Shubi (Chinese: 梳篦), also called as zhi (Chinese: 栉), is a generic term used for Chinese combs in China, which includes thick-teeth comb shu (Chinese: 梳) and thin-teeth comb bi (Chinese: 篦). Shubi originated about 6000 years ago in China during the late Neolithic period. In ancient China, Chinese combs had a high special status, a high artistic value, was an important form of hair ornament in Chinese history. Some Chinese combs dating from the Shang dynasty were found in the Tomb of Fuhao. Chinese combs in China were not used only for grooming purposes, they were also used holding and decorating hair. Chinese comb also had and continues to hold unique cultural meaning and emotional value. Both Chinese men and women wore decorative combs in their hair in ancient China. Chinese women often wore combs and fine-tooth combs in their hair buns. The term shubi (Chinese: 梳篦) also includes to two types of combs: shu (Chinese: 梳; also lit. Chinese comb-making was also an important form of traditional Chinese art and business industry. The term shubi also refers to a form of hairstyle in ancient China. The use of the term zhi to refer both types of combs; i.e. thick-tooth combs and fine-teeth combs were only found in the pre-Qin dynasty literature. However, the term zhi was partly changed by the word shu (Chinese: 梳) to refer to thick-tooth comb in the Sui and Tang dynasties. The usage of the term zhi (Chinese: 栉) has relatively unstable. The term zhi was partly changed again by the word bi (Chinese: 篦) to only refer to thin-tooth combs after the Yuan dynasty. The invention of bi, the fine-tooth comb, is attributed to a Spring and Autumn period official called Chen Qizi who was put into prison after being found guilty. According to a legend, the Chinese comb was invented by one of the concubine of the Yellow Emperor, called Fang Leishi (Chinese: 方雷氏). In prison, Chen Qizi developed lice on his head which made him itched intolerably. After being tortured by the prison wardens with bamboo planks, Chen Qizi discovered that the bamboo planks would be split into strips; he then packed these wooden strips together to create the original fine-toothed comb to clean his hair away from lice and dirt. The prison warden, Huang Fu, discovered that Hao Lian could make combs and advised him to make a comb to save his life overnight. The comb made by Hao Lian was presented to the Queen Luo Zu, but Hao Lian was already executed before an amnesty could be issued. After Hao Lian’s death, Emperor Xuan Yuan appointed Huang Fu to lead other craftsmen in comb-making based on the models left behind by Hao Lian. Since this time, Hao Lian and Huang Fu have been both considered as the founders of comb trade. According to a legend, after the defeat of Chiyou, the craftsman Hao Lian, who knew how to make combs, was captured, imprisoned and given the death sentence. Chinese combs were also an essential component of dowry in ancient China; they are also a symbolism of a happy life. Prenuptial hair-combing ceremony, also known as shang tou (Chinese: 上头), is a traditional Cantonese Chinese ritual which takes place on the eve of the wedding by the couples. It is held at a time which is considered auspicious at the homes of groom and bride respectively to symbolize a rite of passage. It is believed to have been introduced in Singapore by the Cantonese. This practice is still performed in some ethnic groups in Singapore. Combs in some Chinese nationalities are considered a kind of taboo; for example, for the Tibetans, combs must be hidden in private places, people who wore combs in their hair were perceived as being impolite. In the Han dynasty, Emperor Wendi gave combs to the leader of the Xiongnu, Maodun. Chinese comb-making was an important form of business industry in ancient China. People who were in the business of the selling or the making of combs in China enjoyed special rights in both ancient and modern Chinese industry. Some combs, such as the Changzhou combs, could only be used by members of royalty in ancient China. Nowadays, although the Changzhou combs are commonly used in everyday life, this form of Chinese combs are still considered as national and traditional treasures in China. In Traditional Chinese medicine, hair combing is perceived as an efficient means to remain healthy. In ancient China, Chinese people used shubi to maintain their health due to the doctors’ belief that every day hair combing was an important need in traditional medicine. Hair combing is still used for massaging the head to keep one’s healthy is still used in modern times China. Japanese combs, kushi, started to be used by Japanese people 6000 years ago in the Jomon era. Chinese combs were introduced in Japan along with the introduction of Chinese culture during the Nara period. During this period, the Chinese combs which were introduced in Japan were horizontal in shape. The design of the Chinese comb introduced in Nara period was different from stick-shaped hair prongs that had been used by the Japanese before. In Nara period, the Japanese combs, along with Japanese clothes and ornaments, chinese traditional clothing hanfu were all influenced by the Sui and Tang dynasty. Some combs continued to be imported from China even in the later centuries, i.e. in the 18th or 19th century AD. Changzhou comb, double-edged fine-toot comb. Tang or Liao dynasty silver comb. Zhang, Linyi (2019). “Comparison of aesthetic styles of decorative combs in Japan and China”. วารสารศิลปกรรมบูรพา. Higham, Charles (2004). Encyclopedia of ancient Asian civilizations. Sherrow, Victoria (2006). Encyclopedia of hair : a cultural history. New York: Facts On File. Westport, Conn.: Greenwood Press. Westport, Conn.: Greenwood Press. Sherrow, Victoria (2006). Encyclopedia of hair : a cultural history. Westport, Conn.: Greenwood Press. Asian material culture. Marianne Hulsbosch, Elizabeth Bedford, Martha Chaiklin. Sherrow, Victoria (2006). Encyclopedia of hair : a cultural history. Amsterdam: Amsterdam University Press. This page was last edited on 23 June 2024, cheongsam top 3xx at 12:26 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
East Asia is a geographical and cultural region of Asia including China, Japan, Mongolia, North Korea, South Korea, and Taiwan. Additionally, Hong Kong and Macau are the two special administrative regions of China. The economies of China, Japan, South Korea, and Taiwan are among the world’s largest and most prosperous. To its east is the Pacific Ocean. East Asia borders North Asia to the north, Southeast Asia to the south, South Asia to the southwest, and Central Asia to the west. East Asia has long been a crossroads of civilizations, as the region’s prominence has facilitated the transmission of ideas, cultural exchanges, commercial trade, scientific and technological cooperation, and migration, as its position and proximity to both the Pacific Ocean and the Continental Asian landmass makes it strategically significant for facilitating international maritime trade and transportation. With the region having been home to various influential empires, kingdoms, and dynasties throughout history, each leaving its mark on the region and transforming the region’s geopolitical landscape ranging from distinct dynastic kingdoms to colonial possessions to independent modern nation-states. The contemporary economic, technological, political, and social integration of East Asia coupled with its rich history of diversity, division, and divergent development have all contributed to its enduring complexity, scientific and technological advancement, cultural richness, economic prosperity, and geopolitical significance on the world stage. East Asia, especially Chinese civilization, is regarded as one of the earliest cradles of civilization. Other ancient civilizations in East Asia that still exist as independent countries in the present day include the Japanese, Korean, and Mongolian civilizations. Various other civilizations existed as independent polities in East Asia in the past but have since been absorbed into neighbouring civilizations in the present day, such as Tibet, Manchuria, and Ryukyu (Okinawa), among many others. For thousands of years, China was the leading civilization in the region, exerting influence on its neighbours. Historically, societies in East Asia have fallen within the Chinese sphere of influence, and East Asian vocabularies and scripts are often derived from Classical Chinese and Chinese script. The Chinese calendar serves as the root from which many other East Asian calendars are derived. Taiwan has a relatively young history in the region after the prehistoric era; originally, it was a major site of Austronesian civilisation prior to colonisation by European colonial powers and China from the 17th century onward. Chinese folk religion in Mainland China, Hong Kong, Macau and Taiwan, Shinto in Japan, and Christianity and Musok in Korea. The major languages in East Asia include Mandarin Chinese, Japanese, and Korean. Tengerism and Tibetan Buddhism are prevalent among Mongols and Tibetans while other religions such as Shamanism are widespread among the indigenous populations of northeastern China such as the Manchus. The major ethnic groups of East Asia include the Han in China and Taiwan, Yamato in Japan, and Koreans in North and South Korea. The Ryukyuan people are an unrecognized ethnic group indigenous to the Ryukyu Islands in southern Japan, which stretch from Kyushu to Taiwan. There are also several unrecognized indigenous ethnic groups in mainland China and Taiwan. East Asians comprise around 1.7 billion people, making up about 33% of the population in Continental Asia and 20% of the global population. The region is home to major world metropolises such as Beijing-Tianjin, Busan-Daegu-Ulsan-Changwon, Guangzhou, Hong Kong, Osaka-Kyoto-Kobe, Seoul, Shanghai, Shenzhen, Taipei, and Tokyo. Although the coastal and riparian areas of the region form one of the world’s most populated places, the population in Mongolia and Western China, both landlocked areas, is very sparsely distributed, with Mongolia having the lowest population density of a sovereign state. Mongols in Mongolia. There are 76 officially-recognized minority or indigenous ethnic groups in East Asia; 55 native to mainland China (including Hui, Manchus, Chinese Mongols, Tibetans, Uyghurs, and Zhuang in the frontier regions), 16 native to the island of Taiwan (collectively known as Taiwanese indigenous peoples), one native to the major Japanese island of Hokkaido (the Ainu) and four native to Mongolia (Turkic peoples). The overall population density of the region is 133 inhabitants per square kilometre (340/sq mi), about three times the world average of 45/km2 (120/sq mi). The various other regions in East Asia were selective in the Chinese influences they adopted into their local customs. China was the first region settled in East Asia and was undoubtedly the core of East Asian civilization from where other parts of East Asia were formed. Chinese civilization emerged early, and prefigured other East Asian civilisations. Western civilization encompassing Ancient Greece. Throughout history, imperial China would exert cultural, economic, technological, and political influence on its neighbours. Succeeding Chinese dynasties exerted enormous influence across East Asia culturally, economically, politically and militarily for over two millennia. Imperial China’s cultural preeminence not only led the country to become East Asia’s first literate nation in the entire region, it also supplied Japan and Korea with Chinese loanwords and linguistic influences rooted in their writing systems. The tributary system of China shaped much of East Asia’s history for over two millennia due to Imperial China’s economic and cultural influence over the region, and thus played a huge role in the history of East Asia in particular. Under Emperor Wu of Han, the Han dynasty made China the regional powerhouse in East Asia, projecting much of its imperial influence onto its neighbours. Cultural and religious interaction between the Chinese and other regional East Asian dynasties and kingdoms occurred. China’s impact and influence on Korea began with the Han dynasty’s northeastern expansion in 108 BC when the Han Chinese conquered the northern part of the Korean peninsula and established a province called Lelang. Han China hosted the largest unified population in East Asia, the most literate and urbanised as well as being the most economically developed, as well as the most technologically and culturally advanced civilization in the region at the time. Jomon society in ancient Japan incorporated wet-rice cultivation and metallurgy through its contact with Korea. Chinese influences were transmitted and soon took root in Korea through the inclusion of the Chinese writing system, monetary system, rice culture, philosophical schools of thought, and Confucian political institutions. Starting in the fourth century AD, Japan adopted Chinese characters, which remain integral to the Japanese writing system. Utilizing the Chinese writing system allowed the Japanese to conduct their daily activities, maintain historical records and give form to various ideas, thoughts, and philosophies. During the Tang dynasty, China exerted its greatest influence on East Asia as various aspects of Chinese culture spread to Japan and Korea. Similar to its Han predecessor, Tang China reasserted itself as the center of East Asian geopolitical influence during the early medieval period which spearheaded and marked another golden age in Chinese history. The establishment of the medieval Tang dynasty rekindled the impetus of Chinese expansionism across the geopolitical confines of East Asia. In addition, Tang China also managed to maintain control over northern Vietnam and northern Korea. During the Tang dynasty, China exerted its greatest influence on East Asia as various aspects of Chinese culture spread to Japan and Korea. Drawing inspiration from the Tang political system, Prince Naka no oe launched the Taika Reform in 645 AD where he radically transformed Japan’s political bureaucracy into a more centralised bureaucratic empire. The Japanese also adopted Mahayana Buddhism, Chinese style architecture, and the imperial court’s rituals and ceremonies, including the orchestral music and state dances had Tang influences. Written Chinese gained prestige and aspects of Tang culture such as poetry, calligraphy, and landscape painting became widespread. As full-fledged medieval East Asian states were established, Korea by the fourth century AD and Japan by the seventh century AD, Japan and Korea actively began to incorporate Chinese influences such as Confucianism, the use of Chinese characters, architecture, state institutions, political philosophies, religion, urban planning, and various scientific and technological methods into their culture and society through direct contacts with Tang China and succeeding Chinese dynasties. The Japanese also created laws adopted from the Chinese legal system that was used to govern in addition to the kimono, which was inspired from Chinese hanfu during the eighth century. During the Nara period, Japan began to aggressively import Chinese culture and styles of government which included Confucian protocol that served as a foundation for Japanese culture as well as political and social philosophy. For many centuries, most notably from the 7th to the 14th centuries, China stood as East Asia’s most advanced civilization and foremost military and economic power, exerting its influence as the transmission of advanced Chinese cultural practices and ways of thinking greatly shaped the region up until the nineteenth century. By the mid-nineteenth century, the weakening Qing dynasty became fraught with political corruption, obstacles and stagnation that was incapable of rejuvenating itself as a world power in contrast to the industrializing Imperial European colonial powers and a rapidly modernizing Japan. As East Asia’s connections with Europe and the Western world strengthened during the late nineteenth century, China’s power began to decline. The modern and militarily powerful Japan would galvanise its position in the Orient as East Asia’s greatest power with a global mission poised to advance to lead the entire world. Around the same time, the Meiji Restoration in Japan sparked rapid societal transformation from an isolated feudal state into East Asia’s first industrialised nation. By the early 1900s, the Empire of Japan succeeded in asserting itself as East Asia’s most dominant geopolitical force. With its newly found international status, Japan would begin to challenge the European colonial powers and inextricably took on a more active role within the East Asian geopolitical order and world affairs at large. Flexing its nascent political and military might, Japan soundly defeated the stagnant Qing dynasty during the First Sino-Japanese War as well as defeating Russia in the Russo-Japanese War in 1905; the first major military victory in the modern era of an East Asian power over a European one. Its hegemony was the heart of an empire that would include Taiwan and Korea. After a century of exploitation by the European and Japanese colonialists, post-colonial East Asia saw the defeat and occupation of Japan by the victorious Allies as well as the division of China and Korea during the Cold War. The Korean peninsula became independent but then it was divided into two rival states, while Taiwan became the main territory of de facto state Republic of China after the latter lost Mainland China to the People’s Republic of China in the Chinese Civil War. During the latter half of the twentieth century, the region would see the post war economic miracle of Japan, which ushered in three decades of unprecedented growth, only to experience an economic slowdown during the 1990s, but nonetheless Japan continues to remain a global economic power. During World War II, Japanese expansionism with its imperialist aspirations through the Greater East Asia Co-Prosperity Sphere would incorporate Korea, Taiwan, much of eastern China and Manchuria, Hong Kong, and Southeast Asia under its control establishing itself as a maritime colonial power in East Asia. As of at least 2022, the region is more peaceful, integrated, wealthy, and stable than any time in the previous 150 years. In common usage, the term “East Asia” typically refers to a region including Greater China, Japan, Korea and Mongolia. East Asia would also see the economic rise of Hong Kong, South Korea, and Taiwan, in addition to the respective handovers of Hong Kong and Macau near the end of the twentieth century. China, Japan, and Korea represent the three core countries and civilizations of traditional East Asia, as they once had a shared written language, a shared culture, and a shared Confucian societal value system (involving shared Confucian philosophical tenets) once instituted by Imperial China. Other usages define China, Hong Kong, Macau, Japan, North Korea, South Korea and Taiwan as countries that constitute East Asia based on their geographic proximity as well as historical and modern cultural and economic ties, particularly with Japan and Korea in having retained strong cultural influences that originated from China. Some scholars include Vietnam as part of East Asia as it has been considered part of the greater Chinese cultural sphere. Mongolia is geographically north of Mainland China yet Confucianism and the Chinese writing system and culture had limited impact on Mongolian society. Though Confucianism continues to play an important role in Vietnamese culture, Chinese characters are no longer used in its written language and many scholarly organizations classify Vietnam as a Southeast Asian country. Xinjiang and Tibet are sometimes seen as part of Central Asia (see also Greater Central Asia). Thus, Mongolia is sometimes grouped with Central Asian countries such as Turkmenistan, Kyrgyzstan, and Kazakhstan. Broader and looser definitions by international agencies and organisations such as the World Bank refer to East Asia as the “three major Northeast Asian economies, i.e. mainland China, Japan, and South Korea”, as well as Mongolia, North Korea, the Russian Far East, and Siberia. The Council on Foreign Relations includes the Russia Far East, Mongolia, and Nepal. The Economic Research Institute for Northeast Asia defines the region as “China, Japan, the Koreas, Nepal, Mongolia, and eastern regions of the Russian Federation”. Mainland China, Hong Kong, Macau, Mongolia, North Korea, South Korea, Taiwan, and Japan. The World Bank also acknowledges the roles of Chinese special administrative regions Hong Kong and Macau, as well as Taiwan, a country with limited recognition. Certain Japanese islands are associated with Oceania due to non-continental geology, distance from mainland Asia or biogeographical similarities with Micronesia. Some groups, such as the World Health Organization, categorize China, Japan and Korea with Australia and the rest of Oceania. The World Health Organization label this region the “Western Pacific”, with East Asia not being used in their concept of major world regions. In the context of business and economics, “East Asia” is sometimes used to refer to the geographical area covering ten Southeast Asian countries in ASEAN, Greater China, Japan, and Korea. However, in this context, the term “Far East” is used by the Europeans to cover ASEAN countries and the countries in East Asia. Their definition of this region further includes Mongolia and the adjacent area of Cambodia, as well as the countries of the South East Asia Archipelago (excluding East Timor and Indonesia). On rare occasions, the term is also sometimes taken to include India and other South Asian countries that are not situated within the bounds of the Asia-Pacific, although the term Indo-Pacific is more commonly used for such a definition. Observers preferring a broader definition of “East Asia” often use the term Northeast Asia to refer to China, the Korean Peninsula, and Japan, with the region of Southeast Asia covering the ten ASEAN countries. This usage, which is seen in economic and diplomatic discussions, is at odds with the historical meanings of both “East Asia” and “Northeast Asia”. The Council on Foreign Relations of the United States defines Northeast Asia as Japan and Korea. East Asia is home to many climatic zones. It also has unique weather patterns such as the East Asian rainy season and the East Asian Monsoon. Like the rest of the world, East Asia has been getting warmer due to climate change, and there had been a measurable increase in the frequency and severity of heatwaves. 1459 China has notably embarked on the sponge cities program, where cities are designed to increase the area of urban green spaces and permeable pavings in order to help deal with flash floods caused by greater precipitation extremes. 1464 The region is also expected to see the intensification of its monsoon, leading to more flooding. 1465 in areas like the North China Plain. China, Japan and the Republic of Korea are expected to see some of the largest economic losses caused by sea level rise. 43% under 4.5 °C (8.1 °F). Shanghai is also expected to experience annual losses of around 1% of the local GDP in the absence of adaptation. Note: The order of states/territories follows the population ranking of each ethnicity, within East Asia only. China, North Korea, South Korea and Taiwan are all unrecognised by at least one other East Asian state because of severe ongoing political tensions in the region, specifically the division of Korea and the political status of Taiwan. The vast knowledge and ingenuity of Chinese civilization and the classics of Chinese literature and culture were seen as the foundations for a civilized life in East Asia. The culture of East Asia has been deeply influenced by China, as it was the civilization that had the most dominant influence in the region throughout the ages that ultimately laid the foundation for East Asian civilization. Imperial China served as a vehicle through which the adoption of Confucian ethical philosophy, Chinese calendar system, political and legal systems, architectural style, diet, terminology, institutions, religious beliefs, imperial examinations that emphasised a knowledge of Chinese classics, political philosophy and cultural value systems, as well as historically sharing a common writing system reflected in the histories of Japan and Korea. The Imperial Chinese tributary system was the bedrock of network of trade and foreign relations between China and its East Asian tributaries, which helped to shape much of East Asian affairs during the ancient and medieval eras. The Imperial Chinese tributary system shaped much of East Asia’s foreign policy and trade for over two millennia due to Imperial China’s economic and cultural dominance over the region, and thus played a huge role in the history of East Asia in particular. The relationship between China and its cultural influence on East Asia has been compared to the historical influence of Greco-Roman civilization on classical Western civilisation. Through the tributary system, the various dynasties of Imperial China facilitated frequent economic and cultural exchange that influenced the cultures of Japan and Korea and drew them into a Chinese international order. East Asian Buddhism/Chinese Buddhism 漢傳佛教 or 汉传佛教 Emperor Ming of Han (introduced to China), Mālānanda (introduced to Baekje), King Seong of Baekje (introduced to Japan) 67 AD Eastern Han dynasty Mahayana Diamond Sutra Non-God, Dualism. This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. Hanshi Festival 寒食節 or 寒食节 Cold Food Festival Solar term Traditionally, on the 105th day after the Winter solstice. April 3-5 Ancestors Worship, Tomb Sweeping, No cooking hot meal/setting fire, Cold food only. Revised to 1 day before the Qingming Festival by Johann Adam Schall von Bell (Chinese: 汤若望) during the Qing dynasty. Just 1 day after the Hanshi Festival, but in much higher repute. April 4-6th Ancestors Worship, Tomb Sweeping, Excursion, Planting trees, Flying kites, Tug of war, Cuju, etc. (Almost the same with the Hanshi Festival’s, due to their close dates) Burning Hell money for deceased family members. Qingming Festival 清明節 or 清明节 or Ханш нээх Tomb Sweeping Day Solar term 15th day after the Vernal Equinox. Planting willow branches to keep ghosts away from houses. Double Ninth Festival 重陽節 or 重阳节 Double Positive Festival Chinese Month 9 Day 09 Climbing Mountain, Taking care of elderly, Wearing Cornus. Dragon Boat Festival 端午節 or 端午节 or 단오 Duanwu Festival / Dano (Surit-nal) Chinese / Korean Month 5 Day 5 Driving poisons & plague away. Japan switched the date to the Gregorian calendar after the Meiji Restoration. East Asian popular culture, such as anime and manga from Japan and K-pop and K-dramas from South Korea, have become highly popular worldwide in the 21st century. Baseball is one of the main sports in East Asia, having been introduced through mid-19th century American contact and further spread by the Japanese Empire. Please help improve this section by adding citations to reliable sources. This section does not cite any sources. Formerly the East Asian Games, it is a multi-sport event organized by the East Asian Games Association (EAGA) and held every four years since 2019 among athletes from East Asian countries and territories of the Olympic Council of Asia (OCA), as well as the Pacific island of Guam, which is a member of the Oceania National Olympic Committees. Unsourced material may be challenged and removed. The others are the Central Asian Games, the Southeast Asian Games (SEA Games), the South Asian Games and the West Asian Games. This section does not cite any sources. It is one of five Regional Games of the OCA. Unsourced material may be challenged and removed. Please help improve this section by adding citations to reliable sources. Rank City name Country Pop. Beijing is the capital of China. It has a history of over 3300 years. Tokyo is the capital of Japan and the world’s largest city, both in metropolitan population and economy. Seoul is the capital of South Korea. Osaka is the second-largest metropolitan area in Japan. Nagoya is the third-largest metropolitan area in Japan. Guangzhou is one of the most important economic centers in southern China. Nagoya is a major port city and the location of Lexus headquarters. Taipei City is the capital of Taiwan, with a population of 2.6 million. Hong Kong is one of the global financial centres and is known as a cosmopolitan metropolis. 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Central Asia-Caucasus Institute and the Silk Road Studies. Aminian, Nathalie; Fung, K. C.; Ng, Francis. Council on Foreign Relations. Economic Research Institute for Northeast Asia (1999). Japan and Russia in Northeast Asia: Partners in the 21st Century. Policy Research Working Paper. Encarta. Microsoft. Archived from the original on 2009-11-09. Retrieved 2008-01-12. the countries and regions of Mainland China, Hong Kong, Macau, Taiwan, Mongolia, South Korea, North Korea and Japan. United Nations Statistics Division. Todd, Ian (1974). Island Realm: A Pacific Panorama. United Nations Statistics Division. Angus & Robertson. p. Udvardy, Miklos D. F. “A Classification of the Biogeographical Provinces of the World” (PDF). Dent, Christopher M. (2008). East Asian regionalism. Katzenstein, Peter J.; Takashi, Shiraishi (2006). Beyond Japan: the dynamics of East Asian regionalism. Ithaca: Cornell University Press. Harvie, Charles; Fukunari, Kimura; Lee, Hyun-Hoon (2005). New East Asian regionalism. An, Z (April 2000). “Asynchronous Holocene optimum of the East Asian monsoon”. Nature Communications. 9 (1): 3528. Bibcode:2023NatCo..14.3528K. Kang, Suchul; Eltahir, Elfatih A. B. (31 July 2018). “North China Plain threatened by deadly heatwaves due to climate change and irrigation”. Cambridge University Press, Cambridge, United Kingdom and New York, New York, US, pp. United Nations Department of Economic and Social Affairs, Population Division. Shaw, R., Y. Luo, T. S. Cheong, S. Abdul Halim, S. Chaturvedi, M. Hashizume, G. E. Insarov, Y. Ishikawa, M. Jafari, A. Kitoh, J. Pulhin, C. Singh, K. Vasant, and Z. Zhang, 2022: Chapter 10: Asia. United Nations Department of Economic and Social Affairs, Population Division. 人口推計 – 平成 28年 12月 報 (PDF). The World Factbook (2024 ed.). Gordon, Raymond G. Jr., ed. 2005). Ethnologue: Languages of the World (15th ed.). South Korea: Ministry of Foreign Affairs and Trade. Goscha, Christopher (2016). The Penguin History of Modern Vietnam: A History. Chua & Rubenfeld 2014, p. Lewis, Mark Edward (2012). China’s Cosmopolitan Empire: The Tang Dynasty. Reischauer, Edwin O. (1974). “The Sinic World in Perspective”. Foreign Affairs. 52 (2): 341-348. doi:10.2307/20038053. Chua & Rubenfeld 2014, p. Wenzel-Teuber, Katharina (2012). “People’s Republic of China: Religions and Churches Statistical Overview 2011” (PDF). Wenzel-Teuber, Katharina (2017). “Statistics on Religions and Churches in the People’s Republic of China – Update for the Year 2016” (PDF). Religions & Christianity in Today’s China. Religions & Christianity in Today’s China. Hardacre, Helen (2017). Shinto: a history. New York: Oxford University Press. Hollingsworth, Julia (2019-12-29). “Why the past decade saw the rise and rise of East Asian pop culture”. Cho, Younghan (2016). “Double binding of Japanese colonialism: trajectories of baseball in Japan, Taiwan, and Korea”. 杜娟. “MLB’s China operation knocking it out the ball park”. 통계표명 : 주민등록 인구통계 (in Korean). Ministry of Government Administration and Home Affairs. Clyde, Paul H., and Burton F. Beers. United Nations (March 12, 2017). “The World’s Cities in 2016” (PDF). Ebrey, Patricia Buckley, and Anne Walthall. Fairbank, John K., Edwin Reischauer, and Albert M. Craig. Holcombe, Charles. A History of East Asia (2d ed. Embree, Ainslie T., ed. Jensen, Richard, Jon Davidann, and Yoneyuki Sugita, eds. Levinson, David, and Karen Christensen, eds. Macnair, Harley F. & Donald Lach. Modern Far Eastern International Relations. Encyclopedia of Modern Asia. Szpilman, Christopher W. A., Sven Saaler. Look up east asia in Wiktionary, the free dictionary. Wikimedia Commons has media related to East Asia. This page was last edited on 28 November 2024, at 12:39 (UTC). 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Hanfu is largely affectation. Funnily the CCP has to keep a tight rein on Hanfu fans as they fear most any attack on them from the Greater Authenticity / More Chinese than Thou Flank. Perhaps buried in there is some inchoate longing for the Golden Age (generally held to be Tang/Song) or just history that’s from a distance less sordid. Hanbok a bit affected too, although Korean women never stopped dressing traditionally at least some of the time. Thailand recently went through a craze of dressing up as Ayutthaya Period nobility after a period soap opera became very popular. But walk far down to the quiet end of a Soi in Central Bangkok and you are likely to see some of the people walking around at dusk wearing those checkered sarongs. Perhaps there’s a tiny inchoate smidgin of Revolt Against the Modern World in the blinged out old time clothing trends, but suspect most of it is East Asian penchant for quickly picking up on trends amplified to the nth by social media. Japanese, tang dynasty hanfu dress I think are the the most natural when it comes to wearing traditional clothes. It’s just a given in certain circumstances, never died (wee rough patch during Meiji/Taisho yes) and was going strong long before selfies and instagram, let alone the execrable TikTok. As old as time. Or just engage a carpenter’s crew for some home renovations – you might be surprised what they show up wearing! Weekend at a Ryokan, Onsen, or just a night out at the fireworks during summer will bring this home. I also like to see very old Chinese going about in the daytime wearing what are effectively pajamas. Increasingly rare sight though. And I forgot the Vietnamese. The Aoidai never died and from following r/Vietnam on reddit there seems to be a thing for dressing up as scholars and aristocrats and being photographed.
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What sets this Hanfu apart is its meticulous attention to detail and cultural reverence. From the classical motifs to the thoughtful layering, every element is designed to honor the traditions of the Wei and Jin dynasties while providing a comfortable and wearable experience. This exquisite set offers a blend of artistry and practicality, making it an exceptional choice for those who wish to embody the elegance of ancient China. Its standout feature lies in the neckline and cuffs, adorned with a classic lattice pattern reminiscent of the geometric artistry from the Wei and Jin period. The flowing sleeves allow for dramatic, graceful movements, enhancing the wearer’s silhouette while maintaining a sense of authenticity. This piece anchors the ensemble with understated sophistication. The first component is the large-sleeved blouse, crafted in a soft, solid pink fabric that exudes simplicity and elegance. The second layer is the half-sleeved outer coat, which introduces a dynamic contrast with its translucent fabric and intricate details. The light, chinese traditional clothing cheongsam airy feel of the outer coat evokes the ethereal quality often associated with historical depictions of Wei and Jin period attire. This layer, with its light texture and subtle embroidery, adds depth and texture to the outfit while complementing the large-sleeved blouse. The inner skirt provides a soft, flowing foundation, while the outer skirt steals the show with its intricate and eye-catching prints. The highlight of this set is undoubtedly the dual-layered skirt. Inspired by ancient Chinese paintings, the detailed patterns showcase ornate floral and geometric designs that reflect the era’s artistic elegance. The combination of layers gives the skirt a rich sense of depth and dimension, perfect for creating a statement look that is both luxurious and sophisticated.
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Before we jump into the styles, let’s take a quick history lesson. But don’t worry, we’re not going to wear something that looks like it belongs in a museum. Hanfu, the traditional clothing of the Han Chinese, has a history that spans thousands of years. It’s like having a piece of history that fits right into your 21st-century lifestyle. Modern Hanfu is more than just a fashion statement. The beauty of modern Hanfu is that it takes the essence of traditional designs and blends it with contemporary fashion trends. It’s a celebration of cultural heritage, a nod to the rich history of Chinese fashion. Wearing modern Hanfu is like wearing a piece of art, each stitch and fold telling a story. And let’s be honest, who wouldn’t want to be a walking masterpiece? The A-Line dress is a modern take on the traditional Hanfu robe. Now, let’s get to the fun part – the styles! It’s perfect for those casual days out or a fancy dinner date. Pair it with some cute flats, and you’re good to go! It’s versatile and can be paired with a blouse or a crop top. This style is all about accentuating your waist and giving you that elegant silhouette. The Ruqun, a classic Hanfu style, red cheongsam gets a modern twist with vibrant colors and patterns. It’s perfect for those who want to make a bold fashion statement. I once wore this to a friend’s wedding, and let me tell you, the compliments just kept coming! Who says Hanfu can’t be modern and edgy? It’s all about power dressing! The Hanfu pantsuit is perfect for the office or a business meeting. Pair it with some leggings or skinny jeans, and you’re all set! This is for those days when you’re feeling a little extra. The Hanfu cape adds a dramatic flair to any outfit. This style is perfect for those lazy days when you just want to be comfortable but still look chic. It’s my go-to piece when I want to stand out in a crowd. This is a staple piece that every modern Hanfu enthusiast should have. Plus, it’s super comfortable! Perfect for those chilly days, the Hanfu coat combines style and functionality. It’s versatile and can be paired with a skirt or pants. It’s like getting a warm hug from your clothes! Add a layer of sophistication to your outfit with a Hanfu vest. Last but not least, the Hanfu Kimono. It’s a fusion of Chinese and Japanese fashion that results in a stunning piece of clothing. It’s a simple piece that can elevate your look. Now that you’re familiar with the styles, let’s talk about incorporating them into your wardrobe. The key is to mix and match. Pair your Hanfu with western clothing for a unique look. Don’t forget to accessorize! And remember, taking care of your Hanfu is essential. A statement necklace or a pair of earrings can go a long way. Experimenting with modern Hanfu styles can be a fun and exciting way to revolutionize your wardrobe. Always check the care label and store them properly to keep them looking their best. Who knows, you might just find your new favorite outfit. So why not give it a try? Remember, fashion is all about expressing yourself. So go ahead, express yourself with modern Hanfu!
Experience the Regal Feast at Shanghai’s Palace Banquet Step into the grandeur of imperial dining with Shanghai’s Palace Banquet, a culinary journey that transcends 3,000 years of history. This is no ordinary meal-it’s an immersive experience blending gourmet flavors with a regal atmosphere, making you feel like royalty. I secured a VIP seat in the front row, priced at 698 RMB, and dressed in traditional Hanfu to enhance the authenticity. The immersive setting transports you straight into the splendor of an ancient palace. The menu was nothing short of extraordinary. Signature dishes like Concubine’s Smile Spicy Shrimp Balls, Braised Fish Maw with Persimmon, and Crispy Black Pepper Wagyu Beef were a feast for both the eyes and the palate. Initially, I assumed the presentation might outshine the flavors, but the dishes exceeded my expectations. From the elegant table arrangements to the refined service, every detail evokes the majesty of a royal feast. Booking is essential, as the Palace Banquet is highly sought after. Tickets start at 498 RMB for standard seating, can you wear a hanfu for chinese new year while VIP seats offer a closer view and an enhanced dining experience for 698 RMB. The rich blend of traditional and contemporary culinary techniques delivered not only visual appeal but also impeccable taste. Whether you’re a food enthusiast or simply looking for a unique way to explore Chinese culture, the Palace Banquet promises an unforgettable evening. Slip into the shoes of ancient emperors and empresses, savor the lavish spread, and let history and flavors intertwine for a truly majestic dining experience.
Hanfu accessories (Chinese: 汉服配饰; pinyin: hànfú pèishì; lit. Chinese history. Hanfu consists of many forms of miscellaneous accessories, such as jewellry, yaopei (lit. Chinese jewellery, including Chinese carved jade jewellery, often features Chinese symbols and iconography, and auspicious symbols and images, which are themselves rooted in Chinese culture, legends and mythologies, and philosophy. 18 it is also associated with positive qualities and aspects such as purity, excellence, and harmony. 213 These symbols often reveal the Chinese traditions which have guided the Chinese civilization for thousands of years and which currently continue to remain in use in present-days. 94 Jade is even more valued than gold in Chinese culture. 94 Traditionally, jade jewellery especially often expressed positive sentiments and good wishes; and, jade itself were often gifted on important and/or special occasions such as wedding and child birth. Other materials used in traditional Chinese jewellery making were: gold, shanhu (lit. Chinese: 真珠; lit. 213 Moreover, according to Chinese belief, silver could be used to avoid evil spirits and thus wearing silver ornaments and jewelries was believed to bring good luck to its wearer. 250 Niugu was used as an alternative to a rare material known as xiangya (lit. 250 Zuanshi (lit. ‘diamond’), on the other hand, was typically not used in traditional Chinese jewellery as it considered too bright and vulgar; and thus, it was generally avoided. According to ancient Chinese beliefs, jade bracelets should be worn on the left hand as it is closest to the heart. Another jade bracelet may be given by a mother-in-law to her new daughter-in-law when she gets married. Chinese women typically had at least three jade bracelets throughout her lifetime: the first one was given by her father as a little girl, the second is given to the girl by her mother when she gets married and which will be passed from generation to generation as a family heirloom, and the third one (regardless of the price and the quality) is given to the girl by her lover to express his love and his desire to protect her for a lifetime, which led to the saying, “no bracelet can’t get married”. 160 Jade bracelets continue to be prized and worn nowadays. There is a belief in China which says that if a jade bracelet breaks, the death of its wearer has been supplanted by the broken bracelet. It is also currently used as a form of fashion accessory used by hanfu enthusiasts. Earrings in China originated in the Neolithic period; however, they were first used as decorations or amulets. Ancient er dang were made out gold, jade, silver, ivory, marble, glass and crystal. Glass er dang became popular from the Han dynasty to the Southern and Northern dynasties due to its bright colours and due to its glittering characteristics and translucence. A form of popular earring which pierced the earlobe was the er dang (Chinese: 耳珰) which became popular during the Warring States Period and the Qin dynasty. When used on headgear, the chong er were a representation of self-discipline and introspection, both of which were important required characteristics in Chinese culture; the purpose of these jade pendants decorations thus reminded its wearer that he should avoid hearing and listening to anything without careful consideration and avoid slander while simultaneously remind the wearer that he should show humility and listen to good suggestions. Emperor where they became known as chong er (lit. The er dang attached to hairpins were used by empresses, imperial concubines and princesses during the Han dynasty allowing the er dang to hung down beside their two ears. These jade pendants gradually spread from the Emperor to officials and scholars, to women who would then hang it to their Chinese hairpins. During the Song dynasty that women started to piece their two ears and wore er dang; these earrings could be made with gold and pearls. Based on archaeological findings, it appears that it was a popular trend for ancient women to only wear a single er dang (especially on the left ear) instead of pairs of earrings. Wearing earrings among Chinese women then became popular in the Ming and Qing dynasties. In the Ming dynasty, the practice of wearing a single earring on the ear was not customary for Chinese men, and such practices were typically associated with the non-Chinese people living along the northern and north-western borders; however, there is an exception: young Chinese boys would wear a single ring-shaped earring attached to their ear as an amulet to protect them against evil spirits. In Qing dynasty, Han Chinese women wore a single earring at each ears which contrasted from the Manchu women who had to wear three earrings at each ear. From the middle of the eighteenth century, Manchu women adopted the Han Chinese single earring despite breaking the Manchu dress code and the laws which prevented them from wearing Han Chinese women clothing; this frustrated the Qing emperors. Song dynasty empress wearing single gold earring at each ear. Rings were initially used as decorations and finger protection when drawing bows since the Neolithic period. Empress of Ming wearing a dangling earring at each ear. They were then given to the Empresses and imperial concubines in the Emperor’s concubines to express or indicate their current physical conditions by the Emperor; by the time of Qin and Han dynasties, a gold ring worn on the left hand were used to express being on menstruation or being pregnant and thus that its wearer were unsuitable to serve the Emperor while a silver ring on the left hand expressed that its wearer was available to serve the Emperor; following a night with the Emperor, the silver ring would be moved from left to the right hand. This custom was then gradually spread to the nobles and officials before spreading to the civilians. Rings later became one of the most important betrothal gift for a bride since the Southern Song dynasty. Rings which were mostly made of precious materials, such as jade, gold, and silver, were also bestowed presents to accomplished court officials and they were used as love token by couples. Yingluo (Chinese: 璎珞) is currently a common necklace accessory used by hanfu enthusiasts. It is mainly made of pearls, precious stones and precious metals. It is a ring-shaped ornament developed in ancient China, which is hung on the neck and chest, worn on the head, arms and legs. There is also a custom of wearing a necklace with a longevity lock pendant, changmingsuo (lit. At first, it was used as a Buddhist ornament, but later it was widely adopted as a necklace and headwear in Chinese women’s clothing. The longevity lock is known as changmingsuo (lit. These lock charms were sometimes personally tied around the necks of children by Buddhist or Taoist priests. 213), and jade, and having auspicious words carved on it. Chinese culture; according to Chinese beliefs, the changmingsuo protect children from evil spirits and bad luck by locking its wearer’s soul and life inside of the lock. 213 Both blessings of longevity and health form part of the concept of wufu (Chinese: 五福; lit. The changmingsuo is also a manifestation of the blessing from the older generation who hoped that the child would live a long time (longevity) and remove illness (health). Chinese philosophy and beliefs and which hold an important place in every aspect of Chinese culture and life. Yupei (Chinese: 玉佩) and had a rigid and specific rules attached to its use. Chinese Jade pendant in the form of a bi, 2000-1500 B.C. In the Qing dynasty, it was popular for women to wear green, translucent jade jewelries; pendants which were carved in the shape of a curving dragon was popular. Western Zhou Jade Huang from a jade pendant. Late Spring & Autumn Jade Ornaments composed of bi and huang jade, and dragon-shaped jade. Jade pendants in the form of stags, Western Zhou. The jinbu appeared thousands of years ago and were initially only worn by nobles, but with time, it was gradually adopted by all women regardless of their social ranks. The jinbu also used to be an indicator of elegance and etiquette in ancient times: if the behaviour of its wearer is discourteous (i.e. walking too fast), the jinbu would sound loud; and thus, it would remind the wearer to mind his manners and elegance; on the other hand, if its wearer behave appropriately, the jinbu would sound melodic and pleasant. When turning round, he made a complete circle; when turning in another direction, he did so at a right angle. When (the king or ruler) was walking quickly (to the court of audience), he did so to the music of the Cai Qi; when walking more quickly (back to the reception-hall), they played the Si Xia. When advancing, he inclined forward a little; he held himself up straight; and in all these movements, the pieces of jade emitted their tinklings. It is currently used as a form of fashion accessory used by hanfu enthusiasts. So also the man of rank, when in his carriage, heard the harmonious sounds of its bells; and, when walking, those of his pendant jade-stones; and in this way evil and depraved thoughts found no entrance into his mind. In Qing dynasty, Han Chinese women wore pendant-like charms as yajin; these pendant-like charms were made of diverse materials (such as jade, amber, gold) and were placed at the top button on the side of their ao-jacket. They also wore other forms of pendants, such as pendants made of metal filigree in the shape of potpourri container which would be filled with fragrant herbs and long silver pendants with small silver charms which were filled with bells which would frightened evil spirits away when they tickled as they wore. Yajin (Chinese: 压襟; pinyin: yājīn) are used as press lapels on upper garment ornaments; it could include pendants, hebao, and fragrant sachet, and shibazi. They would also hang hebao (purses) on the top button of their jacket. A shibazi is a type of 18-beads bracelet which originated from the japamala. A style of yajin was the shibazi-style. The shibazi sometimes have hanging buckles; they would be hung on the right lapels of upper clothing or could be worn around the wrist like a regular bracelet. Belts and silk bands are commonly referred as dai (simplified Chinese: 带; traditional Chinese: 帶). Dai have been deeply connected to ancient Chinese clothing and just like the style of the ancient clothing have known changes over time, so did the dai. There were no strict regulations on its wearing etiquette. Taodai Silk belts or silk narrow bands, made of seven silk bands. Belts were used as accessories for various civil and military officials, and they were used to distinguish their social ranks. Ke (缂) A narrow band; which could also be of one colour (su); sometimes used as a belt with jade daigou (帶鉤; belt hooks). Sitao (丝套) Narrow silk bands, used as belts. Could be woven into 2 different ways. Dadai (大带) or Shendai (绅带) Silk sash; it was worn on top of the shenyi. Kua (銙) Originated from belts worn in the Zhou dynasty; it was lined with plaques at variable distances, it also had rings or ornaments suspended from its lower edge in order to allow the wearer to attach objects (e.g. knives, tallies, etc.). Diexie (蹀躞) Originated from belts worn in the Zhou dynasty; it was similar to the kua (銙) belt, except that it had strips of leather instead of rings. The belt could have a decorative piece attached on it. Some accessories like leather pouches could be attached to those belts. A separate piece of cloth, which has adornment, and was used to wrap the stomach of Han Chinese men. An adornment belt. It is another belt which is worn on top of the belt worn around the waist for decorative purpose. Daigou (帶鉤) Belt hook One end has an elongated body with a knob that goes through the belt; the other end is a curled head that hooks on a loop, ring, or hole on the opposite end of the belt to keep it secure. Belt hooks could also be inlaid with yellow and white gold depicting motifs of animals. Made of precious metals and jade; they were less ornamented in the Jin dynasty compared to the ones worn in the Han dynasty. Daikou (帶扣) Belt buckles Belt buckles with movable tongue. Pizi A cape; a wide and short cape which drapes over the shoulders. It was introduced during Jin dynasty from the North; originally it was used to secure horse gear instead of clothing. Northern dynasties – Tang dynasty. In terms of design, it looked closer to a long scarf; it was worn in formal dress. A woman’s neckband which was trimmed with gold and lace. A type of stole or tabard worn by women; it was developed from the xia pei worn in Ming dynasty. According to Ming’s regulation, the Xiapei length had to be 5.7 chi and 0.32 chi width, with a suspended gold ornament at the end which purpose was to provide weight. The bottom of the xia pei has a pointed hem. It was first worn by women on their wedding day, and later, they would wear on special occasions. It was tied at the sides and reached below the knees. Lào zi Knotted ribbon decorations tied to the waist belt made of silk and cotton ribbon. It is also decorated with colourful tassels at the bottom of the end. Xian (襳) Long ribbons which hung from the upper short skirt. It fell around the collar onto the chest and shoulders. Fangxing quling (方心曲領) Lit. It is a detachable collar worn on top of the jacket (and the xia pei in Qing dynasty). “bent collar with a square center”. It was a notable feature of ceremonial court attire during Song and Ming dynasties. It is made of silk. It is pendant-like accessory which falls on the overlapping front of a paofu. It consists of a circle at the neck area and an open or solid square which hungs from the circle onto the chest area. Hebao, Chinese purses or sachet, are currently used as a form of fashion accessory used by hanfu enthusiasts. The fangxin quling contains the symbolism of Heaven (circle) and earth (square), respectively. Yudai (Chinese: 鱼袋; lit. They are often embroidered and can be decorated with tassels. It is a form of yufu (Chinese: 魚符; lit. Emperor; it could be made of gold, silver, or jade. Chinese: 袋; lit. It was used from the Tang to the Ming dynasty. Historically, fans have played an important aspect in the life of the Chinese people. They were also used for ceremonial purposes and as a sartorial accessory. So far, the earliest fans that had been found date to the Spring and Autumn period and Warring States period; these were made of either bamboo or feathers. The Chinese have used hand-held fans as a way to relief themselves during hot days since the ancient times; the fans are also an embodiment of the wisdom of Chinese culture and art. Replica of a Short-handled Bamboo Fan, Warring States period Tomb. The arts of fan-making eventually progressed to the point that by the Jin dynasty, fans could come in different shapes and could be made in different materials. Female attendants of Emperor Taizong holding large oblong fans. A pukui shan, a type of Chinese fan made with palm weaving. Folding fan with a Chinese painting and a Chinese poem, painted by the Qianlong emperor, Qing dynasty, 1762 AD. These types of fans were mostly used by women in the Tang dynasty and was later introduced into Japan. Tuanshan (Chinese: 团扇), silk round-shaped fans, also known as “fans of reunion”, is a type of “rigid fan”. Round fans with Chinese paintings and with calligraphy became very popular in the Song dynasty. In 988 AD, zheshan (Chinese: 折扇; lit. These round fans remained mainstream even after the growing popularity of the folding fans. The folding fans later became very fashionable in the Ming dynasty. China by a Japanese monk from Japan as a tribute during the Northern Song dynasty; these folding fans became very fashionable in China by the Southern Song dynasty. Another popular type of fan in history was the palmetto fan known as pukui shan (Chinese: 蒲葵扇), also known as pushan (Chinese: 蒲扇), which was made of the leaves and stalks of pukui (i.e. Livistona chinensis). Nowadays, both the zheshan and the tuanshan are both often used as accessory in hanfu by Hanfu enthusiasts. Nowadays, Chinese musical instruments, such as dizi and guqin, are both common fashion accessory among Hanfu enthusiasts. This ban was soon lifted following the founding of the Tang dynasty, and according to the Tang legal code, people were allowed to carry light weapons, bows and arrows, swords, shields, and short spears and were only banned from using professional military weapons. This cultural shift also changed the symbol of swords in society, which became symbols of strength, courage, masculinity, righteousness. It thus became fashionable to carry swords as well as short weapons, such as knives and daggers. Poet Han Yu (768 – 824 AD), Li Jian (lit. This led to a cultural shift in the Tang dynasty where gallantry culture rose in popularity. 23 Sword dance (Chinese: 剑舞) and knife dance (Chinese: 刀舞) both evolved from Chinese martial arts, with the records of sword dance appearing as early as the Han dynasty. 23 Chinese swords known as peijian (Chinese: 佩剑), are currently fashion accessories in hanfu and are often used by young male Hanfu enthusiasts being perceived as being indispensable on the road of chivalry and righteousness. Nowadays, swords remain present in traditional Chinese arts, such as the Chinese dance and Chinese opera. A tally is referred as fu (Chinese: 符; lit. Fu (Chinese: 符) Hufu Chinese: 虎符; lit. It was eventually replaced by the yufu (Chinese: 魚符; lit. Yufu (Chinese: 魚符; lit. A tiger-shaped tally A form of tally worn prior to the Tang dynasty; it was made of silver. Hu (Chinese: 笏; pinyin: hù) The hu was a flat sceptre-like item which originated in China and were originally used as narrow tablets for recording notes and orders and were used by officials. 208 which represented authority during the Longshan culture and continued to be used in the succeeding dynasties until the Ming dynasty. It was typically used by Chinese rulers (including the emperor) and nobles on ceremonial occasions. 208 It was held in the hands when worn with ceremonial set of attires, such as the bianfu. Cosmetics have a very long history in China but their origins are unclear. A fish-shaped tally A form of tally which started to be worn in 619 AD during the Tang dynasty; it was made of silver. The cosmetic industry in China may have potentially originated in the Spring and Autumn period. Gao Cheng of the Song dynasty, around the year 1100 BC during the reign of King Wen, women started to use powder and in the court of Qin Shihuang around the 3rd century BC, all imperial consorts and ladies-in-waiting were already using rouge as cosmetics and were drawing their eyebrows. Red makeup was an important colour for facial cosmetics for the Chinese people; for example, in the Tang dynasty, red makeup included rouge and lip glosses made of cinnabar. Cosmetic powder is known as fen as it was made by the pounding and crushing of rice grains or qianfen (lead powder) in China. According to the Shiwu jiyuan (lit. 24 Cosmetic powder in China was made out of rice since ancient times and appears to have predated the use of lead powder. 24 Another form of lead powder was known as Hufen which is made of lead, with the character Hu being associated with the Northern and Western ethnic groups in China. 24-25 In the Han dynasty, women were not the only ones who used cosmetic powder, men also used it and this custom of men applying powder did not decline even during the Six dynasties period. 26 By the time of the Six dynasties period, lead powder had become a mainstream cosmetics among the aristocrats and the practice of using lead powder became established by the Tang dynasty period. When fen was dyed red, it became known as chengfen (double-dyed red applied). 24 The chengfen was a makeup powder which was applied on the cheeks. 24 In the Tang dynasty, women would apply rouge on their cheeks directly under their eyes. In ancient times, not only the face had to be whitened but any exposed areas of the body such as hands, arms, and neck also had to be whitened. 25 There was also a custom of applying powder on non-exposed body areas, such as the chest, shoulders, and back which can be traced back to the Han dynasty period. The love for white skin in present-day China has nothing to do with racism. 3 The use of white makeup powder made of freshwater pearls can be traced back to the Northern Song dynasty. 12 instead it was due to it association with social economic and/or occupational status class, a concept which can be traced back to the Han dynasty when commoners, such as farmers and labourers, would work outside all day which resulted into darker, tanned skin tone, while those who came from a wealthier families could spend their days indoors and were spared from having to work outside in the sun. This belief continues to remain rooted in present-day China where white skin is believed to represent being part of the elite class; and thus, Chinese people continue to take a lot of measures to ensure that their skin remain white and beautiful. From the 6th century through the Tang dynasty, it was fashionable for women to apply powder to their foreheads, especially yellow powder or pollen. 70 and not under Western influence; for example, during the Nara period (710-794 AD), Japanese women started to use whitening powder under the influence of the Chinese culture; and since then, the standard beauty ideal in Japan is light skin. 3 Chinese royalty used nail polishes which were gold, silver, black and red in colour and were made with bee wax, gum Arabic, and egg. Nail polish was a popular cosmetic enhancement in early China and can be traced back to approximately 3000 BC. 46 While the lower classes of society were forbidden from painting their nails in bright colours. Huadian (Chinese: 花钿) Shouyangzhuang (Chinese: 寿阳妆; lit. 3 Chinese aristocrats also coloured their nails in red and black with nail polishes which were made up of egg white, bee wax, and gelatin. Meizhuang (Chinese: 梅妆; lit. A forehead decoration, which was popular in Tang and Song. Ye (Chinese: 靥) An artificial red dimple about 1 cm at each side of the lips. During High Tang period, they evolved and some could be found at the 2 sides o the noses and be found in various shapes (e.g. coins, peaches, birds, and flowers). Xiehong (Chinese: 斜红; lit. 37 It originated in the Three Kingdom period, where women put a red mark on both sides of their faces to imitate Xue Yelai (薛夜来), Caopi’s concubine, who had a scar at the temple of her face. 36-37 It originally called xiaoxiazhuang due to its rosy colour of the early morning was and was later called “red slant”, and it was at put at the tip of each eyebrow. Tizhuang (Chinese: 啼妆; lit. Leizhuang (Chinese: 泪妆; lit. Taohuazhuang (Chinese: 桃花妆; lit. A short-lived fashion trend, when powder and rouge were not popular on the face; and the only makeup that was worn is black lipstick. A forehead makeup where women painted their forehead yellow, which is believed to be in imitation of Northwestern ethnic minorities. Yuanyang (Chinese: 鸳鸯; lit. It is an eyebrow makeup. E huang (Chinese: 额黄; lit. Xiaoshan (Chinese: 小山; lit. Chuizhu (Chinese: 垂珠; lit. It is an eyebrow makeup. Hanyan (Chinese: 涵烟) Known as “dark fog” in English. It is an eyebrow makeup. 35 It is an eyebrow makeup. Marks, Ben. “Unraveling the Ancient Riddles of Chinese Jewelry”. Red makeup remain popular in Modern hanfu makeup of the 21st century with the use of red and/or pink eyeshadow. Advances in future manufacturing engineering : proceedings of the 2014 IMSS International Conference on Future Manufacturing Engineering (ICFME 2014), Hong Kong, 10-11 December, 2014. G. Yang. Leiden, The Netherlands: CRC Press. Yu, Ming (2011). 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Berkeley: University of California Press. Walthall, Anne (2008). Servants of the dynasty : palace women in world history. Wu xing fu. Sydney?: Jungle Books. Berkeley: University of California Press. Cambridge, UK: Cambridge University Press. Yu, Ming (2011). Chinese jade. Chinese sculpture. Angela Falco Howard. New Haven: Yale University Press. Guozhen, Wang (2019). Collection of Ancient Chinese Cultural Relics. Volume 1. Adelaide. pp. Singapore: Periplus Editions. p. Clark, Carol (1998). Tropical gemstones. Garrett, Valery M. (2007). Chinese dress : from the Qing Dynasty to the Present. Sheng, Angela (1995). “The Disappearance of Silk Weaves with Weft Effects in Early China”. Laursen, Sarah (2019). “10 Dressing the Dead in Jin China”. The art and archaeology of bodily adornment : studies from Central and East Asian mortuary contexts. Abingdon, Oxon: Routledge. pp. Sheri Lullo, Leslie V. Wallace. Beijing: China Intercontinental Press. Baohai, Dang; 党寶海; Dang, Baohai (2003). “The Plait-line Robe. A Costume of Ancient Mongolia”. Hua, Mei (2004). Chinese Clothing (1 ed.). Chen, Buyun (2019). Empire of style : silk and fashion in Tang China. Dan Lewandowski. Lanham, Maryland. Lewandowski, Elizabeth J. (2011). The complete costume dictionary. Shanming Guan, 關善明 (Di 1 ban ed.). Zhongguo xie zhen hua. Xianggang: Mu wen tang mei shu chu ban she you xian gong si. Yang, Yuxin (9 April 2018). “Unveiling and Activating the “Uncertain Heritage” Of Chinese Knotting”. ACCS 2018 Conference Proceedings. Garrett, Valery (2012). Chinese Dress : From the Qing Dynasty to the Present. Garrett, Valery M. (2007). Chinese dress : from the Qing Dynasty to the Present. New York: Tuttle Pub. Yang, Shaorong (2004). Traditional Chinese clothing : costumes, adornments & culture (1st ed.). San Francisco: Long River Press. Burkus, Anne Gail (2010). Through a forest of chancellors : fugitive histories in Liu Yuan’s Lingyan ge, an illustrated book from seventeenth-century Suzhou. Shea, Eiren L. (2020-02-05). Mongol Court Dress, Identity Formation, and Global Exchange. Ho, Peng Yoke (2007). Explorations in Daoism : medicine and alchemy in literature. Yuan, active Liu. Cambridge, Mass. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Cambridge, United Kingdom: Cambridge University Press. John P. C. Moffett, Cho Sungwu. San Francisco: Long River Press. Qian, Gonglin (2004). Chinese fans : artistry and aesthetics (1st ed.). Qian, Gonglin (2004). Chinese fans : artistry and aesthetics (1st ed.). San Francisco: Long River Press. Qian, Gonglin (2004). Chinese fans : artistry and aesthetics (1st ed.). Lu, Zhouxiang (2018). Politics and identity in Chinese martial arts. 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Aesthetic procedures : nurse practitioner’s guide to cosmetic dermatology. Yu, Z. R.; Wang, X. D.; Su, B. M.; Zhang, Y. (2017). “First Evidence Of The Use Of Freshwater Pearls As A Cosmetic In Ancient China: Analysis Of White Makeup Powder From A Northern Song Dynasty Lv Tomb (Lantian, Shaanxi Province, China): The use of freshwater pearls as a cosmetic in ancient China”. Archaeometry. 59 (4): 762-774. doi:10.1111/arcm.12268. Color matters : skin tone bias and the myth of a postracial America. Kimberly Jade Norwood. New York. Hill, Degen (2018). “China’s fair skinned obsession”. Lan, Shanshan (2012). Diaspora and class consciousness : Chinese immigrant workers in multiracial Chicago. Chō, Kyō (2012). The search for the beautiful woman : a cultural history of Japanese and Chinese beauty. Joanne L. Rondilla, Rudy P., Jr. Guevarra, Paul R. Spickard. Red and yellow, black and brown : decentering whiteness in mixed race studies. Blanchard, Lara C. W. (2018). Song dynasty figures of longing and desire : gender and interiority in Chinese painting and poetry. Draelos, Zoe Diana (2011). Cosmetic Dermatology : Products and Procedures. New Brunswick, New Jersey. Hua, Mei; 华梅 (2004). Zhongguo fu shi (in Chinese) (Di 1 ban ed.). Beijing: Wu zhou chuan bo chu ban she. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. This page was last edited on 20 November 2024, at 12:54 (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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Hanfu 汉服, the traditional clothing of the Han Chinese, has a rich history that dates back thousands of years. With its elegant designs and intricate details, hanfu has become increasingly popular in recent years. Ruqun is one of the most iconic styles of hanfu and one of the most popular for its flattering silhouette and is an excellent choice for newcomers to Hanfu as it’s arguable one of the easiest styles to wear. It consists of a Ru 襦 (blouse or jacket) worn on top and a Qun 裙 (long skirt) worn on the bottom. The Ruqun has been worn throughout all Chinese Dynasties from even before the Han Dynasty, to the Late Qing. Poqun, Style of Ruqun during the WeiJin Dynasties, note the many layers of Ru! The Ru 襦 depending on the dynasty could be crossed collared, or open collared, tucked in or untucked. The sleeve width of the Ru 襦 varied as well, ranging from extremely wide sleeves of the Northern Southern Dynasties (420 AD – 589 AD) to the slimmest sleeves of the Sui Dynasty (581 AD – 618 AD). The skirt styles and names also depended on the era, but were always long skirts. Qun 裙 Skirt. During the WeiJin Dynasties (220 AD – 420 AD), the Qun 裙 took on a wide A-line shape, made of wide strips of cloth pieced together to create a striped effect. This was called a Poqun 破裙 or “broken skirt”. During the Song Dynasty (960 AD – 1279 AD), a slimmer skirt with a dizzying amount of pleats called Baidiequn 百迭裙 or “hundred pleat skirt” was popular to wear with the Ruqun combination. Following the same basic formula as the previous Ruqun 襦裙, Qixiong 齐胸 means “chest high” and refers to the skirt being tied over the bust. During its popularity, the Ru 襦, more commonly called Shan 衫 during the Tang, ranged in collar styles and sleeve length and width. Thus, Qixiong Ruqun 齐胸襦裙, chest-high shirt-skirt combination. In the Sui, the Shan 衫 had rounded collars extremely skinny sleeves that went well past the hands (original sweater paws!). By the High and Late Tang, the Shan 衫 had a much deeper collar and wider sleeves that gave an air of elegance. The Qun 裙, went through much more of an amazing evolution. Some forms of the Shan 衫 during the Wu Zhou Period (Empress Wu Zetian’s reign, 690 AD – 705 AD) took on drastic “W” shaped cuts to reveal cleavage, a popular trend during the Empress’s Rule. Some of these early Qixiong Ruqun also had Shoulder straps, which I assume is a much missed aspect by the ladies of the later Tang. During the Middle and Late Tang, floral prints on skirts were favored as the dyeing capabilities of the flourishing empire drastically improved. Starting in the Sui and Early Tang, these chest high skirts were made up of many strips of fabric, creating stunning striped patterns. A long, decorative shawl draped over the shoulders, or around the elbow, or tucked into your skirt– Wherever you wanted it to go! A common accessory you’ll see with many Qixiong Ruqun outfits from the Sui, to sometimes in the Song Dynasty, was the Pibo 披帛. Skirt combination! But Aoqun 袄裙 typically refers to styles of shirt worn over the skirt, not tucked in, a popular style from the Late Song (960 AD – 1279 AD) to Ming Dynasty (1368 AD – 1644 AD). One of the most beautiful accessories in Chinese history, it never fails to give you an ethereal air of a goddess. During the Ming, the Aoqun 袄裙 was by far the most popular style of dress for both commoners and royalty alike. With the advent of metallic buttons called Zimukou 子母扣, standing collar styles (by far the most iconic characteristic of Chinese clothing) became widespread. Standing collar shirts, called Liling Shan 立领衫 or Liling Ao 立领袄, were worn by almost every woman across China; a fashionable and modest shirt, reflective of the Ming’s air of regality. With the Ming Dynasty’s now world renowned textiles and sewing capabilities, new styles of shirts emerged. Mamianqun 马面裙, “Horse Face Skirt”. The designs of the Mamian 马面 range depending on the time period of the Ming Dynasty. Mamian 马面 are made with a thicker, brocaded fabric than the Baidiequn 百迭裙 which is usually a lighter, daily skirt. During the later half, as longer styles of shirts with standing collars like Changshan 长衫 “Long Shirt” began to appear with the invention of metal buttons, the designs of the Mamian 马面 were reduced to floor-grazing decorative trims. During the earlier half of the Ming, when shorter styles of Ao 袄 were in style, the brocades on the skirts would rise all the way to the knees. The Shenyi was popular from 770 BC – 220 AD, and made a comeback in the later Song and Ming Dynasties’ menswear, making it one of the longest standing forms of traditional dress in Chinese history! Shenyi 深衣 is a style of hanfu that worn during the earliest dynasties: Spring & Autumn Period, Warring States, Qin, and Han. The Shenyi 深衣 is typically a one-piece robe that wraps around the body once or multiple times, literally translating as “wrapping the body deep within the clothes”. There were no undergarments during these early years so having that security and extra coverage was extremely important for both nobles and commoners alike. These two versions of Shenyi were interchangeable between sexes as there were no strict emperor-made rules about womenswear and menswear during the earlier dynasties. There are two main forms of Shenyi 深衣: Zhijupao 直裾袍 “straight hem robe”, or Qujupao 曲裾袍 “curved hem robe”. Zhiju 直裾 remained mostly the same throughout its popularity in hanfu fashion, but Quju 曲裾 varied in amount of wraps around the body, ranging from multiple to a singular wrap. Both robes were fastened with a belt called Dai 带, and could either be made of magnificent brocades, or simple cloth depending on your wealth. As long as it held the robe closed! A fun accessory seen commonly with Zhiju 直裾 and Quju 曲裾 was the Jinbu 禁步 “waist ornament”. Long, dangling charms that hung from the Dai 带 would make a charming twinkle noise as the wearer walked and helped keep the flaps of the Shenyi from flying up. Depending on the material they were called different names, but the most popular style of Jinbu 禁步 for Shenyi hanfu is the Yupei 玉佩 “Jade Ornaments”. Now for a popular unisex item in both ancient and modern times, the Yuanlingpao 圆领袍 is a delightfully comfortable round collared robe that reminds us of the sheer magnitude of the Silk Road; this garment is proof of foreign influences prevalent during Tang China (618 AD – 907 AD) including cultures from Gandhara, Sogdia, Turkestan, Persia and Greece. Yuanlingpao 圆领袍 was only worn as an inner undergarment. Originally described as Hufu 胡服 or “foreign fashion”, the Yuanlingpao 圆领袍 has become an integral part of historical fashion for not only China, but Korea, Japan, and Vietnam. It is tied with a leather belt at the waist and commonly paired with black boots, and don’t forget your hat! Although this is typically a male attire from the Tang to Ming Dynasties, women during the Tang Dynasty considered it extremely fashionable to dress like the boys! Women loved to don the same round collared robe, boots, and belt and play polo or soccer just like the men did. A variety of headwear was worn throughout the Tang Dynasty, but by the most popular was the Futou 幞头, a black rectangular cloth tied to the front and back of your head over a rounded hair cage. The Yuanlingpao 圆领袍 remained popular in both commoner and royalty closets until the Qing Dynasty but of course varied over the centuries. Tang lady wearing yuanlingpao and with cute makeup! During the Song Dynasty (960 AD – 1279 AD), the Yuanlingpao took on a similar form with wider sleeves and during the Ming (1368 – 1644), the Yuanlingpao were decorated with large square patches called Buzi 补子to denote court status. There are a ton of great resources out there like @ziseviolet on tumblr, who is my favorite resource for new hanfu lovers! We’ll dive into the intricacies of each dynasty soon. This merely covers the basics, especially if you’re new to the scene. Each dynasty has so much to offer and every decade in Chinese history seems to have a new fun trend!