April 20, Beijing, China, National Museum of China/中国国家博物馆 (Part 4 – Chinese Historical Fashion Exhibition continued):
Alrighty, Ming and Qing dynasty fashion, here we go! Sit tight because this is an extra long post that took me a long time to research
First is this marvel, a replica of the phoenix crown/fengguan/凤冠 of Empress Xiaoduanxian of Ming (明孝端显皇后). The real artifact is in this museum, but it’s probably not exhibited much for conservation reasons.
Phoenix crowns are the formal headwear for empresses, which according to etiquette rules set at the beginning of Ming dynasty (1368 - 1644), must have 9 dragons and 4 phoenixes (btw the original Chinese term is fenghuang/凤凰, which is a different mythological creature from the phoenix, but “phoenix” is the commonly used translation now), but this crown has 9 dragons and 9 phoenixes, indicating that etiquette rules have loosened and shifted by late Ming.
The phoenixes on this crown are blue because they were actually made with the iridescent feathers of kingfishers in a process called diancui/点翠. All species of kingfishers are now legally protected animals in China, so when buying hanfu accessories, you may come across “imitation diancui”/仿点翠, these are usually either made with enamel or dyed chicken or goose feathers. Another thing to note is the appearance of the jewels on this crown. Ming-era people liked keeping the jewels in a “natural look”, so these jewels had no facets.
Recreations of Ming-era hanfu. Left is the semi-formal outfit of aristocrat women in mid to late Ming dynasty. Right is the casual outfit of late Ming scholars and literati. The woman’s cone-shaped hairstyle is called a diji/䯼髻, and the set of hairpins that goes on a diji is called toumian/头面. She’s wearing a type of top called an ao/袄 and a skirt aka qun/裙, specifically a mamianqun/马面裙, or “horse face skirt”. Note that the bottom hem of an ao is not tucked into the skirt. The man is wearing a square-ish hat called a fangjin/方巾 and should also be wearing a wangjin/网巾 underneath (can be understood as a hairnet). He’s wearing a daopao/道袍 and a hechang/鹤氅 on the outside.
Also I did make a mistake while dividing up the pictures for these two posts, some of the following artifacts are from earlier dynasties. Ugh if only I had time to take pictures of all the placards.
A pair of mojie/摩竭 shaped gold earrings from Liao dynasty (916 - 1125). Note that the placard says it’s “摩羯形” or “Capricorn-shaped”, but this apparently is sort of a misnomer? Sort of, because this representation should be of the makara (मकर; translated as 摩竭 in Chinese), a sea creature from Hindu mythology, but at the same time it is the equivalent of Capricorn in Hindu astrology. However since the name “Capricorn” stuck, it’s now commonly referred to as “摩羯”. 摩竭 and 摩羯 have the exact same pronunciation though.
A pair of phoenix (fenghuang) shaped gold hairpins from Liao dynasty:
After a lot of pulling my hair out researching, I finally found what time period this gold belt buckle came from. It’s from Eastern Han dynasty (25 - 220 AD). The gold filigree and beads form the pattern known as panchiwen/蟠螭纹, where pan/蟠 and chi/螭 are both types of loong dragon in Chinese mythology.
The gold decoration on a xiapei/霞帔 (the V-shaped wide band in the diagram on the right) from Liao dynasty. Xiapei originated in Song dynasty (960 - 1279) as part of the formal attire of consorts, but later developed into a part of the formal attire for women in general. Xiapei also looked different at different time periods in history, but from Song-era to Ming-era, its structure didn’t change by much.
Finally back to Ming dynasty. This is a gold cap inlaid with gems and pearls. From the size of this cap and the included hairpins, we can deduce that this cap is meant to encase the bun on the top of the head (the hairpins that go through the cap would hold it in place).
Like the gold cap above, the next few are all from the same tomb of a Ming dynasty noble, and they are all themed similarly–they all depict scenes in a heavenly palace. Of these, the first three that has miniature architecture in gold are parts of the toumian worn on a diji hairstyle. This first one is a pair of yanbin/掩鬓 (lit. “covering temples”), so called because they are worn on the sides, close to the temples.
This next one has some confusion regarding the naming. According to an article by the Chinese Academy of Social Sciences Institute of Archaeology, the top artifact is a fenxin/分心 and the bottom artifact is a tiaoxin/挑心, but according to 撷芳主人 (if you are a hanfu enthusiast you have probably heard of this person or seen their works, they are the one who drew the cute illustrations of Ming-era fashion), the top one may be a manguan/满冠, and the bottom one should be called fenxin/分心. Note that 撷芳主人’s conclusion is mostly based on Ming-era records and novels. Regardless of the naming, the top one here should be worn on the base of the diji, and the bottom one should be worn at the front center of the diji.
This one also has some confusion in the naming, the Institute of Archaeology calls it a dingzan/顶簪, while 撷芳主人 calls it a tiaoxin/挑心. Again, regardless of the naming, this one is worn on the very top of the diji, so the hairstick portion goes straight down through the diji. If you look closely, you can even see people and animals in the details.
Left: a pair of gold phoenix (fenghuang) hairpins made in the 22nd year of the Yongle Emperor of Ming. Right: gold filigree bracelets inlaid with gemstones.
Ming-era portrait of a scholar official. Before cameras were introduced in late-Qing dynasty, portrait paintings were the most realistic depictions of what people looked like back then. Such portrait paintings mostly began in Song dynasty and continued through to Qing dynasty.
Also from Sancai Tuhui Chapter 62 (all pictures here come from Ch. 62-64), illustrations of the twelve ornaments (called shierzhang/十二章) on a mianfu/冕服, which is the highest level of formal attire for an emperor in Ming dynasty. These twelve ornaments depict things including celestial bodies (note that sun contains the three-footed sun crow, and moon contains the moon rabbit), elements of nature, mythical creatures, and representations of life, and are supposed to represent the values and traits that an emperor should possess:
And wrapping up the section on Ming-era hanfu, here are the headwear of different classes of people in Ming dynasty, from commoners to the literati to important government officials.
Note the net-like hair accessory on the left. This is a wangjin/网巾 during Ming dynasty (illustration from Sancai Tuhui), and is worn by all men regardless of social class. However, wangjin is worn almost like an “undergarment”, so it’s almost always covered by something else. Which means all those historical cdramas set in Ming dynasty that have their characters wear only a wangjin in public are, in fact, inaccurate.
Some hats of commoners and scholars in Ming dynasty. Note the left one on the second row, that is the same hat worn by the Fox Scholar in the episode Goose Mountain of the animated series Yao Chinese Folktales (《中国奇谭》).
Some of the formal headwear of government officials in Ming dynasty. These are called liangguan/梁冠, lit. “beam crown”, where the liang/“beam” refers to the metal arches that go over the top. The more liang there are on the hat, the higher the rank of the official.
And last but not least, Qing dynasty (1616 - 1911) fashion. Left is Qing-era men’s outfit for horseback archery and hunting, called xingfu/行服. His hat is composed of two parts, the actual hat called dingdai/顶戴 (here it’s specifically the winter version) and the back decoration made of horsehair and feathers that signifies status is called hualing/花翎. Back is the casual outfit of late-Qing Manchu noblewomen, with the characteristic hairstyle called dalachi/大拉翅, a vest called kanjian/坎肩, and a robe beneath called chenyi/衬衣. These are all considered part of qizhuang/旗装, or traditional Manchu clothing. On the right is the late-Qing casual outfit of upper class Han women, with an ao/袄 top and a langanqun/阑干裙 skirt (a type of mamianqun/马面裙), and a headband decorated with pearls called mo'e/抹额. Note that although the exact origin of the modern qipao/旗袍 is disputed, it definitely has elements from at least one of the following: the Manchu chenyi, the Han ao, and the late Qing and early Republic era men’s changshan/长衫.
A little historical background on why this particular display is arranged in this way. In early Qing dynasty, the Manchu ruling class enforced the policy of 剃发易服 (lit. “shaving hair and changing clothing”) specifically on Han men in order to force conformity to Manchu traditions in terms of hairstyle and clothing, but Han women were not included in this policy. So in early Qing, Han women still wore the same clothing as they did prior in late Ming, but over the time the fashion of Han women absorbed many elements of Manchu fashion. However, this wasn’t a one-way influence. By late Qing, many elements of Han fashion were adopted by Manchu fashion as well, so this influence really went both ways. Today, Manchu people is one of the 56 officially recognized ethnicities in China (4th largest ethnicity by population), and the traditional fashion of Manchu people is a part of the diverse culture of modern China.
Below is a real example of a chenyi, chenyi were popular among Qing dynasty imperial consorts as informal dress:
The hairstyle of Manchu women (called qitou/旗头) at different times during Qing dynasty. The one at the far right was what early qitou looked like, while the one on the far left appeared in late-Qing. The two hairstyles on the left frequently appear in period dramas set in Qing dynasty.
A belt called jifudai/吉服带 with pouches and decorations. Jifudai is so named because it’s supposed to be worn with the semi-formal jifu/吉服 outfit. This particular jifudai is yellow, a color reserved for the emperor.
Real examples of Qing-era Han women’s outfit, with an ao on the left, and a langanqun on the right. Langanqun is a type of mamianqun, but the construction is different from Ming-era mamianqun, in that langanqun is made from numerous rectangular and trapezoidal pieces of fabric sewn together into two larger pieces, whereas Ming-era mamianqun are simply two large pleated pieces of fabric. The way these skirts are decorated are also somewhat different. Visually speaking, Qing-era langanqun have woven and/or embroidered patterns that are arranged vertically, creating a “paneled” look, whereas Ming-era mamianqun have woven and/or embroidered patterns that repeat and extend horizontally as to wrap around the entire skirt.
Aaaaand that’s it for this exhibition! Phew. I highly recommend everyone go visit the free virtual exhibition (link here), partly because when I visited the National Museum of China, I was in a huge hurry (I only had one day to see everything), and so the task of taking pictures of the exhibition was split between me and a family member, but I’m not sure they understood how many pictures I wanted….so what’s in my posts here are only a very small portion of the actual exhibition. The actual exhibition doesn’t just have artifacts and replicas of artifacts, but also have paintings and real articles of clothing from Qing dynasty, which were all amazing to look at.
April 20, Beijing, China, National Museum of China/中国国家博物馆 (Part 3 – Chinese Historical Fashion Exhibition):
Another cool exhibition that I visited while at the museum, showcasing popular fashion from different dynasties, historical artifacts, and some other relevant artifacts that gave a glimpse into the fashion of different dynasties. What’s even cooler is that you can visit this exhibition virtually! (the site is in Chinese but I highly recommend it to everyone, there’s so much more to the exhibition than the pictures I post here) Note that this exhibition does not only include historical hanfu, but also historical fashion of the 少数民族 that ruled some of the dynasties. This post will be pre-Ming fashion, and next post will be Ming and Qing era fashion. The reason is because Ming and Qing dynasties are the two most recent dynasties, so there are a lot of surviving artifacts from these two dynasties, which means there are 30+ pictures total and I couldn’t fit them all into a single post.
First is a recreation of Han-era (202 BC - 220 AD) hanfu. The woman on the left is wearing a one-piece robe called a qujushenyi/曲裾深衣. The man on the right is wearing the outfit characteristic of Eastern Han dynasty (25 - 220 AD) civil officials, a combo of jinxianguan/进贤冠 hat and zaochaofu/皂朝服 clothing (皂 here means the color black, as in the word “青红皂白”, or “blue and red, black and white”):
Left: model of a Han-era magpie tail cap/queweiguan/鹊尾冠 (you can see the influence of these Han-era men’s hats on the outfits of male characters in modern xianxia art). Right: recreation of a Han-era bian/弁 hat (the headscarf-like piece tied beneath the chin):
Line drawings of different hats worn by different types of officials based on artifacts and murals. The center and left sections are different hats of military officials (wuguan/武官 in Chinese), and the right section is different hat styles of civil officials (wenguan/文官 in Chinese).
Jumping back, this is a Warring States period (476 - 221 BC) iron daigou/带钩 inlaid with gold and jade and decorated with dragons. Daigou are basically belt buckles where the flat end is attached to one end of the belt, and the hook will hook into slits in the other end of the belt, so this is an extra fancy belt buckle:
On to Tang-era (618 - 907 AD) hanfu. From the left to right these are: the regular outfit of early Tang dynasty officials (color varies by rank, red is worn by fourth and fifth rank officials), the outfit of a female servant in early to mid Tang era, the ceremonial outfit of a Tang dynasty emperor, and the outfit of noblewomen in late Tang to Five Dynasties era (907 - 960 AD):
Song-era hanfu (front two) and Yuan-era Mongolian fashion (back two). Front left is the formal attire of Southern Song dynasty (1127 - 1279) civil officials (color varies by rank, red is worn by fourth and fifth rank officials), and front right is the regular outfit of women in Southern Song dynasty. Back left is the formal attire of Mongolian noblewomen in Yuan dynasty (1271 - 1368), and back right is the regular outfit of Mongolian men in Yuan dynasty.
Replicas of painted clay sculptures of women from Northern Song dynasty (960 - 1127), the original sculptures are in Hall of the Holy Mother/圣母殿 of Jinci Temple/晋祠 in Shanxi province:
By the way, in the case of Song dynasty, the descriptor “northern” and “southern” basically indicate time periods within Song dynasty (you can refer to the beginning of this post where I explain this in more detail).
And line drawing diagrams of different styles of futou/幞头 hats in Song dynasty based on paintings, murals, and other artifacts:
April 20, Beijing, China, National Museum of China/中国国家博物馆 (Part 3 – Chinese Historical Fashion Exhibition):
Another cool exhibition that I visited while at the museum, showcasing popular fashion from different dynasties, historical artifacts, and some other relevant artifacts that gave a glimpse into the fashion of different dynasties. What’s even cooler is that you can visit this exhibition virtually! (the site is in Chinese but I highly recommend it to everyone, there’s so much more to the exhibition than the pictures I post here) Note that this exhibition does not only include historical hanfu, but also historical fashion of the 少数民族 that ruled some of the dynasties. This post will be pre-Ming fashion, and next post will be Ming and Qing era fashion. The reason is because Ming and Qing dynasties are the two most recent dynasties, so there are a lot of surviving artifacts from these two dynasties, which means there are 30+ pictures total and I couldn’t fit them all into a single post.
First is a recreation of Han-era (202 BC - 220 AD) hanfu. The woman on the left is wearing a one-piece robe called a qujushenyi/曲裾深衣. The man on the right is wearing the outfit characteristic of Eastern Han dynasty (25 - 220 AD) civil officials, a combo of jinxianguan/进贤冠 hat and zaochaofu/皂朝服 clothing (皂 here means the color black, as in the word “青红皂白”, or “blue and red, black and white”):
Left: model of a Han-era magpie tail cap/queweiguan/鹊尾冠 (you can see the influence of these Han-era men’s hats on the outfits of male characters in modern xianxia art). Right: recreation of a Han-era bian/弁 hat (the headscarf-like piece tied beneath the chin):
Line drawings of different hats worn by different types of officials based on artifacts and murals. The center and left sections are different hats of military officials (wuguan/武官 in Chinese), and the right section is different hat styles of civil officials (wenguan/文官 in Chinese).
Jumping back, this is a Warring States period (476 - 221 BC) iron daigou/带钩 inlaid with gold and jade and decorated with dragons. Daigou are basically belt buckles where the flat end is attached to one end of the belt, and the hook will hook into slits in the other end of the belt, so this is an extra fancy belt buckle:
On to Tang-era (618 - 907 AD) hanfu. From the left to right these are: the regular outfit of early Tang dynasty officials (color varies by rank, red is worn by fourth and fifth rank officials), the outfit of a female servant in early to mid Tang era, the ceremonial outfit of a Tang dynasty emperor, and the outfit of noblewomen in late Tang to Five Dynasties era (907 - 960 AD):
Song-era hanfu (front two) and Yuan-era Mongolian fashion (back two). Front left is the formal attire of Southern Song dynasty (1127 - 1279) civil officials (color varies by rank, red is worn by fourth and fifth rank officials), and front right is the regular outfit of women in Southern Song dynasty. Back left is the formal attire of Mongolian noblewomen in Yuan dynasty (1271 - 1368), and back right is the regular outfit of Mongolian men in Yuan dynasty.
Replicas of painted clay sculptures of women from Northern Song dynasty (960 - 1127), the original sculptures are in Hall of the Holy Mother/圣母殿 of Jinci Temple/晋祠 in Shanxi province:
By the way, in the case of Song dynasty, the descriptor “northern” and “southern” basically indicate time periods within Song dynasty (you can refer to the beginning of this post where I explain this in more detail).
And line drawing diagrams of different styles of futou/幞头 hats in Song dynasty based on paintings, murals, and other artifacts:
Admiring the leaves🍂🍂 dancing with the wind from the old Ginkgo tree that standing before the Shakya Main Hall of Fahai Temple for more than 1,600 years is well worth the journey.
✏️Mutton and beef slices are the most commonly chosen types of meat for the hotpot. Fresh mutton has a richer flavour and is more expensive than frozen mutton. Besides mutton and beef, cow stomach, fish, tofu and vegetables are also popular choices for hotpot ingredients. Noodles are generally left to be boiled towards the end of the meal.
sauce that you dip the meat into before eating it also plays an important role in the flavour of the dish. The sauce is usually a mixture of sesame seed oil, chilli oil, flowers from the Chinese chive and minced scallion.
Beijing hotpot is different from Sichuan hotpot, which is the most famous style of hotpot in China. Sichuan hotpot usually uses a spicy soup as its base and is cooked using a small electric cooker. The traditional Beijing hotpot, on the other hand, uses a milder soup as its base and is cooked using a coal burning stove.
The Central Axis of Beijing - 天壇Temple of Heaven #九壇八廟
✏️As the largest of Beijing’s imperial of religious building complexes, the Temple of Heaven is known for its rigorous symbolic layout, peculiar structure, and magnificent decoration. It is the most representative example of Chinese ritual architecture. Occupying an area of 273 hectares, it is three times the area of the Forbidden City. It was built in 1420 for emperors to worship Heaven. The principle buildings include the Altar of Prayer for Good Harvests, Imperial Vault of Heaven and Circular Mound Altar. The design of the main buildings is a combination of circles and squares, which symbolize the belief that Heaven is round and Earth square.
The Circular Mound Altar (圜丘坛 Huánqiū Tán ‘Encircling Mound Altar’)：The center of the altar is a round slate called the Heart of Heaven (天心石 Tiānxīn Shí 'Heaven-Heart Stone’), where the Emperor prayed for good weather. There is an interesting fact about the Heart of Heaven: due to the special design of the Altar, when you shout at the Heart of Heaven, there is a significant echo from the round wall around you, just like hundreds responding to a single call.
