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.
If you enjoyed this post and you would such as to receive even more info relating to tang dynasty hanfu male kindly go to our own web site.
