Hanfu Events and Festivals Around the World

Lào zi (simplified Chinese: 络子; traditional Chinese: 絡子), also called Tāo zi (Chinese: 绦子), is an ancient appellation for knots in China. In ancient Chinese literature, the Lào zi actually refers to what is now known as zhongguo jie (simplified Chinese: 中国结; traditional Chinese: 中國結; Hanyu Pinyin: zhōngguó jié; Tongyong Pinyin: li; lit. Chinese and Chinese knotting in English. It was a tradition to use the lào and/or tāo as a form of yaopei (lit. Hanfu where it was tied to the waist by using silk or cotton ribbon. The meaning of the two terms Lào zi and Tāo zi are quite similar. The Chinese character for lào, 絡 in traditional Chinese and 络 in simplified Chinese, is a specific term which refers to knotting, enmeshing, and wrapping. According to Dream of the Red Chamber, making Lào zi means making knots that can be used on waist as knotting belt; the Lào zi could also be as decorative knots with tassel hanging for small object or furnishing (similar to the norigae used in the hanbok). The Chinese character for tāo, 绦, refers to the lace or flat ribbon woven from silk thread which can used to decorate clothing. As a form of knot-craft, it could be used to knot a net sachet for containing small objects. The knot at the waist by ribbon can be seen from many artworks especially in the beauty painting, and ancient literature description recorded that the tradition of knot ribbon can be traced back to the Spring and Autumn period (770 – 76 BCE); for example, in the chapter Zhaogong (昭公) of the Zuo Zhuan (左傳), the tradition of tying ribbon as knots to the belt is recorded. ACCS 2018 Conference Proceedings. Yang, Yuxin (9 April 2018). “Unveiling and Activating the “Uncertain Heritage” Of Chinese Knotting”. Chen, Lydia. The complete book of chinese knotting: a compendium of techniques and variations. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Dream of the Red Chamber· This page was last edited on 18 September 2024, at 06:01 (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.

For those who appreciate timeless beauty and modern convenience, the “Bamboo Serenity” Hanfu set offers the ultimate blend of both. With its thoughtful design, delicate details, and serene palette, it allows the wearer to experience the elegance of the past while enjoying the comfort and versatility of the present. The top is designed with long, flowing sleeves and crafted from a breathable, lightweight fabric, ensuring comfort and ease of movement. Embellished with exquisite floral embroidery on the chest, this piece adds a touch of sophistication to the outfit while maintaining a soft and ethereal look. The elegant drape of the top pairs beautifully with the dress, creating a seamless, harmonious silhouette that moves gracefully with every step. The design draws inspiration from the timeless imagery of bamboo, hanfu traditional a symbol of strength and flexibility in Chinese culture. The dress, rendered in a pale green hue, features a subtle bamboo leaf print that adds a touch of natural elegance. The soft green shade, combined with the flowing, pleated skirt, offers a gentle, romantic feel while remaining rooted in traditional aesthetics. Together, these two pieces showcase the perfect fusion of traditional and modern elements. This combination of color and pattern brings a tranquil, mamian qun skirt serene vibe to the overall look. While staying true to the structure and elegance of Song Dynasty Hanfu, the “Bamboo Serenity” set incorporates modern cuts and materials that make it easy to wear in daily life. Whether for casual outings, cultural events, or even a peaceful day at home, this Hanfu set effortlessly merges ancient charm with contemporary sensibilities.

The Jurchen were classified into two categories based on their lifestyles; they were either sheng (Chinese: 生; lit. Chinese: 熟; pinyin: shú; lit. 13 Being influenced by Chinese culture was perceived as “cooking” while non-Chinese “barbarians” were considered as being “raw”. 13 The sheng Jurchen lived a relatively primitive and indigenous lifestyle based on hunting and herding similarly to the lifestyle of their ancestors. 56 By the 10th century, the sheng Jurchen were subdivided into two categories based on their geographical location: those living in the north and took their identity from the Heilongjiang river and were called the “Black Jurchens” while those in the south took their identity from the Changbai mountains were called the “White Jurchens”; the white Jurchens considered themselves as being more “civilized” and being kin people of the Bohai kingdom. 55 By the 13th century, the Jurchens of Jin considered the sheng Jurchens as outsiders, barbarians, and sometimes even as their enemies. The Jurchen founded the Jin dynasty in 1115 by Wanyan Aguda by overthrowing the Liao dynasty. 56 Soon after having founded the Jin dynasty, the Jurchen elites abandoned their sheng ways of life having been first influenced by Bohai and later on by gaining much of northern China and the former Song dynasty population which were large in numbers. 212 Some remnants of the Bohai people became the subjects of the Jin after it overthrew the Liao dynasty; and by the mid-Jin dynasty, the Bohai people lost their distinct identity having been assimilated. In 1125, the Jin dynasty destroyed the Liao dynasty, and in 1127, the Jin invaded Northern Song and sacked the capital city, Kaifeng. There was about 30 million Han Chinese living under the rule of the Jin dynasty. 56,68 and by the late 12th century, Hanfu had become the standard form of clothing throughout the Jin society, in particular by the elites. 281 The Han Chinese style clothing was prohibited and the people had to wear a short scarf and left-lapelled clothing; if they did not obey, they were put to death. In the early period of the Jin dynasty, the Jin dynasty court first attempted to impose Jurchen hairstyle and clothes on the Han Chinese population in 1126 AD and in 1129 AD. After having conquered northern China, in 1126, a proclamation was issued by the Grand Marshal’s office stipulating that the Jurchens had conquered all and it would be therefore appropriate to unify the customs of the conquered people to make them conform to the Jurchen norms; therefore the Chinese men living in the conquered territories were ordered to shave their hair on the front of their head and to dress only in Jurchen-style attire under the threat of execution to display their submission to the Jurchens. In 1127, the Jin dynasty occupied the Northern Song capital and the territories of the Northern Song; the Han Chinese who were living in Northern Song territories became the majority population of the Jin dynasty while the Jurchen became an ethnic minority in the Jin dynasty; this led the Jurchen to make political concessions allowing the Han Chinese to practice their own culture. This shaving hair order and adopting Jurchen clothing was however cancelled just a few months after it was stipulated as it was too difficult to enforce. In 1138 AD, the Jin court adopted the Chinese robes for the emperor and the officials. The shaving hair and adoption Jurchen clothing imposition order on the Chinese was once again reinforced in 1129; however, it does not seem to have been strictly been enforced. 92 The shaving the hair and adopting Jurchen clothing order was taken back under the Emperor Hailing who was Pro-Chinese allowing the Han Chinese to wear their Han clothing by lifting the ban in 1150 AD. In the 1150, Emperor Hailing established a sinicization policy. 281 Under his reign, the Chinese in Honan were allowed to wear Chinese clothing. The Jin dynasty court had also banned intermarriage, but this ban was also lifted in 1191 AD. Between 1161-1189 AD, many Jurchens appear to have begun adopting Han Chinese behavior and forgetting their own traditions and languages; therefore, the Emperor Shizong of Jin prohibited the Jurchens from dressing like the Han Chinese in 1191 AD (which they had been doing for forty years) and from adopting Chinese family and personal names as he wanted to revitalize the old Jurchen culture. 40 However, despite his efforts, the influence of the Han Chinese living in the Northern Song territories had a significant influence and by the mid-twelve century, the Jurchens were sinicized so much that they were almost indistinguishable from the Han Chinese in terms of dress, literacy and social customs. 92 and to preserve the Jurchen’s cultural identity. 281 As a result, Emperor Shizong also prohibited the Jurchens from adopting Han Chinese attire. Jurchen material culture dating about 1162 were found from the coffin of the Prince of Qi, Wanyan Yan, and his wife, where Wanyan Yan and his wife were dressed in layers of clothing in the duplicate style as those worn by Lady Wenji and the warriors who accompanied her in the painting Cai Wenji returning to Han. 281 By his time, many Jurchens appeared to have adopted Chinese customs and have forgotten their own traditions. 61The Prince of Qi wore earrings, drawers, padded leggings, jerkings, boots, a padded outer jacket with medallion designs at the back and front jacket; soft shoes and socks, and a small hat while his wife wore a short apron, trousers, leggings, a padded silk skirt, a robe with gold motifs, silk shoes with soft soles and turned-up toes. 57,61-62 The tribeswomen in the painting Cai Wenji returning to Han wear Jurchen attires consisting of leggings, skirts, aprons made of animal hide, jackets, scarves, hats made of fur or cloth; Wenji also wears Jurchen-style attire consisting of a ochre-yellow jacket, silver yunjian (a symbol of high rank), boots, and fur hat with ear flaps; the tribesmen wear typical sheng Jurchen clothing with the exception of a Han Chinese official. 62 These forms of Jurchen clothing were in the styles of the old Jurchen nobility; a style which may have been typical of the clothing of the Jin imperial elite at some point in the late 12th century during the reign of Emperor Shizong, who emphasized the values of the old sheng Jurchen and attempted to revive Jurchen culture and values. 58-59 However, the Prince of Qi and his wife clothing were not made of rough-woven wool, felt, and animal-skin that the sheng Jurchen wore; instead, they wore clothing made of fine silks with some decorated with gold thread; they also did not wear boots. After the death of Emperor Shizong, the policy of Jurchenization was abandoned and sinicization returned quickly. According to Fan Chengda who visited the Jin dynasty in 1170 following the Jin conquest of the Northern Song dynasty, he noted that the Han Chinese men had adopted Jurchen clothing while the women dressing style were still similar to the Hanfu worn in the Southern Song dynasty (although the style was outdated). 92 By 1191, the rulers of the Jin dynasty perceived their dynasties as being a legitimate Chinese dynasty which had preserved the traditions of the Tang and Northern Song dynasties. 40 They could also shave their hair at the back of the head and bundled it with coloured silk; they also wore golden locks as their ornaments. In the early history of the Jurchen, the Jurchen liked to wear white clothing and shaved the front of their head above the temples while the rest of their hair hanged down to their shoulders. 40 Jurchen women braided their hair and wound them into a hair bun without wearing a hat. 40 The wealthy Jurchen used pearls and golds as ornaments. 40 The Jurchen weaved hemp as they did not raise silkworms; they used the fineness of hemp cloth to indicate their wealth. They also wore clothing which were suitable to their daily lifestyles (e.g. horse riding, hunting, and herding) and weather on the Steppe, especially those made of felt, leather, and furs. These forms of clothing continued to be worn after the Jurchen had founded the Jin dynasty. 40 In winter, fur coats were used by both the rich and the poor to keep themselves warm. 14 However, in the court, they would wear more luxurious materials, especially silk fabric woven with gold. In general, the Jin dynasty Jurchen clothing were similar to those worn by the Khitans in Liao, except for their preference for white colour. Yuanlingpao with tight sleeves (closing to the left side, with pipa-shaped collar) were worn by men with leather boots and belts. 136 Jurchen women liked to wear jackets (either dark red or dark purple) which closed to the left side with long flapped skirts. 136-137 It is also recorded in the section Carriages and Costumes of the History of Jin dynasty that Jurchen clothing were decorated with bears, deer, mountains and forest patterns. The Jurchen hairstyle was the Jurchen queue, called bianfa (辮髮). 21 Unlike the tonsure of the Tangut Western Xia, the Jurchen hairstyle of wearing the queue combined with shaving the crown was not the invention of an emperor of the dynasty but was an established Jurchen hairstyle which showed who submitted to Jin rule. Based on Han Chinese tombs of the Jin dynasty, it appears that ordinary Jurchen clothing may have been a symbol of lower class status as servants and lower-class women tend to be portrayed as wearing modified Jurchen-style clothing whereas women from the upper class wear Han Chinese-style clothing. This Jurchen queue and shaving hairstyle was not enforced on the Han Chinese in the Jin after an initial attempt to do so which was a rebuke to Jurchen values. However, the clothing-style of the Han Chinese women living the Jin dynasty was outdated compared to the Han Chinese women in the Southern Song territories. Yet despite the Han Chinese influence on Jurchens, travellers from the Southern Song dynasty who visited the former territories of the Song dynasty noted that there have been changes in the people’s culture and that the Han Chinese’s clothing style had also been influenced by the Jurchens in terms of adoption of items; they also noted that the only thing which had not changed much was the women’s clothing style. Standing official with tablet, China, possibly Handan, Hebei, Jin dynasty, early 1200s AD. The use of clothing made of felt, leather, and furs were also used by the Khitans, the Tanguts, and Mongols. These clothing would protect its wearer from the low temperatures and high winds of the Steppe. The yunjian was worn in the Jin dynasty and was adopted in the Yuan dynasty as a signature pattern on men’s and women’s clothing. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Zhu, Ruixi (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Lang Ye, Zhenggang Fei, Tianyou Wang. Kowloon, Hong Kong: City University of Hong Kong Press. China : five thousand years of history and civilization. Honolulu: University of Hawaiʻi Press. Johnson, Linda Cooke (2011). Women of the conquest dynasties : gender and identity in Liao and Jin China. The rise of the Mongols : five Chinese sources. Christopher Pratt Atwood, Lynn A. Struve. Encyclopedia of Chinese history. Mote, Frederick W. (1999). Imperial China, 900-1800. Cambridge, Mass.: Harvard University Press. Michael Dillon. New York, NY. Shea, Eiren L. (2020). Mongol Court Dress, Identity Formation, and Global Exchange. Routledge Research in Art History (illustrated ed.). Steven Laurence Danver. London: Routledge. Franke, Herbert; Twitchett, Denis C.; Fairbank, John King (2008). The Cambridge history of China. Vol. 6 Alien regimes and border states, 907-1368. Cambridge: Cambridge University Press. Native peoples of the world : an encyclopedia of groups, cultures, and contemporary issues. Routledge Handbook of Imperial Chinese History. Victor Cunrui Xiong, Kenneth James Hammond. Roberts, John A. G. (2011). History of China (3rd ed.). 5000 years of Chinese costumes. Khun, Dieter (2011). The Age of Confucian Rule: The Song Transformation of Chin. Zhongguo fu zhuang shi yan jiu zu. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. Tackett, Nicolas (2017). The Origins of the Chinese Nation: Song China and the Forging of an East Asian World Order. Cambridge University Press. p. San Francisco, CA: China Books & Periodicals. Keay, John (2011). China: A History (reprint ed.).

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Hanfu, or “Han clothing,” is a traditional Chinese dress that has been worn for centuries. The term “hanfu” was coined in the 20th century to distinguish traditional Han clothing from other ethnic clothing in China. The history of Hanfu can be traced back to the Han Dynasty (206 BCE – 220 CE) when it served as the official attire of the ruling class. During the Tang Dynasty (618 – 907 CE), Hanfu became more diverse and elaborate, featuring intricate embroidery, vibrant colors, and flowing silhouettes. One type of Hanfu that is particularly noteworthy is the royal Chinese traditional dress, which was worn by emperors and imperial concubines during the Ming (1368 – 1644 CE) and Qing (1644 – 1911 CE) Dynasties. These dresses were made with luxurious materials such as silk and satin and featured ornate decorations, including dragon and phoenix motifs. Over time, the style and design of Hanfu evolved to reflect changes in fashion and social status. The most famous royal Chinese traditional dress is the qipao, also known as the cheongsam. The traditional dress worn by empresses during the Qing Dynasty was called the “dragon robe,” which had a distinct shape and design to signify the empress’s rank and status. However, the qipao only became popular in the 1920s and 1930s, long after the end of the Qing Dynasty. Many Hanfu enthusiasts participate in events where they dress up in traditional clothing and learn about the history and culture behind Hanfu. In recent years, there has been a renewed interest in Hanfu, particularly among young people in China who see it as a way to reconnect with their cultural heritage. Overall, the royal Chinese traditional dress hanfu is a fascinating part of Chinese history and culture that continues to captivate people around the world. Its intricate designs, rich materials, and historical significance make it a true masterpiece of traditional Chinese fashion.

Agenda-setting intelligence, analysis and advice for the global fashion community. The essential daily round-up of fashion news, analysis, and breaking news alerts. Our newsletters may include 3rd-party advertising, by subscribing you agree to the Terms and Conditions & Privacy Policy. Plus, access one complimentary BoF Professional article of your choice, each month. Combination ear muffs and face masks are ubiquitous now that temperatures have fallen below zero and pollution levels regularly read “unhealthy”. BEIJING, China – Dressing for Beijing’s winter sometimes means compromising on style. With similar groups popping up everywhere from Brisbane to Toronto, Hanfu is rapidly growing in popularity, especially among young Chinese women – the average age of wearers is just 21, and nine out of ten are female, according to an industry report published on Sohu. That’s a relatively small fraction of China’s 1.39 billion people, but the growing fascination with ostensibly traditional Chinese clothing has broad implications for fashion brands. But members of the Beijing Hanfu Society persist in dressing in gauzy gowns and silk robes – at least indoors. Some commentators see the trend as retrofitting in service of a new Chinese nationalism. For most Hanfu wearers, though, historical accuracy and nationalism are beside the point. Together, wuxia and palace dramas constitute an imaginative world that’s vaster and more compelling to Chinese viewers than the Marvel Universe, which has made over $5 billion in merchandise sales. “When I was really small, I liked to wear a sheet to pretend I was one of the fantasy characters on TV,” said Sun Ying, explaining her interest in Hanfu. Sun, 28, lives in Huzhou, Zhejiang province, where she runs a fried chicken store. Why ostensibly? Because Hanfu’s historical credentials are dubious. She said she spends several thousand renminbi on Hanfu each year, including material to make her own. Most Hanfu outfits cost 300-500 RMB ($45-70). I see it in some sense as a form of fantasy and escapism, like cosplay or role-playing video games are for a lot of people. According to the Sohu report, about 92 percent of people buy their Hanfu from stores (rather than making it or having it made). Online sales are especially popular. Led by Guangzhou’s ‘Han Shang Hua Lian’, the top ten Hanfu stores on Taobao made 50.67 million transactions in November 2018, up 266 percent on the previous November. The vast majority of people who wear Hanfu do so during hobbyist get-togethers or for photo shoots. Some Hanfu wearers resent that comparison – “If I’m a cosplayer, then I’m cosplaying your ancestors! ” Kang Wei told the Chengdu Business Times – but even if Hanfu were only worn as costumes, that’s still a market with significant growth potential. “I see it in some sense as a form of fantasy and escapism, like cosplay or role-playing video games are for a lot of people,” said Eric Fish, the author of China’s Millennials: The Want Generation. The annual Hanfu spend is estimated to be about 570 million RMB ($83 million), while Americans spent $3.4 billon on Halloween costumes in 2017. The vast gap between the two signifies a considerable opportunity for some Hanfu entrepreneurs. Comparing Hanfu to Halloween is perhaps not as farfetched as some might claim it to be. Last year, video platform Bilibili and the Communist Youth League together declared April 18 China Hanfu Day, an opportunity to dress up not as ghosts or vampires, but in all kinds of traditional-looking Chinese clothing. National Dress or Nationalist Dress? Hanfu’s current popularity stems, in part, from the Hanfu Movement, started in the early 2000’s when a few members of China’s Han majority began wearing what they imagined as traditional Han clothing. It was their attempt to stand up for Han culture after myriad historical foreign invasions, ethnic Manchu rule during the Qing dynasty (1636-1912), and what they see as phoney multiculturalism in contemporary China. Ethnic minorities therefore constitute approximately 139 million people, counting groups as diverse as the Zhuang, Hui, Miao, Muslim Uyghurs, Tujia, Mongols and Tibetans. Han had a singular clothing style is a projection of nationalist, racialist, unificiationist ideology into a far more complex past,” he said. For the small minority who do see Hanfu as a nationalist movement and a rejection of foreign culture, its growing popularity might bring with it a modest movement away from the foreign brands with which China has been so enamoured. Fish said that the movement does have “patriotic undertones”, but that “most Hanfu enthusiasts are in it for the fashion and community more than a racial or xenophobic motivation.” In fact, contrary to popular belief, China’s “young people overall are progressively getting less nationalistic, and there have been studies to back that up,” he said. When Sun lived in Hangzhou, where she worked at a Toyota dealership, she bought clothes by Coach, Vero Moda and Taiwanese brand Girdear. The popularity of Hanfu does seems to be congruent with greater confidence in domestic fashion and design. China is the biggest market in the world for major luxury brands, but consumers here have been quick to boycott foreign retailers and brands they perceive as racist – Dolce and Gabbana is one recent example. “There is a desire to see Chinese brands succeed and be internationally respected, so I think it’s possible that an informal ‘buy made in China’ drive could unfold in the fashion industry as higher quality products meet a desire to express national pride. “I see Hanfu as part of a growing confidence in the idea of China, at least. “Chinese consumers are still avid buyers of foreign brands, but Chinese brands are gaining ground on them,” said Fish. Whether that translates into confidence in Chinese brands is another matter altogether, he said. “Like Han clothing, nationalist declarations are primarily performative. While wearing Chinese traditional clothing is a way for some to avoid conventional fashion boutiques and ignore what’s coming down the runway, for others it’s an aesthetic that marries well with contemporary fashion. Subcultures like Hanfu that hearken back to simpler, romanticised times can be very appealing. Leading Chinese designers such as Uma Wang and Guo Pei have drawn extensively on traditional Chinese fashion in their designs. Younger Chinese designers are also drawing influences from Hanfu. “Lots of my designs incorporate Hanfu thinking,” she said. Hiuman designer Lola Chau, for instance, drew on the trend in her Spring/Summer 2016 collection. For now, Sun said, “I’m not interested in trendy clothes, or meme clothes. “Modern life is not like the old times,” she continued. It is certainly easier for Chinese brands and designers to tap into the fantasy of life in ancient China than it would be for their foreign counterparts. “In ancient times girls didn’t go out. They stayed in sewing, so they could wear super long dresses and long sleeves, but they don’t suit modern life.” For that reason, she makes her Hanfu skirts shorter and the sleeves tighter. As China Becomes the World’s Largest Fashion Market, Could Local Players Dominate? 2025 The Business of Fashion. Once fashion’s most reliable growth engine, the Chinese market is shifting as consumer spending cools and shoppers with more choice than ever gravitate toward savvy domestic brands. Opportunities for international players are still plentiful, but the old formula for succeeding in China is no longer relevant. Brands need a new game plan to stand out. The platform has long been one of China’s most important marketing tools, but until now has struggled to become a sales engine for brands. A new generation of Chinese fashion designers are extending their international footprints beyond western markets, tapping sourcing hubs in India and Turkey and retailers from Dubai to Mexico. The essential daily round-up of fashion news, analysis, and breaking news alerts. Op-Ed | What’s Behind the Slump in China’s Luxury Sales? The key question is whether the drop is due to a weakening economy or a shift in consumer perception towards luxury items as mere commodities. Plus, access one complimentary BoF Professional article of your choice, each month.

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The design of the entire Song Dynasty hanfu set focuses on details and emphasizes comfort. The gracefully flowing skirt design enhances the overall elegance and highlights the beauty of the East. In terms of color scheme, the entire Song Dynasty hanfu set adopts a simple yet elegant color scheme. This design style effortlessly creates the refined style of Song Dynasty hanfu. Whether walking or in motion, it can showcase smooth lines and graceful dynamics. The design of the entire hanfu set focuses on comfort and details, making the wearing experience more comfortable and relaxed. The gracefully flowing skirt design and comfortable cuff design both showcase the beauty of the East. By wearing this set of Qiyao hanfu, you will become a perfect combination of fashion and tradition. In conclusion, this set of Song Dynasty hanfu not only has unique design and exquisite details but also offers a simple and elegant color scheme. Whether you are pursuing the refined style of Song Dynasty hanfu or creating new outfit inspirations, this hanfu set can meet your needs.

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Chiangism (Chinese: 蔣介石主義; Wade-Giles: Chiang3 Chieh4-shih2 chu3i4), also known as the Political Philosophy of Chiang Kai-shek (Chinese: 蔣介石的學說; Wade-Giles: Chiang3 Chieh4-shih2 ti4 hsüeh2shuo1), or Chiang Kai-shek Thought, is the political philosophy of President Generalissimo Chiang Kai-shek, who used it during his rule in China under the Kuomintang on both the mainland and Taiwan. Tridemist principles mixed with Confucianism. It was influenced by other political ideologies, including socialism, fascism, party-state capitalism and paternalistic conservatism, as well as by Chiang’s Methodist Christian beliefs. Chiangism opposed feudalism, communism, and imperialism while promoting ideals of a unified Chinese national identity. It was primarily practiced as part of the New Life Movement, as well as the Chinese Cultural Renaissance movement. It was initially socialist in outlook but became increasingly aligned with authoritarian capitalism after 1955. The extent of fascist influence on Chiang is debated among scholars. Chiangism was largely diminished in Mainland China by the Campaign to Suppress Counterrevolutionaries of the communists and began to wane at the start of democratization in Taiwan. The socialist ideology of the Kuomintang was one of the ideologies which greatly influenced this philosophy. In the West, chinese wedding hanfu Chiang Kai-shek was hailed as one of the world’s greatest socialist leaders. His portraits were carried along with portraits of Karl Marx, Vladimir Lenin, Joseph Stalin, and other socialist and communist leaders. Despite earlier alliance, Chiang Kai-shek would soon be an enemy of the CCP in the Chinese Civil War following the Shanghai Massacre as he turned into a staunch anti-communist. Eventually, Chiang would lose the civil war to the CCP under the leadership of Mao Zedong, and the ideology of Maoism prevailed in Mainland China. Chinese Confucian influence on Chiang’s ideology is much stronger. Chiang rejected the Western progressive ideologies of individualism, liberalism, and the cultural aspects of Marxism. The Kuomintang government under Chiang Kai-shek denounced feudalism as counterrevolutionary and proclaimed itself to be revolutionary. Therefore, Chiangism is generally more culturally and socially conservative than Sun Yat-sen ideologically. He accused other Chinese warlords of being feudalists. Despite being a conservative ideology, Chiangism supported modernization policies such as women’s rights, scientific advancement, and universal education. Under Chiang’s leadership, the Republic of China government also enacted a women’s quota in the parliament with reserved seats for women. The Kuomintang and the Nationalist Government supported women’s suffrage and education and the abolition of polygamy and foot binding. During the Nanjing Decade, average Chinese citizens received the education they’d never had the chance to get in the dynasties that increased the literacy rate across China. The education also promotes the ideals of Tridemism of democracy, republicanism, science, constitutionalism, and Chinese Nationalism based on the Political Tutelage of the Kuomintang. After losing the Chinese mainland to the CCP and retreating to Taiwan, the KMT under Chiang’s leadership established agencies such as the Bureau of Investigation and Statistics, the Political Warfare Bureau, and the Taiwan Garrison Command to provide surveillance on the population and suppress dissidents, including suspected communists, during the White Terror. Constitutional rights of freedom of speech, assembly, religious expression, and legal guarantees of fair trials were suspended under martial law. Chiang Kai-shek, the head of the Kuomintang, warned the Soviet Union and other foreign countries about interfering in Chinese affairs. He was personally angry at the way China was treated by foreigners, mainly by the Soviet Union, the United Kingdom, and the United States. Chiang’s New Life Movement campaigned for the end of Soviet, Western, American, and other foreign influences in China. Chiang was also staunchly against imperialism and colonialism, as he opposed FDR’s offer of China’s seizure of Indochina and argued that China had no intent to replace Western imperialism with its own. Chiang promoted strong Chinese nationalism throughout the territories controlled by the ROC as well as the Tridemist ideal of a unified “Dang Guo” (Party-state). He also viewed foreign powers, including the USA, the USSR, and the Empire of Japan as imperialist powers that wanted to exploit China. Mandarin Chinese became the sole official language, and standard education curriculums emphasized Chinese history with Confucianism culture. His Nationalist government supported the Provisional Government of the Republic of Korea, and the secret militant branch Blue Shirts Society (BSS) supported left-wing nationalist Kim Won-bong and Kim-led Korean National Revolutionary Party. As an opponent of Japanese imperialism, Chiang was the biggest supporter of the Korean independence movement. The Kuomintang was a Chinese nationalist revolutionary party that had been supported by the Soviet Union. It was organized on Leninism. Contrary to the view that he was pro-capitalist, Chiang Kai-shek behaved in an antagonistic manner to the capitalists in China, often attacking them and confiscating their capital and assets for the use of the government. Chiang cracked down on pro-communist unions and peasant organizations, and the wealthy Shanghai capitalists at the same time. Chiang Kai-shek continued Sun’s anti-capitalist ideology. The Republic of China’s media openly attacked the capitalists and capitalism, supporting a government-controlled economy instead of privately owned ones. He described Chiang as a “left-leaning Confucian-Jacobinist”. Historian Jay Taylor has noted that Chiang’s hybrid revolutionary nationalism ideology is inspired by both the French republican movement and Confucianism. It began as a secret society in the KMT military before being reformed within the party. By the 1930s, it had influence upon China’s economy and society. Historian Jeffrey Crean notes, however, that the Blue Shirts impacted only elite politics, not the vast majority of China’s population. The Blue Shirts Society, also known under a variety of other names, has been described as one of the most relevant fascist groups in China at the time. 64-65 The Blue Shirts held contempt for liberal democracy and stressed the political usefulness of violence. 64 They were influenced by KMT contact with Nazi advisors and inspired by the German Brownshirts and the Italian Blackshirts. Unlike those organizations, however, the Blue Shirts were composed of political elites, not the popular masses. 64 The later New Life Movement drew inspirations from the society, although some historians are reluctant to define them as fascist. Chiang Kai-shek started the New Life Movement under Confucian ideals. It was a government-led civic campaign in the 1930s Republic of China to promote cultural reform and Neo-Confucian social morality and to ultimately unite China under a centralized ideology following the emergence of ideological challenges to the status quo. The Kuomintang launched the initiative on 19 February 1934 as part of an anti-communist campaign and soon enlarged the campaign to target all of China. Some historians regard this movement as imitating Nazism and regard this movement as being a neo-nationalistic movement used to elevate Chiang’s control of everyday lives. The Sino-German relationship also rapidly deteriorated as Germany failed to pursue a détente between China and Japan, which led to the outbreak of the Second Sino-Japanese War. Frederic Wakeman suggested that the New Life Movement was “Confucian fascism”. China later declared war on fascist countries, including Germany, Italy, and Japan, as part of the Declarations of war during World War II and Chiang became the most powerful “anti-fascist” leader in Asia. He used Sho-Chieh Tsiang and other liberal economists to promote economic liberalization reforms in Taiwan. After the government of the Republic of China moved to Taiwan, Chiang Kai-shek’s economic policy turned towards to economic liberalism. ROC (Taiwan) was one of the most equal countries in the pro-western bloc. However, Jay Taylor has noted that the developmental model of Chiangism in Taiwan still had elements of socialism, and the Gini index of Taiwan was around 0.28 by the 1970s, lower than the relatively equal West Germany. The lower 40% income group doubled their income share to 22% of total income, with the upper 20% shrinking from 61% to 39%, compared to Japanese rule. Unlike most other major capitalist countries, small businesses and state-owned enterprises flourished under this economic model in Taiwan, but it didn’t see the emergence of corporate monopolies. After the democratization of Taiwan, it began to slowly drift away from the Chiangist economic policy to embrace a more free market system as part of the economic globalization process under the context of neoliberalism. Hu Hanmin supporters and ‘left-wing’ Wang Jingwei supporters, but the Chinese Communist Party (or Maoism) later emerged as the main rival of the KMT, making Chiangism a ‘right-wing’ ideology. Donald A. Jordan (March 31, 2019). The Northern Expedition: China’s National Revolution of 1926-1928. Humanities Open Books program, a joint initiative of the National Endowment for the Humanities and the Andrew W. Mellon Foundation. Peter Gue Zarrow (2005). China in War and Revolution, 1895-1949. Routledge. The Journal of Asian Studies. Dirlik, Arif (1975). “The Ideological Foundations of the New Life Movement: A Study in Counterrevolution”. Rev. Wendell P. Karsen (16 September 2022). The Church Under the Cross: Taiwan – The Cross of Fascism. 34 (4): 945-980. doi:10.2307/2054509. Taipei, Taiwan: Taiwan Foundation for Democracy. Huang, Chang-Ling. “Gender Quotas in Taiwan” (PDF). Yat-sen, Sun. “San Min Chu I: The Three Principles of the People” (PDF). Heinlein, Joseph J. (1974). Political Warfare: The Chinese Nationalist Model (Ph.D thesis). Kagan, Richard C. (23 September 1982). “Martial law in Taiwan”. Washington, D.C., United States: American University. Bulletin of Concerned Asian Scholars. Carroll & Graf Publishers. Fenby, Jonathan (2005). Chiang Kai Shek: China’s Generalissimo and the Nation He Lost. Li, Hongshan; Hong, Zhaohui (1998). Image, perception, and the making of U.S.-China relations. Garver, John W. (1988). Chinese-Soviet Relations, 1937-1945 : The Diplomacy of Chinese Nationalism: The Diplomacy of Chinese Nationalism. Oxford University Press. p. University Press of America. Wertheim Tuchman, Barbara (1985). The march of folly: from Troy to Vietnam. Random House, Inc. p. Sandel, Todd (2003). “Linguistic Capital in Taiwan: The KMT’s Mandarin Language Policy and Its Perceived Impact on Language Practices of Bilingual Mandarin and Tai-Gi Speakers”. Hubbs, Elizabeth (2013). “Taiwan Language-In-Education Policy: Social, Cultural and Practical Implications”. Arizona Working Papers in SLA & Teaching. 20: 76-95 – via The University of Arizona. 중국국민당의 준군사 조직이였던 삼민주의역행사의 황푸군관학교 출신 김원봉에 대한 지원이었다. Independence Hall of Korea (in Korean). Retrieved 2024-10-17. 민족혁명당은 중국국민 당정부와 긴밀한 관계를 이루면서 활동했다. The (Korean) National Revolutionary Party had close ties with the KMT government. 이 당은 장개석(蔣介石：장제스)이 이끄는 남의사(藍衣社 ; 중국국민당의 비밀특무기관)와 정보를 교환하고 재정과 무기의 원조를 받았다. Divulga UAB – University research dissemination magazine. China Underground. 13 September 2022. Retrieved 29 September 2024. According to Jay Taylor, Chiang Kai-shek was a “left-leaning Confucian-Jacobinist” and a revolutionary nationalist. Hans J. Van de Ven (2003). War and nationalism in China, 1925-1945. Psychology Press. Suisheng Zhao (1996). Power by design: constitution-making in Nationalist China. Crean, Jeffrey (2024). The Fear of Chinese Power: an International History. New Approaches to International History series. University of Hawaii Press. London, UK: Bloomsbury Academic. Schoppa, R. Keith. The Revolution and Its Past (New York: Pearson Prentic Hall, 2nd ed. Taylor, Jay (2009). The Generalissimo. Harvard University Press. pp. 2013-06-09. Retrieved 2022-07-19 – via YouTube. 2006, pp. 208-209 . Centre for East and South-East Asian Studies, Lund University. Guido Samarani, ed. (2005). Shaping the Future of Asia: Chiang Kai-shek, Nehru and China-India Relations During the Second World War Period. 台灣經濟轉型的故事：從計劃經濟到市場經濟. 聯經文庫. Coble, Parks M. (1986). The Shanghai capitalists and the Nationalist government, 1927-1937. Vol. Coppa, Frank J. (2006). Encyclopedia of modern dictators: from Napoleon to the present. Harvard Univ Asia Center. 94 of Harvard East Asian monographs (2, reprint, illustrated ed.). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. This page was last edited on 5 April 2025, at 19:10 (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.

Daojiao fushi (simplified Chinese: 道教服饰; traditional Chinese: 道教服飾; pinyin: Dàojiàofúshì), also known as Taoist clothing, are religious clothing and adornment worn by devotees and practitioners of Taoism, an indigenous religion and life philosophy in China. 233 Taoist ritual garments (sometimes referred as daoyi (Chinese: 道衣; pinyin: dàoyī; lit. Chinese culture attaches great importance to “cap and gown” (Chinese: 冠服; pinyin: guānfú) are seen as important signs of levels of etiquettes; it is also a visible marker of the Taoist identity. 222 When performing rituals and important rituals, Taoist priests wear ceremonial attires which appear to be aligned with elements of Chinese cosmology; these ceremonial attires are therefore strong spiritual intermediaries acting on the part of the Taoist devotees community. Han Chinese traditional clothing and holds clear Taoist cultural meaning. Different forms of clothing will be worn by Taoist priests in accordance to ritual types and obvious distinctions are found in the attire of Taoist priests based on their different positions to the altar. There were also codes which would stipulate the appropriate Taoist attire to be worn during both ritual performance and when being off duty. Taoist clothing are visible markers of the Taoist identity. 222 The arts found on the clothing are deeply influenced by Chinese culture. 233 The Taoist ritual clothing not only inherit from Han Chinese’s Hanfu but also show clear Taoist cultural meaning. They can also be decorated with animals which are related to Chinese mythology, legends and stories, such as the crane bird which represents transcendence. 197), the Eight Immortals: the Eight Trigrams, the Twenty-eight Lunar Mansions and the 12 animals of the Chinese zodiac. They can also be decorated with auspicious symbols, such as dragons, butterflies, bats, hanfu women clouds. This section needs expansion. You can help by adding to it. An explanation to the origins of Taoist ritual clothing (Chinese: 道衣; pinyin: dàoyī; lit. 455-456 Another hypothesis is that the Taoist ritual clothing was markers of various ranks of priestly attainments similar to the formal clothing system used in ancient China to identify the members of the nobility and the senior bureaucracy. According to the Taoist tradition, the ritual clothing originated since the era of Yellow Emperor; according to the legend, one day the Yellow Emperor saw a deity dressed in golden robe adorned with colourful clouds and a golden crown. 222 To thank the deity for protecting the world, the Yellow Emperor designed the Taoist ritual dress based on the deity and reasoned that these heavenly clothing would be the most appropriate attire to wear when approaching the heavens during prayers. 222 Therefore, the Daoshi (Taoist priests) wear the attire of the gods. China as their clothing were embroidered with patterns of flowing pneuma which are similar to clouds, depictions of the celestial real and the underworld. Taoist traditions were systematized during the Six dynasties period. Since the Liu Song period during the Southern dynasties, Lu Xiujing began to reinterpret the doctrine of Taoist’s doctrine of adaptation to the social hierarchical system by basing himself on the ancient Chinese crown and dress system and by combining the religious needs, thus developing a new attire system.This system became the earliest systematic dress code of Taoist clothing. In the Lishizhenxiantidaotongjian 《历世真仙体道通鉴》, it is described that “Xiujing’s Taoist dress is very beautiful, like the moon and star, like the rainbow and flower”. 456 Early taoist clothing were not fully developed and it is the Northern and Southern dynasties that the preliminary Taoist dress code was formed. Many variety of Taoist ritual clothing were also described when Taoist clothing was systematized. There were many forms of Taoist priest clothing in the Song dynasty. Since then, the dress code of the Taoist clothing continued to develop until it included different styles, patterns, and colours based on different status and occasions. 21 In the early Southern Song, a style of Taoist priest robe is described as: “the broader silk braid of the Taoist priest robe was seen as more stylish, with the breadth being about three to four cun, and the length more than two zhang, so that that dress made of silk velvet could be wrapped back and forth around the wearer’s waist several times”. 21Another form of Taoist priest was the Hechang (lit. Daofu (Chinese: 道服; pinyin: dàofú; lit. 21 In the Song dynasty, the daofu was very popular. In The Current Regression of Diet and Apparel by Shi Shengzu, it was observed that the “apparel system of the three ancient Chinese dynasties could still be found among Taoist priests”. 21 Some scholars, such Shi Manqing (994-1041), and some officials in retirement also liked to dressed in daofu. 21 It was greatly appreciated by some hermits and scholars during this period and was mentioned in some poems written by Wang Yucheng being described as “the silk wadding cap, coarse clothes and black muslin scarf” and Fan Zhongyan who described the Taoist priests as dressing themselves sprucely. 21 There were many forms of daofu in the ancient China. In the Qing dynasty, Taoist priests wore dark blue robes. The traditional clothing worn by the Taoist community is connected to pre-modern Chinese clothing and styles. The traditional taoist robes can also be worn as a daily lives clothing by the Quanzhen monastics in mainland China. In the Ming dynasty, the daofu is a wide-sleeved, crossed-collar robe which closes to the right and has dark edging at the edges of the collar, sleeves, and placket. Nowadays, tradition-based taoists will often wear the traditional robes and liturgical clothing for formal religious and ritual occasions; while Zhengyi priests and taoists priests outside mainland China tend to wear Western clothing in their daily lives. In the collar edge, a collar protector known as huling (simplified Chinese: 护领; traditional Chinese: 護領; pinyin: hù lǐng; lit. The Ming daofu is similar to the daopao, except for the addition of edges decoration on the robe. A daofu with a dadai belt worn around the waist, Ming dynasty portrait. Belts like dadai (大带) and sitao (丝绦; i.e. a ribbon or a thin rope made of silk) is also used around the waist when wearing the daofu. A daofu with a huling sewn onto the collar and dadai worn around the waist, Ming dynasty portrait. Daopao in the form of hechang has been recorded since the Northern Song dynasty. Some forms of taoist robes are also referred as crane robes (hechang, 鶴氅). The Taoist’s priest daopao are commonly worn by the Taoism priests. It is worn by middle-ranks Taoist priests; it is red in colour and has motifs at the back and front, on the sleeves. Jin dynasty unearthed artefacts of daopao in the form of hechang have been excavated from a late 12th century tomb of a Taoist named Yan Deyuan, near Datong in Shanxi province; these robes are decorated with cranes, which are associated with the Taoist idea of transcendence since at least the Han dynasty and possibly prior to the Han dynasty. 457 Theses motifs decorations can include, the bagua and cranes. Wang Changyue, Qing dynasty. Taoist clergy during a ceremony at Ciyou Temple, Taiwan. Jiangyi (Chinese: 絳衣; pinyin: jiàngyī), also known as “robe of descent” which refers to either the descent of a priest from the altar or of the spirits to the altar, is a common form of Taoist priest’s clothing. It was worn at least since the Jin dynasty with unearthed artefacts having been excavated from a late 12th century tomb of a Taoist named Yan Deyuan, near Datong in Shanxi province. The jiangyi is a sign of the higher priestly rank and is worn by grandmasters. Taoist’ priest; it is usually fastened across the front with 2 silk ties which are sewn just above the waist level. The robe is slashed in the middle to form the collar of the robe. It is made of embroidered silks and is composed of a large square of satin fabric folded into two to form the shoulder line; the shoulder lines continues to the hem of the sleeves. Common motifs on the jiangyi include: the sun, moon, Three Heavens, Sacred (Golden) Tower and Flying cranes; Stars and Constellations; Wu yue (True forms of the Five Sacred Peaks); Mountain Peaks and Cosmic waters. The square fabric shape symbolizes the concept of the earth, which is square in Chinese cosmology. It is typically trimmed with border decorations. Jiangyi are often found in the five symbolic colours of the universe (i.e. black, red, green, yellow or white). When the priests opened his arms, the square silhouette of the jiangyi becomes fully visible and the motifs which typically the heaves became visible; therefore, by wearing the jiangyi, the daoshi embodies the conjunction of heaven and earth. Zhengyi taoist priest wearing jiangyi, Ming Dynasty. The Quanzhen monastic taoist priests and nuns wear a wide-sleeved, cross-collared gown called daoyi (道衣; lit. Daoist priest’s robe (jiangyi), China, 20th century. The sleeves of the daoyi is referred as “cloud sleeves”; they are wide, open at the ends, and their sleeves are so long that it is past the fingers when extended but can be even longer. In the Quanzhen order, the dagua is worn as one of the ordinary clothing while the deluo is a formal clothing. The deluo (得罗) is a cross-collared gown with large sleeves. 457 The blue colour is a symbolism for the east and represents having been descended from the first patriarch of the Quanzhen school, Donghua dijun. 457 In large temples (e.g. Baiyunguan in Beijing), the deluo would be worn by monastics on festival days; the deluo would have wide sleeves which could reach 45 cm. It is worn by Taoist priests of the Quanzhen order is a formal ritual dress which is indigo in colour. Their daopao is cross-collared at the front, and the sleeves are so long that only the fingers can escape from the sleeves. It is made of thick garments and is blue or black in colour. In the Wengong temple in Hanzhong, the cross-collar daopao is the standard form of attire and is referred as daogua (Chinese: 道褂; lit. The daogua can be found in 3 types: dagua (Chinese: 大褂; lit. Patchwork robes is a form of ritual dress; it is made of various pieces of old clothing sewn together are worn by the Taoist priests of the Quanzhen school of Hong Kong. When the High Taoist priest acts as the gods’ proxy and expounds Taoist scriptures and practice, he would have the “Five-emperor” lotus petal-shaped headdress tied to the front of his cap. Cihang cap Cihang cap is the High Taoist priest’s headdress of the Quanzhen school of Hong Kong which is worn exclusively for rituals such as The Anterior Heaven Ritual for Feeding, Saving and Refining Ghosts. Haoranjin It looks like a long hood. Heye Jin (荷叶巾, lotus leaf headscarf) It is similar to the zhuangzijin (庄子巾) in shape but has ruffles likes a lotus leaf, thus gaining its name. The five lotus petals are embroidered with images of the Five Emperors of the Five Directions. Huyuan hat (混元巾)/ guanJin (冠巾) It is a round, hard-shelled hat with holes in the top of the hat to reveal the hair bun. The upper back is slightly raised to symbolize transcendence. Jiuliang Jin (九梁巾, lit. It is the most formal headscarf in Quanzhen School of Taoism. It is a form of headwear worn by Zhenyi priests. The number 9 is the largest number in Taoist and represents the “Heavens above”; therefore wearing it represents the unity of heaven and man. Lianhua Guan (莲花冠, lit. A type of guan resembling a lotus flower in full bloom, often made of gold and/or jade aodrned with gemstones. It became popular during the Tang and Song dynasties, and is worn by highest rank Taoist Master. 222 It is a hat with 9 slits in the front of the hat which grows like the ridge of a roof. Sun hat (太阳巾) They are worn by Taoist priests who work under the hot sun in summer; some Taoist monks wear it to differentiate themselves from other members of the society by hollowing the top of the hat to make their hair visible or by painting the brim of their hats with Taoist patterns, such as the Bagua and Taiji, or they would write name of the Taoist temple where they lived. Xiaoyao Jin (逍遥巾) A square (or round) headscarf; it is wrapped in a hair bun and tied with two long headbands. It is liked by the young Taoist priest. Yizijin (一字巾) A type of hairband. The bottom of the scarf is square-shaped while the upper part is triangular in shape like a roof. Zhuangzijin (庄子巾)/ Chonghe scarf/ Nanhua scarf It is worn by the Taoist priests from the Quanzhen school. Cloud shoes are the shoes worn by the high Taoist priests only. There is a jade on the front region of the scarf which can help to adjust the scarf wearing in proper direction. The name of the shoes come from the cloud embroidery patterns fond on the shoes. Depictions of the Taoist pantheon, Eight Immortals, Eight trigrams, the Twenty-eight Lunar Mansions and the 12 animals of the Chinese zodiac were characteristics designs of the Ming and Qing dynasties. These shoes are bright red. National Museum of Ireland. Cheng Dachang also described the “fur coat” as having an inclined collar and being crossed lapels which is similar to the long beizi found in his time (i.e. in Southern Song), the fur coat is however different from the beizi as the back and front of the fur coat are connected under the armpits while the beizi are unconnected. Fabrizio Pregadio. Richmond: Curzon. Gwynne, Paul (2017). World religions in practice : a comparative introduction (Second ed.). Bo Xue Yuan” Millennium Crane Cloak Xijing Hua Chang”. The encyclopedia of taoism. Little, Stephen (2000). Taoism and the arts of China. Chicago: Art Institute of Chicago. Shawn Eichman (1st ed.). Zheng, Xiao Hong; Fang, Ping (2019). “Enlightenment of Cyan Use in Taoist Costumes on Modern Fashion Design”. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Journal of the Color Science Association of Japan. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Honolulu: University of Hawai’i Press. Komjathy, Louis (2013). The Daoist tradition : an introduction. Forêt, Philippe (2000). Mapping Chengde : the Qing landscape enterprise. Zhuo, Xinping (2018). Religious faith of the Chinese. Museum, Victoria and Albert. Victoria and Albert Museum: Explore the Collections. St Petersburg: Three Pines Press. This page was last edited on 22 December 2024, at 12:10 (UTC). Herrou, Adeline (2016). A World of Their Own : Daoist Monks and Their Community in Contemporary China. By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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Are there any styles of hanfu that are unisex? Hi, thanks for the question!

Fantastic! I’ve looked forward to watching these for a long time now. We will be enjoying them soon. 好看！很好！ Wow! I enjoyed the videos and learn more information about China. I’m envious! Good job. Wow!!!! You were awesome in the videos. Glad you enjoyed it! You would be a great asset to the TV station. Perhaps you can become a TV hostess as well for some documentary or TV shows (equivalent to the Oprah Whimfrey Show). Ha ha, thank you! Thank you, Jocelyn! for embedding all six episodes here. I have just finished watching all of them. You and your team have done a good job. It was a great experience for sure. Suzhou is such a beautiful city. The Suzhou Cultural Center is a sight in itself, so beautiful. I am impressed with the Nishan Sacredland! What an inspiring and impressive tribute to Confucius and Confucianism! And the Humble Administrator’s Garden so calming and inviting. Confucianism is in the psyche of the Chinese people for a good 2 thousand years and the reason why the Chinese have always placed so much emphasis on the importance of education and respect for one’s elders. You look good in the hanfu! If they had your hair also done up, it would be so transformative! Unfortunately, not so much on the men though! Hanfu on women immediately makes them look naturally graceful! I loved discovering these places myself (or rediscovering them) through the shoot. Glad you enjoyed watching the episodes! And yes, if they had done my hair, it would have been even more fun. Informative for those of us who have no first hand knowledge of China. Unfortunately I do sense the heavier dose of PR than is necessary. Glad you found it informative, daniel. And I love that you also showed the modern part of Suzhou. It’s great to finally see the videos! I had never heard about the bus restaurant! Many people still think Suzhou is just old alleys with canals and gardens, hahaha. So glad you enjoyed them – yes, the modern side of Suzhou was a pleasure to explore. And the bus restaurant was cool, hanfu dress male you should check it out sometime! Your email address will not be published. Notify me of follow-up comments by email. Notify me of new posts by email. Sign me up for the newsletter and new post updates! This site uses Akismet to reduce spam. Learn how your comment data is processed.

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