May 26, 2025
Chinese traditional outfit porn
China has embraced Western fashion and futuristic technology as its economy boomed in recent decades, but a growing number of young people like Xiao are looking to the past for their sartorial choices and donning traditional “hanfu”, or “Han clothing”. As an extension from mandate number 1, this is to ensure Hanfu retailers are promoting Hanfu as exclusively the traditional dress of the Han Chinese. From the start, there was no unifying style for the dress like the Republicans intended; Chinese women had no respect for the Clothing Regulations of 1929, which tried to control individuality. Who would think that the Herero women in Namibia still dress as Victorian ladies? It was also used as part of the ceremonial attire for titled women. Shui Shu’s band Bliss-Illusion is part of the country’s small but buoyant heavy metal scene, where bands mix genre standards with Chinese elements. The Northern Wei dynasty was marked by cultural integration between the Xianbei and the Han Chinese. It was also during the early years of the Han dynasty that the shape of the yuanlingpao worn in the later dynasties, such as in the Ming dynasties, started to develop.
Since the Northern Wei dynasty, the shapes of the Han Chinese’s paofu also started to be influenced by the yuanlingpao-style robe, which originated in Western Asia and was then spread to the East through the Sogdians of Central Asia. It originated in the Ming dynasty but was influenced from clothing of the Yuan dynasty. When the Wuhu migrated to the Central Plains, cheongsam style dress their dressing culture influenced the clothing culture of the Han people in the region. One distinctive feature of men’s clothing during the Tang dynasty was a horizontal band, which could also be attached to the lower region of the yuanlingpao. Almost all figurines and mural paintings depicting female court attendants dressed in men’s clothing are wearing Hufu. Both garments became the main form of clothing for men as well. In the Philippines, variations of the Baro’t saya adapted to the white wedding tradition are considered to be wedding attire for women, along with the barong tagalog for men. Many brides and grooms choose Hanfu to infuse their wedding ceremonies with a sense of tradition and authenticity. Yun Qing from Hangzhou believes that traditional designs must be corroborated through comparison with actual historical artifacts; the authenticity of anything else cannot be trusted.
In the Ming and Qing dynasties, the xiapei, along with the fengguan, became the daily clothing of queens and the formal clothing of the wives of senior officials. Similarly to the Ming dynasty, the waistcoat xiapei was worn by the queens as a daily form of attire while the wives of senior official as a formal attire. According to Ming’s regulation, the Xiapei length had to be 5.7 chi and 0.32 chi width, with a suspended gold ornament at the end which purpose was to provide weight. The yesa also showed sedentary life-style and Chinese cultural characteristics: its increase in length made it lose its functionality for horse-riding purposes, the flat centre back appeared as well-arranged pleats were to hard to maintain when sitting. It is presented as two pieces of fabric that are incompletely sewn on the sides to form the back and front and with two sets of ties.
It has two hems at each sides. The collars of the Han dynasty yuanlingpao were not turned on both sides and their edges were similar to the styles worn in the Sui and Tang dynasties. In the Tang dynasty, the xiapei was an embroidered scarf made of silk which was attached to a woman’s neck and shoulder that would wrap around her body. Different materials can be used in the making of the cheongsam, such as wool, silk (including silk floss, damask, brocade, satin), or silk-like materials. The xiapei was called hapi in Korea; it was a long, wide piece of black silk which was worn over the shoulders. The xiapei eventually became part of the traditional Chinese wedding attire for commoners. Traditional Tang suits, based on the magua of the Manchu ethnicity, usually have Chinese characters on them to express good luck or best wishes. Tang dynasty tongtianguan as depicted on Wu Daozi’s scroll-painting. Tongtianguanfu (Chinese: 通天冠服) 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.