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Dress your little one in this charming girls’ Traditional Chinese Clothing set. This beautiful Hanfu two-piece set, available in soft pink and pastel green, is adorned with delicate embroidery and traditional elements. Crafted from a high-quality cotton blend, it offers both elegance and comfort, making it ideal for special occasions or everyday wear. Elegant Embroidery: Each set features intricate embroidered designs that highlight the beauty of Traditional Chinese Clothing. Traditional Design: Includes classic Hanfu elements like the frog buttons and flowing skirt, bringing a touch of history to modern fashion. Comfortable Fabric: Made from a soft cotton blend, ensuring breathability and comfort throughout the day. Color Options: Available in a lovely combination of pink and green, purple hanfu perfect for adding a gentle splash of color to any wardrobe. Perfect Fit: Offered in sizes ranging from 100 to 150 cm, catering to various ages and sizes. Perfect as a gift for daughter, nieces, daughter of friends. Chinese traditional costumes has a strong Chinese style of national clothing.
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Please can you explain the difference of meaning between hanfu and huafu ? Hi, thanks for the question, and sorry for taking ages to reply! “Han” (漢/汉) here refers to the Han Chinese ethnic group (not the Han dynasty), and “fu” (服) means “clothing”. The term “hanfu” (traditional Chinese: 漢服, simplified Chinese: 汉服) literally means “Han clothing”, and refers to the traditional clothing of the Han Chinese people. As such, there is a lot of gatekeeping by the community around what is or isn’t hanfu (based on historical circumstances, cultural influences, tailoring & construction, etc). As I explained in this post, the modern meaning of “hanfu” is defined by the hanfu revival movement and community. This isn’t a bad thing – in fact, I think gatekeeping to a certain extent is helpful and necessary when it comes to reviving and defining historical/traditional clothing. However, this also led to the need for a similarly short, catchy term that would include all Chinese clothing that didn’t fit the modern definition of hanfu — enter huafu. The term “huafu” (traditional Chinese: 華服, simplified Chinese: 华服) as it is used today has a broader definition than hanfu. “Hua” (華/华) refers to the Chinese people (中华民族/zhonghua minzu), and again “fu” (服) means “clothing”. It is an umbrella term for all clothing that is related to Chinese history and/or culture. 1. Most fashions that originated during the Qing dynasty (1644-1911), especially late Qing, including the Qing aoqun & aoku for women, and the Qing changshan and magua for men. Thus all hanfu is huafu, but not all huafu is hanfu. I wrote about whether Qing dynasty clothing can be considered hanfu here. Tangzhuang, which is an updated form of the Qing magua popularized in 2001, can also fit into this category. 2. Fashions that originated during the Republican era/minguo (1912-1949), including the minguo aoqun & aoku and qipao/cheongsam for women, and the minguo changshan for men (the male equivalent of the women’s qipao). I wrote about why qipao isn’t considered hanfu here. Below – Xiangsheng (crosstalk) performers Zhang Yunlei (left) & Guo Qilin (right) in minguo-style men’s changshan (x). Below – minguo aoqun (left) & qipao (right) from 嬉姷. Changshan is also known as changpao and dagua. Qungua originated in the 18th century during the Qing dynasty, and xiuhefu is a modern recreation of Qing wedding dress popularized in 2001 (x). Below – left: qungua (x), right: xiuhefu (x). 3. Qungua/裙褂 and xiuhefu/秀禾服, two types of Chinese wedding garments for brides that are commonly worn today. 4. Modified hanfu (改良汉服/gailiang hanfu) and hanyuansu/汉元素 (hanfu-inspired fashion), which do not fit in the orthodox view of hanfu. Hanfu mixed with sartorial elements of other cultures also fit into this category (e.g. hanfu lolita). From the very start of the hanfu movement, there’s been debate between hanfu “traditionalists” and “reformists”, with most members being somewhere in the middle, and this discussion continues today. 5. Performance costumes, such as Chinese opera costumes (戏服/xifu) and Chinese dance costumes. These costumes may or may not be considered hanfu depending on the specific style. Below – hanyuansu outfits from 川黛 (left) and 远山乔 (right). Dance costumes, in particular, may have non-traditional alterations to make the garment easier to dance in. Dunhuang-style feitian (apsara) costumes, which I wrote about here, can also fit into this category. Below – left: Chinese opera costume (x), right: Chinese dance costume (x). 6. Period drama costumes and fantasy costumes in popular media (live-action & animation, games, etc.), commonly referred to as guzhuang/古装 (lit. However, as I wrote about here, a lot of the time there are stylistic inaccuracies (some accidental, some intentional) that have become popularized and standardized over time (though this does seem to be improving in recent years). Chinese period drama costumes are of course based on hanfu, and may be considered hanfu if they are historically accurate enough. Similarly, animated shows & games often have characters dressed in “fantasy hanfu” that are essentially hanfu with stylistic modifications. This is especially prevalent in the wuxia and xianxia genres. 7. Any clothing in general that purposefully utilizes Chinese style elements (embroidery, fabrics, patterns, motifs, etc). Chinese fashion brand Heaven Gaia is a well-known example of this. Below – left: Princess Taiping in historical cdrama 大明宫词/Palace of Desire (x), right: Wei Wuxian and Lan Wangji in wuxia/xianxia cdrama 陈情令/The Untamed (x). Below – Chinese-inspired designs by Heaven Gaia (x). 1. Some large-scale events to promote Chinese clothing, such as the annual “华服日/Huafu Day”, will use “huafu” in their name for inclusivity. 2. For the same reason as above, Chinese clothing including hanfu will often be referred to as “huafu” on network television programs (ex: variety shows). 3. A few Chinese clothing shops on Taobao use “huafu” in their shop name. 8. Technically, the clothing of China’s ethnic minorities also fit under the broad definition of huafu, but it’s rarely ever used in this way. 明镜华服/Mingjing Huafu – sells hanfu & hanyuansu. 花神妙华服/Huashenmiao Huafu – sells Qing dynasty-style clothing. With the exception of the above, “huafu” is still very rarely used, red hanfu especially compared to “hanfu”. It has such a broad definition that it’s just not needed in situations for which a more precise term already exists. However, I do think it’s useful as a short catch-all term for Chinese clothing that isn’t limited to the currently accepted definition of hanfu.
HONG KONG, Oct. 24, 2023 /PRNewswire/ — Tmall Taobao World today kicked off its 2023 Taobao Tmall 11.11 Global Shopping Festival (“11.11” or “Festival”) with enhanced deals and offers targeting five key markets, including Hong Kong (China), Macao (China), Taiwan (China), Singapore and Malaysia. The unit also announced the launch of a cross-border shopping service brand named “Taobao PLUS” to provide users in those five markets with a hassle-free shopping experience, offering upgraded services including lowered free shipping thresholds, expanded local return options and dedicated customer service. Jianqiu Ye, General Manager of Tmall Taobao World, announced the launch of a cross-border shopping service brand named “Taobao PLUS” for users of Taobao and Tmall in five key Asian markets. During 11.11, various types of cross-shop discounts will be offered, including discounts of RMB50 off every RMB300 spent on participating products on Tmall, short cheongsam and discounts of RMB30 off every RMB200 spent on participating products on Taobao. The discounts are stackable with no upper limit. Additional discounts are available from Taobao and Tmall at check-out. On the logistics side, Cainiao has upgraded its direct delivery service to optimize cross-border shipping efficiency, and will be offering direct delivery discount vouchers to shoppers purchasing selected products during 11.11. In Hong Kong, shoppers purchasing small and lightweight items and opting for self-pick-up service offered by Cainiao will be able to enjoy a special direct delivery price of RMB6 for the first 500 grams – a significant reduction in price for those who prioritize convenience and speed. Tmall Taobao World has been actively expanding its network of e-wallet and credit card partners in its key markets with the aim of providing shoppers with a wider range of payment options while extending attractive incentives from these payment partners such as fee waivers and payment rewards to Taobao users. During 11.11, HSBC’s e-wallet PayMe, which recently debuted on Taobao Hong Kong, will increase its discounts for Hong Kong users from HKD15 off every HKD300 to HKD30 off every HKD300 spent on Taobao and Tmall. Apple Pay and Home Bank, two newly added payment methods on Taobao Taiwan, will offer discounts and handling fee waiver. In addition, users in Taiwan checking out with a Visa credit card will enjoy an incredible discount of up to TWD1,111. In Malaysia, Lazada Wallet users will stand a chance to enjoy credit card payment discounts during 11.11, with a maximum discount of RM222 off RM1,111 or more spent. In conjunction with the launch of 11.11, Tmall Taobao World has unveiled a new cross-border shopping service brand named Taobao PLUS for its five key Asian markets, namely Hong Kong, Macao, Taiwan, Singapore and Malaysia. Jianqiu Ye, General Manager of Tmall Taobao World. The unit has invested hundreds of millions of Chinese yuan to enhance the suite of services covered by Taobao PLUS, including free shipping and free local returns for eligible orders, demonstrating its commitment to making cross-border shopping more seamless for consumers. 1) The free shipping service has expanded to cover a large number of additional product categories, increasing the variety of eligible products by more than 50%. For example, a multitude of small and lightweight items as well as trending products have been added on the basis of the existing extensive range of eligible women’s fashion accessories. 2) The minimum spending threshold for free cross-border delivery has been lowered. These include, among other categories, sun protection clothing, hanfu (traditional Chinese clothing), suitcases, travel essentials, outdoor camping equipment, pet supplies, cooking and dining utensils, as well as storage and organization products. In Macao, the minimum required spend is set at RMB49 only and it applies to both the Cainiao official cross-border delivery option and a new option provided by eBuy. For example, in Hong Kong, the minimum required spend has been reduced from RMB199 to only RMB99. In Singapore, the minimum spending threshold will be lowered from RMB299, applicable previously to sea freight only, to just RMB249, now covering both air and sea freight. In Taiwan, the free cross-border delivery service, available to consumers meeting a minimum required spend of RMB249, will be upgraded during 11.11 to cover both free delivery and tax. For Malaysia, the minimum spending threshold will decrease from RMB299, applicable previously to sea freight only, to just RMB199, now covering both air and sea freight. For instance, free doorstep pick-up service for returned products is now available in the Hong Kong, Taiwan, Singapore and Malaysia markets. Users in the Hong Kong and Macao markets and those in the Taiwan market can also choose to return their products for free to designated self-pick-up stores or designated convenience stores, respectively. 3) The free local return service has been upgraded to provide consumers in various markets with more local return options and better assurance. 4) Dedicated customer service has been introduced for orders covered by Taobao PLUS. A dedicated customer service channel is now accessible to users through the Taobao PLUS section of the Taobao platform. The section features a button for users to easily access human customer support – an alternative to AI-assisted customer service – providing users with more personalized assistance in a convenient manner. In addition to Mandarin, users in Hong Kong and Macao can opt for customer service support in Cantonese. Note: The above promotional offers are subject to terms and conditions. For details of the offers in each market, please refer to the related 11.11 campaign page on Taobao. Through Tmall Taobao World, Chinese shoppers outside mainland China can access more than 2 billion products on Taobao simply with the Taobao app, while enjoying logistics, payment and other services and offers tailored to their individual market needs. Launched in 2017, Tmall Taobao World aims to enable Chinese consumers outside mainland China to conveniently shop for a variety of products on Taobao and Tmall. The major buyer markets of Tmall Taobao World include Hong Kong (China), Taiwan (China), Macao (China), Singapore and Malaysia, among others. Tmall Taobao World is part of Alibaba International Digital Commerce Group.
Qun (Chinese: 裙; pinyin: qún; Jyutping: kwan4; lit. Chinese skirts used in Hanfu, especially those worn as part of ruqun, and in Xifu. The qun and its predecessor, the chang, along with the upper garment called yi and the trousers called ku, are all indigenous clothing of the Zhongyuan, which conformed to the fashion style of the Chinese civilization in ancient times. 144 The qun continued to exist even in the Republic of China. Several forms of ancient style qun regained popularity in the 21st century following the Hanfu Movement; this also inspired the development of new styles of qun with modern aesthetics and shapes. Both the qun and the chang, were both typically in the form of a wrap-around skirt like an apron. In a broad sense, the Chinese character qun《裙》is a synonym for the word qunzi (裙子; qúnzi); both of these are generic words for skirts in China. The term qun with the Chinese character《帬》also referred to skirt . According to the Fangyan, the qun《帬》was called pei《帔》in the area of Wei and Chen; it was also called bai《襬》by some people from the east of the Pass. In ancient China, the Chinese character chang《裳》can refer to “lower garments,” which included both the trousers called ku and the qun skirt also called chang which also use the same character《裳》. The Shuowen jiezi also explains that the term qun which uses the character《帬》is the same as the term xiachang which uses the characters《下常 》. There are also specific terms which are related to the qun, such as chenqun (Chinese: 衬裙; lit. It also explains that the chang, which uses the Chinese character《常》, sleeveless qipao is a skirt by using the term xiaqun with the characters《下帬 》. 36 The chenqun is a generic term which typically refer to a form of inner skirt. This section needs expansion. The danqun is a generic term which refers to unlined skirts. You can help by adding to it. In the ancient times, the qun was referred as chang and existed even prior to the creation of the trousers called ku. In the Warring States period, men could also wear short skirts similar to a kilt. The chang appeared on unearthed artifacts dating as early as the Shang dynasty; the chang eventually evolved into what became known as the qun. Several wrap-over qun were found in the Han dynasty tombs. 144 The zhejianqun (Chinese: 褶裥裙; pinyin: zhějiǎnqúnqún; lit. 165 This led to the creation of a long excessively pleated-style zhejianqun, called liuxianqun, which was inspired by the ripped skirt of Zhao Feiyan and became popular. According to the story, however, the wearing of short skirts with pleats first appeared in the Western Han dynasty when Feng Wufang saved Zhao Feiyan from falling; but while saving her, her skirt had been ripped. After the Sui and Tang dynasty, the pleats which were used in the zhejianqun increased in numbers, from a few dozens to over one hundred forming the baizhequn. The tomb of Huang Sheng contains various forms of qun, such as the liangpianqun and the baizhequn. The baizhequn continued to be worn in the Yuan dynasty. The qun continued to be worn in the Qing dynasty. In this period, the qun worn by the Han Chinese were often mamianqun which featured pleats and embroideries at the panels and decorative borders. 144 The late Qing dynasty qun were also heavier compared to those worn in the earlier times as they were weighted by the embroideries and pleats. During the early period of the Republic of China, people in Beijing continued to wear the clothing worn in the Qing dynasty. Women continued to wear the qun; however, the qun had evolved in style and had become shorter. The qun can also have specific names based on the styles, design and constructions, the number of pleats and colours. In Hanfu, the qun can be used in set of attire, such as the ruqun, qungua, xiuhefu. 144 for example, in the qixiong ruqun. In other dynasties, the qun could be tied at the waist level. In the Qin and Han dynasties, the danqun were made out of four panel of fabrics which were sewn together. Poqun (Chinese: 破裙; lit. 36 The upper parts were narrower than the lower parts; and there were also two pieces in the middle were also narrower than those which were found at the sides of the danqun. 36 It was most often found with a belt attached to it; however some women preferred to use a separate belt. The four-panel poqun, as the one found in the Mawangdui tomb No.1 dating from the Western Han dynasty, was used as a form of chenqun (衬裙) and was usually worn over the zhijupao or under the qujupao. This form of poqun also had a waist belt which was sewed at the upper part of the skirt and both ends of the waist belt would extend to form the ties. Jiansequn (Chinese: 間色裙; lit. 289 Its structure can be traced back to the late Northern Wei dynasty and continued to be used until the Five dynasties and Ten kingdoms period. This form of skirt was high-waist during the Sui and the Tang dynasties and were characteristics clothing for women during this time period. The design of the skirt thus reflects the gradual integration of Hanfu and Hufu. The evolution process of the Jiansequn reflects the multiculturalism context, the cultural exchange, and the cultural integration which occurred between the Han Chinese, the northern ethnic minority culture, and the culture of the Western regions which occurred from the late Northern Wei dynasty to the Sui and Tang dynasties. A floor-length jiansequn tied above the bust-level, Tang dynasty. Baizhequn is a form of wrap-around skirt which was tied at the waist level; it consisted of over 100 pleats in numbers. Pleated skirts are called zhejianqun (Chinese: 褶裥裙; pinyin: zhějiǎnqúnqún; lit. Each pleats were fixed to the waistband of the skirt and each pleats had the same width. The mamianqun was a wrap-around skirt composed of two overlapping panels of fabric which was tied at the waist level. It was characterized with a flat front and pleats on the two sides. 144 The early prototypes of the mamianqun was the baidiequn and the liangpianqun. Mamianqun used in the Xiuhefu, a derivative of the Qing dynasty mamianqun. The mangchu skirt, sometimes literally translated as “Dragon skirt” in English, was a skirt decorated with Chinese dragons and/or Chinese phoenixes or with mang (lit. A derivative of the mamianqun is the skirt used in the Xiuhefu, which is also called mamianqun. The mangchu could typically vary in colour; however, red and green were the most common colours used. The mangchu was typically paired with the mangao jacket. During the Qing dynasty, the mangchu was worn by Han Chinese women; it was typically worn by the wives of Chinese noblemen or wives of high-ranking Qing officials as part of their quasi-official formal clothing attire on ceremonial occasions when their husband would be wearing the Qing dynasty court robe attire. The shiliqun (Chinese: 石榴裙; lit. Wives of the Qing dynasty officials also wore the mangchu as part of their wedding attire and as their burial attire. 34 is worn with an ao by a huadan. The qun was also used as a costume item in xifu. 绢裙. Hunan Museum (in Chinese). Tongqun (lit. ‘tube skirt’): a skirt which has the shape of a tube; it is often worn as outer skirt being worn over an inner skirt, which could be pleated skirt. Cooper Hewitt, Smithsonian Design Museum. Xu, Rui; Sparks, Diane (2011-01-01). “Symbolism and Evolution of Ku-form in Chinese Costume”. Research Journal of Textile and Apparel. 15 (1): 11-21. doi:10.1108/RJTA-15-01-2011-B002. Dusenberry, Mary M. (2004). Flowers, dragons and pine trees : Asian textiles in the Spencer Museum of Art. New York: Hudson Hills Press. Cheung, Kam-Siu (2016-04-14). “30. Lexicography”. Carol Bier, Helen Foresman Spencer Museum of Art (1st ed.). The Routledge Encyclopedia of the Chinese Language. In Chan, Sin-Wai (ed.). Carr, David; Cheung, Chan-Fai (18 October 2004). Space, Time, and Culture. Canhui Zhang, Chan-Fai Cheung, David Carr. Michael, Thomas (2021). Philosophical Enactment and Bodily Cultivation in Early Daoism In the Matrix of the Daodejing. Zang, Yingchun; 臧迎春. 李竹润., 王德华., 顾映晨. Timothy Danforth Baker, Michael S. Duke. Xu, Zhuoyun (2012). China : a new cultural history. New York: Columbia University Press. Seattle: University of Washington Press. Milburn, Olivia (2021). The Empress in the Pepper Chamber Zhao Feiyan in History and Fiction. 5000 years of Chinese costumes. Yao, Ping (2022). Women, gender and sexuality in China : a brief history (First ed.). Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. Zhongguo fu zhuang shi yan jiu zu. San Francisco, CA: China Books & Periodicals. China : dawn of a golden age, 200-750 AD. New York: Metropolitan Museum of Art. Shi, Meihua (2018). “窄袖高腰间色裙源流考–《陕西师范大学》2018年硕士论文”. James C. Y. Watt, Prudence Oliver Harper, Metropolitan Museum of Art. Hunan Museum (in Chinese). 陕西师范大学. Garrett, Valery (2012). Chinese Dress : From the Qing Dynasty to the Present. New York: Tuttle Pub. Ye, Tan (2020). Historical dictionary of Chinese theater (Second ed.). Lanham: Rowman & Littlefield Publishers. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. This page was last edited on 10 September 2024, at 17:18 (UTC). 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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Color is an essential aspect of calligraphy that can influence the overall impression of the script. Calligraphy is an art form that involves the use of various writing instruments and materials to create aesthetically pleasing text. When it comes to calligraphy, the color of the ink, paper, and other materials used can significantly impact the final result. Understanding the significance of color in calligraphy is crucial to create elegant and visually appealing scripts. In calligraphy, different colors can evoke different emotions and convey different meanings. For instance, black ink is often associated with formality, professionalism, and seriousness. On the other hand, red ink is commonly used to signify passion, energy, and excitement. Understanding the psychology of color can help calligraphers choose the right colors for their scripts. Contrast refers to the difference in color between the ink and the paper. Contrast is another crucial aspect of color in calligraphy. High contrast can make the script more legible and visually appealing. For instance, black ink on white paper provides high contrast, making the script more readable. On the other hand, low contrast can make the script hard to read and less visually appealing. Color harmony refers to the combination of colors used in calligraphy. Harmonious colors work together to create a pleasing visual effect. On the other hand, clashing colors can create an unpleasant visual effect. Calligraphers can use color theory to create harmonious color combinations. For instance, using complementary colors, such as red and green, can create a visually appealing script. The quality of the ink used in calligraphy can also impact the final result. High-quality ink tends to have better color saturation, which can make the script more visually appealing. On the other hand, low-quality ink can result in a faded, washed-out script. The color of the paper used in calligraphy can also impact the final result. White paper is the most commonly used paper color in calligraphy. However, colored paper can add a unique and visually appealing touch to the script. For instance, using black paper with white ink can create a striking contrast. Calligraphers must consider various factors, such as color psychology, contrast, color harmony, ink quality, and paper color, to create visually appealing and elegant scripts. Color plays a significant role in calligraphy. By understanding the significance of color in calligraphy, calligraphers can create scripts that evoke the desired emotions and convey the intended meanings. Color plays a significant role in psychology, and it has been proven that it can impact our emotions, moods, and behavior. Different colors can evoke various feelings and emotions, and understanding these color associations can help us use them to our advantage. The use of color in branding and marketing is an excellent example of how companies use colors to evoke specific emotions and influence consumer behavior. For example, red is often associated with passion, love, and excitement, while blue is often associated with calmness, trust, and serenity. For example, in Western cultures, white is often associated with purity, while in many Eastern cultures, it is associated with mourning and death. Therefore, it is essential to consider cultural associations when using color to evoke emotions. 2. Personal preferences: People often have different color preferences based on their personalities and experiences. 1. Cultural associations: Color associations can vary widely among different cultures. 3. Gender associations: Research has shown that men and women often have different color preferences. For example, someone who loves the color yellow may associate it with joy and happiness, while someone who dislikes it may associate it with sickness or cowardice. For example, women tend to prefer softer colors like pink and lavender, while men prefer bolder colors like black and blue. For example, red and yellow together can evoke feelings of excitement and energy, while blue and green together can evoke feelings of calmness and relaxation. Understanding the significance of color in psychology can help us use it to our advantage in various aspects of our lives, from branding and marketing to interior design and personal style. 4. Color combinations: The way colors are combined can also impact our emotions. By choosing colors that evoke positive emotions and associations, we can improve our moods, behavior, and overall well-being. For decades, the colors of these jackets have represented not only individual traders but also the firms they work for. Color plays a vital role in many aspects of our lives, and the trading jackets of Open Outcry Trading are no exception. The colors of the trading jackets are not just a fashion statement but a symbol of identity and affiliation. The significance of these colors is essential to the functioning of the trading floor, helping traders quickly identify each other and their respective firms. 1. Identification: One of the primary reasons for the use of colors in trading jackets is for identification. The colors are also an essential indicator of market activity, with bright colors used to represent more active traders. The different colors of the jackets help to distinguish traders from one another and make it easier to identify traders representing different firms. With many traders on the trading floor, it is crucial to quickly identify who is who. 2. Affiliation: The colors of the trading jackets are also a symbol of affiliation. Each firm has its own unique color, and traders representing that firm wear that color. This helps to create a sense of belonging and identity within the firm, and also helps to differentiate between firms on the trading floor. 3. Market Activity: The colors of the trading jackets can also indicate market activity. Bright colors such as red and yellow are often used to represent more active traders who are trading in high volumes. This helps other traders to quickly identify market trends and adjust their trading strategies accordingly. 4. Visibility: The colors of the trading jackets are also chosen for their visibility. In addition, the use of high-visibility colors can help to improve safety on the trading floor, with traders more easily seen by others. The significance of color in trading jackets cannot be overstated. Bright colors can be seen from a distance and help traders to quickly locate each other on the trading floor. The colors help to identify traders and their respective firms, indicate market activity, and improve visibility and safety on the trading floor. The use of colors has become an iconic part of Open Outcry Trading, and will continue to play an essential role in this industry for years to come. The use of color in her paintings is not just for aesthetic purposes, but it also reflects her cultural identity, emotions, and beliefs. Her art is a reflection of her personal experiences and the world around her, making the use of color an essential tool in conveying her message. Different colors evoke different emotions and meanings, and in Uma’s art, each color has a specific significance. 1. Red: In Uma’s paintings, red is often used to represent passion, love, and energy. Color is one of the most significant elements in Uma Upadhyay’s artwork. It also signifies power, strength, and courage. For example, in her painting “The Power of Love,” Uma uses various shades of red to depict the intensity of love and passion. 2. Blue: Blue is one of the most commonly used colors in Uma’s art, representing calmness, serenity, and spirituality. It also symbolizes trust and loyalty. 3. Yellow: Yellow is a bright and vibrant color that represents happiness, joy, and optimism. It also symbolizes intellect and wisdom. In Uma’s painting “The Golden Dawn,” yellow is used to depict the rising sun, which represents new beginnings and opportunities. In her painting “The Blue World,” Uma uses shades of blue to depict the vastness and depth of the ocean. In Uma’s painting “The Green World,” she uses shades of green to depict the beauty and tranquility of nature. 4. Green: Green is the color of nature and represents growth, harmony, and balance. In her painting “The Yin and Yang,” Uma uses black and white to depict the balance between opposing forces. 5. Black and White: Uma also uses black and white in her art, which represents simplicity and elegance. The use of color in her paintings is not just for aesthetic purposes, but it also has a deeper meaning, reflecting her personal experiences and worldview. Her art is a beautiful reflection of her inner self, and color is an essential tool in conveying her message. Color plays an essential role in Uma Upadhyay’s art, representing emotions, beliefs, and culture. Silk has played a significant role in the development of Hanfu fashion. The early Hanfu was made from hemp and ramie, but with the development of the Silk Road, silk became readily available and was used as a primary material for Hanfu. From the ancient times, silk has been an important part of Chinese culture, and its production and usage were considered a symbol of prosperity. The use of silk in Hanfu fashion has had a profound impact on the style, appearance, and symbolism of the traditional Chinese dress. The soft and smooth texture of silk makes it a comfortable material to wear, while its luster adds a luxurious touch to the dress. 1. Significance in Hanfu Design: Silk has a unique texture and luster that makes it a perfect material for Hanfu design. 2. Symbolism: In Chinese culture, silk is a symbol of wealth, status, and elegance. The use of silk in Hanfu design has allowed for intricate embroidery and patterns to be added to the dress, making it a work of art. Silk was used to represent the refinement and sophistication of the Chinese people. 3. Production and Trade: Silk production and trade played a significant role in the development of the Silk Road, which was a network of trade routes connecting China to the Mediterranean. The use of silk in Hanfu fashion was not only a reflection of the wearer’s social status but also a symbol of cultural identity. The production and trade of silk contributed to the growth of the Chinese economy and helped establish China as a major cultural and economic power. 4. Modern Applications: Today, silk is still used in the production of Hanfu and is also incorporated into modern fashion designs. The Silk Road facilitated the exchange of goods, culture, and ideas, including the use of silk in Hanfu fashion. The unique texture and luster of silk continue to be a sought-after material, and its use in fashion design reflects the enduring legacy of the Silk Road and Hanfu fashion. The use of silk in Hanfu fashion has had a profound impact on the style, appearance, and symbolism of the traditional Chinese dress. The use of silk has allowed for intricate designs and patterns to be added to the dress, while its symbolism represents the refinement and sophistication of the Chinese people. The production and trade of silk played a significant role in the development of the Silk Road and contributed to the growth of the Chinese economy. Today, silk continues to be a sought-after material in fashion design, reflecting the enduring legacy of the Silk Road and Hanfu fashion. They can either be bold or subtle, depending on the wearer’s preference and the occasion. Accessories can range from headwear, footwear, belts, jewelry, and bags. They can be made of different materials such as silk, jade, gold, and silver, among others. Accessories play an important role in Hanfu fashion as they enhance the beauty of the outfit and complement the overall look. In this section, we will delve into the different types of accessories used in Hanfu fashion. These accessories are not only meant to complement the outfit but also to showcase the wearer’s social status, personality, and taste. These accessories come in different shapes and sizes, and they are used to embellish the hair and the head. For instance, a phoenix crown is a type of headdress that was worn by the empress during ancient times. 1. Headwear: This includes hairpins, hairbands, hats, and headdresses. It was a symbol of her power and status. The most common types of footwear include flat shoes, boots, and sandals. These shoes are often made of silk, cotton, or leather. For example, the lotus shoes were worn by women during the Ming dynasty. 2. Footwear: Hanfu footwear is known for its comfort and elegance. They were small in size and had a curved shape, which was meant to showcase the wearer’s delicate feet. 3. Jewelry: Jade and gold are the most common materials used to make Hanfu jewelry. They are often adorned with precious stones and intricate designs. For instance, jade pendants were worn by both men and women during ancient times. They were believed to possess mystical powers that could bring good luck and ward off evil spirits. These pieces of jewelry include earrings, necklaces, bracelets, and rings. They are used to carry personal belongings such as money, makeup, and handkerchiefs. 4. Bags: Hanfu bags are often small and made of silk or cotton. These bags often come in different shapes and sizes, and they are often adorned with tassels and embroidery. They are often used to showcase the wearer’s social status, personality, and taste. Whether you choose bold or subtle accessories, they are sure to make a statement and enhance your look. Accessories are an essential part of Hanfu fashion as they add beauty and elegance to the outfit. The Silk Road was a vital trade route that connected the East and West, and it was a place where cultures, ideas, and fashions were exchanged. Along the ancient Silk road, Hanfu fashion was one of the most influential styles and has left an enduring legacy. The influence of Hanfu can still be seen in the fashion of modern-day China and beyond. In this section, we will discuss the enduring legacy of Hanfu fashion and how it has influenced fashion on the Silk Road. Many traditional Chinese garments are still inspired by Hanfu fashion, such as the Cheongsam. 1. Hanfu fashion has had a significant impact on fashion in China. The Cheongsam is a form-fitting dress that was popularized in the 1920s. It features a high collar, a slit skirt, and intricate embroidery, all of which are elements of Hanfu fashion. The Cheongsam has become a symbol of Chinese culture and is worn on special occasions, such as weddings and festivals. 2. Hanfu fashion has also influenced fashion in other countries along the Silk Road. The Hanbok features a flowing skirt, a high waistline, and a jacket with wide sleeves, all of which are elements of Hanfu fashion. For example, in Korea, the traditional dress, Hanbok, has been influenced by Hanfu fashion. 3. The enduring legacy of Hanfu fashion is not just limited to traditional clothing. The Hanbok is still worn on special occasions, such as weddings and festivals. It has also influenced modern fashion. For example, the famous fashion designer, Guo Pei, has created dresses that are inspired by Hanfu fashion. Many contemporary designers have been inspired by Hanfu fashion and have incorporated elements of it into their designs. 4. Hanfu fashion has also influenced popular culture. Her designs feature intricate embroidery, flowing fabrics, and traditional Chinese motifs. For example, in the popular Chinese drama, “The Untamed,” many of the characters wear costumes that are inspired by Hanfu fashion. The show has become a cultural phenomenon, and its influence can be seen in the fashion of young people in China. The enduring legacy of Hanfu fashion on the Silk Road cannot be overstated. Its influence can still be seen in traditional clothing, modern fashion, and popular culture. Hanfu fashion has left an indelible mark on the Silk Road and will continue to inspire designers and fashion lovers alike.
Hanfu has influenced the traditional clothing of many neighbouring cultures, including the Korean hanbok, the Japanese kimono, the Okinawan ryusou, and the Vietnamese áo giao lĩnh. Silk robes that came from China around the 3rd century. What is a Chinese kimono? Japanese kimono (in other words, ”gofuku”) derived from the garments worn in China during the Wu dynasty. From 8th to 11th century, Japanese style of layering silk robes was established. Japanese Kimono or gofuku was derived from the garments worn in China during the Wu dynasty. Did the Chinese wear kimonos? The Han Chinese clothing or the silk robe greatly influenced the original Kimonos of Japan. A Qipao, sometimes referred to as a cheongsam or a “Mandarin gown,” is a classic garment traditionally made from embroidered silk, featuring a high collar and delicate cloth buttons on the front. What is a Chinese robe called? Whats the difference between kimono and hanfu? Is it OK to wear Hanfu? If so, then yes, that’s fine, as long as the rules of being respectful in your presentation and wearing of it are adhered to. If you’re in a school or a company and there are Chinese students or co-workers, then it depends highly on the general culture of the place. If so, do you have the host’s permission? As a T-shaped thing you wear, the yukata is a type of kimono. Are yukata and kimonos the same thing? Is Hanfu Chinese or Japanese? They are sometimes described as yukata kimono, a type of summer kimono, but are more often referred to as a separate category. Hanfu (simplified Chinese: 汉服; traditional Chinese: 漢服; pinyin: Hànfú) is the traditional styles of clothing worn by the Han Chinese. Is it disrespectful to wear a Haori? Some haori are meant to be worn casually while others are meant to be formal wear. But that doesn’t matter if you’re obviously wearing it as part of a modern casual outfit. “Haori” is a word representing the traditional Japanese jacket. What does a black kimono mean? What are female Chinese dresses called? Black colous symbolized the bride’s strong intention to “not be dyed by anyone else”, and it is a kimono that gives an image of “hard chastity” like Shiromuku. Cheongsam (Qipao, 旗袍) The cheongsam, or Qipao, is the classic dress for Chinese women, which combines the elaborate elegance of Chinese tradition with unique elements of style. What are those traditional Chinese dresses called? The high- necked, closed-collar cheongsam features a loose chest, asymmetrical fastening, fitted waist, and side slits. The Hanfu, Zhongshan suit (Mao suit), Tang suit, and cheongsam (qipao) are the four most distinctive types of traditional Chinese clothing. Do Chinese still wear hanfu? Haori and hakama are two parts of traditional fashion with a long history in Japan seen at festivals and ceremonies. Is hakama a kimono? Haori is a light coat worn over kimono, and hakama is a pant-like kimono. Diyi (翟衣) is the traditional Chinese attire worn by empresses and crown princesses (the wife of the crown prince) in the Ming Dynasty. It was a formal wear meant only for ceremonial purposes. What did the ancient Chinese wear? People in China generally wore tunics (like long t-shirts). Women wore long tunics down to the ground, with belts, and men wore shorter ones down to their knees. What did Chinese princesses wear? In the winter, when it was cold, people wore padded jackets over their tunics, and sometimes pants under them. Can foreigners wear qipao? In contrast to some cultural garments with deeper-level cultural and spiritual significance, like the Native American headdress, qipao is quite neutral in China nowadays as a retro fashion clothing choice, which anyone can wear anywhere, whereas Keziah’s critics ascribed it with untouchable reverence. Sometimes they wore jackets over their tunics. Hanfu, literally ‘Han clothes’, is one of the traditional types of Chinese clothing. Primary color clothing were only meant for upper garments and could NOT be used for skirts or inner garments. When did Hanfu stop being worn? With the exception that red and purple were reserved for royalty, people who could afford it wore a variety of color combinations. Is it OK for foreigners to wear yukata? However, by the warring states, standards had become relaxed. There’s nothing barring you from joining in and participating in the spirit of the event any more than there is stopping you from wearing a Yukata. Enjoy yourself, with others and have a pleasant time. Yes. Octoberfest, marathons, charity events etc- yes to all. What is the difference between a kimono and a haori? The main difference is that while the kimono is a floor-length robe, the haori is a jacket worn on top.
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Get your favourite Chinese Food delivered straight to your home or office. Forget coming home to an empty fridge. Come home to your favourite Chinese Food instead! Men’s Hanfu Trend. The male hanfu is undergoing a renaissance, it’s not a piece of clothing is in or out. Forhåndsvis websites direkte fra vores søgeside, mens du bevarer fuldstændig anonymitet. 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. Forhåndsvis websites direkte fra vores søgeside, mens du bevarer fuldstændig anonymitet. The male Hanfu, a traditional Chinese garment, is a living symbol of China’s rich cultural heritage. Today, there’s no shortage of modern men’s hanfu available in the market. Today, male Hanfu is experiencing a resurgence, blending tradition with modernity. Forhåndsvis websites direkte fra vores søgeside, mens du bevarer fuldstændig anonymitet. Hanfu had changed and evolved with the fashion of the days since its commonly assumed beginnings in the Shang dynasty. Its history spans thousands of years, evolving with each dynasty to reflect changes in society, politics, and aesthetics. Later garments incorporate multiple pieces with men commonly wearing pants and women commonly wearing skirts. Many of the earlier designs are more gender-neutral and simpler in cut than later examples. Forhåndsvis websites direkte fra vores søgeside, mens du bevarer fuldstændig anonymitet. This type of hanfu traverses several dynasties, from the Han dynasty to the Song dynasty and further. In the Ming dynasty, they were the most popular type of formal wear for both men and women. Forhåndsvis websites direkte fra vores søgeside, mens du bevarer fuldstændig anonymitet. Yuanlingpao is usually worn as a piece of outerwear, and different styles of hanfu like the zhiduo or zhishen can be worn underneath. Forhåndsvis websites direkte fra vores søgeside, mens du bevarer fuldstændig anonymitet. Chinese Male Traditional Hanfu Filter by. It is considered a symbol of authentic Chinese culture, reflecting Confucian scholars’ aspirations towards rituals, music, and moralistic ideals. Forhåndsvis websites direkte fra vores søgeside, mens du bevarer fuldstændig anonymitet. The belt sash was often decorated with jade. The traditional Chinese male clothing is called “Hanfu” (汉服) which literally means “clothing of the Han people” and refers to the traditional clothing worn by ethnic Han Chinese people in ancient times. What is the name of traditional Chinese male clothing? Hanfu (汉服, hàn fú), Chinese traditional costume, the full name of which is “traditional costume of Han nationality”. Forhåndsvis websites direkte fra vores søgeside, mens du bevarer fuldstændig anonymitet. Forhåndsvis websites direkte fra vores søgeside, mens du bevarer fuldstændig anonymitet. Discover our men’s and women’s Hanfu clothing collection, featuring Ancient Chinese styles from the Tang, Song, and Ming Dynasties. Modern Chinese clothing, statement robes, and coats for autumn and winter, your one-stop gender-free store for culturally rich and inclusive fashion. Forhåndsvis websites direkte fra vores søgeside, mens du bevarer fuldstændig anonymitet. Explore our round collar robes, tie li robes, and feiyufu. After Tang Dynasty, chinese traditional clothing hanfu Hanfu adapted some characteristics from the ethnic costumes. Men wore cross collar or round collar clothing and women wore front opening dresses. On military uniforms, buttons appeared later. During the Qing Dynasty (1644 – 1911), the Manchu regime banned Traditional Han Chinese Clothing.
While celebrating the festivities in China, one may notice that many – male and female, young and old – may be seen wearing elaborate headpieces and silky, flowing robes with billowing sleeves embroidered with lotus flowers and dragons. Upon seeing this attire worn during the celebrations, some people may become confused as they may be more familiar with the qipao, the other Chinese national dress. The grandeur of their attire imbues them with an almost divine presence reminiscent of mythical beings from an ancient era. Additionally, they may mistake the ornate robes for the Korean hanbok or the Japanese kimono. Although some elements may be similar, these garments are Hanfu. Wang Letian of Zhengzhou, China, is credited with the resurgence of Hanfu, as he played a significant role in repopularizing the style. In China, Hanfu is considered the authentic style of historical clothing from any era when the Han Chinese were in power. On November 2003, Letian made a public appearance wearing a handmade shenyi-style hanfu. After witnessing this event, Zhang Congxing, a Singaporean-Chinese writer, was inspired to write an article about him. The piece was later published in Singapore’s Lianhe Zaobao daily and helped ignite the Hanfu Movement, which aimed to rekindle interest in traditional Han Chinese clothing and culture. Moreover, social media platforms such as Bilibili and Douyin have contributed to the surge in interest in traditional clothing. Users can share photos and videos of themselves wearing Hanfu, which has helped to spread awareness and appreciation for the style among a wider audience. Various factors have contributed to the increased interest in Hanfu, including its portrayal in popular media, such as historical dramas and movies where actors are wearing Hanfu. Additionally, many users post travel-related vlogs with themes such as wearing Hanfu in other countries have also become popular. Thanks to media exposure, over twenty million people have purchased Hanfu on the e-commerce platforms such as Taobao. These platforms have facilitated the emergence of new Hanfu trends such as “daily Hanfu guidelines” and “genderless, streetwear Hanfu.” These trends have gained traction among young people who pair Hanfu items with popular Western fashion brands such as Balenciaga sneakers and Supreme sweatshirts. In July 2019, Alibaba, another e-commerce company, introduced the Gutao App, a social network dedicated to Hanfu shopping to cater to the rapidly growing consumer demand. Shisanyu, a direct-to-consumer brand founded in 2016, serves as a testament to the popularity of Hanfu. It has topped the site’s list as one of the ten best-selling brands in 2017 and is valued at 16 million dollars. This trend emerged towards the end of the 20th century, when the Chinese government opened the country to the outside world, leading to increased exposure to Western culture. Currently, mixing Hanfu with Western-style clothing has become a fashionable trend. As a result, Chinese society started to embrace Western customs and fashion, which, in turn, impacted their traditional attire. Modern enthusiasts have found a way to make it more convenient by mixing it with modern pieces. As a result, a new form of Hanfu, known as modern Hanfu or new Hanfu, has emerged, which combines traditional Chinese attire with westernized elements. This trend emerged because wearing traditional Hanfu can be quite cumbersome. New hanfu is classified into several varieties based on its characteristics, such as form, patterns, and aesthetics. The Hanfu has gone through several iterations throughout history, providing contemporary enthusiasts with more choices. Many modern fans prefer the Tang, Song, and Ming dynasties. Despite being inspired by Western fashion, modern hanfu has a unique design that distinguishes it from Western apparel. Many modern fans prefer the Tang, Song, and Ming dynasties. Throughout history, the Hanfu has gone through various iterations, offering contemporary enthusiasts more choices. The basic design was established during the Shang Dynasty (1600-1046 BC). Additionally, a knee-length bixi or apron was worn on the outside. The yi was a knee-length tunic with narrow cuffs, fastened with a sash, while the shang was a short skirt reaching the ankle. At that time, the Hanfu was predominantly green or red since it was believed that the dyeing techniques of the Shang Dynasty were not as advanced as the later dynasties. Due to this colors of the clothing were limited. Additionally, green and red are considered auspicious colors in Chinese culture and were commonly used in ceremonies and rituals. During the Western Zhou Dynasty (1045-771 BC), clothing was used as a status symbol to underline the considerable differences between the aristocrats and the peasants. The aristocracy wore elaborate and luxurious clothing made from silk. In contrast, peasants wore plain clothing made from hemp and cotton. During the Eastern Zhou Dynasty (770 – 221 BC), two styles were introduced: the Shenyi, a one-piece garment, and the Mianfu, a type of religious court clothing worn by ancient emperors and officials. Many people began to accessorize their Hanfu with belts and jade embellishments, and the sleeves widened to create a more elegant appearance. This significant difference in clothing between social classes highlighted the hierarchical structure of society, emphasizing the social and economic disparities. The Hanfu saw few changes during the Qin and Han periods, as the Han still preferred the Shenyi style. However, a new ceremonial clothing called the Pao, a linen robe, emerged during this time. “China’s golden period” occurred during the Sui and Tang dynasties, when Han culture expanded, and women enjoyed more freedom from the constraints of Confucian ethical rules. This led to the introduction of looser and more revealing clothing for women compared to previous periods. During the Qin Dynasty, wearing green silk Pao and Shenyi was mandatory for third-rank officials and higher, while the rest wore white linen Pao. Many modern enthusiasts preferred the clothing from these two eras. Others appreciated the greater freedom that women had during this period. ” Like Vienna, Lotus Guo ’23, the president of the CCC club, also prefers clothes from the Sui Dynasty. According to Nina Xie ’23, “The Hanfu in the Tang Dynasty also reflects the influence of the open and kind atmosphere of that time. Song Dynasty attire primarily inherited the fashion of the Tang Dynasty, with more emphasis on embellishments and needlework. If you look at some paintings of clothing designed during the Tang Dynasty, you will notice that women were not as conservative as they were in other dynasties, which indicates that they had more freedom. Women wore Beizi, which were similar to capes, during this period. The Yuan Dynasty, which marked the beginning of foreign dominance over China, saw the Hanfu incorporating elements from the national clothing of Mongolian emperors. In addition to the usual round-collar pao in Han culture, men wore the Mongolian zhi fu or jism, which consisted of a short shang and a knee-length yi (upper garment) with thin sleeves (lower garment). However, some outfits and headgear with Mongolian influences and modifications to clothing from the Song era remained popular. The Ming Dynasty was the last dynasty ruled by the Han, and during this time, the emperor aimed to restore Han culture and tradition, which included adopting the Tang Dynasty’s wardrobe. With the return and widespread acceptance of Confucian values, women’s clothing became more traditional once again. The outer coat was lengthened to shorten the length of the exposed skirt, while the upper outer garment was made shorter and the lower outer garment was made longer. Following the Ming Dynasty, the hanfu was gradually replaced by Manchu clothing, which includes the qipao, cheongsam, and changsam. With the overthrow of feudalism in 1911, the popularity of traditional Chinese clothing waned, and Western fashion began to take hold in China. By wearing Hanfu, people can express their cultural identity which was previously suppressed during the Cultural Revolution, modern qipao where personal expression was limited. Today, people have the freedom to choose how they dress and express themselves, and the Hanfu Movement has become a way for many to reconnect with their cultural roots. The Hanfu Movement has provided a platform for younger generations to connect with and embrace Chinese culture. During the Spring Festival, Lantern Festival and many others, many have the choice to dress in the Tang Suit, Qipao, Cheongsam or the Hanfu.
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The Qing official headwear or Qingdai guanmao (Chinese: 清代官帽; pinyin: qīngdài guānmào; lit. Chinese: 官帽; pinyin: guānmào; lit. Qing dynasty in China. Emperor to his officials who had accomplished meritorious services and the greatest number of peacock eyes represents the highest honour bestowed. Xiaomao (Chinese: 小帽, “little cap”) was a type of daily hat worn by the officials of the Qing dynasty; however, it actually dated from the late Ming dynasty and was popular from the late Ming to the end of the Republic of China period. The Qing official headwear typically forms of part of the qizhuang system as opposed to the hanfu system and were completely different from the types of guanmao used in the previous dynasties. 13 The inside of the hat however was red in colour; there was a knot on the top of the hat which was typically made of red threads. The knot was black except when there was a funeral, in which case the knot was white. Nuanmao (Chinese: 暖帽; lit. Qing dynasty during the winter seasons. Liangmao (Chinese: 涼帽; lit. 13 When worn by common people, it was known as the guapimao or melon rind cap. Qing dynasty during the summer seasons; it was a typical form of Manchu headwear items in qizhuang. Please help improve this section by adding citations to reliable sources. This section does not cite any sources. It consisted of a black velvet cap in winter, or a hat woven in rattan or similar materials in summer, both with a button on the top. Unsourced material may be challenged and removed. The button or knob would become a finial during formal court ceremonies held by the Emperor. Officials would have to change their tops on the hat, for non-formal ceremonies or daily businesses. The royalty and nobility used various numbers of pearls. Red silk tassels extended down from the finial to cover the hat, and a large peacock feather (with one to three “eyes”) could be attached to the back of the hat, should the merit of wearing it have been granted by the emperor. An officer of the first grade wore a translucent red ball (originally ruby); second grade, solid red ball (originally coral); third grade, translucent blue ball (originally sapphire); fourth grade, solid blue ball; fifth grade, translucent white ball (originally crystal); sixth grade, solid white ball (originally mother of pearl). Officers of the seventh to ninth grade wore gold or clear amber balls of varied designs. Yang, Shaorong (2004). Traditional Chinese Clothing Costumes, Adornments & Culture. San Francisco: Long River Press. Welt museum Wien (2017-10-30). “Weltmuseum Wien: Winter hat for a civil servant”. Wang, Guojun (2020). Staging Personhood : Costuming in Early Qing Drama. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. This page was last edited on 17 September 2024, at 03:03 (UTC). 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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