Archive for December, 2009

zhongshan suit

Thursday, December 24th, 2009

The modern Chinese tunic suit is a style of male attire known in China as the Chungshan suit or Zhongshan suit and known in the West as the Mao suit. Sun Zhongshan introduced the style shortly after the founding of the Republic of China as a form of national dress although with a distinctly political and later governmental implication.

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After the end of the Chinese Civil War and the establishment of the People’s Republic of China in 1949, the suit became widely worn by males and government leaders as a symbol of proletarian unity and an Eastern counterpart to the Western business suit. The name “Mao suit” comes from Chinese leader Mao Zedong’s affinity for wearing them in public, thus tying the garment closely to him and Chinese communism in general in the Western imagination. Although they fell into disuse in the 1990s amid increasing Western influences, they are still worn on occasion by Chinese leaders during important state ceremonies and functions.

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Origins

When the Republic was founded in 1912, and the style of dress worn in China was based on Manchu dress (qipao and changshan), which had been imposed by the Qing Dynasty as a form of social control. The majority-Han Chinese revolutionaries who overthrew the Qing were fueled by failure of the Qing to defend China against western imperialists and the low standing of the Qing in terms of technology and science compared to the West. Even before the founding of the Republic, older forms of Chinese dress were becoming unpopular among the elite and led to the development of Chinese dress which combined the cheongsam and the Western hat to form a new dress. The Zhongshan suit is similar development which combined Western and Eastern fashions. It should be noted that until 1949 on the mainland and the 1980s in Taiwan, the civilian, non- political attire for males in China was not this tunic suit but a gown and over-jacket.

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The Zhongshan suit was an attempt to cater to “modern” sensibilities without completely adopting Western styles wholesale. Dr. Sun Yat-sen was personally involved, providing inputs based on his life experience in Japan: the Japanese cadet uniform became the basis of Zhongshan suit. There were other modifications as well: instead of the three hidden pockets in Western suits, the Zhongshan suit had four outside pockets to adhere to Chinese concepts of balance and symmetry. Over time, minor stylistic changes developed. The suit originally had seven buttons, later reduced to five.

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After Sun Yat-sen’s death in 1925, popular mythology assigned a revolutionary and patriotic significance to the Zhongshan suit. The four pockets were said to represent the Four Virtues cited in the classic Guanzi. The five center-front buttons were said to represent the five Yuans (branches of government) cited in the constitution of the Republic of China and the three cuff-buttons to symbolize Sun Yat-sen’s Three Principles of the People.

Historical development

Mao, wearing the suit, meets Nixon In the 1920s and 1930s, civil servants of the Chinese government were required to wear the Zhongshan zhuang. A slightly modified version of the suit, adapted for combat, formed the basis for National Revolutionary Army army uniforms leading up through the Second Sino-Japanese War, although during the 1930s, as German military advice and assistance to the National Government waxed, the formal military uniform in the professional elements and ranks essentially became that of Weimar and then Nazi Germany (including the famous helmet).

After the establishment of the People’s Republic of China, and especially during the long initial period marked by intensive Maoist indoctrination and mass oppression through waves of purges and campaigns and “criticism/struggle” culminating with the Great Proletarian Cultural Revolution from 1965-76 when Mao himself died, the suit became widely worn by the entire male population, formally as a symbol of proletarian unity, but in fact as a form of personal — and virtually camouflage — coloration; it was, of course, regularly worn by Communist Party cadres until the 1990s when it was largely replaced by the Western business suit.

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The Mao suit remained the standard formal dress for the first and second generations of PRC leaders such as Deng Xiaoping. During the 1990s, it began to be worn with decreasing frequency by leaders of Jiang Zemin’s generation. Jiang wore it only on special occasions, such as to state dinners, but this practice was almost totally discontinued by his successor Hu Jintao. By the early part of the 21st century, the Mao suit is rarely worn even on formal occasions. The military-green version of the suit is more often worn, usually by civilian party officials wishing to demonstrate control over – or camaraderie with – the military. In Taiwan, the Zhongshan suit was seldom seen after the 1970s. Moreover, given the subtropical weather much of the year in Taiwan, for a time a modified version became at least semi-standard which dropped the high-collar buttoned up original constriction in favor of a Western style open dress shirt collar, unbuttoned.

Today among the Chinese people, the suit has been largely abandoned by the younger generation in urban areas, but is still regarded as formal attire by many old people. It is also prevalent among Chinese peasants as casual dress. However the suit is becoming more popular amongst young overseas Chinese as a formal or business wear instead of wearing the “generic” Western three piece suit and also as an identity for their Chinese origin.

qipao

Thursday, December 24th, 2009

What’s the most traditional costume in China? Undoubtedly, it’s the qipao. This enduring fashion is a form-fitting Chinese woman’s dress. Chinese female movie stars often wear qipaos as a perfect evening dress for social functions. Zhang Ziyi and Gong Li are among them. They’re really attractive and unique on the international stage. It is said the Qipao is the most form-fitting Chinese woman’s dress. Chinese brides also wear them as wedding dresses.

With a high neck and a slit skirt, the qipao was originally the costume worn by the Manchus, a nomadic minority from northern China. The majority Han ethnicity referred to the Manchus as Qiren in the past, so the garment Manchu women wore was called qipao.

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In the early 1920’s, the qipao became popular among both Manchu and Han women. Influenced by western designs in the late 20th century, the qipao became shorter in length and its waistline was redesigned to be more figure- hugging. The dress perfectly captures the elegance and serenity of Oriental beauty.

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Movie stars and upper-class ladies helped qipaos reach extreme popularity. It became the daily wear for Chinese women for decades. Women of all ages used to wear it for all occasions.

Since the 1950’s, the qipao has gradually exited Chinese women’s daily lives. It was regarded as representing an outdated ideology. This lasted nearly half a century before this Chinese fashion almost vanished into history.

In the past decades, Chinese women’s fashion has become so westernized that western-style clothing is mainstream for their work and daily life. Qipaos are rarely seen on the streets anymore.

However, in recent years, Chinese women, especially younger ones, are coming back to the qipao. There seems to be a comeback for this traditional Chinese dress. The qipao market is thriving in China with the nostalgic trend. Though ready-to-wear qipaos can be found everywhere, women still tend to have handmade qipaos because they believe these dresses stand not only for tradition, but also fashion.

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Beijing, as the political and cultural center of northern China, was also a center for qipao-making in the old days. Many famous tailors worked here more than half a century ago, but most of them left the industry as time passed. Fortunately, Cao Senlin still makes qipaos using methods he learned 60 years ago.

If you ask a Chinese where the origin of the qipao is, they will inevitably say Shanghai, the fashion capital of China. The word Shanghai always reminds people of actresses in black and white movies and models in cigarette commercial posters. These ladies almost exclusively wear qipaos, making them look delicate and elegant.

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A movie called “In the Mood for Love” featured a middle-class woman from Shanghai. It provided a perfect stage for the charm of the qipao. The heroine’s gorgeous qipaos were also made by Shanghai tailors. Hong Kong movie star Maggie Cheung had the chance to enjoy wearing more than 20 beautiful and fashionable qipaos in the movie. The publicity for the film in Beijing and Guangzhou was also accompanied by a qipao fashion show.

Now, women in Shasnghai can always follow the world’s latest fashion trend. However, as Chinese people become more aware of traditional culture, they choose to wear traditional dress in the form of the qipao to demonstrate their oriental and mystical beauty.

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“Worn by movie stars and schoolgirls, adopted as a symbol of Chinese identity and of international savvy, favored by conservative dowagers and fashion mavens, no other dress has been as versatile nor had such a complex, fascinating history as the cheongsam.”

Qipao can display women’s modesty, softness and beauty.In either case, the Cheongsam creates the impression of simple and quiet charm, elegance and neatness depending on the

different occasions. The Cheongsam has two big slits at either side of the hem for convenient movement and display of the slender legs of women. ” All of which combine to set off the beauty of the female shape. Second, the special design on the material expresses women’s femininity. However, the Chinese Cheongsam (Qipao) provides designers with vast, creative space: some short, some long, with low, high or even no collars at all. Chinese Cheongsam (Qipao) has become most popular in China and the world with its dramatic history, colorful design, and womanly style. This is why you can find Nicole Kidman wear Qipao in red carpet show.

four treasures of study

Thursday, December 24th, 2009

Four Treasures of the Study or Four Jewels of the Study or Four Friends of the Study is an expression used to denote the brush, ink, paper and ink stone used in Chinese and other East Asian calligraphic traditions. The name appears to originate in the time of the Southern and Northern Dynasties (420-589 AD).

The Four Treasures

Chinese culture is very fond of four word couplets, and the Four Treasures are another example: “The four jewels of the study: Brush, Ink, Paper, Inkstone.” In the couplet mentioned each of the Treasures is referred to by a single epithet; however, each of these are usually known by a compound name. The individual treasures have a “treasured” form, each being produced in certain areas of China as a speciality for those scholars who would use them.

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The Brush

The brush is the most ancient of the Four Treasures, with archaeological evidence dating back to the Zhou dynasty (1045 BC–256 BC) illustrating its use on ancient bones. The oldest brush found so far dates back to the Han dynasty (202 BC–220 AD). The brush is generally made from animal hair, although in certain situations writing brushes were made of the first hair taken from a baby’s head. This hair was said to bring good luck in the Chinese Public Examinations. The handles of the brushes are commonly made of bamboo although special brushes might have handles made of sandalwood, jade, carved bone/ivory, or other precious materials.

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Modern brushes are made primarily from white goat hair, black rabbit hair, yellow weasel hair, or a combination of these. Ancient brushes, and some of the more valuable ones available on the market may be made with the hair of any number of different types of animals. Each type of hair has a different ink capacity, which in turn results in a different appearance of the brush’s stroke. These differing brushes are used for different styles of calligraphy and writing.

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Brushes are classed as either soft, mixed or hard. Their production is quite a laborious process which involves hair-sorting on the basis of softness, hardness, thickness, length, and then making appropriate bundles of correct composition for certain purposes. The most famous and highly prized brushes are a mix of yellow weasel, goat and rabbit hair, and are known as Húbǐ. They have been prized highly since the Ming dynasty (late 14th century) and are currently made in Shanlian, a town in the Wuxing District of Zhejiang province.

The Ink

The Inkstick (Chinese: 墨 pinyin: mò) is a form of artificial ink which was developed during the Han dynasty. The first inks used for writing were based on naturally occurring minerals like graphite and vermilion. Early inks were probably in liquid form, and therefore did not get preserved. The inksticks of today are generally made using soots from one of three different sources. These include lacquer soot, pine soot, and oil soot. These soots are collected, and then mixed with glue. Higher quality inksticks are also mixed with powdered spices and herbs, which both add to the aroma of the ink and providing some protection to the ink itself. The glue, soot, and spice mixture is then pressed into a shape and allowed to dry. This process may take upwards of 6 weeks depending on the dimensions of the inkstick.

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The best ink sticks are fine grained and have a light, slightly ringing sound when tapped. They are often decorated with poems, calligraphy, or bas relief, and painted. These particular articles are highly collectable, and were often collected in much the same way as stamps are. The inksticks which are held in highest regard, are known as Huīmò (徽墨) are known to contain musk, borneol and other precious aromatics normally used in Chinese medicine. They are still produced today in Shexian (歙县) in Anhui province (安徽),

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The Paper

Paper (Chinese: traditional 紙, simplified 纸; Pinyin: zhǐ) was first developed in China in the first decade of 100AD. Previous to its invention, bamboo slips and silks were used for writing material. Several methods of paper production developed over the centuries in China. However, the paper which was considered of highest value was that of the Jingxian (泾县) in Anhui province.

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This particular form of paper, known as Xuānzhǐ (宣紙), is soft, fine-textured, moth resistant, has a high tensile strength, and remarkable longevity for such a product – so much so that it has a reputation for lasting “1,000 years.” The quality of the paper depends on the processing methods used to produce it. Paper may be unprocessed, half processed or processed. The processing determines how well ink or paint is absorbed into the fibre of the paper, as well as the stiffness of the paper itself. Unprocessed papers are very absorbent and quite malleable, whereas processed papers are far more resistant to absorption and are stiffer.

The Inkstone

The inkstone (Chinese: traditional 硯 or 硯臺; simplified 砚 or 砚台; Pinyin: yàn or yàn tái) is used to grind the ink stick into powder. This powder is then mixed with water in a well in the inkstone in order to produce useable ink for calligraphy. The most ideal water for use in ink is slightly salty. Ink was first prepared using a mortar and pestle, but with the advent of inksticks this method slowly vanished. The stone used is generally of a relatively fine whetstone type.

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The earliest known inkstones date back to the Han dynasty. The production of inkstones reached its zenith in the Tang and Song dynasties with inkstones becoming extremely intricate works of art. The most highly sought-after inkstones originated in four different locations in China. Duanshi (端石硯) stones from Duanxi in Guangdong, She (歙硯) stones from Shexian in Anhui, Taohe stones (洮河硯) from the Tao River in South Gansu and Chengni ceramic stones (澄泥硯) which are manufactured by a process which is said to have been developed in Luoyang in Henan.

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The Tools of the Scholar

Classical scholars had more than just the Four treasures in their studies. The other “Treasures” include the brush-holder (笔架), brush-hanger (笔挂), paperweights (镇纸), the brush-rinsing pot (笔洗), and the seal (圖章) and seal-ink (印尼).

Chinese zodiac

Thursday, December 24th, 2009

The Sheng xiao, better known as Chinese Zodiac, are 12 animals which are representative of years in some East Asian countries. Each year of the 12-year cycle is named after one of the original 12 animals. Each animal has a different personality and different characteristics.

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Despite being called “Chinese zodiac”, it is not a variation of zodiac. The Chinese zodiac refers to a pure calendrical cycle; there are no equivalent constellations like those of the occidental zodiac.

Personalities

Chinese zodiac signs represent twelve different types of personalities. The zodiac traditionally begins with the sign of the Rat, and there are many stories about the Origins of the Chinese Zodiac which explain why this is so. The following are the twelve zodiac signs in order and their characteristics.

Rat (Yang, 1st Trine, Fixed Element Water): Forthright, tenacious, systematic, meticulous, charismatic, hardworking, industrious, charming, eloquent, sociable, shrewd. Can be manipulative, vindictive, mendacious, venal, selfish, obstinate, critical, over-ambitious, ruthless, intolerant, scheming.

Ox (Water buffalo in Vietnam) (Yin, 2nd Trine, Fixed Element Water): Dependable, calm, methodical, born leader, patient, hardworking, ambitious, conventional, steady, modest, logical, resolute, tenacious. Can be stubborn, narrow-minded, materialistic, rigid, demanding.

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Tiger (Yang, 3rd Trine, Fixed Element Wood): Unpredictable, rebellious, colorful, powerful, passionate, daring, impulsive, vigorous, stimulating, sincere, affectionate, humanitarian, generous. Can be restless, reckless, impatient, quick-tempered, obstinate, selfish, aggressive, unpredictable.

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Rabbit (Cat in Vietnam) (Yin, 4th Trine, Fixed Element Wood): Gracious, good friend, kind, sensitive, soft-spoken, amiable, elegant, reserved, cautious, artistic, thorough, tender, self-assured, astute, compassionate, flexible. Can be moody, detached, superficial, self-indulgent, opportunistic.

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Dragon (Snail in Kazakhstan) (Yang, 1st Trine, Fixed Element Wood): Magnanimous, stately, vigorous, strong, self-assured, proud, noble, direct, dignified, zealous, eccentric, intellectual, fiery, passionate, decisive, pioneering, ambitious, generous, loyal. Can be tactless, arrogant, imperious, tyrannical, demanding, intolerant, dogmatic, violent, impetuous, brash.

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Snake (Yin, 2nd Trine, Fixed Element Fire): Deep thinker, wise, mystic, graceful, soft-spoken, sensual, creative, prudent, shrewd, ambitious, elegant, cautious, responsible, calm, strong, constant, purposeful. Can be loner, bad communicator, possessive, hedonistic, self-doubting, distrustful, mendacious, suffocating, cold.

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Horse (Yang, 3rd Trine, Fixed Element Fire): Cheerful, popular, quick-witted, changeable, earthy, perceptive, talkative, agile – mentally and physically, magnetic, intelligent, astute, flexible, open-minded. Can be fickle, arrogant, childish, anxious, rude, gullible, stubborn.

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Ram (Goat in Vietnam) (Yin, 4th Trine, Fixed Element Fire): Righteous, sincere, sympathetic, mild-mannered, shy, artistic, creative, gentle, compassionate, understanding, mothering, determined, peaceful, generous, seeks security. Can be moody, indecisive, over-passive, worrier, pessimistic, over-sensitive, complainer, weak-willed.

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Monkey (Yang, 1st Trine, Fixed Element Metal): Inventor, motivator, improviser, quick-witted, inquisitive, flexible, innovative, problem solver, self-assured, sociable, polite, dignified, competitive, objective, factual, intellectual. Can be egotistical, vain, selfish, reckless, snobbish, deceptive, manipulative, cunning, jealous, suspicious.

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Rooster (Yin, 2nd Trine, Fixed Element Metal): Acute, neat, meticulous, organized, self-assured, decisive, conservative, critical, perfectionist, alert, zealous, practical, scientific, responsible. Can be over zealous and critical, puritanical, egotistical, abrasive, opinionated, given to empty bravado.

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Dog (Yang, 3rd Trine, Fixed Element Metal): Honest, intelligent, straightforward, loyal, sense of justice and fair play, attractive, amicable, unpretentious, sociable, open-minded, idealistic, moralistic, practical, affectionate. Can be cynical, lazy, cold, judgmental, pessimistic, worrier, stubborn, quarrelsome.

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Pig (Wild boar in Japan and Elephant in Northern Thailand) (Yin, 4th Trine, Fixed Element Water): Honest, gallant, sturdy, sociable, peace-loving, patient, loyal, hard-working, trusting, sincere, calm, understanding, thoughtful, scrupulous, passionate, intelligent. Can be naive, over-reliant, self-indulgent, gullible, fatalistic, materialistic.

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In Chinese astrology the animal signs assigned by year represent what others perceive you as being or how you present yourself. It is a common misconception that the animals assigned by year are the only signs, and many western descriptions of Chinese astrology draw solely on this system. In fact, there are also animal signs assigned by month (called inner animals) and hours of the day (called secret animals).

To sum it up, while a person might appear to be a dragon because they were born in the year of the dragon, they might also be a snake internally and an ox secretively. In total, this makes for 8,640 possible combinations (five elements x 12 animals in the 60 year cycle (12 x 5 = 60) , 12 months, 12 times of day) that a person might be. These are all considered critical for the proper use of Chinese astrology…