Ensemble of jade pendants and/or jade strings which were combined with other precious materials (such as silver or gold accessories) were called jinbu (Chinese :禁步); the jinbu were a type of yaopei (waist accessories) which were typically worn by women to press down the hemline of their clothing. [3] 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. [3] 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. [3] This is also explained in the chapter Yuzao《玉藻》in the Liji : [24]
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 turning round, he made a complete circle; when turning in another direction, he did so at a right angle. When advancing, he inclined forward a little; he held himself up straight; and in all these movements, the pieces of jade emitted their tinklings. 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.
— Translated by James Legge, Liji 《玉藻 - Yu Zao》, 37
It is currently used as a form of fashion accessory used by hanfu enthusiasts. [11]
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.
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. [25] 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. [25] They would also hang hebao (purses) on the top button of their jacket. [25]
A style of yajin was the shibazi-style. A shibazi is a type of 18-beads bracelet which originated from the japamala. [26] 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. [27] There were no strict regulations on its wearing etiquette. [27]
Belts and silk bands are commonly referred as dai (simplified Chinese :带; traditional Chinese :帶). [28] 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. [28] Belts were used as accessories for various civil and military officials, and they were used to distinguish their social ranks. [29]
Name | Description | Period | Images | |
---|---|---|---|---|
Taodai | Silk belts or silk narrow bands, made of seven silk bands. Could be woven into 2 different ways. [28] | Ancient - Unknown | ||
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). [28] | Ancient - Unknown | ||
Sitao (丝套) | Narrow silk bands, used as belts. [28] | Ancient - Unknown | ![]() | |
Dadai (大带) or Shendai (绅带) | Silk sash; it was worn on top of the shenyi. The belt could have a decorative piece attached on it. [30] | Ancient - Unknown | ![]() | ![]() |
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.). [29] | Han - Unknown | ||
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. Some accessories like leather pouches could be attached to those belts. [29] | |||
Guodu (裹肚) or Weidu (圍堵) | A separate piece of cloth, which has adornment, and was used to wrap the stomach of Han Chinese men. [31] | Song dynasty - Unknown | ||
Kandai (看带) | An adornment belt. It is another belt which is worn on top of the belt worn around the waist for decorative purpose. [31] | Song dynasty - Unknown |
Name | Definition | Description | Period | Images | |
---|---|---|---|---|---|
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. Made of precious metals and jade; they were less ornamented in the Jin dynasty compared to the ones worn in the Han dynasty. [29] Belt hooks could also be inlaid with yellow and white gold depicting motifs of animals. [28] | Zhou - Jin | ![]() | |
Daikou (帶扣) | Belt buckles | Belt buckles with movable tongue. It was introduced during Jin dynasty from the North; originally it was used to secure horse gear instead of clothing. [29] | Jin - Unknown |
Name | Definition | Period | Images | ||
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Pizi | A cape; a wide and short cape which drapes over the shoulders. [30] | Northern dynasties - Tang dynasty. | ![]() | ![]() | |
Pibo (披帛) or peizi (帔子) | A shawl, [32] or a long scarf; [33] it is longer and narrower than the pizi (cape) and it drapes on the shoulder from back to front. [30] | Tang - Unknown | ![]() | ![]() | ![]() |
Xiapei (霞帔) | A woman's neckband which was trimmed with gold and lace. [34] In terms of design, it looked closer to a long scarf; it was worn in formal dress. [35] 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. [35] | Ming dynasty | ![]() | ![]() | |
A type of stole or tabard worn by women; it was developed from the xia pei worn in Ming dynasty. It was tied at the sides and reached below the knees. 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. [34] [36] It is also decorated with colourful tassels at the bottom of the end. [35] | Qing dynasty | ![]() | ![]() | ||
Lào zi | Knotted ribbon decorations tied to the waist belt made of silk and cotton ribbon. [37] | Ancient – Present | ![]() | ![]() | ![]() |
Xian (襳) | Long ribbons which hung from the upper short skirt. [34] | Wei, Jin and Southern dynasties | ![]() | ![]() | ![]() |
Yunjian (云肩) | "Cloud shoulder" or "cloud collar"; [38] [39] its name is derived from its shape when it is laid flat as it looks like a cloud. [35] It is a detachable collar worn on top of the jacket (and the xia pei in Qing dynasty). [38] It fell around the collar onto the chest and shoulders. [39] | Sui [40] -Qing | ![]() | ![]() | ![]() |
Fangxing quling (方心曲領) | Lit. “bent collar with a square center”. [41] It is pendant-like accessory which falls on the overlapping front of a paofu. [41] It was a notable feature of ceremonial court attire during Song and Ming dynasties. [41] It is made of silk. [41] It consists of a circle at the neck area and an open or solid square which hungs from the circle onto the chest area. [41] The fangxin quling contains the symbolism of Heaven (circle) and earth (square), respectively. [41] | Song - Ming [41] | ![]() | ![]() | |
![]() | ![]() |
Hebao , Chinese purses or sachet, are currently used as a form of fashion accessory used by hanfu enthusiasts. [11] They are often embroidered and can be decorated with tassels. [11]
Yudai (Chinese :鱼袋; lit.'fish pouch'), also known as "fish-shaped tally bag", is a fish-shaped dai (Chinese :袋; lit.'pouch or bag'). It is a form of yufu (Chinese :魚符; lit.'fish tally'); the colour of the pouch corresponds to the colour of the officials' clothing thus indicating its wearer's rank or the special favour of the Emperor; it could be made of gold, silver, or jade. It was worn or hung on the belt of the court clothing [42] [43] It was used from the Tang to the Ming dynasty.
Historically, fans have played an important aspect in the life of the Chinese people. [44] 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. [45] They were also used for ceremonial purposes and as a sartorial accessory. [44] 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. [46] 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. [46]
Tuanshan (Chinese :团扇), silk round-shaped fans, also known as "fans of reunion", is a type of "rigid fan". [44] [46] These types of fans were mostly used by women in the Tang dynasty and was later introduced into Japan. [47] These round fans remained mainstream even after the growing popularity of the folding fans. [48] Round fans with Chinese paintings and with calligraphy became very popular in the Song dynasty. [48]
In 988 AD, zheshan (Chinese :折扇; lit.'folding fan') was first introduced in 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. [48] The folding fans later became very fashionable in the Ming dynasty. [44]
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). [47]
Nowadays, both the zheshan and the tuanshan are both often used as accessory in hanfu by Hanfu enthusiasts. [11]
Oil-paper umbrella is a common fashion accessory among Hanfu enthusiasts, [11] who often used for photo-shooting purposes. [49]
Nowadays, Chinese musical instruments, such as dizi and guqin , are both common fashion accessory among Hanfu enthusiasts. [11]
In 583 AD during the Sui dynasty, civilian ownership of swords and spears were banned by Emperor Wen of Sui; the ban of daggers, knives, hunting forks and hooks followed by the year 604. [50] : xviii 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. [50] : xviii This led to a cultural shift in the Tang dynasty where gallantry culture rose in popularity. [50] : xix [51] This cultural shift also changed the symbol of swords in society, which became symbols of strength, courage, masculinity, righteousness. [50] : xix [51] It thus became fashionable to carry swords as well as short weapons, such as knives and daggers. [51] [50] : xix Sending swords as gifts to friends were also performed by some scholars: [50] : xix
"The shining, sharp sword, bringing peace to my mind. I always travel alone, so my old friend gave his sword to me as company. My heart is pure as ice and the sword is like snow. If I can't use the sword to execute those shameless people, I would rather break the blade and let my heart decay [...]"
— Poet Han Yu (768 – 824 AD), Li Jian (lit. "Shining Sword"), Politics and Identity in Chinese Martial Arts (2018) by Lu Zhouxiang
Nowadays, swords remain present in traditional Chinese arts, such as the Chinese dance and Chinese opera. [52] : 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. [52] : 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. [11]
A tally is referred as fu (Chinese :符; lit.'tally') in Chinese.
Name | Definition | Description | Period | Images | ||
---|---|---|---|---|---|---|
Fu (Chinese :符) | Hufu Chinese :虎符; lit.' tiger tally'), also called Tufu (Chinese :菟符) | A tiger-shaped tally | A form of tally worn prior to the Tang dynasty; it was made of silver. It was eventually replaced by the yufu (Chinese :魚符; lit.'fish tally'), i.e. fish tally. [29] | Unknown – Tang dynasty | ![]() ![]() | ![]() |
Yufu (Chinese :魚符; lit.'fish tally') | 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. [29] | Tang – Song dynasty | ![]() | ||
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. | ![]() | ![]() | |||
Yugui (Chinese :玉圭), also called gui (Chinese :圭) [53] : 208 | Jade tablet or baton [54] [53] : 208 | A yugui was an elongated jade tablet, or flat sceptre-like item, [53] : 208 which represented authority during the Longshan culture and continued to be used in the succeeding dynasties until the Ming dynasty. [55] It was typically used by Chinese rulers (including the emperor) and nobles on ceremonial occasions. [53] : 208 It was held in the hands when worn with ceremonial set of attires, such as the bianfu . [56] | Longshan culture to Qing dynasty | ![]() | ![]() |
Cosmetics have a very long history in China but their origins are unclear. [57] The cosmetic industry in China may have potentially originated in the Spring and Autumn period. [57] According to the Shiwu jiyuan (lit.'The Origins of Things') by the 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. [58] : 24
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. [59] : 109
Cosmetic powder is known as fen as it was made by the pounding and crushing of rice grains or qianfen (lead powder) in China. [58] : 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. [58] : 24 Cosmetic powder in China was made out of rice since ancient times and appears to have predated the use of lead powder. [58] : 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. [58] : 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. [58] : 25
When fen was dyed red, it became known as chengfen (double-dyed red applied). [58] : 24 The chengfen was a makeup powder which was applied on the cheeks. [58] : 24 In the Tang dynasty, women would apply rouge on their cheeks directly under their eyes.
White powder to whiten the face made from rice was popular in China around 1500BC. [60] : 3 The use of white makeup powder made of freshwater pearls can be traced back to the Northern Song dynasty. [61] 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. [58] : 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. [58] : 25
The love for white skin in present-day China has nothing to do with racism. [62] Light skin was a desirable trait for Asian communities, including the Chinese people, long before any contact with the Europeans [63] : 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. [62] 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. [62] While Chinese people have traditionally favoured light skin tone as part of their traditional Chinese aesthetic; they did not favour the white skin tone of European people which was looked down as being pale and unhealthy as the colour white was the symbolic colour of death and mourning in traditional Chinese culture. [64] : 39 Similarly, the association of white skin and beauty was introduced from China to Japan in the Tang dynasty, a period when Japan was heavily influenced by Chinese culture [65] : 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. [66]
From the 6th century through the Tang dynasty, it was fashionable for women to apply powder to their foreheads, especially yellow powder or pollen. [67] : 232
Nail polish was a popular cosmetic enhancement in early China and can be traced back to approximately 3000 BC. [60] : 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. [60] : 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. [68] : 46 While the lower classes of society were forbidden from painting their nails in bright colours. [60] : 3
Name | Alternative names | Description | Period | Images | |
---|---|---|---|---|---|
Huadian (Chinese :花钿) | Shouyangzhuang (Chinese :寿阳妆; lit.'Shouyang make-up') and Meizhuang (Chinese :梅妆; lit.'plum blossom makeup') [30] [69] | A forehead decoration, which was popular in Tang and Song. [30] [69] | Southern dynasty - Song dynasty | ![]() | ![]() |
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). [30] [69] | Tang - Five dynasties | |||
Xiehong (Chinese :斜红; lit.'red slant') | Originally called xiaoxiazhuang (Chinese :晓霞妆), [69] also called "Morning sun makeup" in English. [30] : 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. [30] : 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. [30] : 37 | Three Kingdom Period - Unknown | ![]() | |
Taohuazhuang (Chinese :桃花妆; lit.'plum blossom make up') | ![]() | ||||
Tizhuang (Chinese :啼妆; lit.'weeping makeup') | Leizhuang (Chinese :泪妆; lit.'tears makeup') [69] | 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. [30] : 37 | Mid-Tang - Mid-Tang | ||
E huang (Chinese :额黄; lit.'Forehead yellow') or | Yahuang (Chinese :鸦黄) [69] | A forehead makeup where women painted their forehead yellow, which is believed to be in imitation of Northwestern ethnic minorities. [30] : 35 | Tang dynasty | ||
Yuanyang (Chinese :鸳鸯; lit.'mandarin duck') | It is an eyebrow makeup. [30] : 35 [69] | Tang dynasty | |||
Xiaoshan (Chinese :小山; lit.'small peak') | It is an eyebrow makeup. [30] : 35 [69] | Tang dynasty | |||
Chuizhu (Chinese :垂珠; lit.'drooping pearl') | It is an eyebrow makeup. [30] : 35 [69] | Tang dynasty | |||
Hanyan (Chinese :涵烟) | Known as "dark fog" in English. [30] : 35 | It is an eyebrow makeup. [30] : 35 [69] | Tang dynasty |
Red makeup remain popular in Modern hanfu makeup of the 21st century with the use of red and/or pink eyeshadow. [70]
A yuanlingshan is a type of round-collared upper garment in the traditional Chinese style of clothing known as Hanfu; it is also referred to as a yuanlingpao or a panlingpao when used as a robe. The yuanlingshan and yuanlingpao were both developed under the influence of ancient Chinese clothing, known as Hufu, originating from the Donghu people during the early Han dynasty and later by the Wuhu, including the Xianbei people, during the Six Dynasties period. The yuanlingpao is an article of formal attire primarily worn by men, although in certain dynasties, such as the Tang dynasty, it was also fashionable for women to wear. In the Tang dynasty, the yuanlingpao could be transformed into the fanlingpao using buttons.
Daxiushan, also referred as dianchailiyi, dashan, daxiu, is a form of shan, a traditional Chinese upper garment, with broad sleeves in Hanfu. It was most popular during the Tang dynasty, particularly among the members of royalty. The daxiushan was mainly worn for special ceremonial occasions and had different variations, mainly the result of different collar formations. The daxiushan could be worn under a skirt or as an outerwear. After the Tang dynasty, it continued to be worn in the Song and Ming dynasties.
Fu was a tally, which was used as a proof of authorization in ancient China, which typically consists of two parts. Generals would use the fu as an imperial authorization for troop movements and for other purposes while amongst the populace, it was used as a proof of authorization for goods exchanges or for leases. The official fu was made of bamboo, wood, metal or jade. Although it could be made in various shapes, most of them come in the shape of a tiger.
Hanfu, are the traditional styles of clothing worn by the Han Chinese since the 2nd millennium BCE. There are several representative styles of hanfu, such as the ruqun, the aoqun, the beizi and the shenyi, and the shanku.
Buyao is a type of Chinese women's hair ornament. It is a type of Chinese hairpin which was oftentimes decorated with carved designs and jewelries that dangles when the wearer walks, hence the name, which literally means "shake as you go". The buyao is similar to a zan hairpin, except for the presence of its dangling ornaments, which are its primary featured characteristics. The buyao appeared as early as in the Han dynasty, where only noble women in the royal family could wear it. In ancient times, the use of buyao denoted noble status. Some noble women also put buyaos on their tiaras, making their hair decoration more luxurious than simple buyao. Common material used in making the buyao was gold; the ornaments were typically jade and pearls. Other valuable materials could be used, such as silver, agate, etc. Many centuries after the fall of the Han dynasty, the buyao was introduced to ordinary civilians; and when all women were allowed to wear to it, more variety of materials were used to produce them. Buyao was passed down over generations; buyao decorated with pendants are still popular in modern-day China.
Qixiong ruqun, which can also be referred as Qixiong shanqun, also known as "chest-high ruqun", is a set of attire in hanfu, the traditional Chinese clothing worn by the Han Chinese. The qixiong ruqun is a unique style of ruqun, which is characterized with a high waistline qun, Chinese skirt. The qun used in the qixiong ruqun is generally tied above the bust level. It was worn by women during the Southern dynasties, Sui dynasty, Tang dynasty and Five Dynasties and Ten Kingdoms period. The style was also revived in the early and middle Ming dynasty.
Paofu, also known as pao for short, is a form of a long, one-piece robe in Hanfu, which is characterized by the natural integration of the upper and lower part of the robe which is cut from a single fabric. The term is often used to refer to the jiaolingpao and the yuanlingpao. The jiaolingpao was worn since the Zhou dynasty and became prominent in the Han dynasty. The jiaolingpao was a unisex, one-piece robe; while it was worn mainly by men, women could also wear it. It initially looked similar to the ancient shenyi; however, these two robes are structurally different from each other. With time, the ancient shenyi disappeared while the paofu evolved gaining different features in each succeeding dynasties; the paofu continues to be worn even in present day. The term paofu refers to the "long robe" worn by ancient Chinese, and can include several form of Chinese robes of various origins and cuts, including Changshan,Qipao, Shenyi,Tieli, Zhisun, Yesa.
'Ji ; pinyin: Jī), Zanzi or Zan ; pinyin: Zānzi or zān) for short) and Chai(Chinese: 钗); pinyin: Chāi) are generic terms for hairpin in China. 'Ji' is also the term used for hairpins of the Qin dynasty. The earliest form of Chinese hair stick was found in the Neolithic Hemudu culture relics; the hair stick was called Ji ; pinyin: Jī), and were made from bones, horns, stones, and jade.
Xiapei, also known as hapi in Korea, is a type of Chinese clothing accessory in either the form of a long scarf, a neckband, or in the shape of waistcoat depending on the time period. It was also referred as xiapeizhui when it was ornamented with a peizhui at its front end; the peizhui ornament could be made of diverse materials, such as silver, jade, and gold.
Bixi, also known as fu, is generic term which refers to a type of traditional Chinese decorative piece of fabric, which acts as a knee covering, in Hanfu. The bixi originated in China where it originated from the primitive clothing of the ancient; since then, it continued to be worn by both men and women, and eventually became part of the Chinese ceremonial attire. The bixi was later introduced in Korea during Goryeo and Joseon by the Ming dynasty, along with many garments for royalties.
Huadian, also known as huazi, mianhua, meizi, plum blossom makeup or plum makeup or Shouyang makeup, is a form of traditional Chinese women's ornamental forehead makeup, which is located between the eyebrows and sometimes on the cheeks, the temples, and the dimples. According to a folklore legend, the huadian in floral shape originated in the Southern dynasty period; its creation is attributed to Princess Shouyang, a daughter of Emperor Wu of Liu Song. However, the origins of the huadian can be traced back earlier than the folklore legends to the Qin and Han dynasties, and even in the pre-Qin period with its customs arising as early as the Spring and Autumn period and Warring States period based on archaeological artifacts and studies. Its origins has no connection with the diandan, i.e. Baihao, found on the middle forehead of Buddha statue. The huadian was also popular among Tang and Song dynasties' women. The popularity of the huadian declined in the Yuan dynasty. The huadian forms an integral part of Chinese clothing culture. In present days, huadian is often combined with the wearing of hanfu, the traditional clothing of the Han Chinese.
Tongtianguanfu is a form of court attire in hanfu which was worn by the emperor during the Song dynasty on very important occasions, such as grand court sessions and during major title-granting ceremonies. The attire traces its origin from the Han dynasty.It was also worn in the Jin dynasty emperors when the apparel system of the Song dynasty was imitated and formed their own carriages and apparel system, and in the Ming dynasty. The tongtianguanfu was composed of a red outer robe, a white inner robe, a bixi, and a guan called tongtianguan, and a neck accessory called fangxin quling.
Ru, sometimes referred to as shan, ao, and yi, is a form of traditional Chinese upper garment, or coat, or jacket, which typically has a right closure; however, they may also have a front central opening. It is traditional everyday wear for women of the Han Chinese ethnic group. It can be worn in combination with a skirt in a style called ruqun, or a pair of trousers in a style called shanku.
Yupei is a generic term for jade pendants. Yupei were popular even before Confucius was born. Jade culture is an important component of Chinese culture, reflecting both the material and spiritual culture. Jade is deeply ingrained in Chinese culture and played a role in every aspect of social life; it is also associated with positive qualities and aspects such as purity, excellence, and harmony.Jade is even more valued than gold in Chinese culture. The history of the art of jade carving in China to make ornaments, including dress ornaments, extends back to before 5000 BC. Ancient Chinese held even greater importance to yupei after it was regarded as a moral integrity by Confucius. Yupei could be used as belt or waist ornaments and as necklaces which appeared as early as the Liangzhu culture. Strings of jade pendant are also used to decorate headwear, such as the mianguan.
Yajin, also known as shijian er, is a type of Chinese accessory which is placed at the lapels of Chinese clothing ; they would typically hanged down on the right side of the chest area in order to press on the clothing. The yajin appeared as early as the Tang dynasty and became popular in the Ming and Qing dynasties. There are various styles of yajin, including a dangling pendant-style and a bracelet-style, known as shibazi. Yajin can also be used as accessories on the cheongsam, where it is tied on the pankou knots.
Tanling ruqun, also known as Tan collar ruqun and U-collar ruqun, is a type of Hanfu which was developed under the influence of Hufu ; it is a form a kind of ruqun which typically consists of three parts, featuring a low-cut low-cut U-shaped collar upper inner garment with long sleeves, a U-shaped collar banbi upper outer garment with short sleeves, a long high-waisted skirt. It can also be adorned with a shawl, called pipo. It was a popular form of clothing attire in the Sui and Tang dynasty. In the 21st century, the Tanling ruqun re-appeared as a result of the Hanfu movement. The 21st century Tanling ruqun was developed by reproducing the original patterns of the historical tanling ruqun while being aligned with modern aesthetics.
Guzhuang, also called ancient-style dress, refers to a style of Chinese costume attire which are styled or inspired by ancient Chinese clothing. Guzhuang is typically used as stage clothes in Chinese opera and in Chinese television drama, such as in period drama which are normally set in imperial China prior to 1911, and in the Wuxia and Xianxia genre. While the style of guzhuang is based on ancient Chinese clothing, guzhuang show historical inaccuracies.
Qun, referred as chang prior to the Han dynasty, chang and xiachang, and sometimes referred as an apron, is a generic term which refers to the Chinese skirts used in Hanfu, especially those worn as part of ruqun, and in Xifu.
Tuanshan, also called gongshan, bian mian, fan of reunion, are typically silk rigid hand fan which originated in China; they are typically circular or oval in shape. Up to the Song dynasty, the tuanshan appears to have the most common types of the fans in China. These types of fans were mostly used by women in the Tang dynasty. Tuanshan with Chinese paintings and with calligraphy became very popular by the Song dynasty among court circles and artists and even continued to be in use even by the end of the 19th century. The tuanshan was also used as part of the traditional Chinese wedding and was part of the ceremonial wedding rite. They continue to be produced and sold in present-day China and has become a common form of accessory in Hanfu.
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