Garment collars in hanfu explained

Garment collars in are diverse and come in several shapes,[1] including (cross-collars, overlapping collars at the front which closed on the right or left sides),,,,, . Some forms of collars were indigenous to China while others had been adopted from the of other non-Han Chinese ethnic minorities and/or from the clothing worn by foreigners.

Cultural significance

See also: Hufu.

Ru

See also: Ru (upper garment).

Youren (right lapel)

Chinese robes, such as the and the as a general term, as well as Chinese jackets must typically cover the right part of their garment.[2] Styles of garments which overlap at the front and close to the right side are known as . The closure is a style which originated in China and can be traced back to the Shang dynasty.[3] The is also an important symbol of the Han Chinese ethnicity. The closure was eventually adopted by other ethnic minorities and was also spread to neighbouring countries, such as Vietnam, Korea and Japan.

Zuoren (left lapel)

Chinese people also wore another form of closure known as, which generally refers the way garment overlaps on the front, like the closure, but instead closes on the left side. According to the 《》, a form of, known as, was a robe with a closure[4] while the coat known as (; sometimes also referred as), typically used as part of the, was also a according to the .[5]

The use of, however, was typically associated with funeral practices. This can also be found in the chapter of the :

According to ancient Chinese beliefs, the only moment the Han Chinese were supposed to use was when they dressed their deceased. This funeral practice was rooted in ancient Chinese beliefs; especially in the Yin and Yang theory, where it is believed that the left side is the and stands for life whereas the right side is the which stands for death.[6] Therefore, according to the Yin and Yang theory, the left lapel of a garment needs to be found outside (which is in the form of closure) to indicate that the power of the aspect is suppressing the aspect, which thus symbolizes the clothing of living people. On the other hand, the is a representation of the aspect surpassing the aspect, and thus, garments with a closure became the clothing worn by the deceased. It was therefore a taboo in Chinese clothing culture for a living person to wear clothing with a closure.

There are exceptions in which living Han Chinese would wear clothing with a closure. For example, in some areas (such as Northern Hebei) in the 10th century, some ethnic Han Chinese could be found wearing left-lapel clothing.[7] It was also common for the Han Chinese women to adopt left lapel under the reign of foreign nationalities, such as in the Yuan dynasty.[8] The practice of wearing the also continued in some areas of the Ming dynasty despite being a Han Chinese-ruled dynasty which is an atypical feature.

Association with ethnic minorities and foreigners

The closure was also associated with the clothing of non-Han Chinese, ethnic minorities, and foreigners in ancient times. Some ethnic minorities generally had their clothing closing in the -style according to what was recorded in ancient Chinese texts, such as the Qiang.[9] As a result, the traditional way to distinguish between clothing of the "Barbarian" (i.e. non-Han Chinese),, and Chinese clothing,, was typically by looking at the direction of the collar.[10]

This can also be found in the Analects where Confucius himself praised Guan Zhong for preventing the weakened Zhou dynasty from becoming barbarians:[11] [12] [13]

Based on Confucius' sayings,, bound hair and coats which closed on the left side, was associated with the clothing customs of the northern nomadic ethnic groups who were considered as barbarians. From the standpoint of the Huaxia culture, was a way to reject refined culture and being turned into a barbarian.

By the Han dynasty, since Confucius himself was the first person to use the phrase to refer to Non-Zhou dynasty people, this phrase became a common metaphor for primitiveness. When used by the ancient Chinese literati, the concept of became a phrase, which held the symbolic of foreign people who were living a barbarous and civilized lifestyle; this concept also became a way to emphasize the customs differences between the Han people and other ethnic minorities and draw the line to distinguish who was were considered as civilized and barbarians. The thus also became a reference to and/or to the rule of foreign nationalities. Of note, some non-Chinese ethnicity who adopted -style sometimes maintain their left lapels, such as the Khitans in the Liao dynasty.[14]

Common types of collar

Cross-collars

Jiaoling youren

See also: Áo giao lĩnh. were cross-collars which overlapped on the front and closed on the right side following the rule;[15] they can also be described as cross-collar garments closing to the right side, or y-shaped collar. The started to be worn in the Shang dynasty in China.[16] [17] This form of collar eventually became one of the major symbols of the Sino Kingdoms and eventually spread throughout Asia. Garments and attire which used the collar include: shenyi, jiaolingpao, mianfu, pienfu, diyi, dahu, and tieli.

Jiaoling zuoren

refers to the cross-collars which closes on the left side instead of the right side. They were typically used by non-Han Chinese ethnicities in ancient China, but were also adopted by the Han Chinese in some circumstances, e.g. when they were ruled by non-Han Chinese rulers. Han Chinese women were also found sometimes found in the paintings of the Ming dynasty, which is an atypical feature. They were also used to dress the deceased of the Han Chinese.

Central front collars

Collars which runs parallel and straight at the front are called duijin (对襟).[18] [19] Garments with duijin collars can either be closed at the centre front[20] or be left opened in the front. They could be found with or without a high collar depending on the time period. Duijin could be used in garments and attire, such as beizi, banbi, and beixin.

Round collars

Round collars are called yuanling (圆领) or panling (盘领).[21] [22] In ancient China, clothing with round collars were typically introduced and/or influenced by foreign ethnicities, such as the Donghu,[23] [24] the Wuhu,[25] and the foreigners from Central Asia, such as the Sogdians,[26] [27] and the Mongols, at different point in time. Yuanling can be overlapping to the right or closing at the front in the duijin manner.[28] Yuanling could be used in garments and attire, such as yuanlingshan, yuanlingpao, panling lanshan, and wulingshan (无领衫).

Standing collars

See also: Mandarin collar. High standing collars in the Ming dynasty are referred as shuling (竖领) or liling (立领). They appeared by the late Ming dynasty.[29] There were two main forms of high standing collars garments based on their types of lapels and closure.

Standing collar with right closure

Clothing with shuling dajin (竖领大襟), also called liling dajin or shuling xiejin or liling xiejin, has a standing collar and a large lapel which closes on the right. The dajin placket is also called xiejin .

Standing collar with central front closure

Clothing with shuling duijin (or liling (or shuling) duijin) has a standing collar and closes with a central front closure.

Lapel collars

Fanling refers to the lapel collars, typically categorized as Hufu-style collars

Square collars

Square collars are referred as fangling (方领).[30]

U-shaped collar

U-shaped collar are known as tanling .[31] Tanling could be used in garments and attire, such as tanling banbi and tanling ruqun.

Pipa-shaped collar

Pianjin, also called Pipa-shaped collars and sometimes referred as 'slanted' collar in English, were form of collars which overlaps and closes to the right side with a big lapel. This form of collar was influenced by the Manchu clothing. The Manchu's front overlap opening was a Manchu innovation; their clothing was closed with buttons on the centre front of the neck, right clavicle, and under the right arm along the right seams.[32] The Manchu overlap was more shaped like an S-curved overlap; it ran straight to the right of the centre-front of the neck, drops down to the burst before curving to the right side.[33] The Manchu's garments rarely showed high collars until the 20th century. The Pip-shaped collar were worn in the Qing dynasty and the Republic of China.[34] It could be found without or with a high collar (e.g. mandarin collar).

See also

Notes and References

  1. Web site: 2021-07-02 . Guide of the Ming Dynasty Shan/Ao Types for Girls - 2022 . 2022-05-26 . www.newhanfu.com . en-US.
  2. Book: Ma, Xiaofang . Proceedings of the 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018) . 2018 . Atlantis Press . 978-94-6252-528-3 . 639–643 . en . Study on the Aesthetics of Han Chinese Clothing Culture in the TV Play q Nirvana in Fireq . 10.2991/iccessh-18.2018.143.
  3. Yu . Song-Ok . 1980 . A Comparative Study on the Upper Garment in the Ancient East and West . Journal of the Korean Society of Costume . 3 . 29–46 . 1229-6880.
  4. Web site: 說文解字「襲」 . 2022-07-11 . www.shuowen.org . en.
  5. Web site: Shiming《釋衣服》 . 2022-07-11 . ctext.org . en.
  6. Shi . Songge . 2021 . Travelling With Hanfu: A Social Media Analysis of Contemporary Chinese Travelling for Artistic Photographs . en.
  7. Book: Zhang, Ling . The River, the Plain, and the State: An Environmental Drama in Northern Song China, 1048-1128 . 2016 . Cambridge University Press . 978-1-316-65929-8 . Cambridge . 10.1017/cbo9781316659298.002 .
  8. Book: The Museum of Far East Antique Bulletin 70 . Östasiatiska museet . 1998 . 208.
  9. Book: Tse, Wicky W. K. . The collapse of China's later Han Dynasty, 25-220 CE : the northwest borderlands and the edge of empire . 2018 . 978-1-315-53231-8 . London . 1042329243.
  10. Book: Xu, Jing . A Chinese traveler in medieval Korea : Xu Jing's illustrated account of the Xuanhe embassy to Koryo . 2016 . Sem Vermeersch . 978-0-8248-6683-9 . Honolulu . 331–332 . 950971983.
  11. Book: Kang, Chae-ŏn . The land of scholars : two thousand years of Korean Confucianism . 2006 . Suzanne Lee . 1-931907-30-7 . 1st . Paramus, New Jersey . 60931394.
  12. Book: Dress and ideology : fashioning identity from antiquity to the present . 2015 . Shoshana-Rose Marzel, Guy Stiebel . 978-1-4725-5808-4 . London . 41 . 895162445.
  13. Web site: 論語 : 憲問 - 微管仲,吾其被髮左衽矣。 - 中國哲學書電子化計劃 . 2022-02-07 . ctext.org . zh-TW.
  14. Book: Kuhn, Dieter . The age of Confucian rule : the Song transformation of China . 2009 . Belknap Press of Harvard University Press . 978-0-674-03146-3 . Cambridge, Mass. . 192050158.
  15. Ho . Wei . Lee . Eun-Young . 2009 . Modem Meaning of Han Chinese Clothing(韓服) . Journal of the Korea Fashion and Costume Design Association . 11 . 1 . 99–109 . 1229-7240.
  16. Book: Zhao, Yin . Snapshots of Chinese culture . 2014 . Xinzhi Cai . 978-1-62643-003-7 . Los Angeles . 912499249.
  17. Kidd . Laura K. . Lee . Younsoo . 2002 . The Style Characteristics of the Hwalot, with a Focus on One Robe from the Collection of the Honolulu Academy of Arts . Clothing and Textiles Research Journal . 20 . 1 . 1–14 . 10.1177/0887302x0202000101 . 0887-302X . 110839493.
  18. Web site: 2020-10-14 . Ancient Chinese Fashion: Historical Prototype of Hanfu Style . 2022-05-26 . www.newhanfu.com . en-US.
  19. Book: Silberstein, Rachel . A fashionable century : textile artistry and commerce in the late Qing . 2020 . 978-0-295-74719-4 . Seattle . 1121420666.
  20. Book: Jiang . Wanyi . Li . Zhaoqing . Proceedings of the 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020) . Analysis on Evolution, Design and Application of Women's Traditional Coats in Beijing in the Late Qing Dynasty and the Early Republic of China: Based on the Collection of Ethnic Custom Museum of Beijing Institute of Fashion Technology . 2021-01-06 . en . Atlantis Press . 641–648 . 10.2991/assehr.k.210106.123 . 978-94-6239-314-1. 234293619 .
  21. 유혜영 . 1992 . 돈황석굴벽화에 보이는 일반복식의 연구 . 이화여자대학교 대학원 . Doctoral Thesis .
  22. Web site: 2021-06-17 . Hanfu Making(5) - Pan Collar Aoqun Cutting & Sewing Patterns - 2022 . 2022-05-26 . www.newhanfu.com . en-US.
  23. Book: Wang, Fang . Proceedings of the 2nd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2018) . Study on Structure and Craft of Traditional Costumes of Edge . 2018 . https://www.atlantis-press.com/article/25891885.pdf . en . Atlantis Press . 584–588 . 10.2991/emehss-18.2018.118 . 978-94-6252-476-7.
  24. Yang . Shuran . Yue . Li . Wang . Xiaogang . 2021-08-01 . Study on the structure and virtual model of "xiezhi" gown in Ming dynasty . Journal of Physics: Conference Series . 1986 . 1 . 012116 . 10.1088/1742-6596/1986/1/012116 . 2021JPhCS1986a2116Y . 1742-6588 . 236985886. free .
  25. Book: Dien, Albert E. . Six dynasties civilization . 2007 . Yale University Press . 978-0-300-07404-8 . New Haven, Conn. . 72868060.
  26. Zhao . Qiwang . 2020 . Western Cultural Factors in Robes of Wei, Jin, Southern and Northern Dynasties as Well as Sui and Tang Dynasties . 2020 3rd International Conference on Arts, Linguistics, Literature and Humanities (ICALLH 2020) . Francis Academic Press, UK . 141–147 . 10.25236/icallh.2020.025 . 31 January 2024.
  27. Zhao . Qiwang . 2019 . The Origin of Partial Decorations in Gowns of the Northern Qi and Tang Dynasties . 2nd International Conference on Cultures, Languages and Literatures, and Arts . 342–349 .
  28. Web site: 2021-04-04 . Guide to Hanfu Types Summary & Dress Codes (Ming Dynasty) . 2022-06-13 . www.newhanfu.com . en-US.
  29. Book: Finnane, Antonia . Changing clothes in China : fashion, history, nation . 2007 . Hurst & Co . 978-1-85065-860-3 . London . 166381500.
  30. Book: Zhang, Weiwei . Variation in metonymy : cross-linguistic, historical and lectal perspectives . 2016 . 978-3-11-045583-0 . Berlin . 947083957.
  31. Web site: 王金妍 . Hanfu: China's traditional Han-style clothing . 2022-05-26 . www.chinastory.cn . 29 July 2019 . en.
  32. Web site: 2017-10-16 . Turn back your cuffs . 2022-05-26 . John E. Vollmer . en.
  33. Book: Bonds, Alexandra B. . Beijing opera costumes : the visual communication of character and culture . 2008 . University of Hawaiʻi Press . 978-1-4356-6584-2 . Honolulu . 256864936.
  34. Web site: 2021-02-14 . Women's Clothing Changes During the Ming and Qing Dynasties . 2022-05-26 . www.newhanfu.com . en-US.