vietnamese Maritime Frontier, 1450-1850”. Asia Major. George Cockburn (1896). John Chinaman: His Ways and Notions. J. Gardner Hitt. pp. The Museum Journal. The Museum. James, Henry Evan Murchison (1888). The Long White Mountain, or, A journey in Manchuria: with some account of the history, people, administration and religion of that country. Boulger, Demetrius C. (1899). “The Dissolution of the Chinese Empire”. The North American Review. Longmans, Green, and Co. pp. Boulger, Demetrius C. (1900). “America’s Share in a Partition of China”. The North American Review. Boulger, Demetrius Charles (28 April 1893). “Chapter IX”. Stanford University Press. p. Meyer-Fong, Tobie (2013). What Remains: Coming to Terms with Civil War in 19th Century China (illustrated ed.). Anderson, James A.; Whitmore, John K. (2014). China’s Encounters on the South and Southwest: Reforging the Fiery Frontier Over Two Millennia. Handbook of Oriental Studies. Section 3 Southeast Asia (reprint, revised ed.). Thái Mỹ (24 April 2019). “Con trai vua Lê Thế Tông ở đất Thanh Châu” (in Vietnamese). Lê Tiên Long (9 December 2018). “After Minh Mang reigned Nguyen Dynasty, why he deported Le royal descendants to the Southern Vietnam?” (in Vietnamese). Francis Michael Kelly, Randolph Schwabe (2002). European Costume and Fashion, 1490-1790. Dover Publications. Mark Ledbury, Robert Wellington (2020). The Versailles Effect: Objects, Lives, and Afterlives of the Domaine. Joan Nunn (2000). Fashion in Costume, 1200-2000. New Amsterdam Books. Bloomsbury Publishing USA. p. Lynn Festa (2005). “Personal Effects: Wigs and Possessive Individualism in the Long Eighteenth Century”. Military Innovation in Imperial Russia from Peter the Great to the Revolution. Bruce W. Menning, David Schimmelpenninck van der Oye (2004). Reforming the Tsar’s Army. Cambridge University Press. p. Philip Dwyer (2007). Napoleon, The Path to Power 1769 – 1799. Yale University Press. Terry Crowdy (2015). Napoleon’s Infantry Handbook An Essential Guide to Life in the Grand Army. Pen & Sword Military. Beverly Chico (2013). Hats and Headwear Around the World A Cultural Encyclopedia. R. F. Delderfield (2002). Napoleon’s Marshals. Janice Best (2023). Power and Propaganda in French Second Empire Theatre Playing Napoleon. Cooper Square Press. p. Cambridge Scholars Publishing. p. Stocqueler, Joachim Hayward (1871) A Familiar History of the British Army, from the Restoration in 1660 to the Present Time, Edward Stanford, London (pp. Borch, Fred L. (March 2012). “Lore of the Corps – The True Story of a Colonel’s Pigtail and a Court-Martial”. Dennerline, Jerry (2002). “The Shun-chih Reign”. Hudson, Elizabeth Harriot (1878), (The Life And Times of Louisa, Queen of Prussia With an Introductory Sketch of Prussian History: Volume II reprinted by Adamant Media Corporation (13 September 2001) (pp. In Peterson, Willard J. (ed.). Cambridge History of China, Vol. Ebrey, Patricia (1993). Chinese Civilization: A Sourcebook. 9, Part 1: The Ch’ing Dynasty to 1800. Cambridge: Cambridge University Press. Faure, David (2007). Emperor and Ancestor: State and Lineage in South China. Rhoads, Edward J. M. (2011). Manchus and Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861-1928. University of Washington Press. Sinor, Denis, ed. (1990). The Cambridge History of Early Inner Asia, Volume 1 (illustrated, reprint ed.). Nguyễn Khắc Thuần (2005), Danh tướng Việt Nam, Nhà Xuất bản Giáo dục. In Frederic W. Mote; Denis Twitchett; John King Fairbank (eds.). Struve, Lynn (1988). “The Southern Ming”. Cambridge History of China, Volume 7, The Ming Dynasty, 1368-1644. Cambridge: Cambridge University Press. Wakeman, Frederic (1985). The Great Enterprise: The Manchu Reconstruction of Imperial Order in Seventeenth-Century China. Wakeman, Frederic (1975b), “Localism and Loyalism During the Ch’ing Conquest of Kiangnan: The Tragedy of Chiang-yin”, in Frederic Wakeman Jr.; Carolyn Grant (eds.), Conflict and Control in Late Imperial China, Berkeley: Center of Chinese Studies, University of California, Berkeley, pp. University of California Press. Volume 1. University of California Press. 辽宁人民出版社. 张博泉 (Zhang Boquan) (1984). 《金史简编》. Wikimedia Commons has media related to Queues (hair fashion). This page was last edited on 12 December 2024, at 07:33 (UTC). 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.

Ru (Chinese: 襦; pinyin: rú), sometimes referred to as shan (Chinese: 衫; pinyin: shān), ao (simplified Chinese: 袄; traditional Chinese: 襖; pinyin: ǎo), and yi (Chinese: 衣; pinyin: yī), is a form of traditional Chinese upper garment, or coat, or jacket, which typically has a right closure; however, they may also have a front central opening. It is traditional everyday wear for women of the Han Chinese ethnic group. It can be worn in combination with a skirt in a style called ruqun, or a pair of trousers in a style called shanku. Garments that overlap and close to the right originated in China and are called youren (Chinese: 右衽; pinyin: yòurèn; lit. The style of yi which overlaps at the front and closes on the right in a y-shape is known as jiaolingyouren (Chinese: 交領右衽; pinyin: jiāolǐngyòurèn; lit. The shape and structure of Chinese upper garments, generally referred as yi (衣), varied depending on the time period. The structure of the jackets worn in the late Qing shared some features of those worn by the ethnic Han during the Ming dynasty. They continued to evolve and be worn in some form during the Republic of China. It has regained prominence in the 21st century following the Hanfu movement. Since the 1930s, the popularity of traditional Han fashion declined in favor of the qipao and Western dress. In ancient times, the term yi referred to an upper outer garment. The term yi (衣) generally refers to clothing. The ru can refer to both a long or short jacket. 94 The ru also had different names depending on its characteristics, such as its length and the presence or absence of lining. 48-50 can be found with either short or long sleeves. The term ru (襦) has sometimes been used as a synonym word for the clothing items shan (衫) and ao (袄; 襖). A short ru is also known as duanru (Chinese: 短襦; lit. 48-50 a type of duanru is the yaoru (Chinese: 腰襦; lit. 94 In the Mawangdui Silk Manuscripts, the character ru《襦》refers to a ‘short coat’. The Shuowen also described the ru as being a form of duanyi (Chinese: 短衣; lit. It is also described as a common form of duanyi in the Guangyun. In the Han dynasty, the ru could be unlined, lined or padded. Chinese: 襌(单)襦; traditional Chinese: 襌(單)襦; lit. There is also the term changru (simplified Chinese: 长襦; traditional Chinese: 長襦; pinyin: chángrú; lit. In the Zhou dynasty, a long ru was referred as the gua while the furu referred to ru with lining and which was similar to the paofu in terms of form. 48-50 According to the Guangyun, however, the changru can also be a form of paofu. 94 According to the Guangyun, a gua (Chinese: 袿) is also a form of changru. Other terms, such as daru (Chinese: 大襦; lit. Chinese: 上襦; lit. Gujin Tushu Jicheng, between 1700 and 1725 AD. Other forms of changru included the shuhe (Chinese: 裋褐; lit. According to the Ben Cang Gang Mu 《本草綱目》written by Li Shizhen’s time (1518 – 1593 AD), in ancient times, an unlined short garment, duanru (短襦; ‘short jacket’), was called shan (衫); and in the time of Li Shizhen’s time, the shan also came to refer to long garments (simplified Chinese: 长衣; traditional Chinese: 長衣; pinyin: chángyī; lit. Illustration of shan with a youren round collar (yuanlingshan) and narrow sleeves, decorated with a flower square from the Qing dynasty Gujin Tushu Jicheng. The term hanshan (Chinese: 汗衫; pinyin: hànshān; lit. Modern reconstruction of a long jacket called chang ao. 65According to Li Shizhen, who quoted the Zhiguzi《炙轂子》by Wang Rui, the hanshan used to called zhongdan (中單), an inner unlined garment; it changed name when the zhongdan of King Han was seeped with sweat when the latter fought with Xiang yu. Illustration of ao (襖) from the Qing dynasty Gujin Tushu Jicheng. This ao shows a frontal closure. The term ao (袄; 襖) appears in a Sui dynasty rime dictionary called Qieyun, published in 601 AD and can be translated as “padded coat”, but it can also refer to a lined upper garment. The term ao was sometimes used to refer to thicker forms of jacket which could be used as winter clothing. Illustration of an ao decorated with flowers (寶相花裙襖) from the Qing dynasty, Gujin Tushu Jicheng. The term xi (Chinese: 褶; lit. The ru is a form of jacket or coat, which typically closes to the right and is described as being youren. A jia ao (夹袄), for example, was a lined jacket which was used by Han Chinese women as winter clothing; the jia ao was typically worn on top of a long-length qun underneath. The length of the bodice may vary; it can be waist-length or knee-length. Slits can also be found at both sides of the lower hems of the bodice. The standing collars started to be incorporated in upper garments by the late Ming dynasty. The shapes of the sleeves can also vary, such as big sleeves, narrow sleeves, large cuffs, mandarin sleeves, flared sleeves. Chinese robes and jackets must cover the right part in a style called youren (右衽; yòurèn; ‘right lapel’). Clothing style which overlaps and closes to the right originated in China. The youren closure is an important symbol of the Han Chinese ethnicity. The structure of the jiaolingyouren yi (交領右衽 衣; jiāolǐngyòurèn yī) may have some differences and variations in terms of features depending on time period and styles of upper garment. Huling (护领)- a collar guard, it is shorter than the actual collar and is used to prevent the collar from getting dirty or wear off. In Ancient China, some ethnic minorities had clothing which generally closed on the left side in a way referred as zuoren (Chinese: 左衽; pinyin: zuǒrèn; lit. The traditional way to distinguish between Hufu and Hanfu is by looking at the direction of the collar. Unbound hair and coats which were closed on the left side were associated with the clothing customs of the northern nomadic ethnic groups which were considered as barbarians by the Han Chinese. However, the youren rule was not always respected: for example, in some areas (such as Northern Hebei) in the 10th century, some ethnic Han Chinese could also be found wearing zuoren clothing. Therefore, the zuoren were used to refer to Hufu and/or refer to the rule of foreign nationalities. It was also common for the Han Chinese women to adopt zuoren under the reign of foreign nationalities, such as in the Yuan dynasty; the use of zuoren also continued in some areas of the Ming dynasty despite being Han-Chinese ruled dynasty, which is an atypical feature. Some non-Chinese ethnicities who also adopted Hanfu-style sometimes maintain their zuoren lapels, such as the Khitans in the Liao dynasty. The only moment Han Chinese is supposed to use zuoren is when they dressed their deceased. This is due to ancient Chinese beliefs in the Yin and Yang theory, where it is believed that the left is the Yang aspect and stands for life whereas the right is the Yin which stands for death. Based on this belief, the left lapel needs to be outside (i.e. youren-style) to indicate that the power of Yang is suppressing the Yin, which therefore symbolized the clothing of living people. It is therefore typically taboo in Chinese clothing for a living person to wear zuoren. However, if Yin surpasses Yang (i.e. zuoren-style), then clothing becomes the clothing worn by the deceased. Clothing style with youren (右衽; yòurèn; ‘right lapel’) closure originated in China. The long ru could reach the knee-level whereas the short ru was waist-length. The ru could be found unlined, lined or padded. Prior to the Eastern Han, the ru was the most common form of short robe for both men and women; however, the ru was preferred by women afterwards. The jiaolingyouren yi (交領右衽 衣) started to be worn in the Shang dynasty. According to historical documents and archaeological findings, the basic form of clothing during Shang was yichang. In the Zhou dynasty, there were various forms of yi as a generic term of upper garments. 22 the yi worn by slaveholders had tight sleeves and were also closed on the right side following the youren-style. 94 A typical form of yi was the ru. In the Han dynasty, short waist-length ru could be worn with trousers or skirts by men and women respectively. This shan was worn by men and women and became popular as it was more convenient for wearing. In the Han and Wei dynasties, the sleeves of the ru could be wide or narrow; the ru was closed to the right. Women wearing jacket (ru) under their skirts. Guardians of day and night, Han dynasty. This section is empty. The ru (as a short jacket) and shan (as an unlined short robe) were used for ceremonial and daily clothing by women. You can help by adding to it. The Tang dynasty ru could also be a tight jacket or a cotton-padded jacket, which could have embroidered golden line as embellishment at the collar and sleeves or could sometimes be decorated with silk damask. Woman wearing jiaoling youren jacket, Tang dynasty. Hufu-style declined in popularity. Paintings of women wearing daxiushan (大袖衫) during the Tang dynasty. Song dynasty, women wore jiaolingyouren jackets and duijin jackets. In the Song dynasty, the daxiushan (shirt with large/broad sleeves) was a form of fashionable formal clothing. Clothing worn by the Northern Song dynasty people living in Kaifeng are depicted in the on the painting Qingming Festival on the River by Zhang Zeduan. 70 This painting depicts the clothing worn by people holding different social status, ranks, and occupation: the jackets worn as outer garments were all short, about knee-length or shorter, when worn by coolies, pedlars, peasants, and boat people and children who peddled dried fruits wore short white shan. 9-16 The short ru was a daily garment item for women; the closures of the short ru were found either on the left or right of the front of the garment. Duijin shan made of luo (罗), Song dynasty. Song dynasty-style fashion, including jiaolingyouren jackets, continued to be worn by both Han Chinese and non-elite Khitan women in the Liao dynasty; these jackets were waist-length. Both the jiaolingyouren and the jiaolingzuoren jackets for women coexisted in the Yuan dynasty. Han Chinese women also wore jia ao (夹袄), a form of lined jacket, typically over a long-length qun underneath as winter clothing. The wearing of zuoren (instead of youren) was common in the Yuan dynasty. Following the end of the Yuan dynasty, the wearing of zuoren in women’s clothing persisted in the Ming dynasty for at least Chinese women who lived in the province of Shanxi. Ming dynasty portrait paintings showing Chinese women dressing in zuoren jackets appeared to be characteristic of ancestral portraits from the province of Shanxi and most likely in the areas neighbouring the province. 72-74 Pak Chega based his description of Chinese women’s clothing by using the Records of Daily Study (Rizhilu) by Gu Yanwu (1613-1682), a scholar from the late Ming and early Qing dynasties. Woman wearing a waist-length jacket, Ming dynasty. In the Ming dynasty, the ao as a long jacket became more prevalent at the expense of the short ru. Waist-length fangling ao (square collared jacket), Changling Tomb of the Ming dynasty. Waist-length duijin ao (lined jacket), Ming dynasty. Portrait of women wearing long jiaoling youren jacket (chang’ao) decorated with buzi, Ming dynasty. Noble lady wearing a round-collared jacket as upper garment and a skirt as lower garment (front) Lady-in-waiting wearing a short-sleeved round collar jacket with a skirt (left), Ming dynasty. 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. Noble lady wearing a round-collared jacket as upper garment and a skirt as lower garment (front) Lady-in-waiting wearing a short-sleeved round collar jacket with a skirt (left), Ming dynasty. There were at least two types of high collar jackets in the Ming dynasty: liling duijin shan (Chinese: 立领对襟衫) which is jacket with high collar and closes at the front centrally, and liling dajin changshan (Chinese: 立领大襟长衫) which is a long jacket with stand-up collar, it overlaps from the neck and closes at the right side. The liling dajin changshan is typically worn with a skirt, called mamianqun. In women garments of the Ming dynasty, the standup collar with gold and silver zimukou 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). Noble woman wearing a long jacket with right side closure and a high collar. Noble woman wearing a long jacket with right side closure and a high collar, Ming dynasty. This is style of jacket is referred as liling dajin changshan (立领大襟长衫). The Han Chinese women carefully maintained their pure Han Chinese ethnicity and did not wear Manchu clothing. As Han women were not forced to change into Manchu clothing in the Qing dynasty, Han women of the Qing dynasty followed the style of female jacket worn in the Ming dynasty. Over time, the Ming dynasty customs were gradually forgotten. The clothing of the Han and the Manchu eventually influenced each other. However, Manchu women and Han Chinese women never emulated each other’s clothing; and as a result, by the end of the nineteenth century, Manchu and Han Chinese women had maintained distinctive clothing. In the early Qing, Han women continued wearing Ming dynasty hanfu; in the South, the jiaoling ao and shan continued to be worn with long skirts by most women while in the North, trousers were more common. According to the Discourse of Northern Learning (Pukhak ŭi; 北學議: 완역정본) by Pak Chega (1750-1805) who visited the Qing dynasty in 1778, Chinese women wore upper and lower garments which were similar to those worn in ancient paintings. In the mid-Qing clothing, fashionable styles were associated to those worn in the late 16th and early 17th century. 72-74 Pak described the jackets had collars which were round and narrow and were fastened just below the chin; he also described them as being typically long enough to conceal the entire body although in some cases, the jacket would be long enough to be just below the knee-level. 72-74 Pak also observed that the Chinese women’s clothing preserved the old traditions (which were mostly intact) and which he contrasted with the Joseon women’s clothing trend which he claimed to be taking more after Mongolian in style, an influence which he attributed to the close relationship between Goryeo and the Yuan dynasty and continued to exist in Joseon during his lifetime. 97 In the late 18th and 19th century, there was a dramatic shift in fashion aesthetics. After the Mid-Qing dynasty, Manchu clothing, called qizhuang, started to influence the women’s hanfu. Han Chinese women’s jackets (including shan, ao, and gua). The trend in this period was characterized on the emphasis on decorative trims and accessories which were modular and could be easily produced, purchased and then applied on the clothing (including robes, jackets, and skirts); those forms of modular features included collars, sleeve-bands and border decorations. The borders decoration in contrasting colours were used throughout the clothing history of China and were recorded early on in history (e.g. in the Liji). During this period, auspicious symbols and narrative scenery were especially made into embroidered roundels and borders and became fashionable in Han Chinese women’s clothing; this new trend was an influence of the late imperial secularization of arts and culture on textiles. They were also lavished with embroideries which were based on the Chinese symbolic system, which was itself based on Chinese language, mythology, customs, and literature, and belief system (e.g. Confucianist and Taoist motifs). The wide sleeves used in the upper garment were a heritage of the Ming dynasty and a distinctive feature which differentiated Hanfu from Manchu clothing. Manchu robes, it was however longer than the waist-length jacket (yaoru) which appeared to have fallen from popularity during the 18th century. In the late Qing, these dajin youren ao had neither darts nor shoulder stitching; the front and back panels are connected by the shoulder, and the left and right pieces are more or less symmetrical. The dajin youren ao (Chinese: 大襟右衽袄) continued to be worn. It has a front centre closure and then curves crossover to the right before secured with frog buttons in a style called pianjin. 48-50 The front closing, collar, hem, and sleeves cuff have edging of contrasting pipings and side slits. Woman’s short coat decorated with a Yunjian appliqué, early 19th century. 48-50 The jackets could also be decorated with yunjian appliqué. Wedding jacket and skirt (aoqun), c. 184which was typically used as part of a type of Chinese wedding dress attire. The duijin ao in the 19th century could be round neck with no collar or have small stand-up collars. The duijin ao (jackets with front opening) were also worn. The jiaolingyouren yi continued to be worn in the Qing dynasty even in the 19th century by children. Woman’s theatrical jacket, Qing dynasty, 19th century. These high collars were gradually lowered. In the 1920s, the jackets had curved lower hem at the waist-hip region and low standing collar; it was a component of the Wenming xinzhuang Chinese: 文明新裝; lit. After the May 4th Movement, qipao top these high collars were abandoned due to their inconvenience. Following the Hanfu movement in 2003, many various forms, shapes, and styles of Hanfu upper garments have reappeared and regained popularity. After the 1930s, these forms of upper garments lost popularity and decreased in use, as they were replaced by qipao and Western dress. Closing the jeogori to the right has become standard practice since the sixth century AD. King Hyonjong of Goryeo had been said to have composed a poem in 1018 stating, “Had it not been for Kang, evermore would our coats on the left be bound”, when Kang Kamch’an won against the invading Khitan. Initially, the jeogori closed at the front, then switched to a left closure before eventually closing to the right side. The Chinese Ming dynasty also bestowed the ceremonial attire and daily clothing to the Joseon queens from the reign of King Munjong to the reign of King Seonjo whenever a new king was enthroned; the bestowed clothing included ao (襖, called o in Korea), qun (裙, called gun in Korean), and dansam (unlined jacket). The people of Ryukyu wore cross-collar upper garment called dujin (胴衣; ドゥジン), which was only worn by members of the Ryukyu royal family and by the upper-class warrior families. The standing-up collar and diagonal right closure are two features inspired by Chinese and Manchu clothing. Illustration of Ryukyu upper clothing called Jin (衣) by the people of Ryukyu, 1721, from the Zhongshan chuanxinlu《中山傳信錄》; Men and women wore similar form of jin. The old-style dujin was initially more Chinese in style before gradually becoming more Japanese in style. 239 The design of wrap-style closure or neckline, known as jiaoling (Chinese: 交領; lit. British Chinoiserie fashion had incorporated key elements from the construction design of Chinese clothing, including the use of wide sleeves and side closure; these designs were then adapted to meet the aesthetic tastes of Europeans. Chinese also influenced various designs and styles of déshabillé in the United States. China, in European garments was the results of the heavy influences of Orientalism which was popular in the 19th century. 4777), which appeared in American women’s magazine, The Delineator, in 1901. In volume 57, The Delineator described it as being “Ladies’ Chinese dressing”, and as having “a strong suggestion of the Orient”. 3920), one of which closed on the right side (known as jiaoling youren in China) with a single ribbon. 216-217 The San toy was designed to be loose-fitting, a wrap closure on the left side (known as jiaoling zuoren in China) which closes with satin ribbon ties; it also featured deep side vents, which was considered as being a “novel effect”, and was trimmed with a single band creating a fancy outline. 248 The loosening of women’s fashion found in the 1920s loose-fitting fashion, especially the disappearance of nipped-in corset, appears to have also been influenced by the loose lines and roomy armholes of the traditional Chinese robes and jackets along with other factors, such as the experience of freedoms of elite women at that time, the sportswear-designs of Chanel, and the garment designs by Paul Poiret who designed Middle-Eastern inspired garments. Likewise, Japanese Kimono-style with wrap closure, also influenced American summer fashion in the early 1900s; these became known as Misses’ or girls’ Japanese wrapper or lounging-robe. Jiang, Wanyi; Li, Zhaoqing (2021-01-06). Analysis on Evolution, Design and Application of Women’s Traditional Coats in Beijing in the Late Qing Dynasty and the Early Republic of China. Yu, Song-Ok (1980). “A Comparative Study on the Upper Garment in the Ancient East and West”. Ho, Wei; Lee, Eun-Young (2009). “Modem Meaning of Han Chinese Clothing(韓服)”. Journal of the Korean Society of Costume. Zhao, Yin (2014). Snapshots of Chinese culture. Xinzhi Cai. Los Angeles. Journal of the Korea Fashion and Costume Design Association. Clothing and Textiles Research Journal. Kidd, Laura K.; Lee, Younsoo (2002). “The Style Characteristics of the Hwalot, with a Focus on One Robe from the Collection of the Honolulu Academy of Arts”. Cambridge: Cambridge University Press. Retrieved 2022-06-13. Green is the upper robe, Green with a yellow lining! Green is the upper robe, Green the upper, and yellow the lower garment. 綠兮衣兮、綠衣黃裏。 綠兮衣兮、綠衣黃裳。 Gu, Weilie (2022). A GENERAL INTRODUCTION TO CHINESE CULTURE. Han, Jiantang (2012). Chinese characters. US: American Academic Press. 是以自天佑之，吉无不利，黄帝、尧、舜垂衣裳而天下治，盖取诸乾坤。 Finnane, Antonia (2008). Changing clothes in China : fashion, history, nation. 子見齊衰者、冕衣裳者與瞽者，見之，雖少必作；過之，必趨。 Retrieved 2022-06-13. Huang Di, Yao, and Shun (simply) wore their upper and lower garments (as patterns to the people), and good order was secured all under heaven. Li, Shizhen (2021). Ben cao gang mu : 16th century Chinese encyclopedia of materia medica and natural history : the complete Chinese text. Legal practice in the formative stages of the Chinese empire : an annotated translation of the exemplary Qin criminal cases from the Yuelu Academy collection. New York: Columbia University Press. Thies Staack, Ulrich Lau, Yuelu shu yuan. Fendos, Paul G. (2018). The Book of Changes. Wilmington: Vernon Press. p. Nienhauser, William H. (2016). Tang dynasty tales : a guided reader. The University of California (1997). 中國文學 Issues 379-382. Foreign Languages Press. Volume 2. Singapore: World Scientific. Qin shi huang ling bing ma yong keng yi hao keng fa jue bao gao, 1974-1984. Shanxi Sheng kao gu yan jiu suo, Shanxi shi huang ling Qin yong keng kao gu fa jue dui, 陜西省考古研究所, 陜西始皇陵秦俑坑考古发掘队. Beijing: Wen wu chu ban she. Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history. Jefferson, North Carolina. p. Peng, Hao; Zhang, Ling (2018). “On “Skirts” and “Trousers” in the Qin Dynasty Manuscript Making Clothes in the Collection of Peking University”. Wang, Anita Xiaoming (2018). “The Idealised Lives of Women: Visions of Beauty in Chinese Popular Prints of the Qing Dynasty”. Arts Asiatiques. 73: 61-80. doi:10.3406/arasi.2018.1993. Silberstein, Rachel (2016). “Fashionable Figures: Narrative Roundels and Narrative Borders in Nineteenth-Century Han Chinese Women’s Dress”. 罗质夹袄. Garrett, Valery M. (2007). Chinese dress : from the Qing Dynasty to the Present. Styling Shanghai. Christopher Breward, Juliette MacDonald. Silberstein, Rachel (2020). A fashionable century : textile artistry and commerce in the late Qing. Ma, Xiaofang (2018). “Study on the Aesthetics of Han Chinese Clothing Culture in the TV Play q Nirvana in Fireq”. Xu, Jing (2016). A Chinese traveler in medieval Korea : Xu Jing’s illustrated account of the Xuanhe embassy to Koryo. Study on the Aesthetics of Han Chinese Clothing Culture in the TV Play “Nirvana in Fire”. Sem Vermeersch. Honolulu. pp. Kang, Chae-ŏn (2006). The land of scholars : two thousand years of Korean Confucianism. Suzanne Lee (1st ed.). Dress and ideology : fashioning identity from antiquity to the present. Shoshana-Rose Marzel, Guy Stiebel. Zhang, Ling (2016). The River, the Plain, and the State: An Environmental Drama in Northern Song China, 1048-1128. Cambridge: Cambridge University Press. Kuhn, Dieter (2009). The age of Confucian rule : the Song transformation of China. Cambridge, Mass.: Belknap Press of Harvard University Press. The Museum of Far East Antique Bulletin 70. Östasiatiska museet. Feng, Ge (2015). Traditional Chinese rites and rituals. Zhengming Du. Newcastle upon Tyne: Cambridge Scholars Publishing. Shi, Songge (2021). “Travelling With Hanfu: A Social Media Analysis of Contemporary Chinese Travelling for Artistic Photographs”. Lüsted, Marcia Amidon (2016). Ancient Chinese daily life (First ed.). Chen, Buyun (2019). Empire of style : silk and fashion in Tang China. SHEA, Eiren L. (2021-12-15). “Intentional Identities: Liao Women’s Dress and Cultural and Political Power”. Guobin Xu, Yanhui Chen, Lianhua Xu, Kaiju Chen, Xiyuan Xiong, Wenquan Wu. Introduction to Chinese culture : cultural history, arts, festivals and rituals. Sun, Ming-ju (2002). Chinese fashions. Mineola, N.Y.: Dover Publications. 5000 years of Chinese costumes. Zhongguo fu zhuang shi yan jiu zu. San Francisco, CA: China Books & Periodicals. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. Zang, Yingchun; 臧迎春. 李竹润., 王德华., 顾映晨. Pellatt, Valerie (2014). Translating Chinese culture : the process of Chinese-English translation. Beijing: Wu zhou chuan bo chu ban she. Eric Liu, Yalta Ya-Yun Chen. Östasiatiska museet. 1998. p. The Museum of Far Eastern Antiquities Bulletin No.70. Pak, Che-ga (2019). A Korean scholar’s rude awakening in Qing China : Pak Chega’s discourse on northern learning. Byonghyon Choi, Seung B. Kye, Timothy V. Atkinson. Hao, Xiao’ang; Yin, Zhihong (2020). “Research on Design Aesthetics and Cultural Connotation of Gold and Silver Interlocking Buckle in the Ming Dynasty”. Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press. Olivová, Lucie B. (2009). Lifestyle and entertainment in Yangzhou. Vibeke Børdahl, Nordic Institute of Asian Studies. Rhoads, Edward J. M. (2000). Manchus & Han : ethnic relations and political power in late Qing and early republican China, 1861-1928. Seattle: University of Washington Press. Copenhagen: NIAS Press. p. Silberstein, Rachel (2017-05-04). “Cloud Collars and Sleeve Bands: Commercial Embroidery and the Fashionable Accessory in Mid-to-Late Qing China”. Heroldová, Helena (2020). “Sleevebands: Neglected Element in Chinese Adornment”. Annals of the Náprstek Museum. 41 (2): 93-111. doi:10.37520/anpm.2020.009. Lanham, Md: Scarecrow Press. Lewandowski, Elizabeth (2011). The Complete Costume Dictionary. Washington., Textile Museum (1996). The kimono inspiration : art and art-to-wear in America. Kim, Jin-Goo (1977). Korean costume : an historical analysis. Aurélie., Samuel (2010). Costumes d’enfants : miroir des grands : Établissement public du musée des arts asiatiques Guimet, 20 octobre 2010-24 janvier 2011. Réunion des musées nationaux. Lee, Samuel Songhoon (2013). Hanbok : Timeless fashion tradition. Han’guk Kukche Kyoryu Chaedan. China among equals : the Middle Kingdom and its neighbors, 10th-14th centuries. Madison, Wis. : University of Wisconsin. Morris Rossabi. Berkeley: University of California Press. Hong, Nayoung. “원삼 ( 圓衫 )”. Encyclopedia of Korean Folk Culture (in Korean). Fiona. “A Brief History of Traditional Vietnamese Ao Dai”. Travel information for Vietnam from local experts. Hong, Nayoung. “원삼(圓衫)”. Encyclopedia of clothing and fashion. Valerie Steele. Farmington Hills, MI: Charles Scribner’s Sons. Jill Condra. Santa Barbara, Calif. Hendrickx, Katrien (2007). The origins of banana-fibre cloth in the Ryukyus, Japan. Encyclopedia of national dress : traditional clothing around the world. Beyond chinoiserie : artistic exchange between China and the West during the late Qing dynasty (1796-1911). Petra ten-Doesschate Chu, Jennifer Dawn Milam. Parkins, Ilya (2012). Cultures of Femininity in Modern Fashion. Leuven University Press. p. BASIS Independent Silicon Valley. The Delineator. Vol. 57. Charles Dwyer, H. F.. Montgomery, R. S.. O’Loughlin. Elizabeth M. Sheehan. Hanover: University of New Hampshire Press. United Kingdom: Butterick Publishing Company. The Delineator. Vol. 58. Charles Dwyer, H. F. Montgomery, R. S. O’Loughlin (editors). United Kingdom: Butterick Publishing Company. United Kingdoms: Butterick Publishing Company. British Modernism and Chinoiserie. The Delineator. Vol. 56. Charles Dwyer, H. F. Montgomery, R. S. O’Loughlin. 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. This page was last edited on 7 September 2024, at 01:08 (UTC). Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

Ottoman clothing or Ottoman fashion is the style and design of clothing worn during the Ottoman Empire. While those of the palace and court dressed lavishly, common people were only concerned with covering themselves. In this period men wore outer clothing like the ‘mintan’ (a vest or short jacket), ‘zıbın’, ‘şalvar’ (trousers), ‘kuşak’ (sash), ‘potur’, entari or kaftan (long robe), ‘kalpak’, ‘sarık’ on the head, and ‘çarık’, çizme (boots), ‘çedik’, or ‘Yemeni’ on the feet. The administrators and the wealthy wore caftans with fur lining and embroidery, whereas the middle class wore ‘cübbe’ (mid-length robe) or ‘hırka’ (a short robe or tunic). Starting in the reign of Suleiman the Magnificent, administrators enacted sumptuary laws about the clothing of Muslims, Christians, Jewish communities, clergy, tradesmen, and state and military officials, particularly strictly enforced during the reign of Suleiman the Magnificent. Women’s everyday wear was şalvar (trousers), a gömlek(chemise) that came down to mid-calf or ankle, a short, fitted jacket called a zıbın, and a sash or belt tied at or just below the waist. The poor wore collarless ‘cepken’ or ‘yelek’ (vest). Both zıbın and kaftan were buttoned to the waist, leaving the skirts open in front. Both garments also had buttons all the way to the throat but were often buttoned only to the underside of the bust, leaving the garments to gape open over the bust. All of these clothes could be brightly colored and patterned. For formal occasions, such as visiting friends, the woman added an entari or kaftan, a long robe that was cut like the zıbın apart from the length. However, when a woman left the house, she covered her clothes with a ferace, a dark, modestly cut robe that buttoned all the way to the throat. She also covered her hair and face with a pair of veils. While commoners wore “külahs” covered with ‘abani’ or ‘Yemeni’, higher-ranking men wore a wide variety of turbans. Headgear was the most potent indicator of male social status. Political crises of the 17th century were reflected in chaos in clothes. The excessively luxurious compulsion for consumption and showing off in the Tulip Era lasted until the 19th century. While the ‘sarık’ was replaced by the ‘fez’, people employed at the Sublime Porte began to wear trousers, ‘setre’ and ‘potin’. The modernization attempts of Mahmud II in the 1830s first had their effects in the state sector. Ottoman headdresses indicated the status and occupation of the wearer. Royal turbans could be decorated with feathers in an ornamental aigrette. Starting from the 19th century, sultans started wearing fezzes instead of turbans. Imperial and noble ladies would also cover their heads with small handkerchiefs and their faces with Brussels net veils. There are not many records of women’s clothing at the time, but artwork can provide some understanding. The daughters of sultans would receive luxurious jewelry when marrying, including diadems or veils with jewels embedded in them. Headdresses were typically tall, pointed hats with a veil attached to them, which served to cover their faces during outings. In depictions of sultanas, their clothing is mostly fabricated with few references to what Ottoman women actually wore. While her headdress illustrates popular styles in Ottoman women’s headwear at the time, her clothing remains very similar to European-style clothing. A portrait of Roxelana depicts her wearing a pillbox-shaped headdress with decorative jewels on the border. Many factors contributed to changes in Ottoman women’s garments, including the cost of materials and firmans, or royal declarations. This was a popular way to depict women, specifically sultanas. Over time, the yashmaks became more transparent and wider, with silver embroidery. As more changes were made to women’s clothing, yashmaks and feraces were seen less as garments to cover the body, and more as decorative and ornamental styles. At the beginning of the 18th century, upper-class women began wearing yashmaks, or veils that covered their faces when going out. In the 19th century, there were more extreme changes in women’s clothing. Yemenis, or headscarves, were so thin that their hair was almost all visible. Around World War I, Turkish women began wearing headscarves tied below the chin instead of the carsaf, a robe-like dress that covered the whole body and head except for the eyes. During the ‘Tanzimat’ and ‘Meşrutiyet’ period in the 19th century, common people still wearing traditional clothing presented a great contrast with to administrators and the wealthy wearing ‘redingot’, jacket, waistcoat, boyunbağı (tie), ‘mintan’, qipao men sharp-pointed and high-heeled shoes. Other traditional garments combined Turkish and European fashions. Women’s clothes of the Ottoman period in the ‘mansions’ and Palace courts included ‘Entari’, ‘kuşak’, ‘şalvar’, ‘başörtü’, and the ‘ferace’ of the 19th century without much change. In the 16th century, women wore two-layer long ‘entari’ and ‘tül’, velvet shawls, on their heads. Their outdoor clothing consisted of ‘ferace’ and ‘yeldirme’. The simplification in the 17th century was apparent in an inner ‘entari’ worn under a short-sleeved, caftan-shaped outfit and a matching belt. Women’s wear becoming more showy and extravagant accompanied adorned hair buns and tailoring. The sense of women’s wear primarily began in large residential centers such as Istanbul and İzmir in the 19th century and women gradually began to participate in social life, along with the Westernization movement. Pera became the center of fashion and Paris fashions were followed by tailors of Greek and Armenian origin. In the period of Abdul Hamid II, the ‘ferace’ (a concealing outer robe shaped like a modestly cut version of the indoor dress) was replaced by ‘çarşaf’ of different styles. Tailoring in its real sense began in this period. However, the rural sector continued to wear traditional clothing. As such, fashion is one method to gauge the increased interactions. Interactions between Ottomans and Britons occurred throughout history, but in the 18th century, European visitors and residents in the Ottoman Empire markedly increased, and exploded in the 19th century. Hose and trousers were reserved for men, and skirts were for women. Historically, Europeans clothing was more delineated between male and female dress. Conversely, in the Ottoman Empire, male and female dress was more similar. A common item worn by both was the şalvar, a voluminous undergarment in white fabric shaped like what is today called “harem pants”. To British women traveling in the Ottoman Empire, the şalvar quickly became a symbol of freedom because they observed that Ottoman women had more rights than British women. These female travelers often gained an intimate view of Ottoman culture, since as women, they had easier access to the Muslim elite harems than did men. Lady Mary Wortley Montagu (1689-1762), wife of the British ambassador to Constantinople, noted in her Turkish Embassy Letters that Ottoman women “possessed legal property rights and protections that far surpassed the rights of Western women”. Şalvar successfully spread into Europe at the end of the 19th century as various female suffragists and feminists used şalvar as a symbol of emancipation. Other British women of distinction, such as Lady Janey Archibald Campbell (1845-1923), and Lady Ottoline (Violet Anne) Morrell (1873-1938) wore şalvar “in an attempt to symbolize their refusal of traditional British standards and sexual differences”. Another area where the Ottomans influenced female Western dress was in layering. Şalvar also spread beyond Europe when Amelia Jenks Bloomer modified these “Turkish trousers” to create American “bloomers”. As the Ottoman Empire came into being, the layering of garments would distinguish one’s gender, class, or rank within particular communities, while also displaying many sumptuous fabrics, thus signaling one’s wealth and status. Layering also had spiritual significance. In Islamic art, layering different patterns represents a spiritual metaphor of the divine order that seems to be incomprehensible, but is actually planned and meaningful. In Europe, in the 16th century, skirts began to have a layered appearance. Initially, layering had a practical use for the ancestors of the Ottoman Empire, who were pastoral nomads and horse riders, and needed to wear layers to adapt to changing temperatures. Previous to the 16th century, skirts were slit only at the bottom, but now, the slit bisected the front of the skirt to reveal a contrasting layer underneath. Often, the underlayer would coordinate with a layered sleeve. Hanging sleeves were also a European concept derived from the Ottomans, although they arrived in Europe much earlier than layered skirts. In the 12th century, religious and scholarly peoples would wear coats that had hanging sleeves, similar to Turkish-style outer kaftans. These hanging sleeves meant one could see the second layer of fabric underneath the outer layer. Although hanging sleeves had been present in Europe since the 12th century, they did not escape Lady Mary Montague’s fascination in the 18th century. In this period the ‘şapka’ and the following ‘kılık kıyafet’ reform being realized with the leadership of Mustafa Kemal Atatürk in Kastamonu in 1925 had a full impact in Istanbul. The common clothing styles prevailing in the mid 19th century imposed by religious reasons entered a transformation phase in the Republican period. Women’s ‘çarşaf’ and ‘peçe’ were replaced by a coat, scarf, and shawl. With the industrialization process of the 1960s, women entered the work-life and tailors were substituted by readymade clothes industry. Men began to wear hats, jackets, shirts, waistcoats, ties, trousers and shoes. The contemporary fashion concept, as it is in the whole world, is apparent in both social and economic dimensions in Turkey as well. Modern Turkish designers such as Rıfat Özbek, Cemil İpekçi, Vural Gökçaylı, Yıldırım Mayruk, Sadık Kızılağaç, Hakan Elyaban, and Bahar Korçan draw inspiration from historical Ottoman designs, and Ottoman or Ottoman-inspired patterns are important to the Turkish textile industry. 3. Arnaut child of a wealthy family. 1. Muslim lady from Diyarbakır. 1. Bedouin from Mount Lebanon. Madar, Heather (2011). “Before the Odalisque: Renaissance Representations of Elite Ottoman Women”. İrepoğlu, Gül (2012). Imperial Ottoman jewellery: reading history through jewellery. Early Modern Women. 6: 1-41. doi:10.1086/EMW23617325. Asian Journal of Women’s Studies. S Faroqhi and C. Neumann, ed. Charlotte Jirousek. Ottoman Costumes: From Textile to Identity. Feyzi, Muharrem. Eski Türk Kıyafetleri ve Güzel Giyim Tarzları. Inal, Onur. “Women’s Fashions in Transition: Ottoman Borderlands and the Anglo-Ottoman Exchange of Costumes.” Journal of World History 22.2 (2011): 243-72. Web. Koçu, Reşat Ekrem (1967). Türk Giyim Kuşam ve Süslenme Sözlüğü. Küçükerman, Önder (1966). . İstanbul: GSD Dış Ticaret AŞ. Sevin, Nurettin (1990). Onüç Asırlık Türk Kıyafet Tarihine Bir Bakış. Türk Giyim Sanayinin Tarihi Kaynakları. Tuğlac, Pars (1985). Osmanlı Saray Kadınları / The Ottoman Palace Women. Ankara: T.C. Kültür Bakanlığı. This page was last edited on 29 July 2024, at 15:13 (UTC). 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.

In the event you loved this article and you would want to receive more details concerning chinese traditional clothes for men kindly visit our own web-page.