Liangmao (Chinese: 涼帽; lit. Hakka people who perform manual work, such as farming and fishing. The liangmao is made and is most commonly worn by the Hakka people who were originally from Northern China. Some Hakka women still wear the liangmao when working outdoors nowadays. Hakka women wore it when working in the fields. It also worn by non-Hakka women who work outdoors. Gankeng town is the home of Liangmao village. The people of Gankeng have been making liangmao for more than 200 years. After the founding of the People’s Republic of China in 1949, Gankeng town was the biggest producer of liangmao. In the 1970s and 1980s, every household in Liangmao Village would produce liangmao which would then be exported to Southeast Asia, Britain, and France. In the late 1970s, the liangmao lost its market appeal and the demand for the hat shrank. In 2006, the Gankeng bamboo hat was included on the Shenzhen Municipal Intangible Cultural Heritage list. In 2013, the Hakka hat-making craft was added to the Guangdong’s provincial intangible cultural heritage list. In 2002, the last Hakka hat maker died; and no more residents of Gankeng town made the hats anymore. Liangmao Baby – a statue of an ethnic Hakka girl wearing liangmao was erected on 29 September 2016 in Gankeng New Town, Longgang district of Shenzhen, Guangdong province, as a new mascot. The liangmao is made of a flat disc of woven bamboo and/or straw. There is a hole in the centre of the hat which is trimmed with black embroidered cotton. Zhang Guanxian and Zhang Hangyan, who are both veterans liangmao craftsmen, were named as the inheritors of the Hakka liangmao. The lack of crown on top of the hat allows the head to remain cool. The cotton fringe around the edge of the hat is about 15 cm deep. The cotton fringe covers the shoulders and give protection from insects. It also keep the sun off from the face of its wearer, and in winter, the cotton fringe would offer some warmth. In summer, the cotton cloth could be removed, and the hat would be secured by attaching ties through the loops that were attached to the central hole. Barbara E. Reed. Westport, Conn.: Greenwood Press. Constable, Nicole (1994). Christian souls and Chinese spirits : a Hakka community in Hong Kong. Davison, Gary Marvin (1998). Culture and customs of Taiwan. Berkeley: University of Calif. Garrett, Valery (2012). Chinese Dress : From the Qing Dynasty to the Present. This page was last edited on 14 September 2024, at 20:10 (UTC). New York: Tuttle Pub. By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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The mianguan (Chinese: 冕冠; pinyin: miǎnguān; lit. The mianguan was the most expensive Chinese headware, reserved for important sacrificial events. Japan, myeonlyugwan in Korea, and Miện quan in Vietnam, is a type of crown traditionally worn by the emperors of China, Japan, Korea, and Vietnam, as well as other kings in the East Asia. Regulations on its shape and its making were issued under the Eastern Han dynasty and applied in the succeeding dynasties only to be ended at the fall of the Ming dynasty in the 16th century AD. In Japan, emperors and nobles wore gold, silver, and gilt-bronze crowns, influenced by the Korean peninsula, from the Kofun period (mid 3rd century-7th century). Joseon dynasty also wore an equivalent crown, the myeonlyugwan. Among all the type of Chinese headwear, the mianguan was the most expensive type; it was reserved especially for important sacrificial events. The mianguan and the mianfu were worn beginning in the Zhou dynasty, based on the ceremonial and ritual-culture of Zhou that prescribes which types of clothing and accessories could be worn by the different social ranks and during different occasions. In the 8th century, influenced by the Chinese mianguan, the unique benkan was born, a metal crown with chains and a sun-shaped ornament at the top. In the Rites of Zhou, there is a description of the ceremonial dress and crowns worn by the kings of the Zhou dynasty. At that time, it was still called simply mian, traditional qipao dress not mianguan. In addition, the mian was also worn by the various lords, such as dukes, marquises, counts, viscounts, and barons, as well as hú (狐, ministerial class), qīng (卿, lit. The king’s yùzǎo has twelve chains hanging from the front and back of the yán, and his ceremonial robe has dragon patterns on it, which he wears to worship. According to the description, kings had six types of ceremonial dress (六冕, lit. The word zǎo (藻, lit. Here the king’s crown is called a yùzǎo (玉藻, lit. The chains are then attached to the crown, which is why it is called a yùzǎo. 12 chains each, or 24 chains in total. However, the color of the jade and the color and length of the silk threads are unknown from the description in the Book of Rites alone. At the top of the yùzǎo is a board called a yán (延, lit. Zheng Xuan’s commentary in this book states that the silk threads were of various colors, that the silk threads of the king’s mian were of five colors, and that their length was long enough to reach the king’s shoulders. A commentary on the Book of Rite is the Right Meaning of the Ritual Records (禮記正義, Lǐjì Zhèngyì). However, the color of the jade is not mentioned. On the other hand, according to the commentary by Kong Yingda (574 – 648) in the same book, the beads of the king’s mian are five colors (from top to bottom: vermillion, white, blue, yellow, and black), and the distance between each jade is 1 cun (about 3 cm). Both Zheng Xuan nor Kong Yingda’s commentaries are likely conceptual, based on Confucian principles rather than known excavated or physical examples of mianguan during the Zhou dynasty. This combination is one set (6 cun, about 18 cm), and the length of the chain is two sets, thus the length of the chain of the king’s mian is about 36 cm. However, the exact details of the junxuan, including the crown, are unknown. Qin Shi Huang abolished the six types of ceremonial dress of the Zhou dynasty and replaced them with an all-black ceremonial dress called the junxuan (袀玄). The origin of the chángguān is the so-called “Liu’s crown” (劉氏冠), which Liu Bang had made from bamboo bark when he was chief of a post, and later wore even after he reached a high rank. In the Western Han dynasty, there was a crown called chángguān (長冠) or zhāiguān (齋冠). According to the Book of the Later Han, the extension (board) at the top of the revived mianguan was 7 cun wide and 1.2 chi long, with a rounded front edge and a square back edge, and the surface of the extension was black and the reverse side was red and green. The Qin dynasty junxuan was continued to be worn by emperors of the Han dynasty, until the mianfu was formally restored during the reign of Emperor Ming (reigned 57 – 75) in the Eastern Han dynasty. The length of the chain hanging from the extension was 4 cun in the front and 3 cun in the back. The color and number of chains were as follows: 12 chains of white jade for the emperor, 7 chains of blue jade for the three dukes and lords, and 5 chains of black jade for high-ranking officials. However, the three dukes and below had only front chains and no back chains. According to the Duduan (獨斷) by Cai Yong (132 – 192) of the Eastern Han dynasty, the number of white jade per chain on the mianguan of the reestablished emperors was only one at the bottom end of the chain. Indeed, the mianguan of the emperors depicted in the Thirteen Emperors Scroll by Yan Liben, which depicts emperors from the Eastern Han to the Sui dynasty, have only one white jade at the bottom end of the chain. Also, earplugs, called tǒukuàng (黈纊) also hung down from the crown. This is also depicted in the Thirteen Emperors Scroll. In Gu Kaizhi’s Admonitions Scroll, Emperor Yuan of the Western Han dynasty is depicted, and the crown he wears is thought to be the tongtianguan (通天冠, lit. According to the Book of Later Han, the tongtianguan was a crown usually worn by emperors. According to the Book of Jin, Cao Rui, the second emperor of the Cao Wei dynasty, was fond of women’s ornaments and changed the white jade beads in the chains to coral beads. Eastern Han dynasty, though sources such as the Book of Jin claims its origin to be from the Qin dynasty. The dress system of the Jin dynasty basically followed that of the Eastern Han dynasty, but changes were made to the mianguan. According to the Book of Jin, a tongtianguan was worn over a black cape, and a mianguan, called a píngmiǎn (平冕, lit. In the Eastern Han dynasty, the crown was an integral part of the cap and the extension (board), but in the Jin dynasty, it is thought that the crown was changed to a detachable type, with the extension of the mianguan placed on top of the tongtianguan, which was worn daily, at special occasions. The extension was 7 cun wide and 1.2 chi long, black on the surface and vermilion-green on the reverse, rounded at the front and angular at the rear. The chain beads initially followed the Cao Wei system and were made of jade and coral in various colors, but Gu He (顧和, 288 – 351) advised the emperor to return to the white jade beads of the Eastern Han dynasty. Píngmiǎn were also used by royalty, dukes, and lords. The number of chains was 8 for royalty and dukes and 7 for lords. This was commonly known as the píngtiānguān (平天冠, lit. In the Liang dynasty, as in the Jin dynasty, the mianguan consisted of a black cape, over which was placed the tongtianguan, and over this was placed the píngmiǎn. On each side of the crown hung an ornament resembling earplugs made of jade. The emperor’s píngtiānguān had 12 chains made of white jade beads, with the chains 4 cun long in the front and 3 cun long in the back. Rites of Zhou. Although qiú (裘) refers to sheep’s fur, the dàqiúmiǎn’s ceremonial dress was black silk for the upper garment and red for the lower garment, both without patterns or embroidery. The mianguan had no chains. Emperor Wen (reigned 581 – 604) of the Sui dynasty, in reference to the appearance of the red sparrow, a sign of good omen, when he received a mandate from heaven, changed the color of the imperial robes worn at court to red, while the gǔnmiǎn (袞冕, imperial dress with dragons and mianguan) worn at rituals remained unchanged. In 508, Emperor Wu of Liang (reigned 502 – 549) reestablished the dàqiúmiǎn (大裘冕, lit. The emperor’s costume was black for the upper garment and red for the lower garment. In 605, Emperor Yang (reigned 604 – 618) established the dàqiúmiǎn (supreme ceremonial dress of the emperor), just as the Liang dynasty had done. The upper extension of the mianguan was blue on the surface and vermilion on the reverse side, and did not have chains and earplugs attached. The basic shape of the mianguan remained the same from ancient times to the Ming dynasty. The crown worn by the Ming dynasty’s Wanli Emperor has been excavated from the Dingling Mausoleum, while the painting “Illustrated Scrolls of the Emperors of the dynasties” by Yan Liben depicted emperors from the Former Han dynasty to the Sui dynasty, whose mianguan was almost the same shape as the crown depicted, with minor differences in decoration. The mianguan was black with 12 chains of white jade beads, chinstrap, tǒukuàng (an ornament resembling earplugs), and hairpin. He is wearing the same mianguan as the mianguan in the left picture. The mianguan of the Wanli Emperor. Many of the non-Han Chinese dynasties that ruled China also adopted the mianguan. Qing dynasty by the Manchu. Instead, a unique Manchu crown called the ‘morning crown’ (mahala in Manchu) was used. The Manchu crown was shaped like an umbrella, and the top of the crown was decorated with a special pearl-encrusted ornament called the morning pearl. The benkan (冕冠, lit. Japanese emperors and crown princes. In ancient Japan, emperors and nobles wore metal crowns made of gold, silver, and gilt bronze under the influence of the Korean peninsula. It is also called tama no kōburi (玉乃冠, lit. Furthermore, a sun-shaped ornament was added to the top of the benkan, giving birth to a uniquely Japanese crown. In the 8th century, emperors and crown princes began to wear benkan with chains attached to the metal crown, influenced by the Chinese mianguan. Since then, the benkan was worn along with a ceremonial dress called kon’e for accession and chōga (朝賀, New Year’s greetings) ceremonies, but it was last worn for the accession ceremony of Emperor Kōmei (1831-1867) in 1847, and has not been worn since. 日形冠, lit. In addition to benkan for the emperor, there is hōkan (宝冠, lit. However, they are occasionally shown to the public to commemorate accession ceremonies. The Chinese-style mianguan was also used in Vietnam, where it was known as the miện quan. The benkan, hōkan, and nikkeikan crowns made in the Edo period (1603-1867) each have survived, but as imperial treasures (御物), these are not usually shown to the public. In the Han dynasty, the yan was round in the front but flat in the back; it was about 7 inches (180 mm) in width and 1 foot (0.30 m) in length. A red band called the tianhe was attached to the centre of the mianguan and wraps around it. The silk cord was tied on one end of the hairpin and would then be tied on the other side of the hairpin passing under the chin. On both sides of the mianguan, there was a hole where an emerald hairpin could pass through so that the crown could be fastened to the hair bun of its wearer. There was also a chong er (lit. The number of chains depended on the status of the wearer, and the mianguan of the emperor had 12 chains at the front and back, for a total of 24 chains. The 12 chains dangles down the shoulders and were made of jade beads of multiple colours which would sway with the wearer’s movement. In addition, there was the nine-chained crown, worn by dukes and the crown prince’s servants. The eight-chained crown was worn by princes and dukes. The qiliu mian (七旒冕, seven-chained crown) was worn by ministers. The five-chained crown (wuiu mian, 五旒冕) was worn by viscounts and barons. In the Han dynasty, the emperor would use 12 strings of white jade, 7 strings of blue jade were used by dukes and princes, and black jade were used for ministers. The quantity and quality of the jewellery were an important marker of social ranking. The mianguan was designed to strengthen the charismatic authority of its wearer which was conferred by the head. This is similar to the Mandate of Heaven concept in which there is a rationalization of divine authority. Since China was a crown-wearing culture, there were many crowns for different ranks, positions, and times. The crown of the emperor during the Nguyễn dynasty is housed in the Vietnam National Museum of History. 字通,世界大百科事典内言及, 精選版 日本国語大辞典,ブリタニカ国際大百科事典 小項目事典,デジタル大辞泉,普及版. Hua, Mei (2011). Chinese clothing (Updated ed.). The length of the cun varied from period to period, but in the Tang dynasty, one cun was about 3 cm. 5000 years of Chinese costumes. Cambridge, United Kingdom. p. Zhongguo fu zhuang shi yan jiu zu. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. The Great Vietnam Exhibition”” (in Japanese). Xie, Hong; Yan, Lan-Lan (2019). “To Explore the Changes in Dress System Affected by Imperial Politics Thinking during Sui and Tang Dynasties”. San Francisco, CA: China Books & Periodicals. Zheng, Xuan; Sun, Yirang. Proceedings of the 4th Annual International Conference on Social Science and Contemporary Humanity Development (SSCHD 2018). Atlantis Press. Fan, Ye; Sima, Biao. Toyo Bunko. p. 74. doi:10.11501/3454230. Japanese). Toyo Bunko. p. Fan, Ye; Sima, Biao. Toyo Bunko. p. 99. doi:10.11501/3454230. Japanese). Vol. 3. The Asahi Shimbun. Vol. 20. Nawa Dō’en. Japanese). Osaka University Press. 3 (in Japanese). Kondo Publishing Division. Volume 1, From prehistory to the Tang Dynasty. Zhang, Fa (2016). History and spirit of chinese art. 每缫九成,则九旒也。 Book of Jin. Honolulu: Silkroad Press. p. 卿七旒。 Han, Myun-Sook; Im, Sung-Kyung (2005). “A Study on the Artificial Flowers as a Hair Ornament in China” (PDF). 王公八旒。 Book of Jin. Proceedings of the Costume Culture Conference (복식문화학회:학술대회논문집). Yang, Shaorong (2004). Traditional Chinese clothing: costumes, adornments & culture. San Francisco: Long River Press. Press, Beijing Foreign Language (2012-09-01). Chinese Auspicious Culture. Asiapac Books Pte Ltd. This page was last edited on 22 November 2024, at 12:42 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. 『服周之冕』中華書局、2009年。 Wikimedia Commons has media related to Mianguan. 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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Hanfu mann auf eBay – Hanfu mann? Riesenauswahl an Markenqualität. Folge Deiner Leidenschaft bei eBay! Samsung Tv Ue48h u.a. Kostenloser Versand verfügbar. Kauf auf eBay. Sehen Sie sich Websites direkt auf unserer Suchergebnisseite an und bleiben Sie dabei völlig anonym. Grab your favorite pair of men’s hanfu pants and shirts and start shopping. Retro men’s hanfu clothing has been in style for several years and the best part is that you don’t have to be an expert fashion designer to wear male hanfu. Men’s Hanfu Trend. The male hanfu is undergoing a renaissance, it’s not a piece of clothing is in or out. Sehen Sie sich Websites direkt auf unserer Suchergebnisseite an und bleiben Sie dabei völlig anonym. Whether in its historical form or modern adaptation, Hanfu remains a vital part of Chinese cultural expression. Sehen Sie sich Websites direkt auf unserer Suchergebnisseite an und bleiben Sie dabei völlig anonym. The daopao directly translates to a Taoist robe, but don’t be fooled-it’s one of the most popular styles of hanfu for both scholars and commoners and isn’t just for Taoists (that would be a similar but different kind of clothing called daofu), though Taoism is a very prevalent philosophy in chinese culture. The male Hanfu has journeyed through centuries of change, from the dynasties of ancient China to its modern-day revival. Sehen Sie sich Websites direkt auf unserer Suchergebnisseite an und bleiben Sie dabei völlig anonym. As you’ve explored the captivating evolution of Chinese traditional male attire, from the Hanfu’s flowing elegance to the Tangzhuang’s refined sophistication, you’ve glimpsed a rich tapestry of cultural expression. Learn about the history, types, and significance of traditional Chinese clothing for men, from the ancient Hanfu to the modern Zhongshan suit. Sehen Sie sich Websites direkt auf unserer Suchergebnisseite an und bleiben Sie dabei völlig anonym. Sehen Sie sich Websites direkt auf unserer Suchergebnisseite an und bleiben Sie dabei völlig anonym. Discover the pros and cons of each style and how to wear them for different occasions. Sehen Sie sich Websites direkt auf unserer Suchergebnisseite an und bleiben Sie dabei völlig anonym. Chinese Male Traditional Hanfu Filter by. Discover our male & unisex traditional Hanfu, modern Chinese clothing, and fantasy costumes perfect for your cosplay events. Your one-stop gender-free store for culturally rich and inclusive fashion. Learn about the history, design, and cultural significance of men’s Hanfu, the national costume of the Han Chinese people. Sehen Sie sich Websites direkt auf unserer Suchergebnisseite an und bleiben Sie dabei völlig anonym. Sehen Sie sich Websites direkt auf unserer Suchergebnisseite an und bleiben Sie dabei völlig anonym. Discover how men’s Hanfu is making a comeback in the modern world and how to style it with contemporary accessories. Hanfu clothing consists of several parts, traditional chinese men’s clothing including. Types of Hanfu for Women and Man. Sehen Sie sich Websites direkt auf unserer Suchergebnisseite an und bleiben Sie dabei völlig anonym.
The wearing of ancient Chinese clothing, known as hanfu, has gone rapidly from a niche hobby to a nationwide phenomenon in recent years. According to a report in 2022, the hanfu market in mainland China boasted an impressive 10.2 million customers. The same report revealed the top three reasons consumers choose to wear hanfu: their appreciation and love of traditional Chinese culture, the way its style fits their aesthetics, and the fact hanfu lends itself well to flattering photos to post on social media. Hanfu (漢服) literally means Chinese Han people’s clothing. This is the first of two visual explainers about this fashion trend. Hanfu (漢服) or Huafu (華服) ? It is a term used to describe the traditional clothes worn by the Han people. However, since Han Chinese are the dominant ethnic group in China, people generally refer to ancient Chinese clothing as hanfu. There is dispute over the term hanfu (漢服), as some scholars prefer Huafu (華服); “Hua”(華) represents the Chinese nation, including all 56 of its ethnic groups. When a performer at the 2022 Beijing Winter Olympics opening ceremony was spotted wearing hanbok while carrying the Chinese national flag, the Koreans accused China of claiming hanbok as its own. There is also an on-going controversy over whether hanfu is the origin of hanbok, the traditional Korean costume. To the untrained eye, hanfu, the Japanese kimono and the Korean hanbok may look alike. The Chinese embassy in Seoul responded that: “These traditional cultures belong to both the peninsula and the Korean people of China, and claims of … Here are some of the unique features of the three types of attire. There is a common misconception that ancient Chinese clothing was bulky and heavy. While some garments were indeed elaborate and layered, many traditional clothes, especially those made of silk, were designed to be lightweight and comfortable. However, each has distinctive design elements, historical origins, and cultural significance unique to their respective countries. Putting on hanfu with proper decorum was important in ancient Chinese society, as it was a way to distinguish social roles. Rules on how to wear, fold, and tie garments were followed meticulously to project an image of grace, modesty, and respect. Today, some of the followers of the hanfu revival movement adopt the same principles.
This news makes me really happy, never knew or even heard what the Hanfu movement was, though it should be expected given how terrible the media is. I have always loved China’s imperial traditions, it’s good that at least somebody is doing something to reintroduce them. I fully support he hanfu movement, and just like you I am disappointed by its lack of progress. If you visit mainland China you will see that the “bandit government” is pouring lots of money into preserving, restoring, and reconstructing traditional architecture in every city from as early as the Han dynasty. However it is unfair to blame the Chinese government. So why is it that the “bandit government” supports traditional feudal architecture but not traditional fashion? The answer is the CCP isn’t afraid of hanfu, but simply doesn’t care. Traditional architecture supports the economy by increasing tourism, hanfu doesn’t. Today it’s all about the money. If something doesnt generate a revenue then nobody’s interested. But unlike falungong the Hanfu movement is LESS active in Taiwan, HK, and oversees. If the CCP is truly the force pushing back Chinese cultural revival against the will of the people, then we should see Hanfu supporters continuing their cause and thriving in Taiwan, Hongkong and oversees. Ironically it is and always has been the oppressed brainwashed mainland Chinese people who are leading the movement. So the problem isn’t disapproval from the government but indifference from the people. Go to Taiwan and ask the free liberated democratic Han Chinese living in Taiwan what Hanfu is. I guarantee most will have no idea what you’re talking about. How many people care about traditional fashion? Go look at a typical new years festival in Taiwan. Anything but hanfu. Is the Free Democratic Taiwanese government also oppressing the Han Chinese population in Taiwan? What do they wear? That is rather disproved by the very words of government officials themselves who have regularly insulted the movement. The depressing truth is that the movement is stalling not because the government oppression but because of public apathy. Remarks such as they have made, by members of the all-powerful party, would by itself discourage people from wearing hanfu. If they didn’t care, they would just ignore it. As for Hong Kong, I am hardly surprised that there is less support for hanfu in a place that was under western rule for so long. When conformity is a matter of state policy, very few wish to risk standing out. I wouldn’t call Taiwan all that “liberated” myself and in their case, they have the added problem of an identity crisis. Not everyone is in agreement if they are even Chinese or Taiwanese. And, in neither case, have they had their culture suppressed to the same extent that people on the mainland have (like when Mao made everyone dress alike and even considered replacing names with numbers). Still, undoubtedly fewer people care about it than I would like. They’ve been able to take traditional culture for granted whereas on the mainland the people were deprived of it and so are now grasping for what was formerly forbidden. That is a common problem around the world; people being detached from their ancestral roots, customs and values. It is a trend that must be struggled against. Also, because these things were suppressed for so long, many are unfamiliar with them and need to be reintroduced to the ancient beauty of their own culture.
The academic dress of China has a long history. Ancient China consisted of official dress. Official dress was used to represent an official in society and a scholar at the same time. The ancient dress is based on the robes of officialdom and the ‘degrees’ were earned through the imperial civil service examinations, while the modern dress is partially influenced by the Western (more so United States) academic dress. Since Chinese academia was more or less connected with officialdom, the academic dress of ancient China is essentially that of official dress. This basically consists of a red long round-collar robe with long sleeves called a Panling Lanshan (盤領襴衫) worn with a cap called a putou (幞頭) which was almost always black and had curved wings which was typical of the Tang dynasty. Another form of dress was those of the literati and scholars who wore simple everyday dress but wore hats that distinctively indicated their status, such as the si-fang pingding jin (四方平定巾; or simply, fangjin: 方巾), the Chinese equivalent of the “mortarboard”. Other dynasties had similar dress with their own take on it, but they basically follow the same pattern and are distinctive from common dress. Starting from the Tang dynasty, the official robes were divided into colors, depending on both position and grade. During the Qin dynasty everyone, from emperor to civilians, wore black for one very specific and unique reason. They believed that they were “in line with the water virtue, according to the five elements theory, and that water was in harmony with black.” Since Qin destroyed the old ritual system, there were no uniforms left in the early Han dynasty. Being that said the official robes of Han dynasty were simply robes. The six kinds of coronal clothing were abolished after Qin Shihuang unified the whole country, except for the black Xuanmian that would serve for sacrificial purposes. From 618 to 907, official and academic dressing consisted of panling lanshan. Since they all wore the same official uniforms, the only thing distinguishing the officials are the crowns, since they are different. This was a “long, red, round-collar robe with long sleeves”. Such an outfit was worn with “putout, which had a curved brocade brim”. Tang dynasty lead a standard of official and academic uniforms for the periods after the Tang dynasty. During the Song dynasty the official uniforms were a little different. These uniforms were also graded by color. They were simple but in a way that they looked clean and capable. The official uniforms of the song dynasty were also graded by color: purple belongs to more than three, vermilion is more than five, green is more than seven, and lastly, cyan was only used by nine product sesame officials. The official uniforms of the song dynasty had a great feature, especially compared with those of other Chinese dynasties, that is, they appeared simple, simple, with simple lines, and looked fresh, clean and capable. There was racial discrimination during the Yuan dynasty, and for that reason there were strict rules to follow when it comes to clothing. There were two basic types of clothing during the Yuan dynasty: one was the clothing of the Mongolian ethnic group, whom usually have a small lock of hair on their foreheads, like a peach, and the rest are braided into two braids, which are then twisted into two large loops and hung behind their ears, with hats on their heads. The regular service, or civil service system of all officials, was the most typical and probably the most important civil service system during the Yuan and the Han dynasties. Ancient China consisted of official dress. Official dresses were used as medium to represent an official in society and a scholar at the same time. And the second one was clothing of the Han ethnic group. It was however after the 1911 Revolution of Sun Yat-sen that western ideas of academic uniform and academic hat perpetrated Chinese academic dressing. The Empire of the Great Ming dated from 1368 to 1644. In this period it was the accessory-hat that defined the “role and status of scholars and literati (scholar-bureaucrats or scholar officials)”. Gowns are closed at the front and are colored depending on the level of the degree; typically, black for bachelors, blue for masters and a combination of scarlet and black for doctoral gowns. The current modernized academic dress of China is very different from the ancient form. The mortarboard is similar to American ones, except they may have string at the back of the skullcap to tie and secure the cap to the head. The hood is a simple piece of triangular cloth which is colored depending on the faculty. Shing, Charles Ko Ka (2014). “The Development of Academic Dress in China”. Officers’ robes are typically all red (including the mortarboard) with three gold bands on the sleeves, similar to Thai academic dress. A list of articles on academic dress, including information on modern Chinese academic dress. Some pictures of examples of Chinese Academic dress. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Transactions of the Burgon Society. 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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Two essentially signature elements of Asian dressing, the Yukata vs Kimono have long since been present in history and continue to be worn by women across the world. While remaining a signature style of Japanese fashion, the garment has spread its roots globally, where women outside Japan and China are increasingly adopting the style and design into their everyday wear. The difference between kimono and yukata has caused confusion among many wearers, who may not be aware of the things that make the garments different from one another. These also include those people who are relatively new to fashion and aren’t aware of what makes a yukata or kimono unique in their own way. The two have quite a few similarities that could cause confusion to people other than the locals who wear them. Here’s a detailed overview of kimono and yukata, their differences and similarities that will hopefully clear your confusion between the two. Yukata vs Kimono: What Is A Kimono? Yukata vs Kimono: What Is A Yukata? What’s The Difference Between A Yukata And Kimono? Yukata vs Kimono: What Is A Kimono? A kimono was originally a Chinese garment called the Hanfu that was adopted by Japanese people who gave their own local twist to it. The kimono is made of four pieces of fabric stitched together in a T-shape, with an obi belt on the waistline which proves useful in creating a slimmer illusion. The word kimono is made up of two parts; ‘ki’ which means ‘wear’ and ‘mono’ which means thing. Put together in a sensible way, a kimono is a thing that you wear. It provided a fashionable way for both men and women to keep the cold at bay during winters, where the people could choose it in silk fabrics with many layers underneath while maintaining a fancy outlook. The kimono was available in a variety of fabrics, prints, and designs, where they could be chosen according to the look you wanted to create, and occasion-specific kimonos were also made. Polyester kimonos are quite a popular style among women these days. The variety has only widened today, where kimonos are available in thicker fabrics and a range of designs. A modern touch is given to the garment to blend into current trends while maintaining its unique vibe. Yukata vs Kimono: What Is A Yukata? Yukata could be described as a variety of kimonos, although it’s often found in lighter fabrics more suited to the summers. It is significantly less priced than kimonos, which is one of the reasons why women prefer to buy yukatas over kimonos, especially the silk varieties which are much cheaper. They were originally worn as bathing clothes, which is how the garment attains its name. It is also more casual and can be worn in everyday affairs, where it seems to be a blend of different clothing, including a robe, a dress, and a kimono. The style is still casual, but more stylish varieties are available where they are formal enough to be worn outside and can pass as effective lingerie. Unlike kimonos, yukatas are free from representing the status quota where common people wore the garment with relative ease and form cute outfits in summer. What’s The Difference Between A Yukata And Kimono? Since the purpose of the two garments was different, the fabrics to stitch the garments were chosen accordingly. There are some elemental differences between a yukata and a kimono in style and design, that help you spot the differences and make your choice easier. This is why they had more breathable material like cotton to suit the hot weather in Japan, to soak sweat and water efficiently, chinese traditional women’s clothing although they are available in more efficient materials today and even have designs suited to more formal settings. The kimono had a more social impact where it represented your status quota while the yukata was more functional, and had evolved so that it could be part of your everyday wardrobe. The style of the two garments varies considerably, but the way of tying the garment together is the same and essential to keep in mind. Kimonos were usually adorned with embroidery and brocade, where a double collar was essential for the garment to be identified as a kimono. You must take note of how you are arranging the front two panels. The left must always go over the right to avoid cultural appropriation and maintain respect for the garment. There are differences in how you accessorize the two garments, where the yukata is more casual and outgoing than the kimono, which brings us to the next important part of when and how you should wear the Japanese robes. This should be taken care of when deciding between a kimono and yukata to wear to an event. Yukatas are often worn at festivals and should be avoided at formal settings like wedding attire, funerals, or high-end dinners. Yukata and kimono differences also lie in when you should be wearing Japanese robes, where one may be more suitable than the other. It is accessorized generously with heavy jewelry as a display of wealth and status. You need not wear it with wrong intentions, but it is important to do the kimono justice as well as fit into the formal settings. This is where the kimono comes in and is often used as a symbol of luxury with the rich embroidery and material the robe is made of. The yukata, staying true to its relaxed style, has a wide neck collar where frills or some kind of embellishment may be incorporated onto the neckline to enhance the design. Perhaps the most critical feature that distinguishes the two Japanese robes, is the collar. The kimonos almost always have a double collar, one on the neck and one beneath the real kimono. This usually belongs to the juban, an undergarment worn with the kimono. It is also relatively softer than those kimonos, which is mainly dependent on the material it is made of. The main difference arises in the type of fabric used for either of the garments. Yukata vs Kimono: What It Means For Men? Like women, men’s yukatas are built for casual, everyday wear and sport breathable material, like cotton or linen, to keep ‘em cool during summers. However, they can also be made with different fabrics, other than silk. The kimonos are more formal and silk fabric is widely used. Apart from that, the design and prints incorporated onto men’s yukata and kimonos also help in distinguishing between the two. Like women, men wear their kimonos with a juban to avoid getting them dirty, since they are usually made with fabrics not suited to washing. The yukatas often have geometrical, fun prints and colors that bring out the vibe of summer. The kimono is typically kept simple and classic where the fabric is allowed to shine on its own and the design speaks for itself. What Is The Difference Between Obi For Yukata And Obi For Kimono? The rules to wear Japanese robes for men are pretty much the same as for women, where care must be taken of the way you tie the garment, the occasion you’re wearing it, the cute hairstyle, as well as the footwear. The obi is an essential feature in distinguishing between the yukata and Japanese kimono and forms an essential part of the aesthetic. The different origins of the two Japanese robes play an important role in the obi chosen for either type of Japanese robe. Due to the formal origin of the kimono, an intricate silk belt opts for the garment. A yukata usually has a narrower obi, often called hanhaba obi with half the width of a typical obi. This can be tied like a scarf around the waist and usually forms a thicker obi than the one used on a yukata. There are many ways you can enhance and decorate your obi. It can also be twisted around to show different colors on either side of the belt. One of them can be to use an obijime to hold the tie in place, as well as an obidome which is attached to the obijime, supporting your obi in a stylish way. The style of the two Japanese robes is quite similar to one another, and no stark contrast can be observed between the two. However, differences do exist and you should be looking for them if you want to wear the garment properly. The fact that one is used for more formal wear while the other can be worn on a day-to-day basis translates into the cuts and fabrics used to design the two. The basic features of the garments remain pretty much the same, with a similar style of tailoring, an obi, and collar opted in both robes as well as the long billowing sleeves. The differences occur in these features and are apparent to those willing to look.
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In the vibrant tapestry of traditional Chinese attire, the Hanfu is a garment that transcends time, weaving together history, culture, and style. While often associated with women’s fashion, the male Hanfu dress holds its own allure, capturing the essence of grace and masculinity. The male Hanfu, like its female counterpart, consists of several layers, each contributing to the overall aesthetic. Now, we delve into the art of wearing male Hanfu, exploring the nuances of putting it on, the cultural significance of Hanfu for men, and the distinctive features that make the male version a captivating expression of tradition and elegance. The primary components include the Ru (shirt), Shan (robe), and Ku (pants). Understanding the order in which these layers are worn is key to mastering the art of putting on a man’s Hanfu. The unique construction of the Ru sets the tone for the entire ensemble, emphasizing the elegance and symmetry that characterize Hanfu fashion. Start by donning the Ru, a cross-collar shirt with long, flowing sleeves. The Shan adds a sense of grandeur and fluidity to the ensemble, draping gracefully over the shoulders and creating a harmonious silhouette. Layer the Shan, a robe with wide sleeves, over the Ru. The loose fit of the Ku allows for ease of movement, enhancing the wearer’s comfort while maintaining the timeless elegance of Hanfu fashion. Can Hanfu Dress Be Worn by Men? Finish the ensemble by wearing the Ku, traditional pants that complement the overall aesthetic. Contrary to common misconceptions, Hanfu is not exclusive to women. Men, too, can embrace the grace and cultural richness of Hanfu fashion. Wearing Hanfu is not just a fashion choice; it is an expression of cultural appreciation and a connection to China’s rich heritage. The male Hanfu stands as a testament to the diversity and inclusivity inherent in traditional Chinese attire. The perception of Hanfu as a female-centric attire is a modern construct. Historically, Hanfu was worn by both men and women, and the contemporary revival seeks to reclaim this inclusive tradition, inviting men to rediscover and redefine their own style through the elegance of Hanfu. Men who choose to don the Hanfu are not only embracing a traditional garment but also celebrating the enduring legacy of Chinese culture. While maintaining the flowing lines characteristic of Hanfu, the male ensemble often features straighter cuts, broader shoulders, and a sense of structured elegance. The male version of a Hanfu is distinguished by its tailored fit and masculine details. One of the classic styles of male Hanfu is the Pienfu, a two-piece ensemble consisting of a cross-collared top and a wraparound skirt-like bottom. The Pienfu exudes a sense of regality and sophistication, making it a popular choice for formal occasions. The male Hanfu may be adorned with accessories such as the Magua (a type of outer robe), belts, and traditional headwear. The resurgence of interest in Hanfu fashion has been fueled by a desire to reconnect with traditional Chinese culture. These embellishments add a touch of individuality to the ensemble, allowing men to express their unique style within the framework of Hanfu tradition. Men, inspired by historical aesthetics and a sense of cultural pride, are increasingly adopting Hanfu as a way to express their identity in a modern context. The cultural revival of male Hanfu is not confined by geographical borders, fostering a community that transcends traditional and contemporary boundaries. The global appeal of Hanfu extends to men from diverse cultural backgrounds who appreciate the timeless elegance and craftsmanship of this traditional attire. Workshops, exhibitions, and online platforms contribute to a broader dialogue about the significance of Hanfu for men, encouraging a deeper appreciation for this cultural phenomenon. Specialty boutiques and skilled tailors dedicated to traditional Chinese attire are ideal sources for authentic male Hanfu. These establishments often offer a range of styles, fabrics, and customization options to cater to individual preferences. Educational initiatives and cultural events play a crucial role in fostering awareness and understanding of male Hanfu. The digital landscape has become a vibrant hub for Hanfu enthusiasts, providing a platform for sharing experiences, discovering new styles, and connecting with like-minded individuals. Online marketplaces and communities offer a diverse array of male Hanfu options for those exploring this cultural fashion. Cultural events and festivals celebrating Chinese traditions are opportune moments to explore and acquire male Hanfu. In the resplendent folds of a man’s Hanfu, tradition and elegance converge to redefine masculine style. From the meticulous art of putting on the layers to the cultural revival that transcends gender norms, male Hanfu stands as a testament to the enduring beauty of Chinese heritage. These occasions often feature exhibitions, performances, and vendors offering a curated selection of traditional attire. As men embrace the grace and regality of Hanfu fashion, they contribute to a renaissance that celebrates inclusivity, cultural pride, and a timeless connection to the rich tapestry of tradition. Whether worn for formal occasions, cultural events, or as a personal expression of style, the male Hanfu invites individuals to step into a world where history and fashion harmonize, creating an aesthetic that transcends time and resonates with the spirit of cultural renewal.
What is the difference between Hanfu and cheongsam? Hanfu and cheongsam are two iconic forms of traditional Chinese attire, each carrying a rich tapestry of historical and cultural significance. This attire reflects the elegance and grace of ancient Chinese aesthetics, embodying a connection to traditional values and customs. Hanfu, characterized by its loose-fitting robes with wide sleeves and distinct headpieces, traces its roots back to the Han Dynasty (206 BCE – 220 CE). On the other hand, the cheongsam, also known as qipao, has a more modern origin, emerging in the 1920s and gaining popularity in the 20th century. It is a symbol of Chinese women’s evolving fashion sensibilities, representing a fusion of traditional and contemporary styles. The cheongsam is a form-fitting dress with a high collar and side slits, often adorned with intricate embroidery. Hanfu is often worn during traditional ceremonies, while the cheongsam is a popular choice for formal events and celebrations. Understanding the distinctions between these two traditional attires allows for a deeper appreciation of the diverse cultural threads interwoven in the fabric of Chinese history. Both Hanfu and cheongsam carry profound cultural symbolism, serving as expressions of Chinese identity and heritage. The origins of Hanfu can be traced back thousands of years to ancient China, specifically to the Han Dynasty. Over the centuries, Hanfu has evolved, with each dynasty contributing distinct styles and elements to its design. This traditional attire holds a deep historical significance as it represents the clothing worn by the Han ethnic group, one of the major ethnic groups in China. For instance, during the Tang Dynasty, Hanfu was characterized by its loose and flowing robes, while the Ming Dynasty saw a resurgence of more structured and layered garments. Various dynasties have left their imprint on Hanfu styles. Hanfu serves a vital role in preserving Chinese cultural heritage. The diversity in Hanfu styles across different dynasties reflects the dynamic nature of Chinese fashion throughout history. The significance of Hanfu extends beyond mere clothing, acting as a tangible link to China’s past and a visual representation of its rich cultural tapestry. By donning this traditional attire, individuals not only pay homage to the historical roots of the Han ethnic group but also contribute to the continuity of ancient customs and values. The cheongsam is a unique fusion of Chinese and Western clothing styles, reflecting the changing fashion landscape during that time. In contrast, the cheongsam has a more recent history, emerging in the early 20th century during a period of Western influence in China. Its form-fitting silhouette, high collar, and intricate embroidery showcase a harmonious blend of traditional Chinese elements with contemporary Western aesthetics. Understanding the distinct origins and historical contexts of these two traditional attires sheds light on the multifaceted evolution of Chinese fashion over the centuries. The historical trajectory of Hanfu, deeply rooted in ancient Chinese civilizations, stands in stark contrast to the more modern and Western-influenced development of the cheongsam. Hanfu boasts a distinctive design characterized by loose-fitting, flowing garments that exude a timeless elegance. The use of multiple layers, wide sleeves, and long hems in Hanfu is intentional, contributing to an overall sense of sophistication and grace. These design elements not only provide a visual feast but also convey a sense of historical opulence associated with traditional Chinese aesthetics. Formal wear might include more elaborate and structured designs, while daily wear emphasizes comfort without compromising on style. The versatility of Hanfu is reflected in its various types tailored for different occasions. Festival wear often incorporates vibrant colors and intricate patterns, enhancing the celebratory atmosphere. In contrast, the cheongsam is a one-piece dress known for its form-fitting silhouette. This design accentuates the curves of the female body, emphasizing a modern and sleek appearance. While the cheongsam design has evolved over time, adapting to changing fashion trends, hanfu graduation gown it maintains its distinctive high collar and side slits. These signature features contribute to the timeless allure of the cheongsam, ensuring its recognition and popularity endure across generations. The juxtaposition of Hanfu’s loose and layered design with the form-fitting elegance of the cheongsam showcases the diversity within traditional Chinese attire, reflecting the evolving tastes and preferences embedded in the cultural fabric of China. Often crafted from luxurious materials like silk or brocade, the cheongsam radiates a sense of refinement and femininity. Hanfu holds profound cultural significance as it stands as a symbol of Chinese identity and traditional values. In modern times, there has been a notable resurgence in efforts to revive and popularize Hanfu, with enthusiasts embracing it as a means to express pride in Chinese culture and strengthen their connection to the country’s historical roots. Beyond being a mere garment, Hanfu is a manifestation of cultural heritage, connecting individuals to the rich tapestry of Chinese history. Wearing Hanfu is viewed as a cultural statement, allowing individuals to bridge the gap between the past and present. It serves as a tangible link to Chinese history, fostering a sense of continuity and contributing to the preservation of traditional customs. The donning of Hanfu is not merely a fashion choice; it is a deliberate act to celebrate and honor the essence of being Chinese. Its association with Chinese cinema has propelled it into the international spotlight, making it a popular choice for various high-profile events. On the other hand, the cheongsam holds cultural significance as a representation of modern Chinese fashion and elegance. The cheongsam’s popularity in international events further emphasizes its role in shaping perceptions of Chinese aesthetics on a global scale. The cheongsam’s sleek and sophisticated design has become synonymous with grace and style, contributing to its status as an iconic symbol of Chinese fashion. As a cultural ambassador, the cheongsam transcends its fashion origins to become a powerful emblem of China’s elegance and modernity. In conclusion, the distinctions between Hanfu and cheongsam are woven into the fabric of China’s diverse cultural history. Hanfu, with its loose-fitting, layered design, reflects the ancient roots of Chinese civilization, tracing back thousands of years to the Han Dynasty. In contrast, the cheongsam, a product of modern times, showcases a form-fitting silhouette that emerged during a period of Western influence in the early 20th century. The differences extend beyond design, encompassing the cultural significance each attire carries. Hanfu symbolizes Chinese identity and traditional values, serving as a tangible link to the country’s past. In the intersection between tradition and contemporary allure, both Hanfu and cheongsam play pivotal roles in conveying the multifaceted cultural identity of China. Efforts to revive and popularize Hanfu in contemporary society highlight its enduring importance as a cultural emblem, fostering a connection between individuals and their heritage. On the other hand, the cheongsam has evolved into a representation of modern Chinese fashion and elegance. Its association with Chinese cinema and prominence in international events has elevated the cheongsam to iconic status, embodying the grace and sophistication of contemporary China. Despite their differences, both Hanfu and cheongsam hold pivotal roles in the cultural landscape of China. They represent distinct eras and styles, offering a visual narrative of the country’s evolution over time. As we navigate the intersection between tradition and modernity, it is crucial to appreciate and explore the nuances of traditional Chinese clothing. By doing so, we contribute to the preservation of China’s rich cultural heritage, ensuring that the threads of history continue to weave through the tapestry of our collective identity.
Huadian (traditional Chinese: 花鈿; simplified Chinese: 花钿), also known as huazi (Chinese: 花子; lit. Spring and Autumn period (c. Warring States period (c. Its origins has no connection with the diandan (Chinese: 点丹; lit. The huadian was also popular among Tang and Song dynasties’ women. The popularity of the huadian declined in the Yuan dynasty. The huadian forms an integral part of Chinese clothing culture. It is typically red in colour but can also be found in different colours, such as green and gold. In present days, huadian is often combined with the wearing of hanfu, the traditional clothing of the Han Chinese. Different materials such as emerald bird feathers / cuidian (Chinese: 翠鈿), gold leaf, silver leaf, paper, fish scales, feathers, pearls, jewels, dragonfly wings can be used. During the prosperous period of the Tang dynasty and the Five Dynasties and Ten Kingdoms period, the mianye reached high up to the two sides of the nose. Mianye were typically about 1 cm from each sides of the lips and were red in colour. Chu dating to the Warring States period in Changsha, Hunan province, have decorative shapes or patterns painted on their face, which shows that the prototypes of the huadian already existed much earlier than the folk legends. The effect of the flower imprint was so striking that it formed a new vogue and was copied by other ladies. The plum blossom for some reasons could not be removed or washed off; but since it looked beautiful on the princess, it became a fashion trend. According to the Youyang zazu (酉陽雜俎), women in the Tang dynasty painted huazi (Chinese: 花子) on their face, which originated from Shangguan Wan’er. According to the Chinese folk legend, the red plum blossom huadian became popular in the Tang dynasty under the influence of Shangguan Wan’er. This fashion trend soon became popular across the country. The red plum blossom not only covered her scar but also made her look more beautiful and charming, which in turn made the makeup popular from the palace ladies to the common folk turning it into a representative makeup of the Tang dynasty. This became known as Hongmei zhuang (Chinese: 紅梅妝; lit. Shangguan Wan’er had her face ruined by Wu Zetian with a scar on the forehead, and as a result, she tattooed a red plum blossom around her scar and dyed it red taking inspiration to the plum blossom makeup created by Princess Shouyang. During this period, there were more than 10 variations of plum blossoms which were used as facial adornment. Other materials such as paper, fish scales or dragonfly wings were also used to make the huadian. Bird, snake and lead-shaped decorations were also popular. Woman wearing huadian on forehead and mianye, Five dynasties period. During the prosperous period of the Tang dynasty and the Five Dynasties and Ten Kingdoms period, the mianye reached high up to the two sides of the nose, and they were shaped in the form of coins, peaches, birds, and flowers. Song dynasty empress of Qinzong wearing pearl huadian. Empress of Yingzong wearing pearl huadian. In the Song dynasty, huadian embellished with pearls became popular. However, the traditional pattern design of huadian is still used in the designs of contemporary wedding accessories and large shows. The huadian is also used as a form of makeup for women when wearing hanfu. In the 21st century, the huadian typically do not appear on women’s face as daily makeup. It is also depicted in many Chinese television drama. Nowadays, the huadian can either be painted or be applied on the face in the form of commercialized temporary tattoos. Hua, Mei (2011). Chinese clothing (Updated ed.). The Palace Museum. “Pottery Figurines In Connection With Ladies’ Lives”. Chen, Jack Wei (2010). The poetics of sovereignty : on Emperor Taizong of the Tang Dynasty. Cambridge, hanfu dress United Kingdom. pp. 刘瑜芬. “How cosmetics were created in ancient China”. 5000 years of Chinese costumes. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. Zhongguo fu zhuang shi yan jiu zu. Wu, Qian (2022). “传统艺术中的花钿研究–《河北大学》2010年硕士论文”. San Francisco, CA: China Books & Periodicals. Shu, Hongxia (2021). “Rhyme in the Poems by Li Qingzhao and Zhu Shuzhen–《Journal of Yuncheng Advanced Training College》2000年05期”. Cao, Lifang (2011). “古代女子的花钿 – 国学网”. Guoxue (in Chinese (China)). Rui, Ying (2016). “浅析妇女花钿妆–《艺术品鉴》2016年12期”. Li, Xuewei (2007). “古之花钿 今更俏”. Yu, Qian; Lu, Xiuwen (2006). “敦煌壁画中的妇女花钿妆–妆饰文化研究之五–《敦煌研究》2006年05期”. The Works of Li Qingzhao. Zhang, Lei (2012). “The pursuit of beauty|Life|chinadaily.com.cn”. Ronald Egan, Anna Shields. 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 30 October 2024, green hanfu at 04:15 (UTC). Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.