Ancient Hanfu

ANCIENT

HANFU

古代漢服 ANCIENT HANFU

All rights reserved.

Elaine Wu. Hanfu From Ancient / Elaine Wu. - 1st ed. p. cm.

Includes bibliographical references.

ISBN 971-1-71017-110-7 NC999.6.C2B36 2014 700.92-dc22 2014040710

Printed in United States First American Edition

chapter

1

chapter

商周 introduction

2

shang

2

chapter

春秋戰國

& zhou

3

3

秦漢

spring autumn and warring states

11

qin

& han

19

770-221 bce

1046-256 bce 221 bce-220 ce

CONTENTS

chapter

4

chapter

魏晉南北朝 five dynasty period

5

chapter

sui

& tang

chapter

明清

隋唐 31

6

41

ming

& qing

7

中華民國 53

republic era

69

1368-1912 ce

220-589 ce

1912-1949 ce

581-906 ce

introduction Traditional Chinese clothing is broadly referred to as hanfu with many variations such as traditional Chinese academic dress. Depending on one’s status in society, each social class had a different sense of fashion. Each dynasty in China had its own memorable culture. The many facets of colour and design that emerged during a dynasty’s reign were marvellous and made every aspect of Chinese culture, including their wearing apparel, highly acclaimed works of art.

Costume maintained an important place in Chinese culture for more than five thousand years. The culture of China is ancient and well established, brilliant and resplendent. The costumes are likewise magnificent and colourful. There were many dynasties throughout China’s history, each having its own unique style of dress.

And each style would change or disappear as its dynasty changed, declined, or was replaced. With the advent of each new dynasty and the progression of time, costumes were revolutionised.

During the Ying Shang period, the etiquette, music, rituals, and clothing showed no evidence of any distinction among different social classes. Starting in the Western Zhou dynasty, however, class distinction became

apparent, as evident in the differences in clothing and personal adornment. More and more variety in clothing also appeared, depending on the occasion. or example, paying respects to the gods and making obeisance to heaven and earth at the palace temples required special clothing. Special clothes were worn for grand ceremonies.

There were army uniforms, wedding ceremony outfits, bereavement clothes, and so on.

Looking at the patterns and styles of clothes in history books such as The Rites of the Zhou, Book of Rites and Rites, you can see that Chinese clothing evolved from nothing to very simple and functional styles, and then to styles that were quite complex.

In addition to the basic features and patterns, traditional Chinese attires have many other features like appearance, cutting, decoration, color and design, etc, all of which changed over the various dynasties. Each dynasty in China had its own memorable culture. The many facets of colour and design that emerged during a dynasty’s reign were marvellous and made every aspect of Chinese culture, including their wearing apparel, highly acclaimed works of art.

INTRODUC TION

2

chapter 1

商周 SHANG & ZHOU ca.1046-256 bce

The Shang Dynasty clothing regardless of men and men and women are the upper and lower two shapes, on clothing, wear clothes, later said the clothing for the “clothes,” is derived from the. Ancient Huaxia T-shirt xiachang, costume features hairdo Youren, is formed in the Shang dynasty.

The dress waist and sleeves basically designed for tight style, facilitate activities.

The Zhou Dynasty costumes broadly followed the Shang Dynasty service system and a slight change. Shirt lower, slightly relaxed style than the Shang Dynasty. The size of the two styles sleeves, collar universal cross collar right of junction. Do not use buttons, generally tied around his waist belt. Stern, clothing, skirts with a secondary color. White Zhou Dynasty court dress emperor, princes on Xuanyi, doctors and judges with the princes. Kings, princes Zhu Sang, the doctor Suchang, Sergeant Hyun Sang, sergeant Huangshang, Corporal miscellaneous Sang.

Figure 1.1 Clothes of Shang Dynasty The dress has a strict hierarchy, the more advanced fabric, embroidery and decorations are enjoyed by the slave class, knitting fabric and the bottom of people can only wear linen and linen cambric made of the same.

shang According to the study, the senior dignitaries clothing is usually dressed in shorts, Jiaoling Youren, length and hip and wrist cuffs, sleeve, narrow, wearing a pleated skirt, the waist beam have broadband, legging; foot wear cusp shoe alice. Noble women wearing the maxi coat, make collar, long sleeves, waist beam broadband and cover the knee, knee cap is on the narrow width, foot wear shoes, wearing a circular hoop crown roll. But the level of social productive forces of the Shang Dynasty is relatively low, the simple folk customs, in general, the Shang Dynasty costumes or simple. Even the noble men and women, dressed in the is also more frugal.

The dress color difference is extremely obvious, this is due to political and social status of different. Noble dress, coat with blue, red, yellow, pure color, bottom with color, such as black, brown, green, after several disseminated color, and the collar, sleeves and edge,

daily home furnishing wore green stripe vest, and over.

Civilian clothes is not so rich and colorful.

This time man braids more style: total top, into a braid, then down to her; a left and a right side comb plait, the end curl, droop to the shoulder; there will be hair in braids, comb on the top of the disc. In addition to hair, the man had to crown, towel is popular at the time, wear a hair style is a volume growth of around a week, amount, and beam in the head, like a head hoop, in winter to cold or wear thick leather hat.

Men and women of the Shang Dynasty hairstyle similar, the hair style, mostly crimp shoulder. The head is a crown towel cap hoop type. Some women comb the top bun, it traverses a bone hairpin, and others at the top of the head on both sides of the inclined inserted two branches bird shaped hosta. The big girl in pigtails, children comb two small yajiao.

SHANG & ZHOU

6

zhou Textile printing and dyeing industry has been greatly developed in the Zhou Dynasty, the Western Zhou Dynasty Textile is the main form of social production. To the Eastern Zhou Dynasty, the vassal state is to encourage the development of sericulture and silk production, plus promote the use of the iron to promote the handicraft equipment innovation, more diverse varieties of silk, an important period of development of the history of Chinese silk. The textile quality improvement and the increase in the variety of material foundation for the formation of the Zhou Dynasty Costume System.

Zhou Dynasty to the founding of the feudal system, strict class system to consolidate the Empire, developed a set of very detailed and thorough social etiquette and stability of the world. Clothing as a sign of everyone class to become one of the foundations of the Policy and regulations are very strict. Clothing vestments, court dress, hunting clothing, fierce clothing, soldiers clothing and uniforms.

The Zhou Dynasty costumes broadly followed the Shang Dynasty service system and a slight change. Shirt lower, slightly relaxed style than the Shang Dynasty.

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5 0 0 0 Y EA RS OF CH IN ESE C OSTUME

The size of the two styles sleeves, collar universal cross collar right of junction. Do not use buttons, generally tied around his waist belt. Stern, clothing, skirts with a secondary color. White Zhou Dynasty court dress emperor, princes on Xuanyi, doctors and judges with the princes. Kings, princes Zhu Sang, the doctor Suchang, Sergeant Hyun Sang, sergeant Huangshang, Corporal miscellaneous Sang.

The Zhou dynasty towel in the form of the cap than the Shang Dynasty, headband, square-shaped, pointed, crescent-shaped towel cap shape. The low-lying towel cap ordinary people; the high tip aristocracy.

Zhou Dynasty women’s clothing due to the different strata vary. Empress six: groceries, clothing, draw out Di, Di Que, Ju clothing, show clothing, edge clothing. Their materials and the style is very different, but the colors and patterns of the same. The Zhou Dynasty women’s clothing for the T-shirt irregular cloud munsu, side to deepen the color wide-flange around his waist, fabric belt, hair backward tilt. The small girl comb double braid, Length knee, belt-line hybrid Pei.

Figure 1.2 Left Clothes of Zhou Dynasty Figure 1.3 Middle Clothes of Zhou Dynasty Figure 1.4 Clothes of Zhou Dynasty-In Ancient Zhou, the color yellow was only worn by the emperor, and green, red, white and black represented north south east and west.

Figure 1.5 Clothes of Shang Dynasty The dress has a strict hierarchy, the more advanced fabric, embroidery and decorations are enjoyed by the slave class, knitting fabric and the bottom of people can only wear linen.

characteristic The Shang Dynasty (1600 BCE-1046 BCE), developed the rudiments of Han Fu. It consisted of a narrowcuffed, knee-length tunic tied with a sash, and a narrow, ankle-length skirt worn with a length of fabric that reached the knees.

The dynasty to follow the Shang, the Western Zhou Dynasty (1046-771 BCE), established a strict hierarchical society that used clothing as a status meridian, and inevitably, the height of one’s rank influenced the ornateness of a costume. Such markers included the length of a skirt, the wideness of a sleeve and the degree of ornamentation. In addition to these class-oriented developments, the Han Fu became looser, with the

introduction of wide sleeves and jade decorations hung from the sash.

In the Eastern Zhou Dynasty (770BCE-221BCE), the “deep robe” appeared a combination of tunic and skirt. The upper and lower halves were cut separately but sewn as a single unit. An additional change was the shaping of the left side of the costume into a corner, fastened on the chest. Perhaps because of Confucian influence, disapproving of a hierarchical society in favour of social mobility based on personal merit, the shenyi was swiftly adopted. There still existed an elite however, and they monopolised the more ornate fabrics and grandiose details.

SHANG & ZHOU

10

chapter 2

春秋戰國 SPRING AUTUMN & WARRING STATES ca.770-221 bce

Great changes took place in clothes during the Spring and Autumn Period (770 BC-476 BC) and the Warring States Period (475 BC-221 BC), highlighted by the wide prevalence of the Shenyi and the emergence of Hufu (clothes of northern ethnic groups such as the Huns in ancient China); the long loose garment with a large girdle couldn’t keep abreast of the times owing to its inconvenience in wars, leading to a great reform in clothes.

Figure 2.1 Spring and Autumn Period Dress. Sketch from the relic found in tomb.

Figure 2.2 Left Clothes of Spring and Autmn Period.

Figure 2.3 Right Unearthed cultural relics from Hubei Jiangling Chu Tomb. Warring States Period Chu Noble women dress “Zhiju”.

spring autumn and warring states period Various etiquettes were gradually revoked during the Warring States Period (475-221BC) because of frequent wars. Garments changed accordingly in the seven great states in that period due to different natural conditions and social customs.

We can see the representative characteristics of garments in the period from colored wooden figures excavated from tombs of the Chu State of the Warring States Period at Changsha City of Hunan Province. At that time, garments were usually loose with the back part wrapping the forepart.

The dimensional complementation was realized with transversal lines and oblique lines to get decorative effect.

Since the materials were light and thin, people used even

and stiff brocade to make selvedge, and decorated the selvedge with cloud patterns so as to prevent the clothes from sticking to the body. In this way, the clothing design was both practical and beautiful. All these concepts and tailoring methods fully embody ingenuity of ancient Chinese.

Men’s clothes in the Warring States Period did not reach the knees and were decorated with continuous rectangular lines and stripes. Men’s clothing basically featured cross collars, narrow sleeves and loincloth.

Loincloth hooks were usually made of gold, silver, copper, iron or jade and were carved with patterns and sometimes studded with turquoises to show wealth.

SPR ING AUTUMN AND WAR R ING STATES PER IOD

14

Figure 2.4 The Warring States Period Clothes for Refined Ladies. Color-painted figures of refined ladies of the Warring States Period were excavated from a tomb of the Chu State in Yangtian Lake, Changsha, Hunan Province. The body was first carved out of wood before colors were applied and facial features and clothes were painted.

The exquisite clothes give us a sense of what the clothes worn by ladies of the Chu State looked like. This straight-lapelled cotton jacket with a “y�-shaped cross collar was mainly worn by noble ladies.

In addition, a manual inlay technique was employed to process metals and stones, and hooks made in this way appeared more exquisite. With relatively advanced iron smelting industry, people in the Warring States Period were able to make small copper tulwars for men to hang on their clothes.

In order to improve the combat effectiveness of troops, King Wuling (340 BC-295 BC) of the Zhao State advocated dressing in Hufu, and taught people to ride

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horses and shoot arrows in the Warring States Period (475 BC-221 BC), thus training a powerful cavalry troop and reinforcing the Zhao State. A complete Hufu is assembled from several pieces of clothing into one outfit, including a pointed cap, a tunic, trousers and leggings that are usually made from linen or goat skin. As the first reform in clothes ever recorded in Chinese history, Hufu caught on quickly owing to its practical conveniences.

hufu HuFu mainly refers to underwear-style clothing, especially the trousers for the characteristics of China’s northern grasslands national costume. For the riding of convenience, they wear more narrow jacket, trousers and boots. This dress made according to “Shi Ji Zhao family,” said that King Wuling of Zhao first to equip the army.

Shanxi Changzhi watershed as a warrior like copper, wearing a moment straight lapel collar coat, dressed in trousers, tied at the waist with a sash, sword, it uses the Zhao Hu Fu warrior image.

Hu Fu of the system, crown, Wai Man with the shell belt, shoe then boots, then the pleated trousers and pants from the Warring States ZhaoWuLingWang, Hu Fu riding and shooting, pleated pants descendant China, both ancient thought Rong clothing, or use it to the crown, or their shoes, or their clothes and belts, or all three and use, Jin folk, even with the beginning of the Southern and Northern Dynasties of the world, Hu Fu as uniforms in the Northern, Southern Han Chinese, still Rong Fu, ratio and the Sui emperor’s clothes as hunting,

or up and down the public service, civil service when compared to the wind flow height. Traces its successor as well as the prosperity of the people by the military as well as clothing, long history, complex changes, Wang”s “Hu Fu test” words most detailed, not superfluous.

The application of various motifs on the forehead was popular as a result of foreign influence. Often, a flower-patterned ornament was stuck between the two eyebrows. It was made of oil-tea camellia seeds or gold foil and many other materials. Alternatively, women could also cut out paper stencils for more complex shapes, and powder the stencils with rouge or other coloured powders to create their motifs.

Hufu became less popular towards the latter half of the dynasty as previously mentioned, when the bigsleeved style became the new favourite garment of the ruling class. The distinction in dress between upper and lower classes widened as a result, since the commoners could not afford to buy as much cloth to make garments with very big sleeves.

SPR ING AUTUMN AND WAR R ING STATES PER IOD

16

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Figure 2.5 Right Page-top left. a warring states period drawing showing the costume style.

Figure 2.6 Right Page-bottom left. clothing pattern of warring states period.

Figure 2.7 Right Page-right. clothing pattern of warring states period.

Figure 2.8 Left Page-right. The Warring States Period Clothes for Refined Ladies. Color-painted figures of refined ladies of the Warring States Period were excavated from a tomb of the Chu State in Yangtian Lake, Changsha, Hunan Province. This straight-lapelled cotton jacket with a “y�shaped cross collar was mainly worn by noble ladies.

Figure 2.9 Left Page-left. schematic dress of warring states period for men.

SPR ING AUTUMN AND WAR R ING STATES PER IOD

18

chapter 3

秦漢 QIN & HAN ca.221 bce-220 ce

During the Qin and Han dynasties, changes in the style of dress were dramatic. The Qin Dynasty (221 BC – 206 BC) was the first imperial dynasty of China. With the establishment of extremely strict hierarchy among the society of the time, clothing style experienced a prominent changing from the Warring state Period (475 BC – 221 BC) which consisted of several independent states. In the Qin Dynasty black was used as a superior color to symbolize the power of water, thus clothing and adornments of noble people were all of dark color or simply black while common people could only wear cloth made of linen, colored with white, buff or pale yellow.

Qin Dynasty had a short history of only 15 years. The next dynasty called Han Dynasty extended and further developed Qin Dynasty’s clothing.

Figure 3.1 Religious court dress of Emperor Qin. Main color is black and red which is the most powerful color in Qin dynasty.

qin Qin Dynasty clothing still clinging to the habit of the Warring States Period, style of clothing is relatively simple. The Emperor Qin, who was influenced by the concept of Yin and Yang as well as the theory of the Five Elements, believed that the Qin dynasty would subdue the Zhou dynasty like water extinguishes fire.

Therefore, because the Zhou dynasty was “fire superior to gold, its colour being red,� the favourite colour of the Qin dynasty was black, since the colour black was

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associated with water. Thus, in the Qin dynasty, black was the superior colour to symbolise the power of water, so clothing and adornments were all of the colour black.

Traditional daily costume of people in Qin Dynasty was robe, people from different social status wear accessories made of different materials. For example the emperor wear a hat decorated with jade while minister could only use bronze.

Figure 3.2 Top Qin armor worn by lower class warrior.

Figure 3.3 Bottom Qin armor worn by commanding generals. Chest, back unconjugated armor pieces are painted geometric color pattern, it seems to be made of a hard texture of the tapestry, it is possible to use a pattern painted on the leather made​​. The shape of a garment, the hem was cusp-shaped chest, back and hem was straight shape, leaving around broadside, also used brocade or leather, there are geometric patterns.

Figure 3.4 Qin warrior armor.

qin terracotta warriors and horses Qin Terracotta Warriors and Horses is the eighth wonder of the world, the Qin army clothing must mention. In the military, Qin follow the example of King Wuling of Zhao Hu Fu instead on the jacket and pants in the form of easy riding and shooting. High-ranking officers in the Qin army, wearing a double-length jacket, trousers, Waipi color armor; There are two middle-ranking officers of clothing, a long jacket, the other is high collar pleated suit. The soldier’s clothing under the branches of the military are not the same and different: ordinary warriors dressed in armor, in order to facilitate the free activities of the soldiers, armor chest poorly reduction piece Nail, nail the abdomen and chest armor slices arranged

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opposite, that is in the form of the showings pressure poorly, from the midline of the middle of the chest and abdomen, all nail by the intermediate layers, to both sides of the same nail combination with abdominal shoulder.

Around the nail in the shoulder, abdomen and neck are connected with a connection, all nail on a nail, or two or three or four, up to no more than six. A length of the clothing, the same before and after the hem round.

Lightly armed soldiers wearing a long jacket, and gird leather belt, shorts, legging bar; war drivers and some wear long undergarment, Waipi shoulders arm armor armor, and some also wear special armor clothing, A coat color is extremely rich in the Qin Dynasty red, rosy red, pink, malachite green, sapphire blue, not black only.

Figure 3.5 These 3 images show Terracotta Warriors and Horses, which is a collection of terracotta sculptures depicting the armies of Qin Shi Huang, the first Emperor of China. In the Qin Dynasty, the ranks of officers can be recognized by their dressings. The terracotta general wears a dual long jacket, a dark purple crest hat, a long pant, a thigh protector, a pair of boots with square opening tipping and uniform head, and covered with a colorful armor, looking grand and awe-inspiring.

QIN & HAN

24

han During the Western Han dynasty, the “dark style” has been carried from the Qin Dynasty, where black is the preferred color. Court dress in this period was black and when performing sacrificial ceremonies, the formal dress was edged with red. Characteristics of clothing in this time are square sleeves, sloping necklines, red clothes, red shoes and cicada-like hat. Clothes worn by high ranking officials and ordinary people basically have the same style. The only way to identify the position or rank of a person in the society is by the color and the quality of the materials used in his clothing.

At the time of the Eastern Han dynasty, red became the color that is most respectful because it symbolizes the “fire virtue” of the Han Dynasty. The government officials of this period wore clothes with colors that conform to the season, according to the Five Elements

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theory. When spring begins a ceremony is held at the eastern suburbs and clothes as well as carriages were gray-green in color. When summer begins, a ceremony is held at the southern suburbs and the preferred color was red. When autumn begins, the preferred color was yellow and when winter begins, the preferred color was black.

There were two categories for clothing in the Han Dynasty. They were either the Shenyi (or long coat developed in the Western Han Dynasty) or the Yijin (which makes up the front of the jacket/gown and can be made up of one or two pieces). It’s been said though that a few people wore the Shenyi during the Eastern Han Dynasty. Women in this period wore long pants and long jackets. They also wear a long intricate belt. Their accessories are quite delicate and very expensive and they show the class a woman belongs to in the society.

Figure 3.6 Right, Han Yarn Zen clothing. Changsha Mawangdui Han Tomb Unearthed Relic.

Clothing style is typical of the Western peoples styles, materials and patterns but there are Han Chinese characteristics, but also weave a rich auspicious Chinese characters, is the Eastern Han Dynasty mingled with the people of all ethnic products.

Figure 3.7 Left, Han Dynasty women’s clothing relic

QIN & HAN

26

Figure 3.8 Ru Qun of Han Dynasty for women.

ru qun Ru Qun have emerged as early as the Warring States era .

To the Han Dynasty , due to the prevalent dark clothing that women wear this type of clothing is gradually reduced. Accordingly , some people think that this does not exist Han Dynasty costumes , only to rise again when the Northern and Southern Dynasties . In fact , the Han women did not abandon this dress , there are many in the Han Dynasty poem describing . Ru Qun of this period, the jacket is generally very short , only up to his waist, while the skirt is long, drooping to the ground.

Chinese Ru Qun is one of the most important forms of clothing . Since the Warring States until the

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Qing Dynasty , after two thousand years, although the length width changes , but the basic shape has always maintained the original style.

Vienna has cotton skirt , with yellow silk material .

Unfortunately, because of the age , this dress has been unearthed in the powder . Figure 3-9 shows the jacket skirt style that draws from the recovery record based on the image of the tomb excavations . The use of patterns, mainly based in Xinjiang Freeman unearthed “ Changle Meiko brocade” and Changsha Mawangdui unearthed “ Panthers head brocade and so on.

Figure 3.9 Curve Hem of Han. Men’s clothing style of the Han Dynasty, roughly divided into Curve Hem and Straight Hem. Figure 3.10 Curve Hem of Han for women. In Han Dynasty, not only men wear Curve Hem, but also women.

QIN & HAN

28

Figure 3.11 Silk garmets during the Han Dynasty for Imperial Concubines (206 B.C.-220 A.D.)

Figure 3.12 Top, Women Robes wear Straight Hem (Han Dynasty Painted pottery) and Straight Hem of women wear in Han Dynasty show in Fig. Straight Hem can be dressed men and women of the Han Dynasty. This dress had already appeared in the early Western Han Dynasty, but not as a formal dress. The ancient costume are no crotch pants. This non-crotch pants worn on the inside, if you do not cover your coat, pants will be exposed, which is considered at the time was contemptuous disrespect thing. Later, with the increasing complete costumes, in the form of pants has also been improved, there has crotch pants. So to the Eastern Han Dynasty, the increasing popularity of Straight Hem and replaced Shen Yi. Figure 3.13 Bottom, Another Curve Hem in Han.

QIN & HAN

30

chapter 4

魏晉南北朝 SIX DYNASTYIES PERIOD 220-589 ce The second great change in ancient Chinese clothes occurred during the Wei (220-265), Jin (265-420), Southern and Northern Dynasties (420-589) owing to the northern ethnic groups’ invasion into the Central Plain Area (the middle and lower reaches of the Yellow River), when Hufu became the most commonly seen clothes with a slight change in style, featuring narrow sleeves, a close-fitting yi and a slit shang.

The Wei, Jin, Northern and Southern Dynasties were not stable. In fact, the society was in great turmoil. Therefore, the intellectuals avoided politics but resorted to the philosophies of Taoism and Buddhism, which affected their clothing. They preferred to wear loose clothes, mainly in white.

wei jin The Wei, Jin and Northern and Southern Dynasties (220589) represented a period of ideological diversity, cultural prosperity and significant scientific development, despite frequent wars and changes in power. During this period, the Wei and Jin developed a distinctive aristocratic style.

The tradiontional Han culture was transformed by northern nomadictribes when they migrated into central China and settled down with the Han people, influencing and being influenced by, the Han style of dress.

During this period, men liked to wear head decorations in light color. As for the intellectuals, they would use square-shaped cloth to fix and cover their hairstyle at the same time.

Women’s clothing followed a similar trend. They especially liked to wear dresses with loose belts around the waist and pieces of triangle-shaped cloth on the back of the skirt. They wanted to create the image of a bird flying when they walked. From the costumes worn by the benefactors in the Dunhuang murals and the costumes

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of the pottery figurines unearthed in Louyang, it can be seen that women’s costumes in the period of Wei and Jin were generally large and loose.

The upper garment opened at the front and was tied at the waist. The sleeves were broad and fringed at the cuffs with decorative borders of a different colour. The skirt had spaced coloured stripes and was tied with a white silk band at the waist. There was also an apron between the upper garment and skirt for the purpose of fastening the waist.

Apart from wearing a multi-coloured skirt, women also wore other kinds such as the crimson gauze-covered skirt, the red-blue striped gauze double skirt, and the barrel-shaped red gauze skirt. Many of these styles are mentioned in historical records.

Figure 4.1 Men Clothing of Wei Jin. Men generally wear big sleeves elegant tunic in Wei and Jin Dynasties. Cage crown image and Northern tombs unearthed images come first, but the time is earlier than other information, is not visible from the cage crown Hu vulgar, but the first in the Central Plains region after popular gradually spread to the north, became Northern Dynasties one of the major crowns.

Figure 4.2 Men Clothing of Wei Jin. Men generally wear big sleeves elegant tunic in Wei and Jin Dynasties. Cage crown image and Northern tombs unearthed images come first, but the time is earlier than other information, is not visible from the cage crown Hu vulgar, but the first in the Central Plains region after popular gradually spread to the north, became Northern Dynasties one of the major crowns.

za ju The traditional dark clothing system Shen Yi has not been adopted to men, but there are still some women wearing. Za Ju, this clothing style compared with the Han Dynasty, there are large differences. During the Wei, Jin and the Southern and Northern Dynasties, though men no longer wore the traditional one-piece garment, some women continued to do so. However, the style was quite different from that seen in the Han Dynasty. Typically the women’s dress was decorated with xian and shao. The latter refers to pieces of silk cloth sewn onto the lower hem of the dress, which were wide at the top and narrow

at the bottom, so that triangles were formed overlapping each other. Xian refers to some relatively long ribbons which extended from the short-cut skirt. While the wearer was walking, these lengthy ribbons made the sharp corners and the lower hem wave like a flying swallow, hence the Chinese phrase ‘beautiful ribbons and flying swallowtail’. During the Southern and Northern Dynasties, costumes underwent further changes in style.

The long flying ribbons were no longer seen and the swallowtailed corners became enlarged. As a result the flying ribbons and swallowtailed corners were combined into one.

Figure 4.3 Za Ju with “Shao” in Wei Jin Dynasty.

WEI & JIN

36

Figure 4.4 Wei Jin Women Shan Dress. mainly characterized as: breasted, waist, wide sleeves and cuffs, skirts, decorated with different colored hem trimmings, under the Inter-colored striped skirt, waist tie with a silk belt system. At that time, lower part of women’s clothing, in addition to inter-colored dress, there are other skirt.

southern and northern During the Southern and Northern Dynasties, the garments style was not only inherited from the previous Han Dynasty but also emerged with the northern tribe’s style. These ethnic minority people settled down with the Han people. As a result, the way they dressed influenced the Han style, while at the same time it was influenced by the Han style.

It was until the Northern and Southern dynasties that women’s clothes, which were influenced by the Northern Chinese, became more light and convenient than the clothing of Han dynasty.

Costume in the Southern Dynasty (386-589) were mainly short jackets and skirts. Ladies in skirts were especially regarded as orthodox, and those in trousers were regarded as impolite. Women wore white scarves decorated with blue silk ribbons at the time. Their long and narrow sleeves were decorated with gold-wrapped patterns.

Dancers wore long gowns and very long ribbons.

Costume in the Southern Dynasty also included robes and sleeveless jackets. Fur coats, especially marten

coats, were very rare at that time. Trousers were favored by the youth.

By and large, the dressing style of the Southern Dynasty inherited that of the Wei and Jin periods.

Because of chaos caused by war and frequent changes of emperors, the dressing style changed accordingly. The clothing in the south of the Yangtze River was smaller and shorter than that in the north, but the dressing style of a small hat and an overcoat was popular.

The court dress of the Southern Dynasty was still Xuanyi (black garment), whose materials were specified as follows: officials below the third rank were not allowed to wear costume made of motley silk material, those below the sixth rank could only wear costume made of seven-color silk materials, not made of damasks.

As to the dressing style of the Northern Dynasty, eunuchs wore red unlined garments at formal situations.

Informal dresses and military uniforms mainly included trousers. Ordinary women always wore short jackets and coats. Woolen carpets, gunny clothes and silk clothes were popular products during the Northern and Southern Dynasties.

WEI & JIN

38

pleated pants Pleated pants are the traditional costume of northern nomads, the basic style of wearing a large knee sleeve clothing, wearing fat pants. The clothing fabric, commonly used to produce coarse thick felt. On wearing pants and short jacket, collectively known as jacket pants, but the feudal aristocracy must be applied in a jacket to wear gowns skirts pants, only horse who servant Christians and other people engaged in labor in order to facilitate action, only exposed directly to the pants. Feudal aristocracy was not wear a jacket and pants to go out. To the Jin Dynasty have changed this habit. Northern pants have a big mouth and small mouth pants pants, pants with a big mouth is fashionable to wear big mouth pants mobility, so pants tied with Weigela will have, also known as tie pants.

Figure 4.5 Pleated Pants with “Shao� in Wei Jin Dynasty.

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Figure 4.6 Wei Jin Women Shan Dress. mainly characterized as: breasted.

Figure 4.7 Wei Jin Women Shan Dress.

chapter 5

隋唐 SUI & TANG 581-906 CE In Sui and Tang Dynasty, women’s clothes had the trend to be more open.

Small-sleeves coats usually made of yarn, still long skirts, wide and long scarves were what they often wore. They could bare the part of body above their chests. This sort of cloth could show the beauty of women better. Another kind of clothes popular that time was something with big sleeves, short breasted shirts and long light skirts. They were used when women were walking in the garden, picking flowers, playing with their pets etc. The Tang dynasty was the most thriving, prosperous, splendid, and glorious period of ancient Chinese culture and art.

sui During the period of the Sui and early Tang, a short jacket with tight sleeves was worn in conjunction with a tight long skirt whose waist was fastened almost to the armpits with a silk ribbon. In the ensuing century, the style of this costume remained basically the same, except for some minor changes such as letting out the jacket and/or its sleeves.

With the unification of the country , the Sui and Tang are referring to the former imperial old system, the reform of Yufu system whereby the emperor , taking the official colors to distinguish levels, with a pattern represents different level of officers. Sui Dynasty court dress is still red, yellow Shang Rong Fu , uniforms variegated .

Figure 5.1 Sui Dynasty lady dress, short jackets with short sleeves and long skirts.

Figure 5.2 & 5.3 The Sui Dynasty lady dress, mostly were short jackets with short sleeves and long skirts.

tang The unified and prosperous China was established in the Tang Dynasty (618-907). In China’s history, the Tang Dynasty was a period when the polity and economy were highly developed and the culture and art were thriving. Changan (now Xian, Shananxi Province), the capital, was the political, economic and cultural centre of the nation. Residents in Changan included people of such nationalities as Huihe (Uygur,) Tubo (Tibetan), and Nanzhao (Yi), and even Japanese, Xinluo (Korean), Persian and Arabian. Meanwhile, people frequently travelled to and fro between countries like Vietnam, India and the East Roman Empire and Changan, thus spreading Chinese culture to other parts of the world.

All the national minorities and foreign envoys who thronged the streets of Changan also contributed something of their own culture to the Tang. Consequently, paintings, carvings, music and dances of the Tang absorbed

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something of foreign skills and styles. The Tang government adopted the policy of taking in every exotic form whether or hats or clothing, so that Tang costumes became increasingly picturesque and beautiful.

Besides, women of the Tang Dynasty paid particular attention to facial appearance, and the application of powder or even rouge was common practice. Some women’s foreheads were painted dark yellow and the dai (a kind of dark blue pigment) was used to paint their eyebrows into different shapes that were called dai mei (painted eyebrows) in general.

In the years of Tianbao during Emperor Xuanzong’s reign, women used to wear men’s costumes. This was not only a fashion among commoners, but also for a time it spread to the imperial court and became customary for women of high birth.

influence The garments in the Tang Dynasty also greatly affected the garments of neighboring countries. For instance, Japanese kimono adopted the elites of the dresses of the Tang Dynasty in terms of colors, and the Hanbok (traditional Korean clothing) also adopted the advantages of the dresses of the Tang Dynasty. The dresses of the Tang Dynasty were mainly made of silk, so dresses were famous for softness and lightness. The dresses of the Tang Dynasty boldly adopted the features of foreign garments in terms of forms and adornments; i.e. they mainly referred to the garments of other countries (such as the Central-Asia countries, India, Iran, Persia, northern countries and the Western Regions) and used them to improve the habilatory culture of the Tang Dynasty.

Figure 5.4 Women costume of Tang Dynasty.

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women dress The style of women’s clothing during the Tang dynasty is the most outstanding in China’s history. Tang dynasty attire had many different styles, and was ever changing, which enabled the look of the Tang dynasty style to remain elegant, noble and poised, and forever unique and amazing. The costumes of the Tang dynasty are like exotic flowers in Chinese history. The quality of the material was particularly fine and delicate, and the decorations lustrous. The characteristics of Tang dynasty attire were distinctive and natural, displaying the beauty, grace, and freedom of people from heaven. Hair was styled to cover the temples and frame the face, and gowns were low-cut with a high waistband. Women’s outfits consisted of a shirt with short sleeves and a long skirt; or a loose-sleeved shirt, long skirt, and a shawl. Hair was coiled high in a bun, with such names as “gazing-gods bun,” “cloud bun,” “double handing-down bun” and so on, the clothing were mainly short jacket or shirt, and long skirt with a shawl, half-length sleeve, phoenix was decorated at the toe of the silk shoes or shoes weaved by grass, coiling the hair in a “flower bun”, so that one could put bamboo hat on the head. After the prosperous Tang dynasty, sleeves became looser and larger.

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Figure 5.5 Top Part of Court Ladies Wearing Flowered Headdresses. Chinese paintingby Tang Dynasty Chinese artist Zhou Fang, 8th century. The painting depicts the clothing style of women in that period of Tang Dynasty. See the full image Figure 5.7 in Page 49.

Figure 5.6 Bottom Different style of women costume in Tang Dynasty.

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Figure 5.7 Court Ladies Wearing Flowered Headdresses.

Figure 5.8 left Hufu in Tang Dynasty Figure 5.9 right Women painted figure relic found from Tang Dynasty Tomb

hufu This term referred generally to the dress of the minority ethnic groups in the South Western part of China; it was commonly called the garb of the foreigners. Chinese women found the Indian and Persian influences in these garments refreshing, and started incorporating some of these motifs and materials into their own garments.

In the early half of the dynasty, there was a craze in society for everything novel and “foreign�; women were rushing to learn these ethnic songs and dances, and they adopted the hairstyles and clothes of the minority groups. The costume was made up of a tight-fitting long robe buttoned up in front with an overturned collar, long trousers, a hat and high heels.

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chapter 6

ć˜Žć¸… MING & QING 1368-1912 CE By and large, the clothes of the Ming Dynasty (1368-1644) continued the styles of the Tang (581-618) and the Song (960-1279) dynasties. The clothes of the Qing Dynasty (1644-1911) had a substantial influence on modern fashion. As a matter of fact, three types of clothes coexisted together in the Qing Dynasty (1644-1911): Han traditional clothes, Mongolian clothes and half-Western-style clothes.

By combining the essences of the Han traditional clothes and the Mongolian clothes, the pao of the Qing Dynasty (1644-1911) was tight and narrow, with a round collar and buttons typically used to secure the collar. Magua (a buttoned mandarin jacket) was native to the Qing Dynasty (1644-1911), which was a short-sleeved, loose outer garment, and it was adopted as the standard military uniform owing to its ease to take off and wear by soldiers when riding horses. Qipao (Cheongsam) also emerged during the Qing Dynasty (1644-1911), and it turned out to be extremely popular among women all over the world.

It was not until the introduction of Western-style clothes in the late Qing Dynasty (1644-1911) that the third great change in traditional Chinese clothes took place, and the development of Chinese clothes entered a new stage in modern times.

ming There were many new changes in costume of the Ming Dynasty (1368-1644). The outstanding feature was that the buttons on the forepart replaced the band knots in use for several thousand years. However, it was not in the Ming Dynasty that buttons first came into being. Some buttons were sewn on the waistline of the braid coat of the Yuan Dynasty.

The clothing for women in the Ming Dynasty consisted mainly of gowns, coats, rosy capes, overdresses with or without sleeves, and skirts. These styles were imitations of ones first seen in the Tang and Song Dynasties. However, the openings were on the righthand side, according to the Han Dynasty convention.The use of buttons was also an invention that embodied the advancement of that era. In addition, the popularization of Confucian school of idealist philosophy also affected the dressing style to a certain degree.

The formal dress for commoners could only be made of coarse purple cloth, and no gold embroidery was allowed. Gowns could only in such light colours as purple, green and pink; and in no case should crimson, reddish blue or yellow be used. These regulations were observed for over a decade, and it was not until the 14th year of Hong Wu that minor changes were made.

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Compared with the costume of the Tang Dynasty (618-907), the proportion of the upper outer garment to lower skirt in the Ming Dynasty was significantly inverted.

Since the upper outer garment was shorter and the lower garment was longer, the jacket gradually became longer to shorten the length of the exposed skirt, and the collar changed from the symmetrical type of the Song Dynasty (960-1279) to the main circular type. Skirt color was inclined to be light. Skirt pleats, including dense pleats and big pleats, became very popular. In addition, short embroidered capes worn over a woman’s shoulder were popular in the Ming Dynasty. Because these capes looked like beautiful rosy cloud, they were also called Rosy Cloud Cape. Such capes first appeared in the Northern and Southern Dynasties. They were in the shape of a very long colored band, could encircle the neck and reach the chest with gold or bowlder pendants at the lower end, looking very elegant.

Men’s costume in the Ming Dynasty typically adopted the form of chuddar and circular collar. The clothes featured broad sleeves, inlaid black brims and cyan circular collar. Men wore black silk ribbon, soft chuddar and drooping strap.

paddy - field costumes Paddy-field costumes were dresses for ordinary women in the Ming Dynasty. They were sewn with bits and pieces of brocades in various colors and looked like the cassocks of shamans. Colors of the materials of the whole dress were mutually interlaced and the form was just like the paddy field, hence the name “paddy-field costumes.�

Figure 6.1 Paddy-field costume of Ming Dynasty.

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waistcoat There was also a sort of waistcoats with buttons down the front, which first appeared in the Yuan Dynastyand was originally special costume for the queen. Gradually, they were introduced into the life of ordinary people. Young ladies in the mid Ming Dynasty usually preferred to dress in these waistcoats. The waistcoats in the Qing Dynasty were transformed from those of the Yuan Dynasty.

Another feature of costume in the Ming Dynasty was that the garment front was decorated with various striking adornments made of gold, jade and pearl, etc. A special adornment was a golden chain hung with nipper, toothpick, ear pick and small knife, articles that were often used by women in their daily life.

Figure 6-2 waistcoat of women in Ming Dynasty.

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Figure 6-3 Cape for women in Ming Dynasty.

Figure 6-4 Cape for women in Ming Dynasty.

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changa ao Changa Ao is the traditional Chinese attire for women. It is a form of formal wear, and is often perceived as a longer version of ruqun. However, it was actually developed from zhiduo during the Ming Dynasty, and is worn over a skirt. It is wide-sleeved, shorter than zhiduo and has no side panels at the side slits (thus showing the skirt worn underneath). There is often an optional detachable protective huling (lit. “protect collar�) sewn to the collar. The huling can be of white or any other dark colours. The collar is of the same colour as the clothing.

Figure 6.5 Changa Ao of women clothing in Ming Dynasty.

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Figure 6.6 6.7 6.8 Women Costume in Ming Dynasty.

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dao pao Daopao/Xingyi is the traditional Chinese attire for men. It is a form of formal wear in the Ming Dynasty.

It is a full-length robe with side slits beginning below the waist. There are side panels at the slits to conceal the undergarments. It is wide sleeved and has a belt.

The collar can be of the same or different colour as the clothing, but has to be of the same colour as the edges of the clothing. An optional detachable protective huling (lit. “protect collar”) can be sewn to the collar.

The huling can be of white or any other dark colours.

Chinese sources indicate it has been worn since the Song Dynasty. However, other sources states that it evolved from a military-styled tunic, the kuzhe, that was inspired by “nomad warriors from the north”. Despite its name (meaning ‘robe of Taoism’), daopao is worn by all men regardless of religious background.

Figure 6.9 Dao Pao in Ming Dynasty.

qing When China fell under Manchurian rule, Chinese men were forced to adopt Manchurian customs. As a sign of submission, the new government made a decree that men must shave their head and wear the Manchurian queue or lose their heads. Many choose the latter.

On the other hand, Chinese women were not pressured to adopt Manchurian clothing and fashions.

Women, in general, wore skirts as their lower garments, and red skirts were for women of position. At first, there were still the “phoenix-tail” skirt and the “moonlight” skirt and others from the Ming tradition. However the styles evolved with the passage of time: some skirts were adorned with ribbons that floated in the air when one

walked; some had little bells fastened under them: others had their lower edge embroidered with wavy designs.

As the dynasty drew to an end, the wearing of trousers became the fashion among commoner women. There were trousers with full crotches and over trousers, both made of silk embroidered with patters.

The Manchurians attempted several times to eradicate the practice of foot-binding, but were largely unsuccessful. Manchurian women admired the gait of bound women but were effectively banned from practicing food-binding. Hence, a “flower pot shoe” later came into creation and it allowed its wearer the same unsteady gait but without any need for foot-binding.

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Figure 6.10 This informal Manchu woman’s robe or changyi is embroidered with a design of seasonal flowers and butterflies. The butterfly is a symbol of summer, joy and happiness in marriage. The motifs are embroidered in Peking-knot stitch, a time consuming and exacting embroidery technique. The subtle palette of colours used in the embroidery harmonises beautifully with the slate-grey ground. * Silk-satin with silk embroidery, made in China during the late 1800s.

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Figure 6.11 Manchu Informal Dress of Qing Dynasty.

Figure 6.12 Relic found in tomb, Manchu Informal Dress of Qing Dynasty.

manchu informal dress Manchu women’s informal wear comprised two styles of long robe known as changyi and chenyi, which came into vogue during the reign of the Qianlong Emperor (1736-1795). Both robes were worn with a long neck ribbon.The chenyi featured a round neck and a panel crossing from left to right, fastening at the side with five buttons and loops. It had a relatively straight body and full sleeves. The changyi differed in that it had splits up each side of the robe allowing facility of movement.

The splits were often highlighted by decorative borders.

These long robes featured a round neck and a diagonal button-and-loop closure. The chenyi was a long, straight robe, while the changyi had slits on each side to allow for ease of movement.

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Figure 6.13 left vest of women costume in Qing Dynasty.

Figure 6.14 6.15 middle and right Princess Costume in Qing Dynasty.

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chao fu Formal court robe (chaofu): As the figure shown on the left, this lightweight summer robe is made from gauze-weave silk. This kind of clothes would have been worn by a Qing dynasty official on formal occasions. It is embroidered with a traditional design of dragons, representing the emperor or Son of Heaven, clouds, the Isles of the Immortals, crested waves and deep water which together reflected the Chinese conception of the cosmos. Silk, embroidered with silk and metallic thread, made in China during the late 1800s to early 1900s.

Figure 6.16 Formal court robe in Qing Dynasty

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Figure 6.17 Qing Dynasty. (1644-1911) Imperial Concubine’s festive Robe. This dragon robe has an ermine fur lining. The chest, back, and both shoulders, the lower front and back, and the inner lapel of this robe are decorated with nine dragons. In ancient Chinese divination, nine was considered the most superior of all numbers, and was thus used to represent the emperor.

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chapter 7

中華民國 REPUBLIC ERA 1912-1949 ce The abolition of imperial China in 1912 had an immediate effect on dress and customs. The largely Han Chinese population immediately cut off their queue as they were forced to grow in submission to the overthrown Qing Dynasty. Sun Yat-sen popularised a new style of men’s wear, featuring jacket and trousers instead of the robes worn previously.

Adapted from Japanese student wear, this style of dress became known as the Zhongshan suit (Zhongshan being one of Sun Yat-sen’s given names in Chinese). For women, a transformation of the traditional qipao (cheongsam) resulted in a slender and form fitting dress with a high cut, resulting in the contemporary image of a cheongsam but contrasting sharply with the traditional qipao.

republican era The nationalism has a very important function to the dress’s reforming in Chinese modem times. The peasant uprising named as Taipingtianguo and revolt of Revolutionary Party will appeal for Han people to overturn the Qing dynasty, in name of regaining China’s traditional dress, when dress’s reforming means a political intention — National Revolution. The largely Han Chinese population immediately cut off their queue as they were forced to grow in submission to the overthrown Qing Dynasty. After the Republic of China was built, Han people’s traditional dress had been forgotten. But the historical event has a profound

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influence to us today. Sun Yat-sen popularised a new style of men’s wear, featuring jacket and trousers instead of the robes worn previously.

The beginning of the 20th century saw much change in China: political, economic, social and cultural. The social changes gained impetus after the 1911 revolution which resulted in the demise of the Qing dynasty. Social reform led to change in dress codes too. The head shaving and queue (long plait) men had been forced to wear, to demonstrate their subservience, gradually disappeared.

The practice of foot binding also decreased.

Figure 7.1 left Photo of Sun Yat-Sen, who introduce the tunic suit to China.

Figure 7.2 right Traditional Zhongshan Suit.

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zhongshan suit The modern Chinese tunic suit is a style of male attire traditionally known in China as the Zhongshan suit (after Sun Yat-Sen), and later as the Mao suit (after Mao Zedong). Sun Yat-sen introduced the style shortly after the founding of the Republic of China as a form of national dress although with a distinctly political and later governmental implication.

When the Republic was founded in 1912, the style of dress worn in China was based on Manchu dress (qipao and changshan), which had been imposed by the Qing Dynasty as a form of social control. The majority-Han Chinese revolutionaries who overthrew the Qing were fueled by failure of the Qing to defend China against western imperialists and the low standing of the Qing in terms of technology and science compared to the West.

Even before the founding of the Republic, older forms of Chinese dress were becoming unpopular among the elite and led to the development of Chinese dress which combined the changshan and the Western hat to form a new dress. The Zhongshan suit is similar development which combined Western and Eastern fashions. The

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Zhongshan suit was an attempt to cater to contemporary sensibilities without adopting Western styles wholesale.

The tunic can be traced back to British army uniforms from World War I and U.S. Army uniforms during the Spanish-American Philippine War. After Sun Yat-sen’s death in 1925, popular mythology assigned a revolutionary and patriotic significance to the Zhongshan suit. The four pockets were said to represent the Four Virtues cited in the classic Guanzi: Propriety, Justice, Honesty, and Shame. The five center-front buttons were said to represent the five Yuans (branches of government)–legislation, supervision, examination, administration and jurisdiction–cited in the constitution of the Republic of China and the three cuff-buttons to symbolize Sun Yat-sen’s Three Principles of the People: Nationalism, Democracy, and People’s Livelihood.

Finally, unlike Western-style suits that are usually composed of two layers of cloth, the jacket is in a single piece–symbolizing China’s unity and peace.

Figure 7.3 left Photo of Mao ZeDong and Jiang ZhongZheng, the leaders of China Republic, wearing the Zhongshan Suit Figure 7.4 right Developed Zhongshan Suit in later time which has more structure outfit

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Figure 7.5 7.6 left and right Traditional Qi Pao in Republican era.

qi pao The cheongsam is a body-hugging one-piece Chinese dress for women. It is known in Mandarin Chinese as the qípáo, and is also known in English as a mandarin gown. The stylish and often tight-fitting cheongsam or qipao (chipao) that is best known today was created in the 1920s in Shanghai and made fashionable by socialites and upper class women.

Ever since the Tang Dynasty, the design of Chinese women’s costumes had kept to the same straight style: flat and straight lines for the chest, shoulders and hips, with few curves visible; and it was not until the 1920’s that Chinese women came to appreciate ‘the beauty of curves’, and to pay attention to figure when cutting and making up dresses, instead of adhering to the traditional style. The most popular item of a Chinese woman’s wardrobe in modern times was the qi pao. Originall the

dress of the Manchus, it was adopted by Han women in the 1920s. Modifications and improvements were then made so that for a time, it became the most fashionable form of dress for women in China. Two main factors account for women’s general preference for the qi pao: first, it was economical and convenient to wear.

When the Manchu ruled China during the Qing Dynasty, certain social strata emerged. Among them were the Banners, mostly Manchu, who as a group were called Banner People. Manchu women typically wore a onepiece dress that retrospectively came to be known as the qipao. The generic term for both the male and the female forms of Manchu dress, essentially similar garments, was changpao. The qipao fitted loosely and hung straight down the body, or flared slightly in an A-line.

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develop The original qipao was wide and loose. It covered most of the woman’s body, revealing only the head, hands, and the tips of the toes. The baggy nature of the clothing also served to conceal the figure of the wearer regardless of age. With time, though, the qipao were tailored to become more form fitting and revealing. The modern version, which is now recognized popularly in China as the “standard� qipao, was first developed in Shanghai in the 1920s, partly under the influence of Beijing styles. People eagerly sought a more modernized style of dress and transformed the old qipao to suit their tastes. Slender and form fitting with a high cut, it had great differences from the traditional qipao. It was high-class courtesans and celebrities in the city that would make these redesigned tight fitting qipao popular at that time.

Figure 7.7 Develop Qipao in later time with long sleeve.

Figure 7.8 7.9 Advertisement in Republican Era showing the women costume at that time.

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BIBLIOGRAPHY

A Armor 22, 23 Aristocratic 33

B Brocade 14 Bun 6 47

Dao Pao 59 Deep Robe 10

I Inlay 15

Dyeing 7

E

J Japanese kimono 46

Etiquettes 14

F

L Loincloth 14

Fire virtue 25

Linen 5, 9, 15, 20

Changa Ao 57

G Gauze-covered skirt 33

M

Chao fu 65 Confucian 10

Gowns 38, 47, 53

C Cambric 5

Court 7, 21, 38, 43, 65, 75 Court Ladies Wearing Flowered

H

Headdress 49

Hanbok 46 Hierarchical Society 10

D Dai Mei 45

Hufu 12, 15-16, 32, 50

Manchurian 60 Military 23, 38, 46, 59 Motifs 16, 50

O Ornamentation 10

P Paddy-field Costumes 54 Pleated Suit 23

Silk 7, 26-27, 33-38, 46-47 Skirt Pleats 53

Pleated Pants 16, 39

T

Powder 45

Textile 7 Tie Pants 39

Q Qin Terracotta Warriors and

Trousers 16, 23, 38, 50

Horses 23

W

Qi Pao 74-76

Waistcoat 55

R

X

Robes 30, 38, 62, 68

Xuanyi 4, 7, 38

Ru Qun 27

S Sash 10

Y Yin and Yang 21

Selvedge 14

Z

Shen Yi 30, 35

Za Ju 35

INDEX

COLOPHON Hanfu From Ancient

by Elaine Wu San Francisco, CA Typefaces Body text and captions are set in Garamond Titles are set in Optima California College of the Arts Spring 2014