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Hanfu movement is a movement created in China to reintroduce modern life into traditional Han Chinese clothing that were banned by the Manchu Qing Dynasty (1644-1912). The Hanfu movement may have begun around 2003 when a man called Wang Letian from Zhengzhou, China, wore Hanfu in public . This inspired others to do the same and the Hanfu movement grew out of forums created initially about Hanfu, chinese dress qipao which later covered the cultural identity of China. Major activities that Hanfu enthusiasts part-take include holding Guan Lis and Ji Li’s (the Chinese equivalent of the coming of age ceremony) and other formal traditional ceremonies of the past, wearing Hanfu in public places (especially at festivals) and making their own Hanfu. Since the start of the movement, there has been public interest in Hanfu as well as debates about it. There is a more deeper meaning and goal to the Hanfu movement than just pure dressing up, going with the trend or exercising one’s individuality.

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Chinese headwear has a long history. According to some scholars, China used to be called “the Kingdom of Headwear” by people due to its variety of colourful and artistic style of hair ornament. Chinese: 帽; lit. There were various categories for headwear including guan (Chinese: 冠; pinyin: guān; lit. Chinese: 巾; lit. Chinese: 帻; lit. Chinese: 冕; lit. Chinese women, in particular, like to use flowers (either natural or artificial) as hair decorations for centuries; they also wore shubi in their hair and sometimes wore the honggaitou on their weddings. Initially all Mian Guan were worn by emperors, later emperors only wore this type. 6 Chinese people also wore Chinese hairpins. Worn by dukes and crown prince’s servants. Worn by viscounts and barons. Wuliu mian (五旒冕): Five-tasselled Crown. See also: Long Guan, Wu Guan. Han, Myung-Sook; Im, traditional chinese clothing Sung-Kyung (2005-10-01). “A Study on the Artificial Flowers as a Hair Ornament in China”. Proceedings of the Costume Culture Conference (복식문화학회:학술대회논문집). Journal of Cultural Heritage. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Mai, Huijuan; Yang, Yimin; Jiang, Hongen; Wang, Bo; Wang, Changsui (2017-10-01). “Investigating the materials and manufacture of Jinzi: The lining of Futou (Chinese traditional male headwear) from the Astana Cemeteries, Xinjiang, China”. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Rites of Zhou Annotation. 云”缫不言皆，有不皆”者，谓王之五冕，缫则有十二，有九，有七，有五，有三，其玉旒皆十二，故缫不言皆。 有不皆者，则九旒已下是也。 玉言皆，则五冕旒皆十二玉也。 每缫九成，则九旒也。 Book of Jin. 卿七旒。 通天冠，本秦制。 Book of Later Han. 王公八旒。 Book of Jin. Newcastle upon Tyne: Cambridge Scholars Publishing. Book of Jin. 远游冠，傅玄云秦冠也。 似通天而前无山述，有展筒横于冠前。 皇太子及王者后、帝之兄弟、帝之子封郡王者服之。 诸王加官者自服其官之冠服，惟太子及王者后常冠焉。 太子则以翠羽为緌，缀以白珠，其馀但青丝而已。 Yiwen Leiju. 秦始皇复古冠貂蝉，汉因而不改。 此内官侍帷幄，受顾问，拾遗于左右，出则负玺以从，秩二千石。 Book of Han. 高山冠，一曰侧注。 制如通天，顶不邪却，直竖，无山述展筒，中外官、谒者、仆射所服。 Feng, Ge; Du, Zhengming (2015). Traditional Chinese rites and rituals. 进贤冠，古缁布冠也，文儒者之服也。 前高七寸，后高三寸，长八寸。 公侯三梁，中二千石以下至博士两梁，自博士以下至小史私学弟子，皆一梁。 宗室刘氏亦两梁冠，示加服也。 Book of Jin. 今王氏一姓乘朱轮华毂者二十三人，青紫貂蝉充盈幄内，鱼鳞左右。 Book of Later Han. 帝因复制《忠静冠服图》颁礼部，敕谕之曰：”祖宗稽古定制，品官朝祭之服，各有等差。第常人之情，多谨于明显，怠于幽独。古圣王慎之，制玄端以为燕居之服。比来衣服诡异，上下无辨，民志何由定。朕因酌古玄端之制，更名’忠静’，庶几乎进思尽忠，退思补过焉。朕已著为图说，如式制造。在京许七品以上官及八品以上翰林院、国子监、行人司，在外许方面官及各府堂官、州县正堂、儒学教官服之。武官止都督以上。其馀不许滥服。”礼部以图说颁布天下，如敕奉行。 按忠静冠仿古玄冠，冠匡如制，以乌纱冒之，两山俱列于后。 冠顶仍方中微起，三梁各压以金线，边以金缘之。 四品以下，去金，缘以浅色丝线。 Book of Later Han. 王莽頂禿，又加其屋也。 《漢注》曰，冠進賢者宜長耳，今介幘也。 冠惠文者宜短耳，今平上幘也。 始時各隨所宜，遂因冠為別。 介幘服文吏，平上幘服武官也。 “进贤冠，古缁布遗象也，斯盖文儒者之服。 前高七寸，后高三寸，长八寸，有五梁、三梁、二梁、一梁。 人主元服，始加缁布，则冠五梁进贤。 三公及封郡公、县公、郡侯、县侯、乡亭侯，则冠三梁。 卿、大夫、八座，尚书，关中内侯、二千石及千石以上，则冠两梁。 中书郎、秘书丞郎、著作郎、尚书丞郎、太子洗马舍人、六百石以下至于令史、门郎、小史、并冠一梁。 汉建初中，太官令冠两梁，亲省御膳为重也。 博士两梁，崇儒也。 宗室刘氏亦得两梁冠，示加服也。 History of Ming. 趙惠文王 ， 武靈王 子也。 其初制必甚麤簡，金玉之飾，當即 惠文 後來所增，故冠因之而名。 120″. Book of Later Han. “武冠，俗謂之大冠，環纓無蕤，以青系為緄，加雙鶡尾，豎左右，為鶡冠云。 五官、左右虎賁、羽林、五中郎將、羽林左右監皆冠鶡冠，紗縠單衣。 虎賁將虎文絝，白虎文劍佩刀。 虎賁武騎皆鶡冠，虎文單衣。 襄邑歲獻織成虎文云。 鶡者，勇雉也，其鬥對一死乃止，故趙武靈王以表武士，秦施之焉。 鹖，毅鸟也，毅不知死。 状类鸡，首有冠，性敢于斗，死犹不置，是不知死也。 《左传》：鹖冠，武土戴之，象其勇也。

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Girls wear Hanfu to worship the Yellow Emperor. Shangsi Festival, or Double Third Festival, is an ancient Chinese festival celebrated on the third day of the third lunar month, to remember the birthday of Huangdi, also known as the legendary Yellow Emperor. A special part of Shangsi Festival is the Hanfu Show in Xi’an. Hanfu clothing appeared in China over 3,000 years ago and was said to be worn by the Yellow Emperor, who was a great sage king of ancient times. The basic style of Hanfu was developed in the time of the Shang Dynasty (1600 B.C.-1046 B.C.), and has since left a deep influence on Chinese culture. Hanfu is characterized by crossed collars, tied to the right, and long skirts or trousers in varying lengths. The shenyi, literally deep robe, was invented in the Eastern Zhou Dynasty (770 B.C.-256 B.C.). The look also consists of a yi, a narrow-cuffed, knee-length tunic tied with a sash, and a narrow, ankle-length skirt, called a chang, worn with a bixi, a length of fabric that reaches the knees. The shenyi could be worn by anybody regardless of gender, profession or social class. A combination of a tunic and a skirt, it was cut separately but sewn together as a piece of clothing with the left side of the costume shaped into a corner, which was used for closing the shenyi by fastening it on the chest. A ruqun is an item of traditional Hanfu costume primarily worn by ancient Chinese people. It is said to be the basic clothing for women. It consists of a short blouse and a wrap-around skirt, no longer than the knees. Banbi, also known as Banxiu, was a popular item for women worn in pre-Tang Dynasty (618-907) time. From the Warring States period (453 B.C.-221 B.C.) to the Ming Dynasty (1368-1644), although the length and breadth of the ruqun varied, the basic form still maintained its original design. It is a form of waistcoat or outerwear worn over a ruqun, traditional cheongsam with half-length sleeves. The coat is only tied with the strap in front of the chest. The sleeve covers the shoulder area and there is no opening in the front or back. In order to wear it, one would have to tuck their head out from the neck of the clothing, like a short windbreaker of today. The Quju is actually a kind of deep robe. It is a diagonal body wrapping, with curved lapels. It may be referred to in ancient books as “continued gusset and crocheting”. Tanling, or flat collar shirt, is a large, half-sleeved shirt made of leno and worn by women in the Tang Dynasty (618-906). The lower body is equipped with a long skirt that fully reflects the graceful posture and natural beauty of women. The garment forms a triangle, which is then circumvented to the front and restrained at the waist with a large band to cover the ends. The clothes of Tang women basically included a shirt or jacket for the upper body and lower outer garment tunic, with the silk shawl on the shoulder, so as to follow the format of a flat collar. Beizi is a traditional Chinese attire common to both men and women. It was popular during the Sui and Tang dynasties (581-907). Beizi is a mixture of Hanfu and northern China’s ethnic costume. It is a large, loose coat. It has no sleeves, similar to today’s vest. It can keep in heat without the need for increasing the thickness of sleeves, facilitating better movement. Hanfu is Han ethnic people’s clothing, rather than people of the Han Dynasty (202 B.C.-220 A.D.). It enjoyed much popularity in the Song, Yuan and Ming dynasties. Modern clothes can also be classified into the Hanfu category if they absorb its clothing elements.

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歡迎蒞臨多倫多古琴社﹗ To see latest news and ideas, press “TQS Blog”. For Guqin lesson inquiries, press “Guqin”. Our Discography (CD list) is in the submenu. To learn more about traditional Han Chinese clothing, press “Hanfu”. To get a copy of Standards for the Guqin, press on the textbook cover to the right. Commenting in CHINESE is also welcomed. 歡迎使用中文留言。 In autumn 2007, in response to the rise of the Hanfu movement in Toronto, the UTQA was restructured into UTCCAS to attune to the promotion of authentic Chinese culture, or the Han tradition. The Toronto Guqin Society was founded in 2005 under the name University of Toronto Guqin Association (UTQA) to spread awareness of guqin music in the UofT and surrounding communities, as well provide a gateway for communication between players and fans of the music. Today, the group has come out to the community under the name Toronto Guqin Association (TorGuqin), and retains its original mission since 2005 of connecting guqin lovers in Toronto and worldwide.

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Cao Wei, Jin and Northern and Southern dynasties. The zaju chuishao fu can be further divided into two categories of clothing style based on its cut and construction: the guipao, and the guichang (or guishu). Chinese scholars also classify it as being a type of shenyi. 62 On the other hand, the guichang follows yichang (or ruqun) system consisting of a ru, an upper garment, and a qun, a long skirt. The zaju chuishao fu was multi-layered and was decorated with an apron-like decorative cloth at the waist with triangular-strips at the bottom and with pieces of ribbons worn underneath the apron which would hung down from the waist. The popularity of ribbons later fell and the decorative hems were eventually enlarged. This form of attire also spread to Goguryeo, where it is depicted in the tomb murals found in the Anak Tomb No.3. The Chinese character gui《袿》in the term guiyi (袿衣) refers to the shape of its hanging part which is broad at the top region but becomes narrow at the bottom making it look like a daogui, an ancient measuring tool for Chinese medicine, in appearance. The term guiyi was recorded prior to the Han dynasty in the Ode to Goddess written by Song Yu, a Chinese poet from the late Warring States period, which demonstrates that the zaju chuishao fu originated earlier than the Han dynasty. The guipao, which is a form of paofu in the broad sense, appears to have originated from one of the Queen’s ceremonial clothing dating from the Zhou dynasty called sandi (Chinese: 三翟). According to some Chinese scholars, the attire called guiyi in the Han dynasty was in the style of the quju shenyi. 38 However, according In the Han and Wei period, the guipao was one of the common aristocratic costumes. The type of guiyi, which was worn in the Han dynasty, was in the form of a guipao. The guipao was popular in the Han dynasty, but its popularity started to fade in the late Eastern Han dynasty. The guiyi which follows the ruqun system also appeared in the Han dynasty, where it was called guichang or guishu. In the Han dynasty, the silk decorations were cut into the shapes of arch; these originated from the sandi recorded in the Rites of Zhou. However, the clothing of women in this period were generally large and loose. The carefree lifestyle brought about the development of women’s garments in the direction of extravagant and ornate beauty. On the whole, the costumes of the Wei and Jin period still followed the patterns of Qin and Han dynasties. This carefree lifestyle, which was reflected in the garment and apparel of the people living in this period, can be explained by the historical circumstances which impacted the mood of the people: during the Northern and Southern dynasties was a period of volatility, the barbarians invaded Central Plain, thus, various wars and battles occurred. At the meantime, the philosophy of Laozi and Zhuangzi became popular. Buddhist scriptures were translated, Taoism was developed, and Humanitarian ideology emerged among the aristocrats. The once dominant laws and orders collapsed, so did the once unchallenged power of Confucianism. However, all these posed a threat to the conservative and imperial power, which tried to crush them by force. These policies forced these scholars to seek comfort and relief in life. They were interested in various kinds of philosophy and studied a lot of the “mysterious learning”. They preferred a life of truth and freedom. The zaju chuishao fu (or guiyi), which was worn in the Wei, Jin, Northern, and Southern dynasties, was quite different from the style worn in the Han dynasty. They dressed themselves in free and casual elegance. 62 worn in the Han dynasty, and had wide sleeves. The guichang eventually became more popular than the guipao during this period as the set of attire ruqun itself had become more popular. The guiyi are depicted with in the paintings of Gu Kaizhi. Typically the guiyi was decorated with “xian” (襳) and “shao” (髾). 62-64 The Shao refers to pieces of silk cloth sewn onto the lower hem of the dress, which were wide at the top and narrow at the bottom, so that triangles were formed overlapping each other. 62-64 “Xian” refers to some relatively long, silk ribbons which extended from the short-cut skirt. While the wearer was walking, these lengthy ribbons made the sharp corners and the lower hem wave like a flying swallow, hence the Chinese phrase “beautiful ribbons and flying swallowtail” (華帶飛髾). 62-64 There are also two types of guiyi. The guiyi which follows the ‘one-piece system’ is called guipao while the other form of guiyi, guichang (or guishu), follows the ‘separate system’, consisting of ruqun which is a set of attire composed of a ru, an upper garment, and a qun as a long skirt. The change in the shape and structure of the guiyi reflects the historical trend of the fading popularity of guipao in the late Eastern Han and the increase popularity of the guichang (or guishu) which eventually became the mainstream style in the Wei, Jin, Southern and Northern dynasties. The sleeves were broad and fringed at the cuffs with decorative borders of a different colour. In the guichang, the upper garment was opened at the front and was tied at the waist. The skirt had spaced coloured stripes and was tied with a white silk band at the waist. Apart from wearing a multi-coloured skirt, women also wore other kinds such as the crimson gauze-covered skirt, the red-blue striped gauze double skirt, cheongsam lingerie and the barrel-shaped red gauze skirt. Many of these styles are mentioned in historical records. There was also an apron between the upper garment and skirt for the purpose of fastening the waist. Wei and Jin female appearance. During the Northern and Southern dynasties, the guiyi underwent further changes in style. Depictions of women wearing guiyi can also be found in Goguryeo tomb murals, as found in the Anak Tomb No.3. The tomb belongs to a male refugee called Dong Shou (died in 357 AD) who fled from Liaotong to Goguryeo according to Chinese scholar Yeh Pai, a conclusion which is also accepted in the formal Korean report issued in 1958 although some Korean scholars believe the tomb to belong to King Mi-chon. Xun Zhou; Chunming Gao (1987). 5000 years of Chinese costumes. 62-64 The long flying ribbons were no longer seen and the swallow-tailed corners became enlarged; as a result, the flying ribbons and swallow-tailed corners were combined into one. San Francisco, CA: China Books & Periodicals. Jefferson, North Carolina: McFarland & Company. Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history. Hua, Mei; 华梅 (2004). Chinese clothing. Bian, Xiang Yang; Zhou, Fang (2018). “A Study on the Origin and Evolution of Shape and Structure of ‘Gui-Yi’ in Ancient China”. Zhou, Xun; Gao, Chunming; Zhou. 于红. Beijing: China International Press. Duong, Nancy (2013). “Evolution of Chinese Clothing and Cheongsam”. Hongkong: 商務印書館香港分館 學林出版社. Chung, Young Yang (2005). Silken threads : a history of embroidery in China, Korea, Japan, and Vietnam. New York: H.N. Abrams. John Whitney Hall, ed. Lee, Junghee. “The Evolution of Koguryo Tomb Murals”. Cambridge, UK: Cambridge University Press. 1988-1999). The Cambridge history of Japan. This page was last edited on 16 November 2024, at 03:37 (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.

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Editor’s Note: This feature is part of a wider CNN Style series on how culture in China is evolving in the Xi Jinping era. The costumes were colorful and regal, long gowns embroidered with lotus flowers and dragons, topped with intricate headpieces. When Zhang Lingshan was a child, she would watch the Chinese period drama “Palace” on television, entranced by the characters’ ancient clothing. She didn’t know what these beautiful clothes were called – only that they were from some distant past. “When I saw it, I really liked it,” she said. “They looked fairy-like, dreamy. Now aged 19 and living in Beijing, Zhang is a member of China’s growing “Hanfu” movement – a renaissance of the ancient clothing traditionally worn by ethnic-majority Han Chinese before the Qing dynasty. The movement, which started in the early 2000s as a fringe subculture on online forums and websites, has now stepped out onto the streets. There are Hanfu shops, designers and researchers, and even photography studios that rent out accessories and outfits. Hanfu outfits cost anywhere from $30 to a few thousand dollars, depending on the quality. Tight-knit Hanfu communities and university clubs often meet up for themed activities like folk games or costume showings. Sales have soared in recent years – the Hanfu industry’s total market value is estimated to be worth 1.09 billion yuan (about $154 million), according to state-run media China Daily. Zhang and her friends sometimes visit places with ancient architecture, like Beijing’s Forbidden City, where emperors once resided, to take photos in costume and post them on social media. He recalled holding a 2005 Hanfu event that only attracted about 50 attendees – five years later, a similar event drew up to 500 people, he said. Nowadays, Hanfu events around the country can draw upwards of a thousand attendees. He and many others see Hanfu as a way to celebrate Chinese culture and improve national self-esteem. For years, Chinese professionals looked to the West for their wardrobes, wearing dress shirts and suits as the country’s economy raced to catch up. Chen Zhenbing, chairman of the China Hanfu Association, fell in love with the clothing when he was 16 and handmade his first Hanfu suit back when it was still a niche interest. And yet, there are others who take a more critical view of Hanfu’s popularity, seeing it as a reflection of a monoethnic nationalist surge under President Xi Jinping, who has repeatedly promoted “traditional virtues” and patriotism. China officially recognizes 56 ethnic groups, of which 55 are minorities. Han, the majority group, makes up about 92% of the country’s population. Critics of the movement like Kevin Carrico, a senior research fellow in Chinese Studies at Melbourne’s Monash University, argue that the popularization of Hanfu only reinforces Han cultural dominance, to the detriment of the millions of people making up China’s ethnic minorities. Now, “we don’t think China is underdeveloped,” said Christine Tsui, a fashion columnist and researcher based in Shanghai. In this context, he and other academics say Hanfu is no longer just an innocent fashion trend – but something to be weaponized in promoting a nationalistic political agenda. Some enthusiasts have developed guidelines to define “authentic” Hanfu. 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. “They forced the Han people to drop their costumes, and so this piece of China’s cultural identity almost died out in the 20th century,” reads one article in state-run media. So for some Hanfu fans, wearing Han clothing becomes an act of cultural and historical reclamation. It can be a touchy topic – some Hanfu sites claim that Manchu leaders forcibly erased Hanfu during the Qing dynasty. “There wasn’t any singular style of clothing prior to the Qing (dynasty) that was designated specifically for people of Han ethnicity,” he said in a phone interview. 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. For instance, Chen said round-collar robes were preferred in the Tang dynasty, chinese hanfu wedding dress while layered wrap dresses were more popular in the Ming dynasty. Some Hanfu enthusiasts acknowledge this historical diversity. Still, he said there are a few common design features that characterize Hanfu – a cross collar, no buttons and typically three layers of inner garments and an overcoat. This fluidity between the different styles is why 23-year-old Lu Yao, who lives in Beijing, prefers to use the term “Huafu,” which refers to Chinese clothing more generally without the ethnic connotations. Motifs that are frequently used include embroidered cranes, dragons, swirling clouds and delicate flowers. After this week’s social media debate, will China? I learned to love my freckles. Hanfu was too narrow a term, she said, pointing out that Chinese culture was full of “fusion and integration” between diverse ethnic groups. “To some extent, the revival of Hanfu is the revival of Han culture, and the revival of Han culture is also the revival of Chinese culture,” said Chen, who now owns a Hanfu store and helps organize events. Chen echoes the kind of nationalist surge that has swept through China in recent years. Much of this rhetoric harks back to a supposed golden era in China’s history, centuries ago. “I think the Han nationality is the most powerful and unified nationality in the world, with the most sacred and noble culture. Schools are seeing an increased emphasis on Chinese culture, literature and history, which “teaches the youth to see things through the China lens,” said Wessie Ling, an associate professor in fashion studies at the UK’s Northumbria University. But academics like Carrico and Ling fear an emphasis on Hanfu and Han culture could further edge out minority groups and flatten China’s ethnic diversity. When Xi Jinping took power in 2012, he promised “a great revival of the Chinese nation,” and regularly quotes the ancient philosopher-teacher Confucius. For the last two-and-a-half-years, China has been detaining hundreds of thousands of Uyghurs and other predominantly Muslim ethnic minorities in the far western region of Xinjiang. Beijing describes the measures as “voluntary de-radicalization camps” and “vocational training centers.” Critics call them “re-education camps.” Critics and former detainees say they are actually forced political “re-education camps” and compare them to internment camps. Some Uyghurs claim the camps are part of a wider and systemic program of “cultural genocide” by Beijing, intended to eliminate their religion and culture and bring them closer to China’s majority Han population. Ethnic marginalization and suppression is a particularly prominent concern in today’s China. In recent years, Chinese media has showcased numerous examples of Uyghur schoolchildren and adults dressed in Hanfu during celebrations and public performances. “While Uyghur clothing is being discouraged in schools, or only allowed under strict parameters set by the authorities, Chinese clothing is being increasingly pushed on Uyghurs students,” said non-profit organization Uyghur Human Rights Project in a 2018 report. The Xinjiang government has not responded to CNN’s request for comment. Matthew Chew, a Hong Kong Baptist University professor who studied the sociology of Chinese national dress takes a different view – Hanfu still isn’t mainstream enough to be worn by most Han people in daily life, let alone prevalent enough to be forced onto ethnic minorities, he said. “It’s still a minority subculture,” Chew said in a phone interview. Besides, he added, “there are nationalists who are not ethnonationalists. Other Hanfu fans like the Beijing teenager Zhang take issue with the politicization of Hanfu. “I simply like this clothing, it’s beautiful,” she said, adding that it was “nonsense” to link Hanfu with nationalism. Some who don’t base their love of the country on ethnic criteria.” There are more harmless forms of nationalism, he argued. “We should have a more relaxed attitude towards Hanfu,” she said. Besides, she added, Han people make up more than 90% of the Chinese population, so “it’s not weird” that Hanfu is so popular. Tsui, the fashion columnist, echoed this sentiment – people just wear Hanfu “for their own dreams,” she said. “It’s part of globalization,” she said. Whether or not Hanfu is inherently political and racialized, the ongoing debate reflects the complexity of fashion and trends. “We all wear T-shirts, but can you say we are all Americanized? Fashion doesn’t exist in a vacuum – it shapes and is shaped by social, economic, and political events. And the crucial question here, experts argue, is whether Han dominance in the popular imagination of what being “Chinese” means, comes at the expense of other ethnic narratives.

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Hanfu clothing was formed through the natural evolution, and based on unique Han style and personality. The traditional Chinese clothing and accessories system, Hanfu, obviously different from that of other ethnic groups in China, is the embodiment of traditional Chinese etiquette culture, and Han Chinese culture — the dominant idea for most dynasties in Chinese history. It carries the outstanding handicrafts and aesthetics of the Han nationality, such as dyeing, weaving and embroidery, and inherits more than 30 Chinese intangible cultural heritages as well as the protected Chinese arts and crafts. It was formed in the Zhou Dynasty, and developed through the Han Dynasty, when a complete system of crown and clothing was created and recorded in the Four Books and Five Classics. Hanfu costumes then also became a part of the sacrifice rituals. Thereafter the emperors of the successive Han dynasties all considered inheriting the clothing of the Han Dynasty as a national event when ascending the throng. Han Chinese Clothing, Hanfu originated from the Yellow Emperor’s crown dress, which was prepared by Yao and Shun (the following emperors after Yellow Emperor). Hanfu has also influenced the entire Han cultural circle through the Chinese legal system. What is China’s Traditional Clothing – Hanfu? Traditional costumes of some Asian countries, such as Japan, Korea, Vietnam, Mongolia, and Bhutan, all borrowed the characteristics of Hanfu clothing. But when talking in the narrower sense, it refers to the dress and etiquette system of the Han Dynasty, thus also named Chinese Han dynasty clothing. The denotative meaning of Hanfu is the costume of the whole Han nation. Han clothing is made of a piece of cloth with a width of 2 chi 2 cun (about 50cm), and it can be divided into ten parts: collar, lapel, gusset, label, skirt (the full front of a Chinese gown), sleeve, cufflinks, belt, cross straps, and ba (a ceremonial dress in ancient China). Among them, the shape of the coat and the skirt was thought to follow the will of heaven, therefore was sacred and the most ceremonious and formal dress for the kings and the royals. The shapes and systems of Hanfu mainly include “Shen Yi (深衣)” system (the coat and dress are sew up), “Xia Chang (下裳)” system (separating the coat and lower skirt), and “skirt (襦裙)” system (short coat). The robe (shen yi) was worn by officials and scholar-officials, while the skirt was worn by women. For a piece of Hanfu, the left front of the garment crosses the right front of the garment across the chest, it naturally forms the cross of the neckline, so it is called “crossed collar”. The ordinary working people usually wore short clothes and trousers. The two straight lines intersecting in the middle of the garment represent the symmetry of traditional Chinese culture, showing a unique charm of fair and justice. Compared with the western clothing of the same period, Hanfu has indisputable excellence in human nature. There are two kinds of hidden buckles: with and without buckles. In general, there is no button for hanfu. Even if buttons are used, the buttons are hidden. The outfit is usually tied with a knot using straps. There are usually wide belts and long belts around the waist, made of the same cloth that was used to make the costume. The belts can be used to make knots, fastening the clothing, or are simply decorations symbolizing power. Hanfu consists of clothes, hair dress, hairstyle, face decoration, shoes, accessories and other accessories to make it an integrated clothing system. While westerners restrict the development of female body with breastplate and skirt, the wide hanfu costumes allowed the body to stretch freely. Each cloth is used in different ways. For instances, grass cloth was usually used to make clothes for mourning and sacrifice. The cloth of Hanfu is mainly brocade, silk, cloth, cotton, linen, hemp, yarn, and printing and dyeing cloth. The ancient Han men and women tied their hair into a bun, put it on your head after reaching adulthood. Men often wore crowns, scarves or hats to fix hair. Noble dress was made of embroidery cloth, brocade and silk. They also wore curtain hat and cover on head. Women’s buns can be combed into a variety of styles, and wear jewels, step shake, hairpins and other ornaments on the bun. An important feature of the decoration of the Hanfu clothing is that people like to wear jade pendant. There are also other accessories for Hanfu such as knee covering, silk wraps, silk scarf socks, sachets, swords, ivory plate, leather belt, jade belt, etc. The furniture for storing Hanfu was a garment suitcase called yī qiè (衣箧), and the hanger on which Hangfu was hung was called a yī héng (衣桁). Women’s Hanfu clothing of Jin Dynasty style was in accordance with the way of the Qin and Han dynasties, the overall clothing was relatively loose. The upper part of this kind of hanfu looked simple, while the lower part was the long pleated skirt, and looked complicated. There are mainly two types of Hanfu in Tang Dynasty. The first type was the short skirts in the early Tang Dynasty. The main feature of short skirts is that the sleeves of the upper section are small and narrow, and the lower body is matched with a tight skirt, usually with silk ribbon to fasten the skirt. Women at that time did not have any special headwear, but would cover the head with a scarf or jade silk. In the middle and late Tang Dynasty, the clothing strengthened the traditional aesthetic concept of Chinese culture, so loose clothes with big sleeves of Qin and Han Dynasties were popular again, but more elegant and sexier. The Hanfu in Song Dynasty was mainly based on the old style of the Sui and Tang dynasties. Compared with Tang Hanfu clothing, the skirt of Song Hanfu is narrower and has more pleats. The upper jacket was usually worn at the front of the skirt. At that time, woman’s hair ornaments were also relatively simple. Although they followed the noble hair style of the late Tang Dynasty, but they usually had their hair decorated with only hairpins or flowers, without many expensive ornaments. Simply put, Hanfu in the Song Dynasty was simple and elegant. Mamianqun or Mamian Qun (马面裙, literally horse face skirt) was the most typical style of female Hanfu clothing during the Ming and Qing dynasties. There are four panels of fabric in total called “qunmen” (skirt doors). The Chinese horse face skirt is made of two large pieces of fabric sewn together by a single waistband, creating an overlapping look. The outer skirt door is decorated, while the inner skirt door is not. The horse-faced skirt is pleated on the sides, while flat on the front and back. The Mamianqun originated in the Song Dynasty, became popular in the Ming Dynasty, stayed popular during the Qing Dynasty, and was still worn by people in the Republic of China (1912 to 1949). Wearing the traditional Chinese Mamian skirt has become a fashion craze again in recent years, especially among young people. Moreover, the unsewn doors give women enough mobility to ride horses without revealing any underwear. The texture, decoration, and color of Mamianqun skirts vary significantly among different social classes. During the Chenghua period (1465-1487) of the Ming Dynasty, women in the capital were all fond of the Mamian skirt. The Mamianqun gradually developed into the daily attire for women in the Qing Dynasty, and became the iconic skirt style for women of the Qing Dynasty. The style of Mamianqun was comparatively simple and elegant during the Ming Dynasty. There are several theories about how the horse-face skirt got its name. During this period, the Mamianqun style was more luxurious. One theory is that the shape of the Mamianqun looks like the mamian fortress of an ancient city wall in China. Another saying is that the front of the Mamianqun is similar to a long horse face. In the streets, parks, scenic spots, bookstores, and museums, such as the Palace Museum of Forbidden City, you can always see fans of Hanfu wearing this kind of Han Chinese traditional clothing, with their hair tied in a bun. Wearing hanfu has become a trend in recent years. Previously Hanfu was mainly used for traditional festivals and special occasions. These days, with the popularity of Hanfu and the deepening understanding of Hanfu among the public, especially the youngest, more and more people hope to wear Hanfu in their daily life. Hanfu is one of the many clothes of choice today, just like suits, cheongsam, and tunic suits.

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