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==期末论文==
  
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===Chinese Clothing: Chinese Hanfu（汉服）===
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====Introduction====
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Hanfu, the traditional attire of the Han ethnic group, evolved naturally from the reign of the Yellow Emperor through the late Ming and early Qing dynasties across the Han ethnic group's primary settlements. Rooted in Huaxia ritual culture and shaped by the “Huaxia-Han” cultural context, it embodies the distinctive character and spirit of the Han people. Hanfu not only embodies the Attire Above the Country, the Nation of Etiquette, and the Splendid China, but also carries forward outstanding crafts and aesthetics such as dyeing, weaving, and embroidery. It preserves over 30 Chinese intangible cultural heritage items and protected arts and crafts. Its origins trace back to the Xia, Shang, and Zhou dynasties. Through prolonged evolution, it has consistently held a pivotal position in China's sartorial heritage, profoundly reflecting the aesthetic sensibilities and cultural tastes of ancient Huaxia peoples.
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====Design Characteristics====
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Hanfu primarily features three distinct styles:
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=====Upper and Lower Garment System=====
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The Upper and Lower Garment System represents the oldest and most fundamental form within the Hanfu tradition. Its defining feature involves separate tailoring for the upper garment (Yi) worn on the torso and the lower garment (Shang) worn around the hips. The Chinese term “衣裳” (yī shang, meaning ‘clothing’) originates from this. This style is traditionally traced back to the era of the Yellow Emperor, Yao, and Shun, where the saying “hanging robes and skirts brought order to the world” established the fundamental concept of Huaxia attire. As the highest-level ceremonial attire throughout the dynasties, such as the crown robe (冕服) and the black ceremonial robe (玄端), it persisted until the Ming Dynasty, symbolizing the order of heaven and earth and the norms of ritual propriety. Simultaneously, it represented the most adaptable wearing method, suitable for both men and women. It could be worn as solemn ceremonial attire or as casual everyday clothing. Later popular styles like the upper tunic with lower skirt or upper jacket with lower pants all trace their lineage back to this core principle of separating upper and lower garments.
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=====The Robe System (One-Piece Cutting)=====
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The robe system, also known as the one-piece cutting method, represents a significant evolution in Hanfu design. Its defining feature lies in cutting a single piece of fabric vertically from top to bottom without horizontal seams at the waist, creating a seamless, integrated robe-like silhouette. This style flourished particularly during the Sui and Tang dynasties, representing a major innovation in costume history that broke from the traditional practice of separate cutting. It encompassed numerous varieties, including round-collar robes, long robes, straight-cut robes, straight-bodied robes, and Taoist robes, becoming extremely popular during the Song and Ming dynasties. Round-collar robes became standard attire for officials and everyday wear for commoners, while straight-cut robes and Taoist robes served as quintessential leisure garments for literati and scholars. Additionally, the Bēi zi, which features a straight collar and a front opening, with the sides left unsewn from the armpits down, and usually worn over other garments) belonged to this category, showcasing the aesthetic of simplicity and fluidity inherent in the continuous-cut design. The widespread adoption of the robe system marked a significant advancement in Hanfu's practicality, comfort, and fashionability.
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=====The Shenyi Robe System=====
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The Shenyi robe system represented an advanced evolution of the upper-garment-lower-skirt system. Originating in the Zhou Dynasty, it became a crucial ceremonial and everyday attire for over three millennia, persisting until the Ming Dynasty. Its core feature was the “separate-cut, joined-seam” construction: the upper garment and lower skirt were cut separately before being sewn together at the waist to form a single garment, embodying the philosophical concept of “unity between heaven and humanity.” The deep-robed garment served diverse purposes, embodying an air of dignity and refinement. It functioned as formal ceremonial attire for scholars and officials while also serving as unisex leisure wear. Based on the design of its lapels, it primarily falls into two categories: the Quju (curved-lapel) Shenyi garment (where the lapels wrap around the body, common during the Qin and Han dynasties) and the Zhiju (straight-lapel) Shenyi garment (where the lapels hang vertically, becoming the mainstream style after the Han dynasty). With its balanced and harmonious style, the deep-robed garment profoundly embodies the spiritual essence of Chinese culture.
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=====Core Characteristics=====
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Hanfu features a crossed collar with the right lapel over the left as its fundamental design, showcasing the distinctive identity of Huaxia attire. Its wide sleeves and sash structure create flowing, graceful lines. Ornaments on the garments often carry traditional cultural meanings such as auspiciousness and benevolence. The overall design adheres to principles of centrality and harmony, pursuing symmetrical balance to embody an aesthetic spirit of restraint, dignity, and tranquility.
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====Cultural Significance of Hanfu====
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As the traditional attire of the Chinese nation, Hanfu carries profound cultural connotations and historical memory. Its form, patterns, colors, and wearing etiquette collectively form a complete cultural system, reflecting the philosophical ideas, ethical concepts, and aesthetic pursuits of Chinese civilization. For instance, the “a crossed collar with the right lapel over the left” design symbolizes the order of heaven and human ethics, while the “wide robes and large sleeves” embody the dignified and elegant Eastern demeanor. Patterns like dragons, phoenixes, and clouds on the garments convey auspicious meanings and spiritual beliefs.
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Hanfu transcends mere external attire; it serves as a vital vessel for China's ritualistic civilization. As documented in The Book of Rites, its dress codes integrate Confucian principles of “propriety, righteousness, benevolence, and harmony,” transforming clothing into a cultural practice that “conveys the Way through garments.” In contemporary times, Hanfu serves as a visual expression of China's outstanding traditional culture. It not only perpetuates the cultural memory of the nation's history but also functions as a vital medium for fostering cultural identity and strengthening national cohesion. Through the beauty of its garments, Hanfu conveys the spiritual essence of Chinese culture, allowing wearers to experience and appreciate traditional values, thereby promoting the cultivation and dissemination of cultural confidence.
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====The Revival of Hanfu====
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The revival of Hanfu began in the early 21st century as a grassroots cultural movement that gradually expanded throughout society. This resurgence emerged from a global trend of seeking cultural roots and awakening national consciousness, particularly among younger generations. Hanfu has become a significant means for them to express cultural identity and assert aesthetic autonomy. This revival manifests in diverse forms, including the scholarly reconstruction of traditional garment styles, the revival of ancient ceremonial practices, community activities organized by Hanfu societies, and the emergence of innovative “Hanfu+” models. For instance, within the context of cultural-tourism integration, Hanfu has been deeply integrated with scenic area experiences, digital technology, and cultural-creative products, creating immersive cultural consumption scenarios that enrich tourism while expanding Hanfu's societal influence.
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The Hanfu revival is not merely a return to traditional attire but a contemporary practice of cultural confidence. Through visual mediums, it integrates traditional culture into modern life, fostering public—particularly among the younger generation—recognition and identification with Chinese culture. Simultaneously, bolstered by national policy support and new media dissemination, the Hanfu revival is gradually transitioning from a subcultural phenomenon to mainstream visibility, becoming a vivid embodiment of preserving Chinese civilization and enhancing cultural soft power.
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====Terms and Expressions====
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Attire Above the Country 衣冠上国
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Nation of Etiquette 礼仪之邦
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Splendid China 锦绣中华
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Upper and Lower Garment System 上衣下裳制
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crown robe 冕服
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black ceremonial robe 玄端
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the order of heaven and earth 天地秩序
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the norms of ritual propriety 礼仪规范
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The Robe System (One-Piece Cutting) 袍服制（通裁制）
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round-collar robes 圆领袍
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long robes 襕衫
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straight-cut robes 直裰
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straight-bodied robes 直身
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Taoist robes 道袍
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unity between heaven and humanity 天人合一
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Quju (curving-front) Shenyi 曲裾深衣
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Zhiju (straight-front) Shenyi 直裾深衣
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a crossed collar with the right lapel over the left 交领右衽
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The Book of Rites 《礼记》
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====Quention====
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1. How many main systems of Hanfu are there in China? What are they?
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2. Which style does the Bei zi belong to?
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3. Based on the lapel style, Shenyi is divided into two types. What are they?
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4. What are the core characteristics of Chinese Hanfu?
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5. What does the crossed collar with the right lapel over the left in Chinese Hanfu symbolize?
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====References====
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Wang Fang. 王方. (2024) 汉服的形成——东周秦汉服饰的考古学研究[The Formation of Hanfu: Archaeological Research on Clothing from the Eastern Zhou, Qin, and Han Dynasties] 北京：科学出版社Peking: Science Press. 158
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Zheng Shubin, Song Shaohua郑曙斌, 宋少华. (2023). 长沙汉墓遣策和木楬所记“汉服”研究[A Study of “Hanfu” as Recorded in the Burial Tablets and Wooden Slips from the Changsha Han Tombs]. 北京：社会科学出版社 [Peking: Social Science Academic Press]. 146
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Liu Jingxuan 刘静轩. (2014) 论上衣下裳制的符号学意蕴及其影响[On the Semiotic Implications and Influence of the Upper-Garment-Lower-Skirt System] 郑州大学学报 [Journal of Zhengzhou University]. 186
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Guangming Daily光明网：The Features of Chinese Traditional Hanfu传统汉服的特征. http://epaper.gmw.cn/wzb/html/202206/15/nw.D110000wzb_20220615_4-07.htm
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Xue Xiaoli薛晓丽. (2025) 从汉服复兴看文化自信的当代实践[Contemporary practice of cultural confidence from the perspective of Hanfu revival] 教育纺织报告[Education Fangzhibaogao]. 124-125
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Rao Haiyu饶海玉.(2025) 文旅融合背景下的“汉服+”创新研究[Innovative Research on “Hanfu Plus” in the Context of Cultural Tourism Integration] 中国服饰[Chinese Clothing]. 78-79
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Wang Zongtao王宗涛. (2025) 华服为媒 读懂中国之美[Traditional Chinese Attire as a Medium: Understanding the Beauty of China] 陕西日报[Shaanxi Daily]
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====引言====
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汉服，即汉民族传统服饰，是从黄帝即位至明末清初在汉族主要居住区自然演化形成的独特服装与配饰体系。它以华夏礼仪文化为核心，以“华夏—汉”文化为背景，彰显了汉民族的风貌性格。汉服不仅是“衣冠上国”、“礼仪之邦”和“锦绣中华”的体现，更承载了染、织、绣等杰出工艺与美学，传承了30多项中国非物质文化遗产及受保护的工艺美术。其起源可追溯至夏、商、周时期，历经漫长发展，在中国服饰文化演变中始终占据重要地位，深刻反映了古代华夏民族的审美情趣与文化品味。
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====形制特点====
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汉服的形制主要分为以下三种：
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=====上衣下裳制=====
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上衣下裳制是汉服体系中最古老、最根本的形制。其特点为上衣与下裳分开裁剪，上体所穿为衣，下体所围为裳（即裙子）。汉语“衣裳”一词便根源于此。此制相传源于黄帝、尧、舜时期“垂衣裳而天下治”的典故，奠定了华夏服饰的基本理念。作为历代最高级别的礼服形制，如冕服、玄端，一直沿用到明代，象征着天地秩序与礼仪规范。同时，它也是适应性最广的穿法，男女皆可，既可庄重如礼服，亦可轻便为常服。后世流行的上襦下裙、上衣下裤等，在上下分裁这一核心理念上，均与其一脉相承。
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=====袍服制（通裁制）=====
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袍服制，亦称通裁制，是汉服形制的重要演进。其最大特点在于用一幅布料自上而下通体裁剪，腰部无横向接缝，形成浑然一体的长袍样式。这种形制在隋唐时期尤为兴盛，是服饰史上的一大创新，打破了此前以分裁为主的传统。它种类繁多，包括圆领袍、襕衫、直裰、直身、道袍等，在宋明两代极为流行。圆领袍成为官员常服与百姓便装，直身、道袍则是文人雅士的典型休闲着装。此外，褙子也属此类，展现了通裁制简洁流畅的审美。袍服制的普及，标志着汉服在实用性、舒适性与风尚化上的进一步发展。
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=====深衣制=====
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深衣制是上衣下裳制的深化发展，形成于周代，并在此后三千多年间（直至明代）成为重要的礼制与常服。其核心特点是分裁连属，即将上衣与下裳分开裁剪，而后在腰部缝合，形成一体制式，蕴含了“天人合一”的哲学思想。深衣用途广泛，大气儒雅，既可作为士大夫的正式礼服，亦是男女通用的燕居（休闲）服饰。根据衣襟形制，主要分为两大类：曲裾深衣（衣襟绕身盘绕，多见于秦汉）与直裾深衣（衣襟垂直而下，汉代后成为主流）。深衣制以其中正平和的风格，深刻体现了中华文化的精神内涵。
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=====核心特点=====
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汉服以交领右衽为基本形制，展现了华夏服饰的独特标识。其宽袖系带的结构，构成了飘逸流畅的线条。服饰上的纹饰多蕴含吉祥仁厚等传统文化寓意。整体设计遵循中正和谐的原则，追求对称平衡，体现了含蓄内敛、端庄平和的美学精神。
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====汉服的文化内涵和意义====
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汉服作为中华民族的传统服饰，承载着深厚的文化内涵与历史记忆。其形制、纹样、色彩与穿戴礼仪，共同构成了一套完整的文化系统，体现了中华文明的哲学思想、伦理观念与审美追求。例如，汉服的“交领右衽”象征天道与人伦的秩序，“宽袍大袖”彰显雍容典雅的东方气度，而服饰上的龙凤、云纹等图案则寄托着吉祥寓意与精神信仰。
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汉服不仅是外在的衣着形式，更是中华礼仪文明的重要载体，如《礼记》所载的服制规范，融合了“礼、义、仁、和”的儒家理念，使服饰成为“以衣载道”的文化实践。在当代，汉服作为中华优秀传统文化的视觉表达，既是对民族历史的文化记忆延续，也成为构建文化认同、增强民族凝聚力的重要媒介。它通过服饰之美传递出中华文化的精神内核，让穿戴者在体验中感悟传统价值，进而促进文化自信的生成与传播。
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====汉服的复兴====
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汉服复兴始于21世纪初，是一场由民间发起、逐渐扩展到社会之中的文化潮流。其复兴背景源于全球化进程中人们对文化根源的追寻与民族意识的觉醒，尤其是在年轻群体中，汉服成为表达文化身份、彰显审美自主的重要方式。汉服复兴形式多样，包括服饰形制的考据复原、传统礼仪的重构实践、汉服社团的社群化活动以及“汉服+”创新模式的兴起。例如，在文旅融合背景下，汉服与景区体验、数字科技、文创产品深度融合，打造出沉浸式文化消费场景，既丰富了旅游内涵，也拓展了汉服的社会影响力。
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汉服复兴不仅是一场服饰的回归，更是文化自信的当代实践。它通过可视化的载体，将传统文化融入现代生活，促进了公众尤其是青年一代对中华文化的认知与认同。同时，在国家政策支持与新媒体传播的助推下，汉服复兴正逐步从亚文化现象走向主流视野，成为传承中华文明、增强文化软实力的生动体现。
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====术语表达====
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Attire Above the Country 衣冠上国
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Nation of Etiquette 礼仪之邦
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Splendid China 锦绣中华
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Upper and Lower Garment System 上衣下裳制
 +
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crown robe 冕服
 +
 +
black ceremonial robe 玄端
 +
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the order of heaven and earth 天地秩序
 +
 +
the norms of ritual propriety 礼仪规范
 +
 +
The Robe System (One-Piece Cutting) 袍服制（通裁制）
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round-collar robes 圆领袍
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long robes 襕衫
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straight-cut robes 直裰
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straight-bodied robes 直身
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Taoist robes 道袍
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unity between heaven and humanity 天人合一
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Quju (curving-front) Shenyi 曲裾深衣
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Zhiju (straight-front) Shenyi 直裾深衣
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a crossed collar with the right lapel over the left 交领右衽
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The Book of Rites 《礼记》
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====问题====
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1. 中国汉服主要有多少种形制？分别是什么？
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2. 褙子属于哪一种形制？
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3. 根据衣襟形制，深衣分为哪两种类型？
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4. 中国汉服有什么核心特征？
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5. 中国汉服的交领右衽象征着什么？
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====参考资料====
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Wang Fang. 王方. (2024) 汉服的形成——东周秦汉服饰的考古学研究[The Formation of Hanfu: Archaeological Research on Clothing from the Eastern Zhou, Qin, and Han Dynasties] 北京：科学出版社Peking: Science Press. 158
 +
 +
Zheng Shubin, Song Shaohua郑曙斌, 宋少华. (2023). 长沙汉墓遣策和木楬所记“汉服”研究[A Study of “Hanfu” as Recorded in the Burial Tablets and Wooden Slips from the Changsha Han Tombs]. 北京：社会科学出版社 [Peking: Social Science Academic Press]. 146
 +
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Liu Jingxuan 刘静轩. (2014) 论上衣下裳制的符号学意蕴及其影响[On the Semiotic Implications and Influence of the Upper-Garment-Lower-Skirt System] 郑州大学学报 [Journal of Zhengzhou University]. 186
 +
 +
Guangming Daily光明网：The Features of Chinese Traditional Hanfu传统汉服的特征. http://epaper.gmw.cn/wzb/html/202206/15/nw.D110000wzb_20220615_4-07.htm
 +
 +
Xue Xiaoli薛晓丽. (2025) 从汉服复兴看文化自信的当代实践[Contemporary practice of cultural confidence from the perspective of Hanfu revival] 教育纺织报告[Education Fangzhibaogao]. 124-125
 +
 +
Rao Haiyu饶海玉.(2025) 文旅融合背景下的“汉服+”创新研究[Innovative Research on “Hanfu Plus” in the Context of Cultural Tourism Integration] 中国服饰[Chinese Clothing]. 78-79
 +
 +
Wang Zongtao王宗涛. (2025) 华服为媒 读懂中国之美[Traditional Chinese Attire as a Medium: Understanding the Beauty of China] 陕西日报[Shaanxi Daily]

Latest revision as of 11:06, 29 December 2025

期末论文

Chinese Clothing: Chinese Hanfu（汉服）

Introduction

Hanfu, the traditional attire of the Han ethnic group, evolved naturally from the reign of the Yellow Emperor through the late Ming and early Qing dynasties across the Han ethnic group's primary settlements. Rooted in Huaxia ritual culture and shaped by the “Huaxia-Han” cultural context, it embodies the distinctive character and spirit of the Han people. Hanfu not only embodies the Attire Above the Country, the Nation of Etiquette, and the Splendid China, but also carries forward outstanding crafts and aesthetics such as dyeing, weaving, and embroidery. It preserves over 30 Chinese intangible cultural heritage items and protected arts and crafts. Its origins trace back to the Xia, Shang, and Zhou dynasties. Through prolonged evolution, it has consistently held a pivotal position in China's sartorial heritage, profoundly reflecting the aesthetic sensibilities and cultural tastes of ancient Huaxia peoples.


Design Characteristics

Hanfu primarily features three distinct styles:


Upper and Lower Garment System

The Upper and Lower Garment System represents the oldest and most fundamental form within the Hanfu tradition. Its defining feature involves separate tailoring for the upper garment (Yi) worn on the torso and the lower garment (Shang) worn around the hips. The Chinese term “衣裳” (yī shang, meaning ‘clothing’) originates from this. This style is traditionally traced back to the era of the Yellow Emperor, Yao, and Shun, where the saying “hanging robes and skirts brought order to the world” established the fundamental concept of Huaxia attire. As the highest-level ceremonial attire throughout the dynasties, such as the crown robe (冕服) and the black ceremonial robe (玄端), it persisted until the Ming Dynasty, symbolizing the order of heaven and earth and the norms of ritual propriety. Simultaneously, it represented the most adaptable wearing method, suitable for both men and women. It could be worn as solemn ceremonial attire or as casual everyday clothing. Later popular styles like the upper tunic with lower skirt or upper jacket with lower pants all trace their lineage back to this core principle of separating upper and lower garments.


The Robe System (One-Piece Cutting)

The robe system, also known as the one-piece cutting method, represents a significant evolution in Hanfu design. Its defining feature lies in cutting a single piece of fabric vertically from top to bottom without horizontal seams at the waist, creating a seamless, integrated robe-like silhouette. This style flourished particularly during the Sui and Tang dynasties, representing a major innovation in costume history that broke from the traditional practice of separate cutting. It encompassed numerous varieties, including round-collar robes, long robes, straight-cut robes, straight-bodied robes, and Taoist robes, becoming extremely popular during the Song and Ming dynasties. Round-collar robes became standard attire for officials and everyday wear for commoners, while straight-cut robes and Taoist robes served as quintessential leisure garments for literati and scholars. Additionally, the Bēi zi, which features a straight collar and a front opening, with the sides left unsewn from the armpits down, and usually worn over other garments) belonged to this category, showcasing the aesthetic of simplicity and fluidity inherent in the continuous-cut design. The widespread adoption of the robe system marked a significant advancement in Hanfu's practicality, comfort, and fashionability.


The Shenyi Robe System

The Shenyi robe system represented an advanced evolution of the upper-garment-lower-skirt system. Originating in the Zhou Dynasty, it became a crucial ceremonial and everyday attire for over three millennia, persisting until the Ming Dynasty. Its core feature was the “separate-cut, joined-seam” construction: the upper garment and lower skirt were cut separately before being sewn together at the waist to form a single garment, embodying the philosophical concept of “unity between heaven and humanity.” The deep-robed garment served diverse purposes, embodying an air of dignity and refinement. It functioned as formal ceremonial attire for scholars and officials while also serving as unisex leisure wear. Based on the design of its lapels, it primarily falls into two categories: the Quju (curved-lapel) Shenyi garment (where the lapels wrap around the body, common during the Qin and Han dynasties) and the Zhiju (straight-lapel) Shenyi garment (where the lapels hang vertically, becoming the mainstream style after the Han dynasty). With its balanced and harmonious style, the deep-robed garment profoundly embodies the spiritual essence of Chinese culture.


Core Characteristics

Hanfu features a crossed collar with the right lapel over the left as its fundamental design, showcasing the distinctive identity of Huaxia attire. Its wide sleeves and sash structure create flowing, graceful lines. Ornaments on the garments often carry traditional cultural meanings such as auspiciousness and benevolence. The overall design adheres to principles of centrality and harmony, pursuing symmetrical balance to embody an aesthetic spirit of restraint, dignity, and tranquility.


Cultural Significance of Hanfu

As the traditional attire of the Chinese nation, Hanfu carries profound cultural connotations and historical memory. Its form, patterns, colors, and wearing etiquette collectively form a complete cultural system, reflecting the philosophical ideas, ethical concepts, and aesthetic pursuits of Chinese civilization. For instance, the “a crossed collar with the right lapel over the left” design symbolizes the order of heaven and human ethics, while the “wide robes and large sleeves” embody the dignified and elegant Eastern demeanor. Patterns like dragons, phoenixes, and clouds on the garments convey auspicious meanings and spiritual beliefs.

Hanfu transcends mere external attire; it serves as a vital vessel for China's ritualistic civilization. As documented in The Book of Rites, its dress codes integrate Confucian principles of “propriety, righteousness, benevolence, and harmony,” transforming clothing into a cultural practice that “conveys the Way through garments.” In contemporary times, Hanfu serves as a visual expression of China's outstanding traditional culture. It not only perpetuates the cultural memory of the nation's history but also functions as a vital medium for fostering cultural identity and strengthening national cohesion. Through the beauty of its garments, Hanfu conveys the spiritual essence of Chinese culture, allowing wearers to experience and appreciate traditional values, thereby promoting the cultivation and dissemination of cultural confidence.


The Revival of Hanfu

The revival of Hanfu began in the early 21st century as a grassroots cultural movement that gradually expanded throughout society. This resurgence emerged from a global trend of seeking cultural roots and awakening national consciousness, particularly among younger generations. Hanfu has become a significant means for them to express cultural identity and assert aesthetic autonomy. This revival manifests in diverse forms, including the scholarly reconstruction of traditional garment styles, the revival of ancient ceremonial practices, community activities organized by Hanfu societies, and the emergence of innovative “Hanfu+” models. For instance, within the context of cultural-tourism integration, Hanfu has been deeply integrated with scenic area experiences, digital technology, and cultural-creative products, creating immersive cultural consumption scenarios that enrich tourism while expanding Hanfu's societal influence.

The Hanfu revival is not merely a return to traditional attire but a contemporary practice of cultural confidence. Through visual mediums, it integrates traditional culture into modern life, fostering public—particularly among the younger generation—recognition and identification with Chinese culture. Simultaneously, bolstered by national policy support and new media dissemination, the Hanfu revival is gradually transitioning from a subcultural phenomenon to mainstream visibility, becoming a vivid embodiment of preserving Chinese civilization and enhancing cultural soft power.


Terms and Expressions

Attire Above the Country 衣冠上国

Nation of Etiquette 礼仪之邦

Splendid China 锦绣中华

Upper and Lower Garment System 上衣下裳制

crown robe 冕服

black ceremonial robe 玄端

the order of heaven and earth 天地秩序

the norms of ritual propriety 礼仪规范

The Robe System (One-Piece Cutting) 袍服制（通裁制）

round-collar robes 圆领袍

long robes 襕衫

straight-cut robes 直裰

straight-bodied robes 直身

Taoist robes 道袍

unity between heaven and humanity 天人合一

Quju (curving-front) Shenyi 曲裾深衣

Zhiju (straight-front) Shenyi 直裾深衣

a crossed collar with the right lapel over the left 交领右衽

The Book of Rites 《礼记》


Quention

1. How many main systems of Hanfu are there in China? What are they?

2. Which style does the Bei zi belong to?

3. Based on the lapel style, Shenyi is divided into two types. What are they?

4. What are the core characteristics of Chinese Hanfu?

5. What does the crossed collar with the right lapel over the left in Chinese Hanfu symbolize?


References

Wang Fang. 王方. (2024) 汉服的形成——东周秦汉服饰的考古学研究[The Formation of Hanfu: Archaeological Research on Clothing from the Eastern Zhou, Qin, and Han Dynasties] 北京：科学出版社Peking: Science Press. 158

Zheng Shubin, Song Shaohua郑曙斌, 宋少华. (2023). 长沙汉墓遣策和木楬所记“汉服”研究[A Study of “Hanfu” as Recorded in the Burial Tablets and Wooden Slips from the Changsha Han Tombs]. 北京：社会科学出版社 [Peking: Social Science Academic Press]. 146

Liu Jingxuan 刘静轩. (2014) 论上衣下裳制的符号学意蕴及其影响[On the Semiotic Implications and Influence of the Upper-Garment-Lower-Skirt System] 郑州大学学报 [Journal of Zhengzhou University]. 186

Guangming Daily光明网：The Features of Chinese Traditional Hanfu传统汉服的特征. http://epaper.gmw.cn/wzb/html/202206/15/nw.D110000wzb_20220615_4-07.htm

Xue Xiaoli薛晓丽. (2025) 从汉服复兴看文化自信的当代实践[Contemporary practice of cultural confidence from the perspective of Hanfu revival] 教育纺织报告[Education Fangzhibaogao]. 124-125

Rao Haiyu饶海玉.(2025) 文旅融合背景下的“汉服+”创新研究[Innovative Research on “Hanfu Plus” in the Context of Cultural Tourism Integration] 中国服饰[Chinese Clothing]. 78-79

Wang Zongtao王宗涛. (2025) 华服为媒 读懂中国之美[Traditional Chinese Attire as a Medium: Understanding the Beauty of China] 陕西日报[Shaanxi Daily]


引言

汉服，即汉民族传统服饰，是从黄帝即位至明末清初在汉族主要居住区自然演化形成的独特服装与配饰体系。它以华夏礼仪文化为核心，以“华夏—汉”文化为背景，彰显了汉民族的风貌性格。汉服不仅是“衣冠上国”、“礼仪之邦”和“锦绣中华”的体现，更承载了染、织、绣等杰出工艺与美学，传承了30多项中国非物质文化遗产及受保护的工艺美术。其起源可追溯至夏、商、周时期，历经漫长发展，在中国服饰文化演变中始终占据重要地位，深刻反映了古代华夏民族的审美情趣与文化品味。


形制特点

汉服的形制主要分为以下三种：


上衣下裳制

上衣下裳制是汉服体系中最古老、最根本的形制。其特点为上衣与下裳分开裁剪，上体所穿为衣，下体所围为裳（即裙子）。汉语“衣裳”一词便根源于此。此制相传源于黄帝、尧、舜时期“垂衣裳而天下治”的典故，奠定了华夏服饰的基本理念。作为历代最高级别的礼服形制，如冕服、玄端，一直沿用到明代，象征着天地秩序与礼仪规范。同时，它也是适应性最广的穿法，男女皆可，既可庄重如礼服，亦可轻便为常服。后世流行的上襦下裙、上衣下裤等，在上下分裁这一核心理念上，均与其一脉相承。


袍服制（通裁制）

袍服制，亦称通裁制，是汉服形制的重要演进。其最大特点在于用一幅布料自上而下通体裁剪，腰部无横向接缝，形成浑然一体的长袍样式。这种形制在隋唐时期尤为兴盛，是服饰史上的一大创新，打破了此前以分裁为主的传统。它种类繁多，包括圆领袍、襕衫、直裰、直身、道袍等，在宋明两代极为流行。圆领袍成为官员常服与百姓便装，直身、道袍则是文人雅士的典型休闲着装。此外，褙子也属此类，展现了通裁制简洁流畅的审美。袍服制的普及，标志着汉服在实用性、舒适性与风尚化上的进一步发展。


深衣制

深衣制是上衣下裳制的深化发展，形成于周代，并在此后三千多年间（直至明代）成为重要的礼制与常服。其核心特点是分裁连属，即将上衣与下裳分开裁剪，而后在腰部缝合，形成一体制式，蕴含了“天人合一”的哲学思想。深衣用途广泛，大气儒雅，既可作为士大夫的正式礼服，亦是男女通用的燕居（休闲）服饰。根据衣襟形制，主要分为两大类：曲裾深衣（衣襟绕身盘绕，多见于秦汉）与直裾深衣（衣襟垂直而下，汉代后成为主流）。深衣制以其中正平和的风格，深刻体现了中华文化的精神内涵。


核心特点

汉服以交领右衽为基本形制，展现了华夏服饰的独特标识。其宽袖系带的结构，构成了飘逸流畅的线条。服饰上的纹饰多蕴含吉祥仁厚等传统文化寓意。整体设计遵循中正和谐的原则，追求对称平衡，体现了含蓄内敛、端庄平和的美学精神。


汉服的文化内涵和意义

汉服作为中华民族的传统服饰，承载着深厚的文化内涵与历史记忆。其形制、纹样、色彩与穿戴礼仪，共同构成了一套完整的文化系统，体现了中华文明的哲学思想、伦理观念与审美追求。例如，汉服的“交领右衽”象征天道与人伦的秩序，“宽袍大袖”彰显雍容典雅的东方气度，而服饰上的龙凤、云纹等图案则寄托着吉祥寓意与精神信仰。

汉服不仅是外在的衣着形式，更是中华礼仪文明的重要载体，如《礼记》所载的服制规范，融合了“礼、义、仁、和”的儒家理念，使服饰成为“以衣载道”的文化实践。在当代，汉服作为中华优秀传统文化的视觉表达，既是对民族历史的文化记忆延续，也成为构建文化认同、增强民族凝聚力的重要媒介。它通过服饰之美传递出中华文化的精神内核，让穿戴者在体验中感悟传统价值，进而促进文化自信的生成与传播。


汉服的复兴

汉服复兴始于21世纪初，是一场由民间发起、逐渐扩展到社会之中的文化潮流。其复兴背景源于全球化进程中人们对文化根源的追寻与民族意识的觉醒，尤其是在年轻群体中，汉服成为表达文化身份、彰显审美自主的重要方式。汉服复兴形式多样，包括服饰形制的考据复原、传统礼仪的重构实践、汉服社团的社群化活动以及“汉服+”创新模式的兴起。例如，在文旅融合背景下，汉服与景区体验、数字科技、文创产品深度融合，打造出沉浸式文化消费场景，既丰富了旅游内涵，也拓展了汉服的社会影响力。

汉服复兴不仅是一场服饰的回归，更是文化自信的当代实践。它通过可视化的载体，将传统文化融入现代生活，促进了公众尤其是青年一代对中华文化的认知与认同。同时，在国家政策支持与新媒体传播的助推下，汉服复兴正逐步从亚文化现象走向主流视野，成为传承中华文明、增强文化软实力的生动体现。


术语表达

Attire Above the Country 衣冠上国

Nation of Etiquette 礼仪之邦

Splendid China 锦绣中华

Upper and Lower Garment System 上衣下裳制

crown robe 冕服

black ceremonial robe 玄端

the order of heaven and earth 天地秩序

the norms of ritual propriety 礼仪规范

The Robe System (One-Piece Cutting) 袍服制（通裁制）

round-collar robes 圆领袍

long robes 襕衫

straight-cut robes 直裰

straight-bodied robes 直身

Taoist robes 道袍

unity between heaven and humanity 天人合一

Quju (curving-front) Shenyi 曲裾深衣

Zhiju (straight-front) Shenyi 直裾深衣

a crossed collar with the right lapel over the left 交领右衽

The Book of Rites 《礼记》


问题

1. 中国汉服主要有多少种形制？分别是什么？

2. 褙子属于哪一种形制？

3. 根据衣襟形制，深衣分为哪两种类型？

4. 中国汉服有什么核心特征？

5. 中国汉服的交领右衽象征着什么？


参考资料

Wang Fang. 王方. (2024) 汉服的形成——东周秦汉服饰的考古学研究[The Formation of Hanfu: Archaeological Research on Clothing from the Eastern Zhou, Qin, and Han Dynasties] 北京：科学出版社Peking: Science Press. 158

Zheng Shubin, Song Shaohua郑曙斌, 宋少华. (2023). 长沙汉墓遣策和木楬所记“汉服”研究[A Study of “Hanfu” as Recorded in the Burial Tablets and Wooden Slips from the Changsha Han Tombs]. 北京：社会科学出版社 [Peking: Social Science Academic Press]. 146

Liu Jingxuan 刘静轩. (2014) 论上衣下裳制的符号学意蕴及其影响[On the Semiotic Implications and Influence of the Upper-Garment-Lower-Skirt System] 郑州大学学报 [Journal of Zhengzhou University]. 186

Guangming Daily光明网：The Features of Chinese Traditional Hanfu传统汉服的特征. http://epaper.gmw.cn/wzb/html/202206/15/nw.D110000wzb_20220615_4-07.htm

Xue Xiaoli薛晓丽. (2025) 从汉服复兴看文化自信的当代实践[Contemporary practice of cultural confidence from the perspective of Hanfu revival] 教育纺织报告[Education Fangzhibaogao]. 124-125

Rao Haiyu饶海玉.(2025) 文旅融合背景下的“汉服+”创新研究[Innovative Research on “Hanfu Plus” in the Context of Cultural Tourism Integration] 中国服饰[Chinese Clothing]. 78-79

Wang Zongtao王宗涛. (2025) 华服为媒 读懂中国之美[Traditional Chinese Attire as a Medium: Understanding the Beauty of China] 陕西日报[Shaanxi Daily]

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