Jump to content

Hanfu Movement

From Wikipedia, the free encyclopedia
(Redirected from Han costume movement)

Hanfu Movement
Two Hanfu promoters at the Chinese Cultural Festival in Guangzhou
Simplified Chinese汉服运动
Traditional Chinese漢服運動
Literal meaning"Hanfu Movement"
Transcriptions
Standard Mandarin
Hanyu PinyinHànfú yùndòng

Hanfu Movement (simplified Chinese: 汉服运动; traditional Chinese: 漢服運動; pinyin: Hànfú yùndòng), also known as the Hanfu Revival Movement (汉服复兴运动; 漢服復興運動; Hànfú fùxīng yùndòng),[1] is a homegrown, grassroots[2] cultural movement seeking to revive or revitalize Han Chinese fashion. It finds its manifestation in the wearing in public of the traditional Han attire of pre-Qing era. It began as the elegant pastime of a historically-conscious subculture and has evolved into a trendy nationwide movement boasting millions of young consumers and led by fashion-conscious youth.[3][4][5][6] It has also slowly gained traction amongst the overseas Chinese diaspora, especially in countries like Singapore.

The Hanfu movement developed in China in 2003. Its emergence can be credited to Singaporean-Chinese Zhang Congxing, who wrote an article about Wang LeTian, a man from Zhengzhou who was spotted dressed in a homemade shenyi (a type of attire).[1][7][8][9][10][11][12] This spurred online discussion and spontaneous acts of imitation, culminating in the formation of a quickly growing organic movement. Its ready adoption by young and trendy fashion-conscious women has been accelerated by social media, which has helped to propagate the trend. Platforms such as Bilibili, Douyin, Instagram and others have contributed to its resurgence by allowing youth to showcase their dressing online.[13] Elements of retro-cool permeate the movement. The desses worn are typically those of royalty and aristocrats, court officials and soldiers.

The popularity of the movement - especially gen Z and gen Y, can be attributed to a burgeoning desire to reconnect with the past, to draw sustenance from it, and to express a national and cultural identity, along with a growing self-confidence in that identity.[14][15] The fact that Han traditional dress has a universally pleasing and classically elegant aesthetic and is therefore apt to produce socially acceptable, flattering images that can be readily shared on social media has driven its popularity. Lastly, it is seen as a more authentic form of clothing than the cheongsam and qipao, which are now seen products of repression, and as imposed from the outside.[16] It can be seen as an attempt to redeem an important part of Han culture, to restore the classical norms of beauty prevailing in earlier times.

  • Youth in Hanfu
  • School pupils in Hanfu
    School pupils in Hanfu
  • Night wear of Hanfu
    Night wear of Hanfu
  • Hanfu street fashion
    Hanfu street fashion
  • Male in Hanfu
    Male in Hanfu

Aesthetic Value

[edit]

The desire to reconnect with one's cultural heritage has not been the only driver of the movement. Hanfu's classical elegance and unique aesthetic, and the ease with which one can produce flattering photos for social media by wearing it, continue to drive the movement's popularity.[17][18]

Women have also been the principal drivers of the Hanfu movement by emphasizing its fashionable aspect. According to the iMedia 2018 survey, women make up 88.2% of the Hanfu enthusiasts and 75.8% of the Hanfu stores on Taobao and Tmall platforms only sell hanfu for women.[19]

Cultural significance, ethical-ritual aspects, and social value

[edit]

Chinese culture accords great significance to ritual and the power of symbols. The key design elements of Hanfu are no exception. In the ritual tradition originating in the Zhou dynasty:

  1. The left collar covering the right represents the perfection of human nature through culture and the overcoming of instinct and bodily forces by the spiritual power of ethical and ritual teaching;
  2. The expansive cutting and board sleeve represents the concord or harmony between nature and human creative power.
  3. The use of the girdle to fasten the garment over the body represents the constraints of Han culture to limit human desire, which would otherwise lead to the commission of immoral acts [20]

Proponents of the movement emphasize the symbolic value of Hanfu and the ethical and ritual significance of its all its aspects.

They also note that China, in the face of rising prosperity and modern social pressures, an increasing need to fashion a sense of national identity.[21].On this view, the Hanfu Movement is a natural and intrinsic part of the Chinese Dream - "the Great Rejuvenation of the Chinese Nation" and seeks to recover lost cultural heritage as well as to promote traditional Chinese culture.

Definition of hanfu

[edit]

Classical usage of the word "Hanfu" and historical records

[edit]

According to Dictionary of Old Chinese Clothing (Chinese: 中國衣冠服飾大辭典), the term hanfu literally means "Clothing of the Han People."[22] This term, which is not commonly used in ancient times, can be found in some historical records from Han, Tang, Song, Ming, Qing dynasties and the Republican era in China.[23][24][25][26][27]

Ming dynasty official dress

Modern expert opinion

Chinese researcher Hua Mei (Chinese: 華梅), interviewed by student advocates of the Hanfu Movement in 2007, recognizes that defining hanfu is no simple matter, as there was no uniform style of Chinese fashion throughout the millennia of its history. Because of its constant evolution, she questions which period's style can rightly be regarded as traditional. Nonetheless, she explains that hanfu has historically been used to broadly refer to indigenous Chinese clothing in general. Observing that the apparel most often promoted by the movement are based on the Han-era quju and zhiju, she suggests that other styles, especially that of the Tang era, would also be candidates for revival in light of this umbrella definition.[28]

Zhou Xing (Chinese: 周星), cultural anthropologist and professor at Aichi University, states that the term hanfu was not commonly used in ancient times and referred to some of the costumes worn by Hanfu Movement participants as being historically inaccurate because they contain modern design elements. Like Hua, he noted that the term hanfu classically referred to the clothing worn by Han people in general, but he argued that there are differences between historical hanfu and the contemporary hanfu introduced by some participants of the movement.[29][30]

Consensus view and popular opinion

On March 8, 2021, the magazine Vogue published an article on modern hanfu defining it as a "type of dress from any era when Han Chinese ruled".[31]

Enthusiasts in the Hanfu movement have reached their own consensus as to what would qualify as Hanfu. These include a wide and loose style of cross-collar garments with the right lapel covering the left, the use of a flat cutting, and the employment of belts and lace as closures in place of buttons.[19] They acknowledge that the hanfu costumes in some photo studios, movies, and TV dramas are not authentic representations of ancient hanfu, but contemporary hanfu modified based on ancient hanfu for the purposes of visual effects, cost saving and convenience of wearing.[19]

Movement Timeline

[edit]
The Hongxian Emperor wearing mianfu on his coronation ceremony, 1915
Upper-class Man wearing traditional daopao, 1906-1912.

Precursors

[edit]

There were numerous attempts to reintroduce Han Chinese clothing immediately after the fall of the Qing and in the revolutionary period.

After the Qing was toppled in the 1911 Xinhai Revolution, the Taoist dress and topknot was adopted by the ordinary gentry and "Society for Restoring Ancient Ways" (復古會) on the Sichuan and Hubei border where the White Lotus and Gelaohui operated.[32]

Traditional Han Chinese dress was also employed by the short-reigning Hongxian Emperor, former President Yuan Shikai, during his coronation ceremony in 1915.

2000s

[edit]

First seeds

[edit]

Journalists and scholars agree that the modern Hanfu Movement begun around 2003.[33] In November 2003, Wang Letian from Zhengzhou, China, wore in public a homemade shenyi (a kind of Hanfu),[1][34][21][35] thus catching the attention of Singaporean-Chinese journalist Zhang Congxing, who then decided to write an article on him which was published on the Lianhe Zaobao, a Singapore newspaper.[1][35][34]

This inspired others to reflect on the cultural identity of Han Chinese[21] and to initiate the Hanfu movement as part of a broader effort to stimulate a cultural renaissance.[36] Adoption was rapid - in the same year, people started wearing hanfu in public, forming communities of Hanfu enthusiasts and organizing activities related to hanfu and other elements of traditional Chinese culture.[19] The movement had significant online support. Proponents of Hanfu launched the website Hanwang (Chinese: 漢網) to promote "traditional Han clothing".

Practical difficulties

[edit]

In the early years of the Hanfu Movement, there were no existing stores from which to purchase hanfu. The first manufacturers and sellers of Hanfu were the early Hanfu enthusiasts who possessed the necessary skills to DIY hanfu by themselves.[19] They made hanfu in small quantities, and mainly relied on hanfu forums and enthusiasts communities to advertise their products.[19] Around the year 2005, the first online hanfu store appeared.[19] Since then, more and more hanfu stores emerged both online and offline. In 2006, the first physical hanfu store was opened under the trademark Chong Hui Han Tang (重回漢唐), which literally means "Coming back to the Han and Tang Dynasties" in Chengdu, Sichuan province of China.[19] From the year 2007, various hanfu-related clubs started to appear. These clubs focused on to organizing offline social activities in the instead of being largely online based.[35]

Other difficulties were psychological and included shyness. Many users reported having first to overcome the fear of social derision before daring to wear Hanfu in public.

Politics

[edit]

In 2007, a member of the CPPCC, Ye Hongming, proposed to define Hanfu as the national uniform.[34] In the same year, a proposal to change the current western style academic dress to hanfu style was also made by Liu Minghua, a deputy of the National People's congress.[34] In February 2007, advocates of hanfu submitted a proposal to the Chinese Olympic Committee to have it be the official clothing of the Chinese team in the 2008 Summer Olympics.[37] However, the Chinese Olympic Committee rejected the proposal in April 2007.[38]

2010s

[edit]

Culture shows and penetration into the mainstream

In 2013, the first Xitang Hanfu Culture Week was held in the city of Xitang, Zhejiang province. Since then, it has been held successfully in subsequent years and is continue to be held annually.[1][19] In 2014, a project called Travelling with Hanfu was launched through the collaboration between Chinese photographer and freelancer Dang Xiaoshi, and Chinese actor Xu Jiao. Together, they posted series of photos online which quickly attracted many public attention.[1]

Market growth

In 2018, it was estimated that the hanfu market consisted of 2 million potential consumers.[19] The estimated revenue sales for 2019 was 1.4 billion yuan ($199.3 million).[19]

In 2019, it was estimated that there were 1,188 online hanfu stores on Tmall and Taobao which shows an increase of 45.77% over the previous year.[19] The hanfu stores Chong Hui Han Tang ranked third on Tmall in 2019 after the hanfu store Hanshang Hualian and Shisanyu.[19] In the 2019 edition of the Xitang Hanfu Culture Week, it was estimated that it attracted 40,000 Hanfu enthusiast participants.[19]

2020s

[edit]

Continued growth

By 2020, according to a study done by Forward Industry Research Institute (a Chinese research institute), the number of hanfu enthusiasts in China has reached 5.163 million, creating a market size equivalent to 6.36 billion yuan (US$980 million), a proportional increase of over 40% compared to the previous year.[39]

In 2021, a lawmaker named Cheng Xinxiang submitted a proposal for a National Hanfu Day. This would take place on the Double Third Festival, or the third day of the third month on the Chinese Calendar.[40] Meanwhile, it is projected that by the end of 2021, the total number of hanfu enthusiasts across China will exceed 7 million, and that the market size of hanfu will exceed nine billion yuan (US$1.39 billion).[39]

Historical background and context

[edit]

Han clothing before the Qing conquest

[edit]

The traditional form of Han Chinese clothing changed drastically during the Manchu-led Qing dynasty. When the Manchus established the Qing dynasty, there were three Manchu cultural impositions which were placed upon the Han people: the queue hairstyle which was universally implemented and strictly implemented, the wearing of Manchu-style clothing in official dress and the learning of Manchu language. Although the implementation of the latter two was more limited in both scope, traditional features of Han Chinese attire, found in all earlier dynasties, disappeared nearly completely from public life.[41]

  • Han Chinese clothing before the Qing
  • Tang dynasty military attire
    Tang dynasty military attire
  • Tang dynasty court ladies
    Tang dynasty court ladies
  • Ming dynasty official dress
    Ming dynasty official dress
  • Ming dynasty imperial dress
    Ming dynasty imperial dress
  • Ming dynasty imperial dress
    Ming dynasty imperial dress

Against this context, the Hanfu movement is a grassroots movement which seeks to restore the dress and attire and to recover the aesthetic sensibilities of Han Chinese dress from previous eras recognized as high points for Han culture - principally the Ming, Tang, Song and Han. It seeks to popularize hanfu as fashionable daily wear, and to integrate traditional Han elements into the design of modern clothing.[1][35] There is also a clear social and communal aspect to the movement. Participants and supporters of the Hanfu Movement call one another tongpao (同袍);[1] a term, which comes from the Shijing:[1][42]

How shall it be said that you have no clothes? I will share my long robes with you. [豈曰無衣、與子同袍。] When the king is raising his forces, I will prepare my lance and spear and be your comrade. [王于興師、脩我戈矛、與子同仇。]

— 《無衣 - Wu Yi》, Shijing, Odes of Qin

The term tongpao is literally translated as "wearing the same style of robe" and is also a pun of tongbao (同胞) meaning "fellow compatriots".[1]

Chinese clothing and hairstyle during Manchu rule

[edit]

The Tifayifu policy

[edit]
Main articles: Tifayifu and Qizhuang
People wearing hanfu in the early years of Qing dynasty
Han and Manchu clothing coexisted during the early years of Qing dynasty

Upon establishing the Qing dynasty, the Manchu authorities also issued a decree known as Tifayifu (剃髮易服, lit. 'shaving hair and changing apparel'), forcing all male citizens to adopt Manchu hairstyle by shaving their hair on the front of the head and braiding the hair on the back of the head into pigtails known as queue (辮子), as well as to adopt Manchu clothing such as changshan (長衫). Those who violated the Tifayifu policy were heavy punished, sometimes with death. This policy caused significant discontentment among other ethnicities, including the Han Chinese, and provoked numerous uprisings across the country. However, those uprisings were violently suppressed.[43]

Qing Manchu prince Dorgon initially canceled the order to shave for all men in Ming territories south of the Great wall (post 1644 additions to the Qing). Ironically, it was Han officials from Shandong, Sun Zhixie and Li Ruolin who, in obsequious displays of loyalty to the new political order, had voluntarily shaved their foreheads and then demanded Qing Prince Dorgon impose the queue hairstyle on the entire population.[44][45]

Exemptions - women, children and clergy

[edit]

Certain groups of people were exempted from the Tifayifu, including women, children, and clerics. Throughout the Qing dynasty, Han Chinese women continued to wear the styles of clothing from the Ming dynasty.[46] Neither Taoist priests nor Buddhist monks were required to wear the queue by the Qing or to change their attire. They continued to wear their traditional hairstyles: completely shaved heads for Buddhist monks, and long hair bound in the traditional Chinese topknot for Taoist priests.[47][48] Their garments were unchanged. Taoist priests continued to wear Taoist traditional dress (a style of hanfu called "daopao").

Impact on male non-Han subjects

[edit]

The policy had precedent. The Qing imposed the shaved head hairstyle on men of all ethnicities under its rule even before 1644 like upon the Nanai people in the 1630s who had to shave their foreheads.[49][50] The men of certain ethnicities who came under Qing rule later like Salar people and Uyghur people already shaved all their heads bald so the shaving order was redundant.[51] However, the shaving policy was not enforced in the Tusi autonomous chiefdoms in Southwestern China where many minorities lived, and on one Han Chinese Tusi, the Chiefdom of Kokang populated by Han Kokang people.

Resistance to the Tifayifu

[edit]

From the earliest years, the Tifayifu policy was encountered with strong objection from the Han Chinese, whose hairstyle and clothing had remained mostly unchanged for over thousands of years. The hair was regarded as an integral part of the body - a gift from parents, and cutting it unnecessarily was seen as contrary to filial piety. The Qing government implemented the Tifayifu policy on Han Chinese people with increased pressure, leading to conflicts and massacres. It was not until early 20th century when the democratic revolutionaries repudiated the queue, calling it backward, and advocating short hairstyles for men.[52]

Early resistance to Manchu impositions

[edit]

During the final years of Ming, General Zheng Chenggong criticized the Qing hairstyle by referring to the shaven pate looking like a fly.[53] Qing demanded Zheng Chenggong and his men to abide to the Tifayifu policy in exchange for recognizing Zheng Chenggong as a feudatory. However, Zheng Chenggong refused to surrender.[54] The Qing also demanded that Zheng Jing and his men on Taiwan shave in order to receive recognition as a fiefdom. However, Zheng Jing's men and Ming prince Zhu Shugui fiercely objected to the shaving and adopting Manchu clothing, thus also refused to surrender.[55]

Uprisings against Tifayifu

[edit]

The Manchu rulers made the Tifayifu policy increasingly strict over the early years of the Qing dynasty, requiring all male citizens to not only wear a queue, but also to shave their forehead. This was encountered with greater opposition from the Han Chinese than the queue. From thence on, Han rebels including those involved in the Taiping Rebellion grew hair on the front of their heads as a symbol of their rebellion against the Qing even while retaining the queue. The Taiping rebels forced everybody in their territory to grow out their hair, which in turn was disliked by many people who had, by then, grown accustomed to shaving their foreheads. Both the Qing forces and the rebels killed people for having the 'wrong' hairstyle, as hairstyle was seen as an indicator of political affilitiation.[56]

Qing's compromise

[edit]
Taoist priests continue to wear traditional hanfu items. Photo taken from 1910-1911.
Main article: Exemptions from the Tifayifu

In an attempt to alleviate the public discontentment toward Tifayifu policy, the Qing government eventually decided to adopt a series of compromise policies.[57] This series of compromise policies, referred as the shicong shibucong (Chinese: 十从十不从; lit. 'Ten rules that must be obeyed and ten that need not be obeyed'), were advocated by Jin Zhijun, a minister of the Ming dynasty who had surrendered to the Qing dynasty:[58] the clothing of living men, government officials, Confucian scholars, and prostitutes had to follow the Manchu tradition;[58][57] while women, children, deceased men, slaves, Taoist and Buddhist monks, theatrical actors were allowed to maintain Hanfu and maintain their customs.[58]

Furthermore, with the consent of the Qing government, traditional Ming dynasty Hanfu robes given by the Ming Emperors to the Chinese noble Dukes Yansheng descended from Confucius were preserved in the Confucius Mansion alongside robes from the Qing emperors.[59][60][61][62][63] This compromise mirrored that of the Jurchens in the Jin dynasty and the Mongols in the Yuan dynasty who had continued to patronize and support the Confucian Duke Yansheng.[64]

Influence

[edit]

Throughout the years, influence of the Hanfu Movement has reached the overseas Chinese diaspora and has led to the establishment of Hanfu Movement associations outside China, with the goal of promoting Chinese culture.[35][21][19][65] While the Cheongsam tend to be used as the representative of the national identity in the previous generation of the overseas diaspora, nowadays, the young people within the overseas Chinese diaspora are more incline in the use of hanfu.[19] According to iiMedia, in 2019, the number of Hanfu organizations outside of China was estimated to be around 2,000 whereas it was 1,300 in 2017; this marks an increase of 53.8%.[19]

Overseas Hanfu Associations
Countries Name of Hanfu Associations Founded in
Argentina Tiannan Hanjia Association (天南漢家)
Australia Sydney Hanfu Association (汉服在悉尼) 2011
Queensland Hanfu Association (昆士兰汉服社) 2016
Canada Hanfu Movement of Eastern Canada (加東漢服運動) 2018
Association LingFeng Hanfu Montréal (蒙特利尔灵枫汉服社) 2008
The Hanfu Society of Art and Music/Toronto Hanfu Society (多倫多禮樂漢服)
Europe European Hanfu Association (歐洲漢服文化協會) 2008
Indonesia Hanfu Movement Indonesia (印尼漢服運動)
Malaysia Hanfu Malaysia (馬來西亞漢服運動) 2007
Dong Hsuan Fang (东玄坊)
New Zealand Hanfu Association of NZ
Singapore Han Cultural Society
United Kingdom UK Han Culture Association 2007
United States New York Han Corporation (Hanfu NYC) (紐約漢服社) 2014
Fuyao Hanfu Association (扶摇汉服社)
Northern California Hanfu Association (北加州汉服社)

Controversy

[edit]

Authenticity - Purists and reformists

[edit]

Since the beginning of the Hanfu Movement, defining what would constitute as authentic hanfu has been a subject of debate and can even be a critical issue for hanfu event organizations, and diverse schools of thought have emerged.[19] For example,

  • The purists (the more conservative members of the group) believe in the replication of ancient garments as the only way to guarantee the authenticity of the hanfu,[19] and that a hanfu cannot be called hanfu without reference to artefacts.[35]
  • The reformists believe that the beauty and diversity of hanfu would be limited if they only limited themselves to the replication of archeological clothing artefacts,[19] as they have embraced various modified styles of hanfu despite being different from historical artefacts, and considers hanfu to be authentic enough if they based themselves on ancient materials as the basis and follows the general hanfu principles. In other words, they consider both contemporary hanfu and ancient hanfu as hanfu.
  • Some consider that the Hanfu Movement is not intended to completely imitate the ancient clothing as it would be difficult to replicate clothing that are identical to historical artefacts and 100% historically accurate. Instead, they believe that the modern hanfu should incorporate modern aesthetics, including allowing some adjustments to the lengths of the attire or sleeves, despite following the general principles of Han Chinese clotings.[35]

Quality of Hanfu on the market

[edit]

Concerns have been expressed about the poor quality and inauthenticity of Hanfu currently on the market. This has damaged the reputation of Hanfu and discouraging the manufacture of authentic or original designs. Factors inhibiting the market for authentic and high-quality hanfu include absence of consumer knowledge and the cheaper cost of inauthentic and poorly made spin-offs.[19]

Han nationalism

[edit]

Criticism of the Movement

[edit]

Domestic criticism of the movement and reservations within the movement

[edit]

In 2007, skeptics feared that designating Hanfu as China's national costume could spark ethnic tensions, as China has 56 ethnicities, each with distinctive traditional clothing.[66][67] They decried the presence of "Han chauvinists[66] in the movement. Enthusiasts, such as the Hanfu Society at Guangzhou University cautioned against politicizing the dress, fearing negative social repercussions[67] Hanfu advocates insist they never called for the abandonment of tradition by minorities, and that their fashion preferences are separate from their politics.[66]

Criticism by Kevin Carrico - ultranationalism, fictional traditions, conspiracy theories

[edit]

A vehement and protracted critique has been levied by Kevin Carrico, a scholar of contemporary Chinese society at Macquarie University. Carrico has criticized hanfu as an "invented style of dress" that transitioned from a fictional tradition to a reality on Chinese streets.[68] He argues there is no historical basis for specific apparel under the name "hanfu"[68] and that the movement is inherently racial, built on the narrative that Qing dynasty's Manchu rulers aimed to destroy Han people and Chinese civilization, transforming it into barbarism. Kevin Carrico argues that real historical atrocities, like the Yangzhou massacre and the queue decree, are mixed with the imaginary erasure of Han clothing in the Hanfu Movement. He claims the movement is driven by conspiracy theories suggesting a secret Manchu plot controlling key institutions in China since the post-1978 reform era.[69] Carrico's book, which fully discloses his critical stance on the Hanfu Movement,[70] has received mixed reviews.

Defense of the movement

[edit]

Proportional representation and fairness for the Han in modern China

[edit]

In 2001, netizens opposed Chinese politicians wearing tangzhuang at the APEC summit, considering it inappropriate and non-representative due to its Manchu origin when over 90% of China's citizens are ethnic Han.[34][21]They associate the dress with the Qing dynasty, whom they hold responsible for the suppression of Han culture, and for failure to deal with Western predation during the Century of Humiliation. Proponents cite the persistence of traditional clothing among Chinese minorities and the use of kimono in Japan, hanbok in Korea, and the sari in India as inspiration for the Hanfu Movement, and reason that the Han should have their own ethnic dress celebrated as well.[28]

Fun and recreation, moderate nationalism not ultranationalism

[edit]

Ying Dai of Cardiff University notes that the modern Chinese public views Hanfu as a symbol of traditional aesthetics, heritage and culture, saying that the movement exhibits a moderate and positive vision of Chinese nationalism.[2] Colin Mackerras, while noting the pride of Chinese people in Chinese culture, views the movement as more likely driven by recreational needs such as fun and relaxation, rather than animated by Han revanchism. James Leibold of La Trobe University notes that Hanfu pioneers believe the issue of Han clothing is tied to racial identity and political power in China but highlights the movement's diversity, with individuals finding various meanings and enjoyment in Hanfu. Eric Fish, a freelance writer who lived in China from 2007 to 2014 as a teacher, student, and journalist, believes that the Hanfu Movement does have "patriotic undertones" but "most Hanfu enthusiasts are in it for the fashion and community more than a racial or xenophobic motivation" and that contrary to popular belief, China's "young people overall are progressively getting less nationalistic". Proponents cite the persistence of traditional clothing among Chinese minorities and the use of kimono in Japan, hanbok in Korea, and the sari in India as inspiration for the Hanfu Movement, and reason that the Han should have their own ethnic dress celebrated as well.[28]

Critical appraisal of Kevin Carrico's arguments

[edit]

Critics expressed concerns about his portrayal of Chinese studies, contemporary anthropology, and Chinese nationalism, suggesting his work might inaccurately simplify or misrepresent these areas[71][72][73] Reviewers criticized the book for dismissing ethnography,[72] misunderstanding or omitting the narratives of his Chinese informants,[70][72] offering revisionist stories about China's past and the Maoist era, and leaving issues such as other ideological drivers of the Hanfu Movement and the views of non-Han participants unaddressed[70][74] One reviewer expresses that people in China are proud of China and Chinese culture; however, the donning of traditional Chinese clothing is more likely for fun or relaxation than as being part of a sinister plot evolving around Han nationalist revival.[73]

Wikimedia Commons has media related to Hanfu movement.

See also

[edit]

References

[edit]
  1. ^ a b c d e f g h i j Shi, Songge (2021). Travelling With Hanfu: A Social Media Analysis of Contemporary Chinese Travelling for Artistic Photographs (Master of International Tourism Management thesis). Auckland University of Technology.
  2. ^ a b Ying Dai. "Modern Chinese Nationalism and the Han Nation: An Analysis Based on the Hanfu Movement". The International Conference on Interdisciplinary Humanities and Communication Studies.
  3. ^ Wang, Ellena. "The History of Hanfu Design and Its Influence Today". The Science Survey. Retrieved 2024-07-03.
  4. ^ China’s ancient hanfu: a visual guide to the clothing’s history and revival (scmp.com)
  5. ^ "A return to tradition: how Hanfu returned as a modern style statement". Harper's BAZAAR. 2021-07-16. Retrieved 2024-07-03.
  6. ^ Ke, Meng-Yun Wang,Peng (2021-03-08). "Meet Shiyin, the Fashion Influencer Shaping China's Hanfu Style Revival". Vogue. Retrieved 2024-07-03.{{cite web}}: CS1 maint: multiple names: authors list (link)
  7. ^ Ying, Zhi (2017). The Hanfu Movement and Intangible Cultural Heritage: considering The Past to Know the Future (MSc). University of Macau/Self-published. p. 12.
  8. ^ Zhao, Fujia (2018). "On the Educational Significance of Hanfu to Modern Society under the Background of Cultural Rejuvenation". International Journal of Social Science and Education Research. 1 (4): 74–80.
  9. ^ Yeung, Juni L. (24 May 2016). "The Hanfu Revival Movement in Toronto". Torguqin. Toronto Guqin Society. Retrieved 28 June 2019.
  10. ^ Leibold, James (September 2010). "More Than a Category: Han Supremacism on the Chinese Internet". The China Quarterly. 203: 539–559. doi:10.1017/S0305741010000585. S2CID 56297961.
  11. ^ Yangzom, Dicky (2014). Clothing and Social Movements: The Politics of Dressing in Colonized Tibet (MSc). City University of New York. p. 38.
  12. ^ Chew, Matthew Ming-tak (January 2010). "Fashion and society in China in the 2000s: New developments and sociocultural complexities". ResearchGate. Retrieved 28 June 2019.
  13. ^ Wang, Ellena. "The History of Hanfu Design and Its Influence Today". The Science Survey. Retrieved 2024-07-03.
  14. ^ "A return to tradition: how Hanfu returned as a modern style statement". Harper's BAZAAR. 2021-07-16. Retrieved 2024-07-03.
  15. ^ Ke, Meng-Yun Wang,Peng (2021-03-08). "Meet Shiyin, the Fashion Influencer Shaping China's Hanfu Style Revival". Vogue. Retrieved 2024-07-03.{{cite web}}: CS1 maint: multiple names: authors list (link)
  16. ^ Wang, Meng-Yun (2021-03-08). "Meet Shiyin, the Fashion Influencer Shaping China's Hanfu Style Revival". Vogue. Retrieved 2024-07-03.
  17. ^ Wang, Ellena. "The History of Hanfu Design and Its Influence Today". The Science Survey. Retrieved 2024-07-03.
  18. ^ "A return to tradition: how Hanfu returned as a modern style statement". Harper's BAZAAR. 2021-07-16. Retrieved 2024-07-03.
  19. ^ a b c d e f g h i j k l m n o p q r s t u Wang, Xinyi; Colbert, François; Legoux, Renaud (2020). "From Niche Interest to Fashion Trend: Hanfu Clothing as a Rising Industry in China". International Journal of Arts Management. 23 (1): 79–89.
  20. ^ "Traditional Chinese Dress & Clothing". Newhanfu. 4 December 2020.
  21. ^ a b c d e Igor Szpotakowski; Zuzanna Kopania (2020). China and the Chinese in the modern world: an interdisciplinary study. Łódź: ArchaeGraph Wydawnictwo Naukowe. ISBN 978-83-66709-18-8. OCLC 1236072069.
  22. ^ 高, 春明 (1996). 《中國衣冠服飾大辭典》. 上海: 周汛. ISBN 7-5326-0252-4.
  23. ^ 《宋史》：“吾家世為王民，自金人犯邊，吾兄弟不能以死報國，避難入關，今為曦所逐，吾不忍棄漢衣冠，願死於此，為趙氏鬼。”
  24. ^ 倪在田 (1957). 《續明紀事本末》 (in Chinese). 臺灣大通書局. p. 214. "（金）聲桓預作數十棺，全家漢服坐其中，自焚死。"
  25. ^ 樊綽; 趙吕甫校释 (1985). 《云南志校释》 (in Chinese). 中国社会科学出版社. p. 143页. "裳人，本漢人也。部落在鐵橋北，不知遷徙年月。初襲漢服，後稍参諸戎風俗，迄今但朝霞纏頭，其余無異。"
  26. ^ 《馬關縣志·風俗志》. "男子衣褲用棉布係以腰帶，有鈕扣與漢服略同者，稱之為漢苗"
  27. ^ 《廣州市黃埔區志》. "清末民初時期，大多數人都是以穿漢服（唐裝）為主"
  28. ^ a b c 华, 梅 (14 June 2007). "汉服堪当中国人的国服吗？". People's Daily Online. Archived from the original on 2 October 2019. Retrieved 14 February 2018.
  29. ^ 週, 星 (2012). "漢服運動：中國互聯網時代的亞文化". ICCS Journal of Modern Chinese Studies. 4: 61–67.
  30. ^ 周星 (2008). "新唐裝、漢服與漢服運動——二十一世紀初葉中國有關"民族服裝"的新動態". 《開放時代》 (3).
  31. ^ Wang, Meng-Yun (8 March 2021). "Meet Shiyin, the Fashion Influencer Shaping China's Hanfu Style Revival". Vogue. Retrieved 2021-03-26.
  32. ^ Hair: Its Power and Meaning in Asian Cultures (illustrated ed.). SUNY Press. 1998. p. 137. ISBN 0791437418.
  33. ^ "2021 latest updates on the Hanfu Movement". Newhanfu. 5 January 2021.
  34. ^ a b c d e Xiaodie, Pan; Haixi a, Zhang; Yongfei, Zhu (2020-08-28). "An Analysis of the Current Situation of the Chinese Clothing Craze in the Context of the Rejuvenation of Chinese Culture". In F. D. Mobo; C.Y. Huang; Y.L. Zhong (eds.). Proceedings of the 2020 4th International Seminar on Education, Management and Social Sciences (ISEMSS 2020). Atlantis Press. pp. 504–507. doi:10.2991/assehr.k.200826.101. ISBN 978-94-6239-048-5.
  35. ^ a b c d e f g Xu, Jiaxuan (2019). Exploring Hanfu (Fashion Clothing and Textile Design thesis). Aalto University.
  36. ^ "Han follow suit in cultural renaissance", Asian Times Online
  37. ^ "Submission for a Proposal on hanfu dress for the 2008 Chinese Olympics to the China Olympics Committee" Archived 2007-05-15 at the Wayback Machine, Phoenix TV (in Chinese)
  38. ^ 官方首次表态北京奥运礼服不用汉服 Archived 2008-01-28 at the Wayback Machine (in Chinese)
  39. ^ a b 杨, 玮圆. "2021年中国汉服市场发展现状分析 国潮风推动汉服盛行". 前瞻经济学人. 深圳前瞻资讯股份有限公司. Retrieved 29 August 2021.
  40. ^ Yang, Jocelyn (2021-03-10). "China's Gen Z Watches Closely as "Two Sessions" Lawmakers Discuss Hanfu Day and More". RADII | Stories from the center of China’s youth culture. Retrieved 2021-03-26.
  41. ^ Edward J. M. Rhoads (2000). Manchus and Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861–1928. University of Washington Press. pp. 60–. ISBN 978-0-295-98040-9.
  42. ^ "Book of Poetry : Lessons from the states : Odes Of Qin :《無衣 - Wu Yi》". ctext.org. Translated by James Legge. Retrieved 2022-06-26.{{cite web}}: CS1 maint: others (link)
  43. ^ 呤唎 (February 1985). 《太平天國革命親歷記》. 上海古籍出版社.
  44. ^ Wakeman, Frederic E. (1985). The Great Enterprise: The Manchu Reconstruction of Imperial Order in Seventeenth-century China, Volume 1. Vol. 2 of Great Enterprise (illustrated ed.). University of California Press,l. p. 868. ISBN 0520048040.
  45. ^ Lui, Adam Yuen-chung (1989). Two Rulers in One Reign: Dorgon and Shun-chih, 1644-1660. Faculty of Asian Studies monographs // The Australian National University (illustrated ed.). Faculty of Asian Studies, Australian National University. p. 37. ISBN 0731506545. Dorgon did not want to see anything go wrong in a province and this might be the main reason why the government ... When the Chinese were ordered to wear the queue , Sun and Li took the initiative in changing their Ming hairstyle to ...
  46. ^ 周, 锡保 (1 January 2002). 《中国古代服饰史》. 中国戏剧出版社. p. 449. ISBN 9787104003595..
  47. ^ Edward J. M. Rhoads (2000). Manchus and Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861–1928. University of Washington Press. pp. 60–. ISBN 978-0-295-98040-9.
  48. ^ Gerolamo Emilio Gerini (1895). Chŭlăkantamangala: Or, The Tonsure Ceremony as Performed in Siam. Bangkok Times. pp. 11–.
  49. ^ Forsyth, James (1994). A History of the Peoples of Siberia: Russia's North Asian Colony 1581-1990 (illustrated, reprint, revised ed.). Cambridge University Press. p. 217. ISBN 0521477719.
  50. ^ Majewicz, Alfred F., ed. (2011). Materials for the Study of Tungusic Languages and Folklore. Vol. 15 (illustrated, reprint ed.). Walter de Gruyter. p. 21. ISBN 978-3110221053.
  51. ^ Dwyer, Arienne M. (2007). Salar: A Study in Inner Asian Language Contact Processes, Part 1. Vol. 37 of Turcologica Series (illustrated ed.). Otto Harrassowitz Verlag. p. 22. ISBN 978-3447040914.
  52. ^ Godley, Michael R. (September 2011). "The End of the Queue: Hair as Symbol in Chinese History". China Heritage Quarterly (27). China Heritage Project, ANU College of Asia & the Pacific (CAP), The Australian National University. ISSN 1833-8461.
  53. ^ Hang, Xing (2016). Conflict and Commerce in Maritime East Asia: The Zheng Family and the Shaping of the Modern World, c.1620–1720. Cambridge University Press. p. 77. ISBN 978-1316453841.
  54. ^ Hang, Xing (2016). Conflict and Commerce in Maritime East Asia: The Zheng Family and the Shaping of the Modern World, c.1620–1720. Cambridge University Press. p. 86. ISBN 978-1316453841.
  55. ^ Hang, Xing (2016). Conflict and Commerce in Maritime East Asia: The Zheng Family and the Shaping of the Modern World, c.1620–1720. Cambridge University Press. p. 187. ISBN 978-1316453841.
  56. ^ Meyer-Fong, Tobie (2013). What Remains: Coming to Terms with Civil War in 19th Century China (illustrated ed.). Stanford University Press. p. 83. ISBN 978-0804785594.
  57. ^ a b Hua, Mei (2011). Chinese Clothing (Updated ed.). Cambridge University Press. ISBN 9780521186896. OCLC 1277432082.
  58. ^ a b c Su, Wenhao (2019). "Study on the Inheritance and Cultural Creation of Manchu Qipao Culture". Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Atlantis Press. pp. 208–211. doi:10.2991/icassee-19.2019.41. ISBN 978-94-6252-837-6. S2CID 213865603. {{cite book}}: |journal= ignored (help)
  59. ^ Zhao, Ruixue (2013-06-14). "Dressed like nobility". China Daily.
  60. ^ "Confucius family's secret legacy comes to light". Xinhua. 2018-11-28.
  61. ^ Sankar, Siva (2017-09-28). "A school that can teach the world a lesson". China Daily.
  62. ^ Wang, Guojun (December 2016). "The Inconvenient Imperial Visit: Writing Clothing and Ethnicity in 1684 Qufu". Late Imperial China. 37 (2). Johns Hopkins University Press: 137–170. doi:10.1353/late.2016.0013. S2CID 151370452. Archived from the original on 2021-07-07. Retrieved 2021-05-19.
  63. ^ Kile, S.E.; Kleutghen, Kristina (June 2017). "Seeing through Pictures and Poetry: A History of Lenses (1681)". Late Imperial China. 38 (1). Johns Hopkins University Press: 47–112. doi:10.1353/late.2017.0001.
  64. ^ Sloane, Jesse D. (October 2014). "Rebuilding Confucian Ideology: Ethnicity and Biography in the Appropriation of Tradition". Sungkyun Journal of East Asian Studies. 14 (2): 235–255. doi:10.21866/esjeas.2014.14.2.005. ISSN 1598-2661.
  65. ^ "Age-old Han attire sees modern appeal develop overseas - Chinadaily.com.cn". www.chinadaily.com.cn. Retrieved 2021-02-17.
  66. ^ a b c "Should China Adopt Hanfu as Its National Costume? ", Beijing Review, 10 July 2007
  67. ^ a b Yan, Alice (2018). "400 years after falling out of favour, the flowing, and sometimes controversial, robes of the Han ethnic group are back in style". South China Morning Post.
  68. ^ a b Kevin Carrico, "The Great Han Race, Nationalism, and Tradition in China Today", UC Press, 2017, ISBN 9780520295506
  69. ^ Kevin Carrico, A State of Warring Styles
  70. ^ a b c Rautio, Suvi (2018-07-03). "The great Han: race, nationalism, and tradition in China today, by Carrico, Kevin, Univ. of California Press, 2017, 29 pp., 95 (paperback), ISBN 978-0520295490". Asian Ethnicity. 19 (3): 402–403. doi:10.1080/14631369.2017.1412251. ISSN 1463-1369. S2CID 148881339.
  71. ^ Chew, Matthew Ming-tak (2018). "The Great Han: Race, Nationalism, and Tradition in China Today Kevin Carrico Oakland: University of California Press, 2017 xiv + 264 pp. ISBN 978-0-520-29550-6". The China Quarterly. 236: 1212–1214. doi:10.1017/S0305741018001479. ISSN 0305-7410. S2CID 158455012.
  72. ^ a b c Clayton, Cathryn H. (2018). "The Great Han: Race, Nationalism, and Tradition in China Today. By Kevin Carrico". The Journal of Asian Studies (Review). 77 (2): 508–510. doi:10.1017/S0021911818000098. ISSN 0021-9118.
  73. ^ a b Mackerras, Colin (2020). "Book Review: The Great Han: Race, Nationalism, and Tradition in China Today". Asian Ethnology. 79 (1): 173–174.
  74. ^ Lin, Hang (2019). "KevinCarrico, The Great Han: Race, Nationalism, and Tradition in China Today. Oakland, CA: University of California Press, 2017. Xiv + 264 pp. £24.00 (pbk)". Nations and Nationalism. 25 (1): 396–397. doi:10.1111/nana.12495. ISSN 1354-5078. S2CID 150480536.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Hanfu_Movement&oldid=1264572035"