Chinese dynasties hanfu

The hanfu phenomenon is complex, and different parts of it have different relationships with “authentic” Chinese dress. First, hanfu clothing varies a lot. High-end custom made stuff (which may be fairly carefully researched) to cheaper things that may have only a vague connection to a particular period. The most popular styles are those “inspired” by whichever period has had the most popular recent TV historical dramas. There are all sort of revivals of “traditional” culture (music, calligraphy, food etc.) in China today, and buying a hanfu outfit and wearing it on certain occasions (like when practicing traditional art forms) might be closer to cosplay. One reason there are so many different levels of concern with authenticity is that people are getting involved in the movement for very different reasons. Then there are others for whom the movement is only one part of a campaign to protect and revive the essence of traditional Chinese culture, under threat from modernity and foreign culture and race traitors. There are those who think that China needs to identify a “traditional” formal garment, like the Japanese Kimono or the Korean Hanbok. These people might want a “timeless” Chinese outfit, or something associated with a particular period. And of course a single person can be in all these categories. They might want something associated with a period or style that is really more from wuxia or some other type of historical fiction, and they might be aware of this or not. These are chronological and more or less accurate. At the very end of the page ‘Lily” tells us that the hanfu community is advancing with the times, and creating “new Han attires based on traditional elements.” This is true, and part of the hanfu community sees this as a good thing: creating modern Chinese clothing based on all sorts of traditional patterns. Note that they include the Manchu paofu as a form of hanfu, and while they do not call the qipao/chengsam hanfu, they do call it a fusion of hanfu, Manchu and western elements. Another part of the movement would strongly disagree with calling any form of Manchu dress hanfu, or connecting the Qipao with hanfu at all. There are two important parts here. The other is the anti-Manchuism of parts of the movement. First, the history. Some hanfu people claim that the Qing banned hanfu and required Manchu dress after they came to power in 1644. They will also claim that when Zhu Yuanzhang founded the Ming in 1368 he banned Mongol dress, and thus that true Han dynasties always reject foreign clothing. One is an only partially accurate history of dress in the Qing. The Ming thing is true-ish. The Qing ordered all men to shave their heads and adopt the queue, and court and official dress were all based on Manchu styles. The Ming did try to get rid of Yuan styles and go back to Tang dress, although certain imports like the Korean horse-hair skirt and the steppe inspired yesa tunic and skirt combo remained popular. In 1654 the court official Chen Mingxia suggested returning to Ming hairstyles and clothing, and was executed for it. Former Ming officials were sometimes buried in Ming dress. The Qing could be quite touchy about this. That said, there were no laws about women’s dress, and while men’s fashions were influenced by Manchu styles, there were no laws requiring non-official men to dress in any particular way. It was ethnic Manchus in the Communist party who decreed the One-Child policy (an attempt to wipe out the Han race) and they secretly dominate the Chinese state today, are corrupting Chinese culture and, of course, they control the media. As Carrico points out, none of the above is true, and sounds a lot like anti-Jewish conspiracy theories you can find elsewhere He explains why the Manchus make such a great target for conspiracy theories about the decline of the Han, which must, of course, be resisted by the hanfu movement and a general revival of true han-ness and especially true Han masculinity. These people are of course disgusted that outfits based on Qing -era historical dramas are popular, and called hanfu, and they hate the qipao’s role as a symbol of China. This lack of sartorial totalitarianism is important, because parts of the hanfu movement insist that the Qing did ban all Han dress, and that this was part of their plan to weaken and exterminate the Han race, which is still on-going and which the hanfu movement is fighting. Carrico, Kevin. The Great Han: Race, Nationalism, and Tradition in China Today. First edition. Oakland, California: University of California Press, 2017. Best (only?) ethnography of the hanfu movement. “Should China Adopt Hanfu as Its National Costume? Finnane, Antonia. Changing Clothes in China: Fashion, History, Nation. Wakeman, Frederic E. The Great Enterprise: The Manchu Reconstruction of Imperial Order in Seventeenth-Century China.

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