Hanfu are the historical clothing of the Han Chinese, here categorized by clothing style. Types include tops and bottoms, long skirt, and one-piece robes that wrap around the body once or several times (shenyi). The typical set of informal wear consists of two or three layers. The first layer is mostly zhongyi (中衣). The next layer is the main layer which is mostly closed at the front. Zhongyi (中衣), which is usually the inner garment much like a Western T-shirt and pants, can be wear along in casual. There can be an optional third layer which is often an overcoat called a zhaoshan which is open at the front. For footwear, white socks and black cloth shoes (with white soles) are the norm. But in the past, shoes may have a front face panel attached to the tip of the shoes. A common clothing for women. A common attire for men. Generally, this form of wear is suitable for meeting guests or going to meetings and other special cultural days. This form of dress is often worn by the nobility or the upper-class as they are often expensive pieces of clothing, usually made of silks and damasks. The coat sleeves are often deeper than the shenyi to create a more voluminous appearance. In addition to informal and semi-formal wear, there is a form of dress that is worn only at confucian rituals, important sacrifices, religious activities or by special people who are entitled to wear them (such as officials and emperors). The xuanduan is basically a simplified version of full court dress of the officials and the nobility. Court dress is the dress worn at very formal occasions and ceremonies that are in the presence of a monarch (such as an enthronement ceremony). Bixi (蔽膝): a cloth attached from the waist, covering front of legs. The entire ensemble of clothing can consist of many complex layers and look very elaborate. Court dress is similar to the xuanduan in components but have additional adornments and elaborate headwear. They are often brightly colored with vermillion and blue. The practical use of court dress is now obsolete in the modern age since there is no reigning monarch in China anymore. There are various versions of court dress that are worn for certain occasions. Those in academia or officialdom have distinctive gowns (known as changfu 常服 in court dress terms). The most distinct feature is the headgear which has ‘wings’ attached. Only those who passed the civil examinations are entitled to wear them, but a variation of it can be worn by ordinary scholars and laymen and even for a groom at a wedding (but with no hat). This varies over the ages but they are typically round collared gowns closed at the front. Those in the religious orders wear a plain middle layer garment followed by a highly decorated cloak or coat. Taoists have a ‘scarlet gown’ (絳袍) which is made of a large square-shaped cloak sewn at the hem to create very long deep sleeves used in very formal rituals.

They are often scarlet or crimson in colour with wide edging and embroidered with intricate symbols and motifs such as the eight trigrams and the yin and yang Taiji symbol. There may be further decorations, especially for high priests. Daoists, Buddhists and Confucians may have white stripe chevrons. Buddhist have a cloak with gold lines on a scarlet background creating a brickwork pattern which is wrapped around over the left shoulder and secured at the right side of the body with cords. Cho, Woohyun; Yi, Jaeyoon; Kim, Jinyoung (2015). “The dress of the Mongol Empire: Genealogy and diaspora of theTerlig”. Acta Orientalia Academiae Scientiarum Hungaricae. Han mitts, Mawangdui Tomb, Han dynasty. New York: Columbia University Press. Finnane, Antonia (2008). Changing clothes in China : fashion, history, nation. 周锡保 (Oct 1986), 《中国古代服饰史》 (PDF) (in Chinese) (2nd ed.), 中国戏剧出版社, p. 朱和平 (July 2001), 《中国服饰史稿》 (PDF) (in Chinese) (1st ed.), 中州古籍出版社, pp. Milburn, Olivia; Yan, Ying (2015). The Spring and autumn annals of Master Yan. Chen, BuYun (2019), Riello, Giorgio; Rublack, Ulinka (eds.), “Wearing the Hat of Loyalty: Imperial Power and Dress Reform in Ming Dynasty China”, The Right to Dress: Sumptuary Laws in a Global Perspective, c.1200-1800, Cambridge: Cambridge University Press, pp. Xu, Zhongguo Gudai Lisu Cidian, p. 臧, 迎春 (2003). 臧, 迎春 (ed.). 臧迎春, 李竹润. 中国传统服饰. 五洲传播出版社. Harvard Journal of Asiatic Studies. 65 (1): 133-158. doi:10.2307/25066765. Volpp, Sophie (June 2005). “The Gift of a Python Robe: The Circulation of Objects in “Jin Ping Mei””. Nancy Liu-Sullivan. Lanham, Maryland. History of Ming. 忠静服仿古玄端服，色用深青，以纻丝纱罗为之。 三品以上云，四品以下素，缘以蓝青，前后饰本等花样补子。 深衣用玉色。 素带，如古大夫之带制，青表绿缘边并里。 素履，青绿绦结。 Sullivan, Lawrence R. (2021). Historical dictionary of Chinese culture. Chen, Buyun (2019). Empire of style : silk and fashion in Tang China. Seattle: University of Washington Press. Long, Wei; Lee, Eun-Young (2010-05-28). “Comparison of Aesthetics Between Han and Tang Dynasties Women Costumes”. Chen, cheongsam shirt Buyun (2019). Empire of style : silk and fashion in Tang China. Seattle: University of Washington Press. Beijing: Wu zhou chuan bo chu ban she. Hua, Mei; 华梅 (2004). Zhongguo fu shi (Di 1 ban ed.). Bonds, Alexandra B. (2008). Beijing opera costumes : the visual communication of character and culture. Cooper Hewitt, Smithsonian Design Museum. Honolulu: University of Hawaiʻi Press. Anonymous (2018-10-31). “Rainbow Skirt”. Cleveland Museum of Art. London, UK. 2020. pp. Styling Shanghai. Christopher Breward, Juliette MacDonald. Fabrizio Pregadio. Richmond: Curzon. Herrou, Adeline (2016). A World of Their Own : Daoist Monks and Their Community in Contemporary China. The encyclopedia of taoism. St Petersburg: Three Pines Press. Carol Bier, Helen Foresman Spencer Museum of Art (1 ed.). Dusenberry, Mary M. (2004). Flowers, dragons and pine trees : Asian textiles in the Spencer Museum of Art. Komjathy, Louis (2013). The Daoist tradition : an introduction. New York: Hudson Hills Press. The encyclopedia of taoism. Fabrizio Pregadio. Richmond: Curzon.

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