Wednesday, February 29, 2012

Ancient Chinese Clothing-Hanfu

Tang Dynasty portrait of Confucius (by Wu Daozi) showing him in Hanfu of the Spring and Autumn Period of the Eastern Zhou Dynasty.

12th century Chinese painting of The Night Revels of Han Xizai () showing musicians dressed in Hanfu
Hanfu has a history of more than three millennia, and is said to have been worn by the legendary Yellow Emperor. From the beginning of its history, Hanfu (especially in elite circles) was inseparable from silk, supposedly discovered by the Yellow Emperor consort, Leizu. The first solidly historical dynasty known of in China, the Shang Dynasty (c.1600 BC-1000 BC), developed the rudiments of Hanfu; it consisted of a yi, a narrow-cuffed, knee-length tunic tied with a sash, and a narrow, ankle-length skirt, called shang, worn with a bixi, a length of fabric that reached the knees. Vivid primary colors and green were used, due to the degree of technology at the time.

The dynasty to follow the Shang, the Western Zhou Dynasty, established a strict hierarchical society that used clothing as a status meridian, and inevitably, the height of one rank influenced the ornateness of a costume. Such markers included the length of a skirt, the wideness of a sleeve and the degree of ornamentation. In addition to these class-oriented developments, the Hanfu became looser, with the introduction of wide sleeves and jade decorations hung from the sash which served to keep the yoi closed.
The yi was essentially wrapped over, in a style known as jiaoling youren, or wrapping the right side over before the left, because of the initially greater challenge to the right-handed wearer (the Chinese discouraged left-handedness like many other historical cultures, considering it unnatural and unfortunate).

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

Historically, Han Clothing has influenced many of its neighbouring cultural costumes, such as Japanese kimono, yukata, and the Vietnamese o t thn. Vice versa, elements of Hanfu have also been influenced by neighbouring cultural costumes, especially by the nomadic peoples to the north, and Central Asian cultures to the west by way of the Silk Road.

Tang Dynasty Hanfu Tang Dynasty was a period of golden age for the people where culture and economy were thriving. Especially, the Women's dress and personal adornments saw some major reform in this era. Although it still continues the clothing of its predecessors such as Han and Sui dynasties, fashion during the Tang was also influenced by its cosmopolitan culture and arts. Communications and trades were flourishing between the Tang and many places and cultures and that it has changed the thoughts and concepts of the old practices. Before the Tang, Chinese women were restricted by the old Confucian code where women's statues were low and their clothing have to be conceal. However during the Tang, women's clothing gradually became broad and loose. Tang Dynasty was considered by some as another turning point for Hanfu. During the Tang era, foreign culture was lively accepted by the Chinese and blended into Chinese traditional culture. Such foreign cultures ranged from Gandhara, Turkistan, Persian to Hellenism, while these influences were fused together into the Tang clothing without the prominence of one particular culture.

Song Dynasty Hanfu Some features of Tang Clothing carried into the Song Dynasty Such as court customs. Song court customs often use red color for their garments with black leather shoe and hats.Collar edges and sleeve edges of all clothes that have been excavated were decorated with laces or embroidered patterns. Such clothes were decorated with patterns of peony, camellia, plum blossom, and lily, etc. Song Empress often had three to five distinctive Jewelry-like marks on their face (Two side of the cheek,other two next to the eyebrows and one on the forehead). Although some of Song clothing have similarities with previous dynasties, some unique characteristics separate it from the rest. Many of Song Clothing goes into Yuan and Ming.

Ming Dynasty Hanfu Ming Dynasty also brought many changes to its clothing as many dynasties do. They implemented metal buttons and the collar changed from the symmetrical type of the Song Dynasty (960-1279) to the main circular type. Compared with the costume of the Tang Dynasty (618-907), the proportion of the upper outer garment to lower skirt in the Ming Dynasty was significantly inverted. Since the upper outer garment was shorter and the lower garment was longer, the jacket gradually became longer to shorten the length of the exposed skirt. Young ladies in the mid Ming Dynasty usually preferred to dress in these waistcoats. The waistcoats in the Qing Dynasty were transformed from those of the Yuan Dynasty. During the Ming Dynasty, Confucian codes and ideals was popularized and it has significant effect on clothing.

Friday, February 24, 2012

Korean Hanbok Shows Perfect Beauty

Traditional Korean dress is called Hanbok in South Korea, and Chosõn-ot in North Korea. Nowadays, Hanbok in general, and mainly refers to from Joseon Dynasty (1392-1897). Changing through from ancient time to today, female hanbok embodys a perfect integration of an Oriental ethics and a plain beauty. Like Chinese Qipao, hanbok has been withdrawn from historic stage, not popular in current life any more, but as semi-formal or formal wear in special ceremonies, which is actually a displayment of a culture heritage. The design is characteristic of simple lines and vibrant colors. The curve of sleeves, white inner edge of the V-shape collar, and the broad long skirt are usually regarded as the three major contributing elements for its attractiveness. Short and small on the top and long and broad in the lower in general design shows a quiet beauty of Korean women.

Historical background

Hanbok changed from Chinese and Mongolian ancient clothing, including men's and women's. Hanbok was originally influenced by ancient Chinese clothing of Tang Dynasty (618-907), during which Korean clothing were almost exactly same with Tang clothing since the current Korean unified Silla Dynasty was closely related to Tang. In 1271, Mongolian people (created Yuan Dynasty in China in 1206) invaded into the current Koryo Dynasty of Korea, and since then Korea had been the tributary state of Yuan for 80 years. During that time, Koryo emperor married the daughter of Yuan emperor, and ordered that all his officials must wear Mongolian costume. From the middle time of Joseon Dynasty, Hanbok began to get developed independently, especially female style, which got changed to high-waistline skirt from the breast-high style of Tang clothing. Since then, Korean Hanbok had been more and more different from Chinese clothing.

The Major Structure
One major feature of Hanbok is the random thinking in design dealing with color, lines and ornaments. Generally, at least two colors are chosen to make more colorful. Women's hanbok shows both curved and straight lines, and the arrangement of thin top and heavy bottom (Jeogori and Chima) makes women look decorous and elegant to underline their virtuousness and tenderness.

Jeogori, the short upper garment, has V-shape collar with inner and outer bands, which is to show the beautiful necks of women, and natural and soft curves of sleeve connects. Chima, the long wide skirt, can hide some flaws of body shape. For example, can make short women look tall, and skinny ones plump.

Cultural taste
Hanbok is mainly made from silk, cotton and linen cloth, and the colors can see social status. Korean people is known for its kindness, generosity and good at singing and dancing. They more admire white color for the cleanness, simpleness and dignity, so has a good fame of "white nation". Therefore, white is the basic color of hanbok. In ancient time, commoners mainly wore white hanbok, and those with bright vibrant colors were allowed to them only in special days, such as wedding days, but upper-class people had diverse colors.

Wedding Hanbok
In traditional weddings, wedding clothing is more glorious compared with regular hanbok. The bride wears yellow Jeogori and red Chima, and special hairpins with front accessories and a ribbon. Modern changed wedding hanboks keep major traditional features, but add modern fashion concept and are simpler.

Wedding Hanbok
In traditional weddings, wedding clothing is more glorious compared with regular hanbok. The bride wears yellow Jeogori and red Chima, and special hairpins with front accessories and a ribbon. Modern changed wedding hanboks keep major traditional features, but add modern fashion concept and are simpler.
Upon its unique changing history and designing concept, female Hanbok is to reveal the unique charm of Korean women known by the decency, the grace and the virtuous. Although it can be rarely seen nowadays in daily life, it still sticks to its important role in traditional and wedding ceremonies to prove the tradition complex of Korean. Therefore, like Chinese Qipao, Korean Hanbok embodies a strong cultural meaning, which carries the sense of national belonging.


 

Saturday, February 18, 2012

Chinese Cheongsam,Regarded As A Symbol Of Chinese Female Clothing

The Chinese Cheongsam, also called “Qi Pao” in Chinese, is a traditional female dress which originated from a kind of ancient clothing of Manchu ethnic minority. It is regarded as a symbol of Chinese female clothing.

The golden age of the Chinese cheongsam was in the 1930s, which was a bright and brilliant period of modern Chinese dress. At that period, the changes of the style for the Cheongsam mainly focused on the sleeve and ‘Jin’ (the part of a garment that covers the chest). It was mainly made of silk and brocade and the red-colored, which embodied the charm of the oriental women, was the most common one. The pattern on the cheongsam, which possessed Chinese traditional characteristics, was also very unique.

Nowadays, the cheongsam has a high decorative and artistic value. For instance, the bride will wear still the red cheongsam, which means the perfect happiness, at tradition Chinese wedding. And the it also has very high preserving value due to its high appreciated value and historical significance.

The cheongsam, or Qipao in Chinese, evolved from a style of ancient clothing worn by the Manchu ethnic minority. During the early years of the Qing Dynasty (1644-1911) they unified China, and standardized the nationwide costume as well. At that time, men wore a long gown and a mandarin jacket over the gown, while women wore the cheongsam.

Although the 1911 Revolution toppled the rule of the Qing Dynasty, this female dress survived the political change and, with succeeding improvements, has become the traditional dress for Chinese women. From the 1930s, cheongsam almost became the uniform for women. Folk women, students, workers and high society women all wore the cheongsam, which even became a formal suit for occasions of social intercourses or diplomatic activities.

Later, the cheongsam even spread to foreign countries and became a favorite among foreign females. After the 1940s, influenced by new fashions at home and abroad, the cheongsam became narrow-sleeved and fitted to the waist, with a relatively loose hip covering, and its lower hem reached the ankles. Next emerged various forms of cheongsams we see today that emphasize color decoration and set off the beauty of the female form.

The main reason that Chinese women like to wear the cheongsam is that it fits the female Chinese figure well. The style has simple lines and looks quite elegant. What's more, it is suitable attire during any season by both the old and the young. According to the four seasons and the wearers' needs, the cheongsam can either be long or short, unlined or interlined, woolen or made of silk floss. Moreover, when constructed with different materials, the cheongsam presents different styles.

Cheongsams are made of silk stamped with patterns of fine and dense flowers, plain lattices or thin lines, all demonstrating feminine charm and modesty; those made of brocade are eye-catching and magnificent and suitable for formal occasions that require greeting guests and attending banquets. The cheongsam displays strong national flavor and embodies the beauty of Chinese traditional costumes. It not only represents the Chinese female costume but also has become a symbol of a traditional oriental costume.

Wednesday, February 8, 2012

The Ancient Chinese Wedding

Ever since ancient times, there has been a saying that the three most delightful moments in one's life come with success in the imperial examination, marriage and the birth of a son. From the Qin (221 BC – 206 BC) to Qing (1644 – 1911) Dynasties, the feudal system dominated over two thousands years. During this period, the importance of getting married was far more than that a person found his better half. For the male side, it determined the prosperity and even the future fame of their family; while for the female side, it meant that parents lost the chance of seeing their daughter for a long time. Thus to choose an ideal partner was vital for both the individual and the family.

In feudal society, a marriage would be decided not by a young couple's love, but by their parents' desires. Only after a matchmaker's introduction and when parents considered the two family conditions were similar and could be matched, would the marriage procedures go forward. Conditions that should be taken into consideration included wealth and social status. If a boy's family was well-off or an official family, his parents would never permit him to marry a girl from a poor family. Essential to the marriage process were the commonly recognized 'three Letters and six etiquettes'.

The three letters were the betrothal letter, the gift letter with a gifts list and the wedding letter used on the day the bridegroom met his bride at her home.

Six etiquettes then led to the final wedding ceremony.
Proposing: when a boy's parents intended to make a match, they would invite a matchmaker to propose with them at the girl's home. It was the custom that the first time matchmaker went as a guest they could not be served tea in order not to 'lighten the marriage'. If the proposal was successful, however, the matchmaker (usually a woman) would be rewarded with profuse gifts and feasts to show the two families' gratitude. Many unmarried young people could not see and were unfamiliar with each other till their wedding day.

Birthday Matching: after knowing the girl's full name and birthday, they would ask a fortune teller to predict whether that could match their son's and whether there would be a happy marriage. The Chinese zodiac would be surely taken into consideration.

Presenting Betrothal Gifts: if the match was predicted to be auspicious, the matchmaker would take gifts to the girl's parents and tell them that the process could continue.

Presenting Wedding Gifts: This was the grandest etiquette of the whole process of engagement. Prolific gifts were presented again to the girl's family, symbolizing respect and kindness towards the girl's family as well as the capability of providing a good life for the girl.

Selecting the Wedding Date: the boy's family asked the fortune-teller to choose a date according to the astrological book when it would be proper and propitious to hold the wedding ceremony.

Wedding Ceremony: the wedding ceremony began with the groom and his party meeting the bride in her home. Before this day the bride's dowry would have been sent to the boy's house. The dowry represented her social status and wealth, and would be displayed at the boy's house. The most common dowries included scissors like two butterflies never separating, rulers indicating acres of fields, and vases for peace and wealth.

Before the meeting party's arrival, the bride would be helped by a respectable old woman to tie up her hair with colorful cotton threads. She would wear a red skirt as Chinese believed red foreshadowed delight. When the party arrived, the bride, covered by a red head-kerchief, must cry with her mother to show her reluctance to leave home. She would be led or carried by her elder brother to the sedan. In the meeting party the bridegroom would meet a series of difficulties intentionally set in his path. Only after coping with these could he pass to see his wife-to-be.

On the arrival of the sedan at the wedding place, there would be music and firecrackers. The bride would be led along the red carpet in a festive atmosphere. The bridegroom, also in a red gown, would kowtow three times to worship the heaven, parents and spouse. Then the new couple would go to their bridal chamber and guests would be treated to a feast. Wine should be poured to the brim of a cup but must not spill over.

On the night of the wedding day, there was a custom in some places for relatives or friends to banter the newlyweds. Though this seemed a little noisy, both of them dropped shyness and got familiar with each other.
On the third day of the marriage, the new couple would go back to the bride's parents' home. They would be received with also a dinner party including relatives.

Of course, marriage customs differed by region, but these were the most common. They have been maintained for thousands of years, but in recent years (especially after the founding of modern China), people have tended to discard some of the details and advocate simplified marriage procedures and wedding ceremonies.