Evolution of the Mamianqun: Fabrics Design (Part 1)

Nav: Presentation // Intro // Southern Song 南宋 // Yuan 蒙元 // Early Ming 明初 // Mid-Early Ming 明中前 // Mid-Late Ming 明中後 // Late Ming 晚明 // Fabrics Pt 1 // Fabrics Pt 2 // Set Easter Eggs // Conclusion

Patting myself on the back for finally finishing the six main design posts, but still got two more to go!!! This is the fabric design post, arguably the most symbolic part of these six sets with the most juicy lore behind it, so if your thing is Chinese cosmology and symbolism this'll be your jam.

This section is very long (what a surprise), so I'll be dividing it into two posts.

Part one, which is this post, will talk about the mythology and folktale inspiration behind the design elements, and introduce the different parts of the skirt design. I will do a deep dive into the main part of the design with the longma dragon-horse that appears on the latter three time period's skirt designs.

Part two will expand on the rest of the skirt sections, which are smaller and less detailed. I'll also talk a bit about the variation of the skirt designs through the different time periods, and the technical parts of mamianqun fabric manufacturing that I had to go through to make these fabrics happen.

The Chinese name for the Metamorphosis set is 龍馬負圖 / long2 ma3 fu4 tu2 / "Dragon-Horse Bearing the Diagram." This is a reference to the story of the 河圖洛書 / he2 tu2 luo4 shu1 / "River Diagram and Luo Book," more commonly known as the Yellow River Map and Luo River Square. These are two visual diagrams that appear in very very early Chinese legends and mythology about the beginning of Dynastic China. They look like this:

Src: 河圖洛書, 2017

I will explain more on what exactly these represent later, but for now, just know that they appear in a number of legends recounted by very famous early writings such as thing 易經 / yi4 jing1 / "I'Ching" text, most of which share similar elements. The one that stuck out to me most was the legend of 大禹治水 / da4 yu2 zhi4 shui3 / "Yu the Great Tames the Waters," which can be considered somewhat of a secondary creation myth.

There's no evidence of this guy's existence, but the story goes that pre-dynastic China often suffered from devastating floods from the Yellow River, which kept them from advancing very far. The worst of these was the Great Flood, a massive flood that extended over at least two generations. The emperor at the time, Yao, had been trying to solve this problem for a long time, but the first person who tried, 鯀 / Gun—Yu the Great's father, also called 白馬 / bai2 ma3 / White Horse—failed to control the waters, so the task was passed down to his son.

L: Standing Portrait of King Yu of Xia, National Palace Museum, Taipei, Taiwan, 中畫000257N000000000 // R: Yellow River, whose watershed covers most of northern China and drains to the Yellow Sea, Wikimedia Commons

It's said that Yu dedicated most of his life to solving this problem. A number of stories related to this process have been told, one of which being the legend of the Yellow River Map and Luo River Square. Seeing that Yu was going in the wrong direction, the gods sent a great dragon-horse and a giant tortoise as messengers to the earth, who emerged from the waters bearing these diagrams on their backs, revealing clues about divination and geomancy to Yu the Great.

After consulting the diagrams, he realized that he had been mistaken and changed direction, ultimately succeeding in his goal after many years. Some other variations have different animals or people revealing the diagrams to different people, but for the year of the horse I focused on the version that has the dragon-horse bearing the Yellow River Map on its coat.

Src: ​龍馬負河圖洛書, CADAL06200462 古本小說集成：開闢衍繹通俗志傳,1685, Wikimedia Commons

Eventually Yu tamed the waters through a complex irrigation system and opening an artificial channel out to sea, which made him so popular with the people that the emperor declared him his heir. He allegedly took the throne in his 50s, establishing the Xia Dynasty, the very first dynasty in Chinese historiography.

From a broader level, deluge myths are extremely common in early history across the world (although the nuwa story matches them more closely than this one tbh). I feel like almost everyone has their own version of a massive flood that ended up leading to some sort of new beginning.

I think this legend takes place in a grey area between myth and history, too far back to have much evidence of existence, but recent enough to be relatively acceptable when considered a dramatized version of events. At any rate it's an extremely significant part of Chinese folklore, and while the dragon-horse only plays a small part in it, I latched onto this as the primary inspiration for this set.

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Since most of the mamianqun fabrics are just variations of the same central design, I’ll use the most complex one as the visual example since it already contains all of the elements found in the other skirt designs. That would be the mid-early Ming mamianqun. At the end of this section I will talk briefly about how this design was modified for the other time periods' skirts.

We can first separate this into a few distinct repeating horizontal pattern sections. If we regard the pattern covering a majority of the area as the ‘base’ pattern (B), there are four distinct pattern sections (1,2,3,4), plus a divider pattern (D) that appears multiple times between them.

(1): Hem Block 底襴

The lowest pattern block near the hem of the skirt is also the widest and the one that appears in both of the other colored mamianqun designs (mid-late and late Ming). Some of the elements were moved around a bit to compress the block proportions for the other designs, but most of them remain the same. I regard this as the “main” design block, as most of the storytelling elements are concentrated here.

The primary scene depicted is a longma dragon-horse galloping through the waves, but every design element included has a meaning to it. 

The Longma

First the creature itself. This is a somewhat modern interpretation of a dragon-horse, with some modern aesthetics prioritized. The legs, hooves, body shape, and tail are all very horse-like, with some added dragon features like the flaming mane, belly scales, straight-back horns, whiskers, and wrinkled nose. The spiral patterns on the horse’s chest and flank as well as the fire wheels coming off of the hind leg joints were also elements taken from usual depictions of eastern dragons, who often have similar flaming wheels on their ankles. 

Src: Imperial Encyclopaedia - Animal Kingdom - pic210 - 龍馬圖.svg, 《古今圖書集成》, Wikimedia Commons

There are a couple different ways this creature can be interpreted. One is as the longma dragon-horse from the legend of this set’s namesake, as one of the two creatures that surfaced from the Yellow River as witnessed by Yu the Great, as described before. The Classic of the Mountains and Seas describe longma as being able to walk on water without sinking and as a sign of a divine ruler.

Src: 图：武官常服补子纹样, 明代群臣之服：常服 // Sea-Horse ninth rank is the lower right square (武九品）

Another is as the 海馬 / hai3 ma3 / "Sea-Horse" (not the fish), a dragon-like horse which is depicted on the ninth-rank martial officer rank badge in the Ming Dynasty official uniform system, used specifically to contrast against the five-clawed imperial dragon buzi badge on the mid-late Ming set’s round-collar robe, as a representation of the wild disarray and constant flouting of fashion rules during that time period.

Src: JourneytotheWest.jpg, Tang Sanzang riding on the White Dragon Horse, Wikimedia Commons

Last is as the 白龍馬 / bai2 long2 ma3 / white dragon-horse (that's literally his name) from the famous Ming Dynasty novel 西遊記 / xi1 you2 ji4 / "Journey to the West" (you may also know it as the Monkey King), a dragon prince originally living in a river who shapeshifts into the party’s steed (after accidentally eating their horse, as you do). You’ll notice that even though they have slightly different names and contexts, all of these depictions are actually quite consistent with each other: there’s always some sort of very powerful horse-dragon mix that has something to do with a body of water.

The Waves

The top and bottom of this block are lined with a wave pattern, crested with white foam. Waves are often depicted in a very circular, spiraling manner, adding a sort of rolling motion to them. This is helped by the repeated parallel lines giving them dimension, plus the white seafoam that helps partition some of the different wave sections from each other.

Src: 武官九品海馬補子, National Digital Archive Program, Taiwan (Qing Dynasty)

The original haima sea-horse buzi depicts a horse galloping over repeated waves, so I kept that framing in the composition of this piece, though the waves are more organic and less repetitive. They also come down from the top, which is more of an aesthetic decision than a symbolic one, but I did notice that the waves look remarkably similar to clouds if you color them white, which makes sense given the Chinese term 雲海 / yun2 hai3 / “sea of clouds,” which refers to the view you often get on Asian mountaintops where the clouds are so dense and thick that they look like a white ocean sprawling out in front of you. You could say that, with the celestial nature of dragons, this horse could be either galloping over the water or treading over the clouds—you just don’t know!

河圖洛書

Next I want to go over these two repeated symbols, the former of which you’ll see in the base pattern as well. These are a continuation of the 河圖洛書 story: they’re visual representations of the 河圖 and the 洛書.

The traditional depictions of these two ‘maps’ look like this. They’re arrangements of black and white dots in kind of a square array. It’s somewhat debated what they actually represent, and their exact functional role in the legends is vague, but they’re generally considered divination or cosmology maps that have to do with the bagua eight trigrams, the five elements, and five cardinal Chinese directions.

洛書 / The Luoshu Square

Src: Luo Square, Wikipedia (various imaged pieced together by me to fool tumblr's image limit)

Upon a closer look we can see that the Luoshu has nine objects arranged in a 3x3 matrix. Each object is made up of a different number of dots: the ones with an even number of dots are black, and the ones with an odd number of dots are white. If we convert the numbers of dots into numbers, we will get a matrix that looks like this: (4, 9, 2; 3, 5, 7; 8, 1, 6).

An extremely important observation is that this arrangement constitutes what we call a third order normal magic square: if you add up the three numbers in any row, column, or diagonal of the array, you will get the same number (try it yourself—what’s the magic sum?) You might also notice that each of the integers 1 through 9 are used once—this is what we call a normal magic square.

I’d previously only encountered magic squares when playing with AMC problems in middle school, so it was really interesting to see it pop up here. Remarkably, the luoshu is the smallest possible normal magic square (reflections and rotations of the same square are not considered distinct, and squares with repeated number entries don’t count). Every possible 3x3 normal magic square is a transformation of this one.

If you look closely at each shape you will recognize that each one has a number of “lobes” or “sections.” The even-numbered shapes are filled in with red, and the odd-numbered shapes are teal and have negatives corresponding to their number. For example, the shape on the left has three spokes, and the one in the middle contains five compartments. Each of them exhibit some sort of repetition, imagery, or sectioning that has to do with their number, and they’re arranged in the same way as the Luo square, so that any row, column, or diagonal will add up to 15.

河圖 / The Yellow River Map

Src: 河圖與洛書

The Yellow River Map is a little more confusing in what exactly it is—there doesn’t seem to be an agreed-upon mathematical relationship like in its counterpart, and it’s a bit more complex. Some think that the version that we have now may not be the same as the original, and that if we had the original then the relationship would be equally obvious. It does have some established linkages to ideas in Chinese cosmology, but they won’t make much sense unless you’ve got somewhat of a background in that (which is not me).

As in the Luoshu, some of the dots (even arrangements) are filled in and some (odd arrangements) are blank. The integers 1-10 also appear once each, with 10 uniquely wrapping all the way around the central 5.

Culturally, this was the primary map that helped Yu the Great construct his irrigation and drainage system. While the myths vary in the form and identity of the person, deity, or spirit that actually gave him the map, it's generally hinted at that this was some sort of directional mapping of the surrounding land and topology, which helped Yu figure out how to build channels through what he later established as the Nine Provinces.

The visual symbol I came up with for this one is a little less abstract, preserving the dots on the outside and most of the structure, although I neglected to include the lines. The 3 and 4 I turned into a fan shape instead of just dots, and the outer four numbers were arranged in a curved shape to make the footprint of the whole symbol a bit more interesting. The top and bottom halves of the 10 are disconnected but represented by 5 teardrop shapes above and 5 below, as some other depictions have the dots split up in this way but connected by lines.

The Silk Moths

If you thought these were butterflies, you thought wrong—these are silk moths! Specifically bombyx mori, the domesticated silk moth.

Why include them? While it's not super common anymore, silkworms did have a connection to horses in older Chinese folklore, apparently stemming from the fact that the silkworm's head is shaped similarly to a horse's head. The more popular origin story of sericulture stems from Leizu, the Empress of the Yellow Emperor, who discovered silk after a cocoon fell into her hot tea and invented the art of sericulture and weaving.

Src: Silkworms, Invertebrate Welfare

An alternative is the story of 馬頭娘 / ma3 tou2 niang2 / "Horse-Headed Maiden," a girl who promised to marry her family's white horse if he brought her father home from war/kidnapping/going to the store for milk, which he did. Her father, not wanting a horse for a son-in-law, killed the horse, but when he hung its hide up to dry, it flew up, wrapped around the girl, and carried her away into a mulberry tree, where she was transformed into a silk-spitting, horse-headed silkworm. She then eventually ascended to the heavens and was worshipped as the goddess of silkworms. Records of this story appear in the Classic of Mountains and Seas, the Taiping Guangji, the Rites of Zhou, etc.

Beyond that story I'm sure I don't have to elaborate on the whole silk-clothes-hanfu thing :p

L: Domestic silkmoth, Bombyx Mori, Photo 369978040, (c) GD, all rights reserved, uploaded by GD, iNaturalist, April 2024 // R: Wild silkmoth, Photo 517391659, no rights reserved, iNaturalist, June 2025

In terms of design elements, domestic silk moths (bombyx mori) are leucistic, in comparison to wild silk moths (bombyx mandarina), which are brown. I tried to mimic the textured veins of the wings of the silkmoth in my design, as well as the fuzzy antennae, the thicker thorax, and the resting angle/general silhouette of the wings. Overall, I'm not sure how recognizable they are as silk moths, but I like that I was able to include this bit of detail.

Bird / Bat

It's a bird, it's a plane, it's a... bat?

Regardless of what it is, it's flying! I kept this shape ambiguous on purpose. Gulls flying over the sea are one option, given the ocean setting—the pointed tail and head would lend themselves to the shape of a beak and narrower tail feathers.

However, another possibility is bats. While they may seem like an odd choice, bats are also good-luck systems often depicted on woven fabrics and embroidery in Chinese clothing in varying levels of simplification.

Src: 乾隆青花粉彩桃蝠纹双耳抱月瓶, 满清文物中的传统吉祥纹样——蝠纹, Prince Kung's Palace Museum

Bats are considered lucky because of their name in Chinese, 蝙蝠 / bian1 fu2, or just 蝠 / fu2 in its bound form, which is pronounced the same as the character for good luck, 福 / fu2. They're incorporated into ceramics, textiles, carvings, paintings etc. in various levels of simplification and abstraction. I find that the most common indicator of a bat being depicted is the forward angled point of the wrist joint on its wing, which is sometimes pointed and sometimes just curved. My design does have a forward curve, but it's not very exaggerated, so it's sort of up to the viewer.

壽字 / The "Shou" Character

Above the longma there's a red circle representing the sun (Chinese depictions of the sun are usually more red than yellow) and the Oracle Bone Script (really old) version of the character 壽 / shou4. Shou is a word that means everlasting, long-lived, etc. It's technically a combination of a phono-semantic character (形聲字 / xing2 sheng1 zi4, aka one part of the character represents its sound, and another part represents its meaning) and a compound ideogram (multiple pictograms combined to create a scene related to the meaning).

Src: 寿字的源字形, 雲美名網

We can divide the character into two pieces: the top part, which is the character 老 / lao3 / "old," and the bottom part, which is an archaic form of the character 疇 / chou2 / "field." The 老 character represents the meaning, and it is a pictogram of an old person with a hunched back. In this ideogram, the person is leaning over the 疇 character like a cane. 疇 in this case functions as a phonetic indicator of the pronunciation of the whole character, shou, which is similar to chou. Later on the 壽 character became more common and culturally significant than 疇, so 疇 was retroactively changed into its own self-referential phonogram: 田 / tian2 / "crops" to denote its meaning and 壽 to denote its sound.

Culturally, the 壽 character is one of the most common good-luck character motifs used in Chinese designs, just like the 福 / fu2 / "luck" character (Chinese people just really wanna get rich, live a long time, and have good luck). The character is often stylized into three types of patterns: 長壽紋 / chang2 shou4 wen2 / "long shou pattern," 花壽紋 / hua1 shou4 wen2 / "flower shou pattern, "and 團壽紋 / tuan2 shou4 wen2 / "round shou pattern." They often appear on embroidery and fabric patterns throughout history as well.

L: 明 缂丝“十二章纹”皇帝衮服（复原件） 十三陵特区办事处藏, 理解自己的文明（16）：华服锦绣（下）｜图鉴, October 2024 // R: 壽字紋, 燎泽文创｜中国传统纹样之寿字纹, November 2025

The other thing is that 壽 is a homophone for the character 獸 / shou4 / "beast." In the Ming Dynasty nine-rank badge system, there are two categories of officials—civil and martial—with nine ranks each. Each rank/category combination was represented by an animal depicted on a badge they wore on their uniforms. The animals depicted for the civil ranks were all heavenly animals, like birds. The animals for the martial ranks, however, were earthly animals, or 獸. The dragon-like 海馬 haima sea-horse, representing the ninth rank martial official, is one of those—tying it all back together.

Okay I'm tired now, saving the rest for the next post!!! Hopefully won't put it off for like three months again x-x

Okay we're almost done! Just a fabric design post + concluding comments left! Also sorry for lack of pics in the first half making it really dense lol, the 30 image limit is lowkey killing me

Hanfu in Components: Sleeve Shapes (pt5)

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Review on sleeve structure (接袖/jie1 xiu4/sleeve connection) from part 2, structure conventions:

"Hanfu sleeves, on the other hand, are never connected at the armpit—they are connected halfway down the arm. In other words, the piece of fabric that forms the body extends to also cover the upper arm part of the sleeve. The actual sleeve piece is connected to the body at the bicep/elbow area via a flat seam. (In the case of half- or no- sleeve garments there might just not be a separate sleeve piece.)"

Sleeve pieces are also draped over the shoulder with no shoulder piece. Most sleeve shapes fall very roughly into the categories of小袖/xiao3 xiu4/'Small Sleeve' or 大袖/da4 xiu4/'Large Sleeve' types, though this can vary, and some sleeve shapes can be regarded as kind of a middle size, but there are so many ways to categorize them (size? Popularity? Chronology?), so here they are in no particular order.

I'm not gonna use pictures of clothing on people with this one, mostly because the shape is really hard to discern when the fabric draped and folds as hanfu is wont to do. Instead you get my shitty handwriting and graph paper drawings. Sorry.

直袖 / ZHI2 XIU4 / STRAIGHT SLEEVE

Very basic straight sleeve. It's a rectangle. Usually narrow (30-10cm wide in my experience in the industry), but there are also straight sleeves that are super wide (Famensi pishan, various Song beizi). The main requirement is that the bottom sleeve seam is parallel to the shoulder line. Pretty much timeless.

窄袖 / ZHAI3 XIU4 / NARROW SLEEVE

Synonymous with 箭袖 / jian4 xiu4 / 'Arrow Sleeve.' Very similar to a straight sleeve, but the sleeve cuff is slightly narrower than the root, so the line made by the sleeve seam is slightly tilted rather than straight across. The cuff is usually between 20-10cm wide, and the root is usually under 30cm. If the cuff is more than twice the width of the root I would be more inclined to call it a feijixiu (see below), but there's some overlap between these categories. Also pretty much timeless, usually used for inner layers or dailywear.

More specific names may describe variations of narrow sleeves like 羊腿袖/yang2 tui3 xiu4/sheep's leg sleeve from the Song dynasty, a super-narrow form-fitted narrow sleeve.

飛機袖 / FEI1 JI1 XIU4 / AIRPLANE SLEEVE

Can be considered a type of 窄袖, with a straight but diagonal sleeve hem. The cuff is typically about half the width of the root; the root is usually at least 25cm wide in my experience. 'Airplane sleeve' is a modern colloquialism that became popular because the sleeve's shape looks like an airplane wing.

This is very specific to Song Dynasty women's wear (and Yuan Dynasty women's wear, if you consider Yuan Dynasty hanfu). The artifact directly supporting this sleeve shape is the Huangshengmu zhaixiu duanshan.

垂胡袖 / CHUI2 HU2 XIU4 / DROOPING SLEEVE

Mid-width sleeve usually characteristic of the earlier dynasties, from the earliest times up to the Wei/Jin dynasties. Characterized by a fairly wide sleeve root and a narrower sleeve cuff, with a curved belly-like shape. The midpoint of the sleeve may or may not briefly widen beyond the width of the root before narrowing back down at the cuff, giving it a 'drooping' appearance.

廣袖 / GUANG3 XIU4 / VAST SLEEVE

Catch-all term for extremely wide-cuffed sleeves, commonly known as 大袖/da4 xiu4/large sleeve. Usually has a root of at least 30cm and a sleeve opening of 60-120cm. Present throughout most dynasties in different forms, most often as formal outerwear (大袖衫）in the Tang, Song, and Ming Dynasties. The shape connecting the

Most guangxiu from the Ming Dynasty are 廣袖收祛/guang3 xiu4 shou1 qv1/closed vast sleeves, meaning that the front of the sleeve is closed, sewn up to a small opening for the wrist to come through.

窄臂大袖 / ZHAI3 BI4 DA4 XIU4 / NARROW-ARM LARGE SLEEVE

Mostly specific to the Northern & Southern Dynasties, though I've seen a couple Tang figurines with similar silhouettes. Has a fitted sleeve root typically under 30cm, sometimes as narrow as 15-20cm, that opens up after the elbow to a wide 60-120cm sleeve opening.

琵琶袖 / PI2 PA2 XIU4 / PIPA SLEEVE

Mostly specific to the Ming Dynasty, an iconic sleeve shape named for its resemblance to the shape of a Pipa instrument, a plucked string instrument sort of like a lute. The sleeve root is normally between 30-45cm, opening up slightly to a maximum width of between 35-65cm, and then curving smoothly back up to a sleeve cuff normally between 10-25cm. Can vary wildly in size—there are 'small' pipa sleeves and 'large' pipa sleeves, with the large ones normally being part of formal outerwear.

弓袋袖 / GONG1 DAI4 XIU4 / QUIVER SLEEVE

Also mostly specific to the Ming Dynasty, can be considered a Pipa sleeve that doesn't widen far beyond the sleeve root, instead curving back up gently towards the sleeve cuff. Sometimes there's a pleat made at the root of the sleeve to help with movement. Often seen as a more convenient alternative to the Pipa sleeve. The quiver here is referring to the bag you put arrows in (not the movement 'quivering') because the shape looks similar.

半袖 / BAN4 XIU4 / HALF SLEEVE

The name 'half-sleeve' is actually fairly misleading, because most 'half-sleeve' garments are either closer to 1/3 sleeve or 3/4 sleeves. The important thing to remember is that short sleeve garments are almost always outerwear—with some exceptions (Tang mens banbi for example) they're usually meant to be worn over a long-sleeved inner layer. Ming Dynasty half-sleeves tend to be closer to 3/4 sleeves, some reaching almost to the wrist, but because long-sleeved Ming Dynasty garments often extend past the fingertips by a significant amount, you still get a decent amount of layering.

Half-sleeves may or may not have a 接袖/jie1 xiu4/sleeve connection piece; the sleeve may just extend out from the main body piece if the fabric width allows for it. They may be curved or linear, slightly flared (as with garments worn over pipa sleeves for example) or straight across.

無袖 / WU4 XIU4 / SLEEVELESS

Why stop at reducing sleeve length—get rid of them completely! Almost every dynasty has their own vest-like garment, whether it's the Ming Dynasty's 比甲/bi2 jia3, the Song Dynasty's 背心/bei4 xin1, or the Tang Dynasty's 唐褙子/tang2 bei4 zi0. Some may have a very small sleeve connection piece to extend the shoulder line outwards. Having a curved arm opening with a narrow shoulder width is very uncommon before the Qing Dynasty but not completely unheard of.

Note: Sleeve Construction

Just so you can see how these pieces actually look in the context of hanfu construction: this is fairly similar to how modern sleeves are made. The sleeve piece is just a mirrored double of how the sleeve looks from the front, you cut the whole thing out, drape it over the shoulder and then sew the bottom together.

Ok I procrastinated on this post for weeks but it is finally done!!! There are definitely some sleeve shapes that I didn't list out here, but most other shapes can be described as variations on the most common ones. Shoot me an ask if there's a sleeve shape that you really want to know about and I'll add it, or if you're having trouble identifying one :)

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Hanfu in Components: Hanfu Anatomy, Tops (pt 3.1)

Now that you know about the names of different garments, what about the parts of each garment? There are so many confusing terms!!! I gotchu :>

When looking at hanfu and parts of hanfu, it can help to see how the garment is constructed. To do that, we have to look at the pattern of the garment. Sewing patterns are the templates that tell sewists how to cut their fabric into the shapes that are needed to make their clothes. Hanfu sewing patterns are fairly standard. They look roughly like this.

(blue = shoulder fold line // red = center front // green = center back)

To help you understand how this all comes together, when defining different parts of hanfu anatomy, I'll show it on the sketch above, and also on photos of people wearing hanfu, highlighted in green.

身/SHEN1/BODY

This refers to the body of the garment—the part that would cover your torso. Typically there are two pieces of cloth making up the body: one on the left and one on the right.

Once again, one of hanfu’s main defining characteristics is that traditionally, THE SAME PIECE OF FABRIC MAKES UP THE FRONT AND THE BACK. There is no shoulder seam separating the front and back of the garment.

袖/XIU4/SLEEVE

袖 means sleeve (in both technical and colloquial terms). There are many shapes that the sleeve can take: they can be narrow like normal clothing or they can be big and dramatic like the kind you see in cdramas. Like the body, there is no seam separating the front and back of the sleeve—the sleeve piece is draped over the arm and sewn together at the bottom. Another important characteristic is that the sleeves are joined to the body at the bicep or elbow area, NOT at the shoulder. (Short or half-sleeve tops might not have a separate sleeve piece.)

領/领/LING3/COLLAR

領 means collar (in both technical and colloquial terms). This can refer to two things: one, the general shape of the neck area (round, square, standing, cross etc.) and the actual strip of fabric that is attached at the neck to form the collar.

襟//JIN4/LAPEL

This can be translated as collar or lapel; I choose to say lapel to distinguish it from 領. This refers to the area where an open-front top would open. It’ll look different based on the collar type—generally a 對襟/对襟/dui4 jin4/parallel collar top’s jin coincides with the front centerline.

With a 交領/交领/jiao1 ling3/cross-collar top, however, it would coincide with the outer edge of the collar. (Will have a more detailed post about this later.)

下擺/下摆/XIA4 BAI3/HEMLINE

Refers to the bottom hem of the garment. 下 means down/bottom. Note that 擺 can refer to different things in different contexts. If you see someone talk about the 下擺 of a top, they’re talking about this bit.

The following terms only apply to a subsection of hanfu tops and may have fewer images as a result.

衽/REN4/LAPEL EXTENSION

This one is a little harder to translate. Applies to non-parallel lapel tops like cross collar, diagonal-lapel standing collar, and overlapping round collar garments. It’s an extension of the BODY piece on the front, sewn to the vertical center front seam, that overlaps over the other side. (Will have a more detailed post about this later.)

衩/CHA4/VENT

Also called vents or slits—an optional open slit, usually made on each side of a longer shirt or robe, to allow for ease of movement. Might be combined with the word 開/开/kai1/open to form the phrase 開衩/开衩/kai1 cha4/open slit. Mostly applies to longer robes or tops, where the length reaches the knee, so that you don’t have issues with walking.

襴/LAN2/WAIST EXTENSION

Also a little harder to translate. This only applies to 襦/ru2/Ru tops and 襴衫/襕衫/lan2 shan1/Lanshan robes, plus some varieties that were derived off of those two. The 襴/襕/lan2 is an extra rectangle of fabric appended to the bottom of a shirt/top to extend its length. It can be made of a contrasting fabric or the same fabric, and often has pleats on the sides to allow for movement. (Will have a more detailed post about this later.)

緣/缘/YUAN2/TRIM

Refers to the trim or decorative contrasting bits on a piece of clothing. Specific location goes in front of the character. For example, 袖缘 means sleeve trim, aka the cuff. Some specific trims might have their own special names but that’s for another post.

Later post about skirts/pants to come soon!

Made a few traditional Chinese patterns. Free for use :)

Download transparent PNGs below

[Hanfu · 漢服]China Tang Dynasty Chinese Traditional Clothing Hanfu Reference to Tang Dynasty Dunhuang Mogao Grottoes Murals 【佳期阁-观海2.0（Pink）】

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9 mooncake motifs 🥮

Chinese traditional patterns. 🧶🧵

Bird, Tiger, Serpents and a Pair of Antlers: Warring States Art Device

Another remarkable sur of the pre-Taoist period.

The sculptural group is dominated by a mighty Bird, whose wings are complemented by antlers. Some have rashly classified it as the Phoenix, according to another version it is a Crane. However, I would warn against light-minded ornithological typing. The thumbnail Tiger serves as a pedestal for the Bird, pressing two serpentine bodies with its paws. The coiled snakes are devouring a pair of fliers.

The artifact may turn out to be a drum stand common at the time. Other figurines of antlered birds standing on tigers are known. This common motif unites the spiritual animals of the Lower and Upper Worlds. The amalgamous zoomorphic imagery is probably of shamanic origin.

Antlered and winged beings were also a widespread pattern in depiction of the zhenmushou (鎮墓獸), tomb guardians. The solemn or ferocious creatures served as the owner's spiritual animals in the afterlife and guides on the ascent to Heavens.

The entire lacquered wood sculpture group is painted black with subtle gold and red ornamentation. The object was unearthed from the Tomb No. 1 in Jiuliandun (九連墩1號墓), Zaoyang, Hubei. Now it is in Hubei Provincial Museum (湖北省族館).

Photo: ©湖北省族館

Woman’s Jacket with Manchijiao Pattern of Lotus Pond and Other Vignettes, dated to 1312, Yuan dynasty of China

Silk embroidery on purple silk gauze. Vignettes cover the front & back of the jacket in an offset pattern. A poem by Ke Jiusi (1290–1343) names the pattern manchijiao (“pond of beauty”), which he notes is a common design on imperial garments during the Tianli reign (Source).

【Artifact Reference】:

Wei and Jin Dynasties Relics：<”Ladies Unboxing” Portrait Bricks/ 仕女开箱画像砖>,Gaotai County Museum Collection

【Fabric Pattern Reference】

Han Dynasty Brocade, Silk Relics <如意云气锦>，<凤鸟纹绢> & <烟色菱纹罗地 >

※ Han Dynasty is close to Wei and Jin Dynasties

[Hanfu・漢服]Chinese Wei and Jin Dynasties Traditional Clothing Hanfu,Hairstyle & Makeup

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[Hanfu · 漢服]China Tang Dynasty Chinese Traditional Clothing Hanfu & Hairstyle Based On Tang Dynasty Painting and Relics- 唐·圆领袍装束

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Anon may find relevant & useful tutorials in my “hanfu making” tag.

对襟上襦 | Dui Jin Shang Ru Instructions Part 2

Source: https://www.newhanfu.com/15638.html#Qi_Xiong_Shang_Ru_qi_xiong_shang_ru

Part 1: https://www.tumblr.com/blog/view/yi-gege/655982888358166528?source=share

第四步 | Step 4

做完第三步之後 在另一半生用一樣的方法把袖子跟袖口連到另一半身。

把两半对好，確定兩個正面是在對面的。在下面剪出一個小三角形的形狀。

缝在一起。要在三角形開始的地方停。

要记得留够的布让你自己能够处理边边 除非你有一个拷边机

縫完要燙。

Once you have completed step 3 (see link), do the same process on the other side of the body to connect the other arm and cuff piece.

When that is completed, fold the two body pieces in half, right sides together, leaving yourself enough seam allowance to seal the seam (I prefer at least 1 cm seam allowance to be able to fold both halves in and sew that shut, but it may be easier for you to do more, or simply use a serger). Cut a slit in the side as in the title picture, and then sew the two halves together (A and B). Stop where the slit begins.

把三角形拉成一条直的线 往内折两次 然后缝下去

Sew the slit as you would a plackett. i.e., sew the seam that you have folded up until the slit you have cut begins, pull the slit so that it lies in a straight line, fold it inside twice, and sew straight across. Take care of the raw edges and iron.

如果你發現腋窩那邊不平的話把裡面哪裡的縫份剪幾次 然後處理剪過的地方。

To get rid of the puckering around the armpit, cut small slits on the inside seam allowance around the curve, and back stitch the places you have cut to prevent unraveling. 

第五步 | Step 5 Connecting the Body Pieces

我們到這裡全部的邊邊（除了背的那一條線跟領子）應該都處理好了。把兩片生體從背的那一條線縫在一起 確認縫的時候是兩個正面在彭對方。處理好縫份。

At this time, all raw edges except for the collar and back should be finished. Place the two body pieces on top of each other, lining up the seam that will go in the middle of the back with its mirror. Sew the two pieces together. Take care of the raw seam.

把領子的那一片折一版熨燙好。正面應該在外面。

熨燙後把他打開然後再來把領子縫上脖子。脖子現在應該有一個長方形的形狀。在90°往下跑的兩條左邊跟右邊的線的角角剪一點點。跟縫袖口的三角形一樣把一整條啦成直線，把領子的哪一片放上去（正面是在碰對方的）然後縫。繼續把他往內則一半， 然後把最後面的縫份往內則然後縫起來。我喜歡在這裡用手縫所以外面看不到你縫得閒但如果你沒辦法的話那用機器也沒關係。

最後面在領導裡面胸口的大概的位子縫兩條線讓你以後呢個夠把兩半綁在一起就好了。我那裡也喜歡用手縫 一樣的原因。燙好之後應該就完成了。

Then, connect the collar. To prep, first iron the collar piece in half longways, with the wrong sides touching. Then, open it back up.

Cut slits on the two side of the neck where the cloth starts to curve to come around the front of the body (the 90 degree angles of the neck piece), stretch it so that it lies straight, line up the collar piece right sides together, and sew straight across. Make sure that the cut slits are not exposed on the outside.

Similar to how we connected the cuffs, fold the collar in along the ironed line, pinning it so that it doesn’t move. Then, fold the seam allowance in and then stitch it shut. I prefer to hand sew this so that there are no seams visible on the outside, but if you are unable to or don’t want to, it is fine to top stitch it with the machine.

The Dui Jin Shan should be finished after you sew two ties to the inside of the collar, around the chest. I like to hand sew here for the same reason as before.