Hubbry Logo
PaofuPaofuMain
Open search
Paofu
Community hub
Paofu
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Paofu
Paofu
Paofu
View on Wikipedia
from Wikipedia
Paofu
Men and women dressed in jiaolingpao (cross-collar robe), Han Tomb Mural, Luoyang
Zhao Mengfu wearing a yuanlingpao (round collar robe), dated 1296.
Chinese name
Chinese袍服
Literal meaningGown or robe
Transcriptions
Standard Mandarin
Hanyu PinyinPáofú
Pao
Chinese袍
Transcriptions
Standard Mandarin
Hanyu PinyinPáo
Yue: Cantonese
Jyutpingpou4
Korean name
Hangul포
Hanja袍
Transcriptions
Revised RomanizationPo
English name
EnglishRobe/ Chinese robe

Paofu (Chinese: 袍服; pinyin: páofú; lit. 'robe'), also known as páo (袍; 'robe')[1][2]: 90  for short, is a form of a long, one-piece robe in Hanfu, which is characterized by the natural integration of the upper and lower part of the robe which is cut from a single fabric.[3] The term is often used to refer to the jiaolingpao and the yuanlingpao.[2]: 90  The jiaolingpao was worn since the Zhou dynasty[1] and became prominent in the Han dynasty.[4]: 13  The jiaolingpao was a unisex, one-piece robe;[5]: 234  while it was worn mainly by men, women could also wear it.[4]: 12  It initially looked similar to the ancient shenyi; however, these two robes are structurally different from each other.[4]: 10–13  With time, the ancient shenyi disappeared while the paofu evolved gaining different features in each succeeding dynasties; the paofu continues to be worn even in present day.[4]: 14  The term paofu refers to the "long robe" worn by ancient Chinese,[4]: 15 [6]: 217 [7] and can include several form of Chinese robes of various origins and cuts, including Changshan, Qipao, Shenyi, Tieli, Zhisun, Yesa.

Terminology

[edit]
See also: Ru (upper garment)

The term paofu (袍服) is composed of the Chinese characters pao (袍), which literally means "robe", and fu (服) which literally means "clothing". The character pao (袍) is the same character which is used as an abbreviated synonym of paofu.

The Chinese character 袍 can be found in ancient texts dating prior to the Qin and Han dynasties, such as in the Lun Yu (論語).[8] According to the Guangyun, the character 袍 can also refer to the chángrú (长襦; 長襦; 'long jacket').[9] The term changru which appear in the ancient texts has been described as the precursor of the chang ao by scholars.[10]: 48–50 

Naming based on design

[edit]

There are different types of paofu, which can be referred by different names and terms based on its style, cut, length, and specific features.

The term changpao is a generic term which refers to robes which are long in length and can include different forms of long robes, such as the ancient shenyi, the yuanlingpao.[4]: 14 

There are also specific terms which is used to described pao with or without lining or padding: for example, jiapao and mianpao,[4]: 12  yunpao (縕袍; 'hemp robe') which is robe quilted with hemp.[11]

There are specific types of paofu, which can be named based on their specific cut, construction, accessories, and wearing styles, are the:

  • Baoyi bodai – a simple, loose-fitting robes with long, open sleeves, a style worn by men which provided a carefree look to its wearer.[4]: 14 
  • Daopao
  • Guipao[4]: 14 
  • Jiaolingpao – long robe with a cross-collar closing which closes to the right; worn since the Zhou dynasty.[1]
  • Panling lanshan vs Yuanlingpao vs Fanlingpao
  • Longpao (龙袍) – dragon robe.
  • Xi (襲) – an ancient term used to refer to the paofu which closed on the left side in a style called zuoren (左衽袍) as defined by the Shuowen jiezi.[12] It was typically worn by a deceased person.[13]
  • Zhiduo vs Zhishen

Construction and design

[edit]
Main article: Garment collars in Hanfu
A daopao, a form of paofu with a youren closure, Ming dynasty

The paofu and the shenyi are both one-piece robes as an result.[4]: 14  However, the difference between those two is the cut and construction of the garment.

The shenyi is composed of two parts: an upper garment called yi and a lower garment called chang, which are then sewn together into a one-piece robe;[4]: 10  and therefore, there is the presence of a middle seam where the two parts were connected together. The paofu, on the other hand, has its upper and lower part made out of a single fabric leading to the absence of middle seam between the upper and lower part.[3]

Typically the paofu closes on the right side in a style called youren and was a very important symbol of cultural identity for the Han Chinese.[14] The paofu could also be found closing on the left style called zuoren. The paofu with a zuoren closure was generally associated with the dress of ethnic minorities and the Hufu;[14] however, they could also be the funeral dress of the Han Chinese.[14] It was also a possible for some living Han Chinese to adopt paofu with a zuoren closure in geographical areas which were ruled by foreign nationalities.[15]

History

[edit]

Zhou dynasty

[edit]
Eastern Zhou silk painting featuring a man wearing shenyi and a guan with a dragon.

In the Zhou dynasty, paofu was one of the basic clothing worn by the Han Chinese people, along with the Chinese trousers, called ku.[1] The style of paofu which was widely worn in this period is the jiaolingpao, which was a long robe with an overlapping front closing on the right side, a style called jiaoling youren.[1] The jiaolingpao was made with 2-length of fabric which started from the back hem and continued down to the front hem without discontinuity over the shoulders; they were then sewed at the central region of the back and under the arms which often allowed for side vents on the lower side seams to be formed.[1] To form the sleeves, 2 additional pieces of fabrics were sewed together at the shoulder regions of the garment.[1] It was left open in the front, and it could be closed at the waist with a tie or with a belt.[1] Other pieces of fabric could be added to make the width at the sides bigger or to create the overlapping front of the robe.[1]

Han dynasty

[edit]
See also: Shenyi
Woman wearing a floor-length jiaolingpao revealing her undergarments, Han dynasty.
A male servant wearing a mid-calf length jiaolingpao, Han dynasty.
Reconstruction of Han dynasty shenyi.

The jiaolingpao became a prominent form of attire in the Han dynasty; it was mainly worn by men, although it was sometimes worn by women. Even with the rising popularity of jiaolingpao, women continued to wear shenyi.[4]: 12  In the Han dynasty, jiaolingpao was typically worn by the members of royalty and by the aristocrats as an outerwear.[16] It was also the uniform of government officials.[16] Around the 206 BC, the jiaolingpao worn by elders had large sweeping sleeves which would be tied tightly to the wrist.[17]: 529  The jiaolingpao could be found in different length; the jiaolingpao, which could reach down to the ankles, were usually worn by scholars or elderlies whereas knee-length jiaolingpao were worn by warriors and heavy labourers.[4]: 13 [6]: 217  Elderlies started to wear the ankle-length jiaolingpao after 206 BC.[6]: 217 

The jiaolingpao in the Han dynasty had linings; and it could be called jiapao or mianpao based on whether it was padded.[4]: 12 [5]: 234  It was padded or quilted for warmth.[6]: 217  The sleeves were typically very wide and would become cinched at the wrists.[4]: 12–13  The collar was jiaoling youren, and it was cut lower than the shenyi, and it was also low enough to expose the undergarments of its wearer.[4]: 13 [5]: 234  It was also typically decorated with an embroidered dark-coloured band at the collar, front hem, and at the wrists.[4]: 13 

Wei, Jin, Northern and Southern dynasties

[edit]
Main articles: Yuanlingpao, Panling Lanshan, and Swallow-tailed Hems and Flying Ribbons clothing

By the Wei, Jin and Northern and Southern dynasties, the jiaolingpao of the Han dynasty evolved into the bāoyī bódài (褒衣博带; 褒衣博帶; 'loose clothing long belt') and into the more complex and elaborate women's paofu, guipao.[4]: 14 

Baoyi bodai

[edit]
Baoyi bodai-style paofu from the Seven Sages of the Bamboo Grove, a tomb of the capital region of the Southern dynasties (5th-6th. c.).

The baoyi bodai was a type of loose paofu with long ribbons for men.[4]: 14  The baoyi bodai gave its wearer a casual and simple appearance.[4]: 14  Loose type of clothing was often worn during leisure times as found in the depictions of the Seven Sages of the Bamboo Grove where men had their upper clothing open, allowed their inner garment to be exposed, a knotted belt or sash which would tied to the upper garment at the chest level, and their skirts and lower garment would be held by a belt made of clothing which would be knotted at the front of the lower garment.[18]: 315 

Men wearing loose jiaolingpao depicted in the Nymph of the Luo River by Gu Kaizhi
Loose jiaolingpao with large sleeves, by Gu Kaizhi.[19]: 58 

The baoyi bodai-style appears to have been a Northern Chinese style instead of a Southern Chinese style.[18]: 315  The baoyi bodai-style eventually became fashionable in the South.[20] Loose jiaolingpao with flowing, loose sleeves was a popular style among men from diverse social strata in the Eastern Jin and in the Southern dynasties period; a bixi was sometimes attached to the waist of the paofu.[19]: 56 

The baoyi bodai style also appeared on the images of Buddha which dates from the late 5th century AD.[18]: 315  The baoyi bodai style appears to have been a direct consequence of Emperor Xiaowen's Sinicization reforms in 486 AD.[20] The popularity of the baoyi bodai style was very high, and it eventually replaced the Indian-style clothing (i.e. sanghati) which used to be depicted on the Buddha.[21]: 435 [20]

Sui and Tang dynasties

[edit]
A woman wearing a jiaolingpao, Tang dynasty

In the Tang dynasty, the jiaolingpao evolved into a paofu with a round collar,[4]: 14  referred as yuanlingpao or panling lanshan. However, Tang dynasty women also continued to wear long and loose jiaolingpao which was tied and knotted with a large sash at the hipline.[22]: 4 

Song dynasty

[edit]

Yuan dynasty

[edit]

Ming dynasty

[edit]

In Ming dynasty, the jiaolingpao continued to be worn by commoner men; it was worn with an undershirt, loose trousers (ku), and a sash around the waist.[22]: 28  Other specific forms of paofu also coexisted such as: daopao, yuanlingpao, zhiduo, zhishen, and panling lanshan, etc.[23]

Qing dynasty

[edit]
Main article: Qizhuang

Derivatives and influences

[edit]

Japan

[edit]

The kimono was based on a type of Chinese pao which was popular in the 8th century AD Japanese court.[24]

Korea

[edit]

Chinese-style po (Korean: 포; Hanja: 袍; RR: po; MR: p'o) influenced by the Han dynasty coexisted together with the native Korean po during the Three Kingdom period.[16] The po influenced by the Han dynasty either had a straight collar crossing at the front, which is referred as jingnyeong gyoim (Korean: 직령교임; Hanja: 直領交衽; RR: Jiknyeonggyoim), or had a straight collar which does not overlap at the front, which is referred as jingnyeong daeim (Korean: 직령대임; RR: jingnyeongdaeim); the sleeves of the Chinese-style po were also long enough to cover the back of the hands; the robe could reach the ankle-level or longer, and could even trail on the ground.[16]

During the Goguryeo period, a form of paofu, which was the precursor of the durumagi, was adopted and worn by the upper class of Goguryeo in various forms for ceremonies and rituals.[25]

The dallyeong (Korean: 단령; Hanja: 團領; RR: dallyeong; MR: tallyŏng) originated from the Chinese's yuanlingpao; it was introduced from the Tang dynasty was introduced during the Silla period.[16]

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Paofu

View on Grokipedia
from Grokipedia
Paofu (袍服), also known as páo fú, is a traditional style of Chinese robe characterized by its loose, long silhouette, wide sleeves, and encompassing various subtypes such as crossover front (jiaolingpao) and round-collar (yuanlingpao) forms, which developed during the and became prominent during the (206 BCE–220 CE) and persisted as a fundamental garment in Chinese attire through later dynasties up to the Qing period (1644–1912). Typically constructed from materials such as , , or , paofu robes featured practical elements like tight wrist bands, plain collars, cuffs, and hems, making them suitable for both everyday wear and ceremonial occasions by men and women across social classes. This robe style, sometimes referred to as jiapao or mianpao, often included padded variants filled with silk floss for warmth, distinguishing it from lighter, unpadded forms. Originally denoting wide and long garments with padded linings, often silk floss for warmth, the term later broadly encompassed various loose, flowing robes in Chinese fashion. The evolution of paofu reflects advancements in textile production and cultural norms during the Han era, where it symbolized social hierarchy and power, with sumptuary laws restricting luxurious silk versions—such as brocades, gauzes, and damasks—to royalty and elites, though violations were common among the upper classes. Archaeological evidence from sites like the Mawangdui tombs near , dating to the Western Han (circa 168 BCE), reveals over 100 preserved textile items, including paofu-style robes up to 32 meters in due to bias cuts and expansive sleeves, showcasing sophisticated weaving techniques like warp-faced tabby with floats (qi) that predated similar European methods by over a millennium. These garments incorporated vibrant natural dyes—over 30 colors derived from sources like for red and for blue—and symbolic motifs such as dragons, clouds, bats (representing ), and chrysanthemums (symbolizing ), which denoted rank and were produced in state-controlled workshops employing up to 1,000 workers under emperors like Wudi (r. 141–87 BCE). Paofu's significance extended beyond aesthetics to economic and diplomatic roles, as silk robes served as high-value trade goods along the —evidenced by Han-era fragments found in from the 1st century CE—and as gifts in , bolstering China's global influence while supporting a taxed that fueled imperial finances. In ritual contexts, paofu appeared in both life ceremonies and funerary practices, with layered ensembles in elite burials underscoring Confucian values of propriety and continuity. Related earlier garments like the —a deep-wrapped combining upper and lower parts—influenced the development of paofu styles, cut on the bias for fluid movement and fully covering the wearer.

Terminology and Variants

Etymology and Naming

The term paofu (袍服) combines the characters pao (袍), denoting a robe or , and fu (服), signifying or garment in general. The character pao originally referred to a padded or wrapped inner garment, derived from bao (包), implying something enclosed or wrapped for warmth. This nomenclature first emerges in classical texts from the Eastern Han period, notably in Liu Xi's Shiming (釋名, ca. 2nd century CE), which classifies robes with cuffs (pao) as distinct from sleeveless or cuffless upper garments (yi or shan). In the Shiming's section on , pao is described as a garment emphasizing integration and envelopment. Naming conventions for paofu variants often reflect structural features, such as jiaolingpao (交領袍, cross-collar robe), which indicates a V-shaped or intersecting collar design, and yuanlingpao (圓領袍, round-collar robe), denoting a mandarin-style circular collar. These terms highlight the robe's collar type as a key identifier, evolving from broader Han-era descriptions. Paofu is further distinguished from the (深衣, deep garment), a one-piece robe formed by sewing separate upper and lower sections together, whereas paofu is typically cut from a single cloth without a central seam for seamless integration. Over time, the terminology adapted to include casual subtypes like baoyi bodai (袍衣帛帶, robe with silk belt), which emerged as informal variants in later periods, particularly in Buddhist and Taoist contexts.

Key Subtypes and Distinctions

Paofu encompasses several primary subtypes distinguished by collar style, closure, length, and intended use, each reflecting variations in formality, functionality, and social context within Hanfu traditions. The jiaolingpao, characterized by a cross-collar design with right-over-left closure, serves as a formal robe often worn by officials and elites, featuring wide sleeves and a structured front that emphasizes hierarchy and ritual propriety. In contrast, the yuanlingpao employs a round collar for a more streamlined appearance, commonly adopted by officials in court settings, with moderate sleeve widths and elegant lines that align with principles of balance and restraint. The changpao extends to ankle length as a versatile long robe suitable for daily wear, integrating seamlessly as a one-piece garment without the separation seen in other ensembles. Meanwhile, the jiapao incorporates lining or padding for winter use, providing insulation while maintaining the robe's overall silhouette, often layered over undergarments for added warmth. These subtypes differ fundamentally from other Hanfu forms, such as the , which consists of a separate (ru) and () ensemble, allowing for modular layering but lacking the unified, one-piece construction of paofu that fully envelops the body from shoulders to ankles. Among paofu variants, the baoyi offers a loose, casual fit with open sleeves for everyday comfort, prioritizing simplicity and ease over ornamentation. Functional adaptations further diversify paofu, including the panling lanshan, a Tang-influenced subtype of the yuanlingpao, features a pleated hem resembling a for enhanced mobility, typically in lighter colors with dark edging, and was favored by scholars for its balance of formality and practicality in academic or official contexts.

Design and Construction

Structural Elements

The paofu is constructed as a one-piece garment sewn from rectangular panels of fabric, typically cut from a single width to form straight, untailored sections that drape naturally over the body, without a central vertical seam that would divide the front and back. This design contrasts with the wrapped structure of the , emphasizing simplicity and flow in its overall form. The length of the paofu generally extends to the ankles for individuals of higher status or in formal contexts, while shorter variants reaching the knees were common for everyday wear among commoners. The garment achieves its fit through a wrap-style closure and a belt at the , secured by ties, sashes, or simple bands to gather the loose fabric. For men and formal occasions, the paofu employs a youren closure, where the left side overlaps the right at the chest, facilitating ease of . In contrast, a zuoren closure—with the right side overlapping the left—is used during funerals to signify . Sleeves are characteristically wide, measuring approximately 1 to 2 feet across, allowing for graceful movement and an air of elegance. Hems on the paofu are typically straight for a clean , though subtle curves appear in some variations to enhance drape. Cuffs may be present in pao-style robes, often tied or finished for a structured wrist, whereas certain yi variants omit them for a more open end. Insulation is provided through layered , where multiple panels are sewn together without separate linings, sometimes padded for warmth in colder conditions. Subtypes such as the jiaolingpao incorporate cross-collar elements that influence the overall collar style while maintaining the core rectangular form.

Materials and Variations

Paofu garments were primarily constructed from for elite wearers, often in plain weaves or elaborate embroidered forms, reflecting its status as a luxurious and versatile produced through . and served as staple fabrics for commoners, valued for their durability and ease of production from plant fibers, with providing a sturdy texture suitable for everyday use. In colder climates, jiapao variants incorporated or linings to provide insulation, enhancing comfort without altering the robe's fundamental structure. Natural dyes derived from sources such as for blue hues and madder for reds were applied to these fabrics, yielding vibrant yet durable colors that withstood time, as evidenced in archaeological textiles. Sumptuary laws rigorously regulated color usage in paofu, reserving exclusively for the emperor to denote imperial authority and associating with formality for use by officials, elites, and commoners. motifs, including clouds and dragons, adorned higher-status garments to signify rank, with dragons featuring clawed designs limited to under legal constraints. Seasonal adaptations included padded jiapao for winter, incorporating thicker linings of or to retain warmth while maintaining the robe's flowing . Regional differences influenced fabric choices, with thicker and prevalent in northern to combat harsher , contrasted by lighter and in the warmer for . Gender variations extended to sleeve design, where women typically wore wider s to accommodate layered undergarments and enhance aesthetic flow, differing from the narrower cuffs often seen in men's paofu. These adaptations relied on the structural principle of using single-width fabrics without central seams, allowing seamless draping across body types.

Historical Development

Origins in the Zhou Dynasty

The Zhou Dynasty (ca. 1046–256 BCE) witnessed the initial emergence of paofu as a core element of Han Chinese attire, transitioning from earlier separate upper and lower garments to more integrated robe styles. The jiaolingpao, characterized by its cross-collar (jiaoling) design with the right lapel overlapping the left, is first documented in the Zhouli (Rites of Zhou), an ancient text outlining bureaucratic and ritual systems, as a unisex garment that supplanted prior wrapped or draped forms like the yi (upper tunic) and shang (skirt). This robe was secured with a belt known as dai, facilitating both practical daily wear and formal ceremonial functions across genders. In its early form, the paofu exhibited variations in length and construction suited to the wearer's role and status. Ankle-length versions were typical for elders and ceremonial contexts, providing modesty and dignity, while knee-length jiaolingpao were adopted by warriors and laborers for mobility during combat or physical tasks. Constructed as an outer layer over an inner yi, the robe featured wide sleeves and a loose , with the cross-collar closure ensuring a secure yet flowing fit. Materials reflected : , prized for its sheen and durability, was reserved for and officials, often produced in state workshops, whereas or served commoners due to their affordability and availability as tax fibers. Paofu held broad social utility during the Zhou era, worn across classes yet subject to strict rank-based restrictions under sumptuary laws that governed colors, patterns, and embellishments to reinforce . Nobles donned elaborately woven versions with symbolic motifs like clouds or animals, echoing Confucian ideals of cosmic , while lower classes adhered to plain garments to avoid legal penalties. Archaeological evidence from Zhou vessels and artifacts depicts figures in cross-collar robes, confirming the style's prevalence in and settings, and underscoring paofu's role in embodying and cultural continuity. The term "pao" itself derives from ancient descriptors for enveloping robed garments, highlighting its foundational place in Chinese sartorial terminology.

Prominence in the Han Dynasty

During the (206 BCE–220 CE), paofu emerged as the standardized form of elite attire, becoming the primary garment for royalty, officials, and scholars, symbolizing and Confucian propriety in and scholarly settings. These robes were typically ankle-length, crafted from luxurious deep red to denote imperial and high-ranking status, with sumptuary laws enforcing their exclusivity to prevent lower classes from adopting such materials and hues. In contrast, military personnel, including warriors, wore shorter knee-length variants overlaid with iron or leather armor for practicality in combat, reflecting the garment's adaptability across social and functional roles. A pivotal advancement occurred under (r. 141–87 BCE), who elevated paofu's prominence through expansive sumptuary codes that regulated fabric quality, colors, and embroidery to reinforce hierarchical distinctions, while simultaneously boosting production via state workshops employing up to 1,000 workers to yield around 10,000 bolts annually. These policies not only standardized paofu as a marker of elite identity but also integrated it into diplomatic exchanges, such as gifts to Central Asian rulers, enhancing its cultural and economic value. Building on precursors, the Han era refined paofu's construction with innovations like drawlooms for intricate brocades and spinning wheels that increased thread efficiency by 15–20 times, allowing for more elaborate designs. Archaeological evidence from the tombs, excavated near and dating to approximately 168 BCE, underscores paofu's sophistication, revealing embroidered jiaolingpao—cross-collared variants—with phoenix motifs symbolizing and auspiciousness, woven in over 20 vibrant colors using gold and silver threads. These finds, including Lady Dai's ensemble of layered robes totaling 32 meters in length and weighing as little as 49 grams per gauze piece, illustrate the garment's peak artistry and its role in elite funerary practices. Paofu's usage expanded to incorporate practical elements, with men pairing the robe over (ku) for mobility, particularly in official or equestrian contexts, while women's versions emphasized elongated, flowing silhouettes layered over skirts to accentuate grace and status. This gender-specific adaptation maintained the robe's versatility, ensuring its dominance in both daily elite life and ceremonial functions throughout the dynasty.

Transformations in Wei, Jin, and Southern Dynasties

During the Wei, Jin, and Southern Dynasties (220–589 CE), paofu underwent significant transformations amid political fragmentation and cultural exchanges, shifting from the formalized styles of the preceding toward greater diversification and casualization. This period of instability fostered a more relaxed aesthetic influenced by philosophical movements like , which emphasized natural freedom and introspection, leading to looser silhouettes that prioritized comfort and mobility over rigid hierarchy. Building on Han prominence as a baseline of structured robes, paofu evolved to incorporate nomadic elements from northern ethnic groups, resulting in practical adaptations suitable for a turbulent era. Key innovations included the emergence of baoyi bodai (抱衣帛帶), a loose secured with a wide belt, which became popular as casual attire among scholars and elites, reflecting an elegant yet unrestrained . In the Wei Dynasty (220–266 CE), hems were shortened for enhanced mobility, allowing greater ease in daily activities during times of warfare and migration. By the Jin Dynasty (265–420 CE) and into the Southern Dynasties, sleeves widened dramatically—often described as "one sleeve like two" for their voluminous flow—influenced by nomadic styles such as those from the and , which introduced broader cuts for practicality in horseback riding and cooler climates. For women, guipao emerged as a distinctive variant, featuring intricate swallow-tail hems, cascading patterns, and decorative pendants, blending Han traditions with these external motifs for ceremonial and everyday wear. These changes were deeply tied to social shifts, particularly among intellectuals in "Pure Conversation" (qingtan) circles, where paofu symbolized detachment from political strife and alignment with Daoist ideals of spontaneity; scholars donned baoyi bodai in informal gatherings to embody this ethos. Evidence of layered paofu appears in murals from the period, depicting figures in multiple flowing robes with wide sleeves and belts, illustrating the fusion of Han and nomadic elements in elite and religious contexts. This casualization not only democratized paofu across genders but also set the stage for further stylistic experimentation in subsequent eras.

Innovations in Sui, Tang, and Song Dynasties

During the (581–618 CE), the reunification of under Emperor Wen facilitated the standardization of paofu styles, particularly the yuanlingpao (round-collar robe), which became the prescribed formal attire for officials and extended to various social classes as a marker of imperial order and cultural synthesis. This garment, featuring a neat round collar and straight silhouette, integrated elements from northern nomadic influences, such as practical layering, while emphasizing elegance through fabrics adorned with composite floral patterns inspired by and lotus motifs from . These designs symbolized wealth and completeness, reflecting the dynasty's brief but influential role in bridging earlier fragmented styles with the cosmopolitan prosperity of the Tang . The (618–907 CE) marked a peak of innovation in paofu, driven by the era's openness to foreign influences along the , resulting in more graceful and expressive forms that blended Han traditions with Central Asian elements. For men, the panling lanshan (pleated round-collar robe) emerged as a key style, characterized by a reinforced horizontal band at the hem for durability, wide yet structured sleeves, and bordered collars that allowed greater mobility while maintaining formality; this garment was favored by scholars and officials for its balance of aesthetics and function. Women's paofu evolved with high-waisted skirts () paired with short, embroidered jackets (ru), accentuating the figure through flowing and intricate floral on , often in vibrant hues like crimson and gold. (r. 690–705 CE) notably popularized luxurious variants, as evidenced by her donation of an embroidered skirt to the , which showcased advanced weaving techniques and symbolized imperial opulence and Buddhist piety. In the (960–1279 CE), paofu designs shifted toward practicality and restraint, influenced by the rise of , which emphasized moral simplicity and scholarly virtue over Tang extravagance. Sleeves narrowed significantly—often to form-fitting "sheep's leg" shapes—for ease in urban and administrative settings, while overall lengths shortened for daily wear, adapting the yuanlingpao and related robes like the (a lightweight outer coat) to suit a more sedentary, intellectual lifestyle. These changes promoted a subdued palette of ink-wash tones and vertical cuts in or , aligning with Neo-Confucian ideals of harmony and restraint, as seen in the (Taoist robe) favored by philosophers for its unadorned form.

Adaptations in Yuan and Ming Dynasties

During the (1271–1368 CE), Mongol integration profoundly shaped paofu designs, blending nomadic equestrian functionality with established Chinese traditions. Mongol rulers introduced tighter fits to accommodate horseback riding and active lifestyles, departing from the looser silhouettes of prior eras, while incorporating fur trims for warmth and status symbolism, often along hems and collars. This era saw the prominence of the yuanlingpao, a round-collared adapted for officials, featuring standing collars that echoed Mongol military attire yet retained silk weaving techniques for elite wear. These modifications reflected sumptuary laws that regulated paofu to delineate ethnic hierarchies, with and favored allies donning hybrid styles to assert imperial authority. The (1368–1644 CE) marked a deliberate revival of Han-style paofu, rejecting Yuan-era foreign elements in favor of indigenous forms rooted in Tang-Song foundations. Emperor Hongwu (r. 1368–1398 CE) enforced this through rigorous dress codes outlined in imperial edicts, mandating the jiaolingpao—a cross-collared with overlapping right-side closure—as standard attire for men, paired with a zhongyi undershirt for layering and loose (ku) secured by a for everyday mobility. These codes specified fabrics, colors, and dimensions to restore Confucian social order, prohibiting Mongol influences like round collars for Han civilians and officials. For commoners, hems were extended to ankle length, promoting and distinguishing them from shorter elite variants, while upper classes added embroidered details for ceremonial use. Key artifacts from illustrate these adaptations, particularly embroidered patterns symbolizing auspiciousness and imperial harmony. Excavations from the tomb of Zhu Tan, Prince Huang of Lu (d. 1395 CE), yielded robes with ruyi motifs intertwined with dragons on sleeves and body, showcasing intricate gold-thread on paofu that adhered to Hongwu's regulations while elevating aesthetic elegance. Such figurines and preserved garments from elite burials highlight the era's emphasis on symbolic motifs, with evoking celestial favor in a restored Han aesthetic.

Decline in the Qing Dynasty

With the establishment of the Qing dynasty in 1644, Manchu rulers implemented the "shave the head and change the clothing" policy (tìfā yífú 剃发易服), mandating that Han Chinese men adopt the queue hairstyle and Manchu-style qifu (bannermen robes) for official and public attire, effectively marginalizing traditional paofu robes. This decree, issued by Prince Regent Dorgon in 1645, aimed to assert Manchu cultural dominance and ethnic unity, replacing the wide-sleeved, cross-collar paofu—emblematic of Han identity—with narrower-sleeved, buttoned Manchu garments in court, military, and bureaucratic settings. Han men faced severe penalties, including execution, for non-compliance during the early conquest period, though enforcement gradually relaxed outside urban centers. Despite the official suppression, paofu persisted in restricted contexts among throughout the Qing era (1644–1912). Scholars and literati continued wearing simplified paofu variants academies and during literary gatherings, preserving elements of Han sartorial tradition as a subtle form of cultural resistance. In funerals and rituals, traditional sangfu (mourning attire) based on Han Confucian systems—often featuring unadorned paofu-like robes in coarse —remained standard, exempt from strict Manchu dress codes due to their ritual significance. Southern regions, such as and , also retained informal Han styles influenced by local customs, where paofu adaptations evaded full enforcement. By the late Qing (19th century), hybrid forms emerged as Han and Manchu elements blended, particularly among urban elites; paofu-inspired robes with queue-compatible collars and narrower sleeves became common in , reflecting pragmatic assimilation. The 1911 Xinhai Revolution marked a brief resurgence of interest in paofu, as some revolutionaries symbolized anti-Manchu sentiment by donning Han-style attire and advocating queue-cutting to reclaim ethnic identity. However, following the dynasty's fall in 1912, Western suits rapidly supplanted traditional garments in Republican China, accelerating paofu's marginalization in everyday and official use.

Cultural and Social Significance

Symbolism and Social Hierarchy

The paofu, a traditional robe characterized by its loose, flowing form, embodied Confucian principles of and moral virtue, particularly through its design elements like wide sleeves, which symbolized benevolence (ren) and the expansive nature of ethical conduct. Influenced by Confucian ideals of balance between heaven, earth, and humanity, the garment's broad silhouette and layered construction reflected a pursuit of cosmic order and social propriety, aligning with the philosophy's emphasis on ritual propriety (li) to foster interpersonal . Colors in paofu further denoted social hierarchy, with specific hues reserved for distinct ranks to visually reinforce societal structure. In the , purple ribbons and fabrics were associated with nobles and mid-level officials, distinguishing them from lower ranks who used black or green, while the donned red and yellow for supreme authority. By the , vermilion (a bright ) signified scholars and officials of the fifth rank and above, with restricted to third rank and higher, ensuring that attire visibly upheld the imperial order. Social roles of paofu were rigidly enforced through sumptuary laws, which prohibited commoners from accessing luxurious materials like , reserving it for elites to prevent class blurring and maintain Confucian . These regulations limited garments primarily to and officials in the , with commoners typically using to underscore hierarchical distinctions. Paofu also held significance in scholarly contexts, where the robe symbolized moral cultivation and intellectual refinement in Confucian academies. Gender norms influenced paofu through colors, patterns, and accessories rather than structural differences, as the style was largely ; this aligned with Confucian gender roles of yin (feminine yielding) and yang (masculine firmness). Paofu held essential significance in life-cycle ceremonies, worn during weddings to symbolize union and through auspicious silks, funerals to honor the deceased with layered ensembles reflecting status, and ancestral rites to invoke familial continuity. Phoenix motifs, embroidered on empresses' paofu, represented imperial femininity, renewal, and divine favor, appearing prominently in Han royal attire for and consorts during ceremonial events.

Representation in Art and Literature

Paofu, as a foundational garment in traditional attire, is prominently depicted in ancient artworks, particularly in funerary contexts that illustrate its role in elite and official dress. In the Han tombs (circa 2nd century BCE), silk paintings unearthed from Tomb No. 1 feature figures, including attendants and deities, clad in paofu-style robes, highlighting the garment's ceremonial significance in the afterlife journey. These representations, such as the T-shaped silk banner, show officials and noblewomen in flowing paofu ensembles, emphasizing hierarchical status through fabric draping and accessory integration. Similarly, frescoes at the Dunhuang Mogao Caves (7th–8th centuries CE) portray bodhisattvas, donors, and court figures in paofu with exaggerated flowing sleeves, symbolizing grace and spiritual elevation; examples include Cave 323's murals, where wide-sleeved robes cascade in dynamic poses during ritual scenes. In classical literature, paofu serves as a recurring motif for imperial authority and scholarly identity, often evoking themes of dignity and transience. Sima Qian's Shiji (Records of the Grand Historian, 1st century BCE) references emperors and high officials in elaborate paofu during court rituals and historical events, such as Emperor Wu's processions, where the robes underscore the and ritual propriety. During the , poets like (1037–1101 CE) invoked paofu in verses depicting robed scholars amid natural landscapes, as in his recollections of contemporaries in fur-trimmed cloaks, blending personal exile with cultural nostalgia to portray intellectual refinement. fiction, such as Wu Cheng'en's (16th century), features deities and figures in robe variants maintaining a heroic Han aesthetic. Paofu's enduring symbolism extended into cultural narratives as a marker of Han ethnic identity, particularly in 17th–19th century anti-Manchu writings amid Qing imposition of queue hairstyles and Manchu attire. Ming loyalist texts and literature, such as those from the Triad Society, portrayed paofu as a emblem of resistance and cultural purity, contrasting it with "" styles to rally Han restoration efforts; for instance, underground pamphlets urged donning Han robes to reclaim ancestral heritage during uprisings. This representational tradition reinforced paofu's role in narratives of resilience, bridging historical art and literature with calls for ethnic revival.

Influences and Derivatives

Impact on Japanese Attire

The transmission of paofu elements to Japanese attire began in the 8th century during the , when Japanese envoys dispatched to the (618–907 CE) returned with examples of Chinese court fashion, including the one-piece robe structure and wide, flowing sleeves characteristic of paofu. These features directly informed the tarikubi robe, an early garment that served as a foundational form resembling the modern , marking a shift from earlier wrapped styles to the straight-seamed, T-shaped silhouette that would evolve into the and modern . During the (794–1185 CE), paofu influences underwent significant adaptation among the nobility, as Chinese-style robes—referred to as karaginu—transformed into the elaborate junihitoe ensemble, consisting of up to twelve unlined layers secured with belts and sashes to create a voluminous, trailing . This evolution retained core paofu aspects like layered construction for symbolic color gradation and wide sleeves for graceful movement, while incorporating Japanese preferences for softer draping and seasonal motifs, distinguishing it from the more structured Tang originals. Illustrated evidence of these paofu-inspired adaptations appears in Heian-era scrolls, notably the Genji Monogatari emaki (ca. 12th century), where noblewomen are portrayed in multi-layered gowns with wide sleeves and belted waists that echo Tang paofu designs, highlighting the garment's role in courtly aesthetics and social display.

Influence on Korean Garments

The paofu, an ancient Chinese long robe, was transmitted to the Korean Peninsula during the around the 2nd century BCE through trade and cultural exchanges, evolving into the Korean po (袍), a loose overcoat typically worn over the jeogori jacket as an outer layer in traditional attire. During the dynasty (918–1392 CE), the po underwent adaptations influenced by styles, notably incorporating the dallyeong (round-collar) design for official garments, reflecting broader East Asian courtly exchanges. In the subsequent dynasty (1392–1897 CE), the dallyeong po became formalized as the primary uniform for government officials, featuring a round collar, wide sleeves, and hyungbae (rank badges) such as cranes or pheasants to denote status, with black or dark green versions designated for under reforms like those of King Gojong in 1884. Commoners adapted simpler white cotton po robes for everyday use, while kings and favored elaborate variants in vibrant hues to signify . This integration is evidenced in Joseon-era portraits, such as the 1799 depiction of official Hong Myeong-ho, which shows the belted dallyeong po layered over skirts, illustrating its role in blending with indigenous elements like the chima.

Modern Revival

Role in the

The , which seeks to revive traditional Han Chinese clothing, emerged in 2003 through online forums and grassroots efforts, initially sparked by individuals like Wang Letian who publicly wore garments in urban settings. This digital inception laid the groundwork for broader adoption, with the movement gaining significant momentum after 2010 as paofu-style robes became a central element in recreations of historical attire due to their versatility and symbolic resonance with pre-Qing imperial aesthetics. By the 2020s, annual events such as Hanfu Day—established in 2018 as Chinese National Costume Day on the third day of the third lunar month—have prominently featured paofu variants like jiaolingpao, drawing thousands of participants to parades and cultural festivals that emphasize communal revival. These gatherings underscore paofu's role as a foundational garment in restoring a sense of historical continuity, motivated in part by the cultural suppression during the Qing Dynasty's Manchu-imposed dress codes. Paofu has played a pivotal role in promoting cultural nationalism within contemporary Chinese discourse, aligning with the Chinese Communist Party's emphasis on traditional heritage as a tool for national identity. For instance, policies under the 14th Five-Year Plan (2021–2025) have encouraged the promotion of traditional clothing like hanfu to foster cultural confidence, integrating paofu into state-backed initiatives for intangible cultural heritage. Among Generation Z, adoption has surged through social media platforms such as TikTok (Douyin in China) and Weibo, where hanfu trends—including paofu styling—have generated millions of posts by 2025, blending aesthetic appeal with subtle assertions of ethnic pride. This youth-driven phenomenon positions paofu not merely as fashion but as a vehicle for soft nationalism, de-ethnicized to appeal broadly while reinforcing Han cultural narratives amid global influences. University-based hanfu clubs have been instrumental in institutionalizing paofu's revival, with over 2,000 such societies across Chinese campuses by 2023, organizing workshops, exhibitions, and穿汉服 (chuan ) days to educate peers on its historical forms. Institutions like Nantong University and host dedicated groups that focus on paofu construction and symbolism, fostering a network of young enthusiasts who propagate the garment through academic and social channels. By 2025, national surveys estimate over 10 million participants in , predominantly under 35, reflecting paofu's widespread integration into and its status as a cornerstone of the movement's organizational growth.

Contemporary Interpretations and Usage

In contemporary fashion, paofu-inspired has evolved through adaptations that integrate traditional robe silhouettes with modern elements, such as shortened hems and versatile cuts suitable for daily wear. Designers often employ synthetic silks like chiffon alongside natural fabrics to enhance accessibility and functionality, allowing paofu styles to transition from formal attire to casual ensembles. At in 2025, collections featured yuanlingpao hybrids that fused paofu's round-collar robes with technological innovations and cultural motifs, such as embroidery and paper-cutting patterns, bridging heritage with futuristic aesthetics. The serves as a key catalyst for these reinterpretations, encouraging innovative expressions of paofu in urban contexts. Paofu-style Hanfu sees widespread usage at cultural festivals, including the Beijing Hanfu Festival, where over 40 vendors offered immersive experiences with traditional crafts and parades, and the Xitang Hanfu Culture Week, featuring boat processions that drew thousands of participants. It is also integral to weddings, as demonstrated by the 2025 collective event in , where more than 30 couples, including international attendees, donned Tang-style paofu to revive ancient rituals amid cultural tours. In tourism, paofu rentals in have become a staple for visitors, with shops near landmarks like the Ancient City Wall providing 12- to 24-hour options complete with styling services, fueling a noted surge in experiential travel that aligns with the traditional Hanfu market's 15% into 2025. Internationally, paofu-inspired exports to the and have expanded through e-commerce platforms like Alibaba and , benefiting from Alibaba's 29% year-over-year increase in international commerce revenue for fiscal year 2025. Ongoing challenges encompass debates, as the absence of a national framework for paofu production results in inconsistent techniques, high costs, and limited industrial scalability. Environmental considerations are prompting shifts toward sustainable fabrics, with designers incorporating traditional materials like and —low-water, carbon-capturing alternatives to synthetics—in paofu garments to mitigate the industry's and issues.

References

  1. https://digital.library.adelaide.edu.au/dspace/bitstream/2440/64723/8/02whole.pdf
  2. https://www.wisdomlib.org/definition/pao-fu
  3. https://en.wiktionary.org/wiki/%E8%A2%8D
  4. https://ctext.org/shi-ming/zhs
  5. https://www.newhanfu.com/6123.html
  6. https://www.newhanfu.com/2235.html
  7. https://www.dpm.org.cn/Uploads/File/pdf/25/a9/72/25a972674219149fbd6a68f8968f2ea0.pdf
  8. https://newprairiepress.org/cgi/viewcontent.cgi?article=1119&context=burgonsociety
  9. https://dokumen.pub/world-clothing-and-fashion-an-encyclopedia-of-history-culture-and-social-influence-1nbsped-0765683008-9780765683007.html
  10. https://chinawhats.com/jiaoling-youren/
  11. https://www.newhanfu.com/40674.html
  12. http://english.cssn.cn/skw_culture/202407/t20240704_5762868.shtml
  13. https://www.chinadaily.com.cn/a/202204/29/WS626b4547a310fd2b29e5a18b.html
  14. https://en.nbpublish.com/library_read_article.php?id=39914
  15. https://www.newhanfu.com/48128.html
  16. https://www.chinadaily.com.cn/a/202510/27/WS68feccd5a310f735438b7177.html
  17. https://www.chinaxiantour.com/travel-guide/chinese-hanfu
  18. https://quizlet.com/study-guides/japanese-and-korean-cultural-influences-from-tang-china-55782edf-9bbe-4f78-a787-a9c1b0e160ba
  19. https://www.chinahighlights.com/travelguide/traditional-chinese-clothes-hanfu.htm
  20. https://nuwahanfu.com/blogs/news/a-deep-dive-into-tang-dynasty-fashion-makeup
  21. https://www.newhanfu.com/21938.html
  22. https://www.fashionhanfu.com/early-tang-dynasty-womens-clothing/
  23. https://www.newhanfu.com/7848.html
  24. https://www.thinkchina.sg/culture/return-physical-body-and-exuberance-tang-dynasty
  25. https://nichibun.repo.nii.ac.jp/record/6973/files/kosh_049_015.pdf
  26. https://www.tumblr.com/redsugarx/780329092317855744/hanfu-in-components-sleeve-shapes-pt5
  27. https://www.academia.edu/10974178/Clothing_Authority_Mongol_attire_and_textiles_in_the_socio_political_complex
  28. https://digitalcommons.liberty.edu/cgi/viewcontent.cgi?article=2175&context=honors
  29. https://library.tcdc.or.th/record/read/a00042179
  30. https://thechinaproject.com/2021/07/21/the-manchu-queue-one-hairstyle-to-rule-them-all/
  31. http://www.chinaknowledge.de/History/Terms/sangfu.html
  32. https://studycli.org/chinese-culture/traditional-chinese-clothing/
  33. https://www.cuttersguide.com/pdf/References/Chinese-Dress-From-the-Qing-Dyna.pdf
  34. https://torguqin.wordpress.com/2012/11/09/hanfu-of-the-roc/
  35. https://pmc.ncbi.nlm.nih.gov/articles/PMC9217584/
  36. https://www.scielo.br/j/trans/a/T3zX3gNY7kR3bP8dmh7LTdr/?lang=en&format=pdf
  37. https://store.newhanfu.com/exploring-gender-representation-in-hanfu-history.html
  38. https://www.hnmuseum.com/en/zuixintuijie/t-shaped-painting-silk
  39. https://smarthistory.org/dunhuang-historical-art-cave-323/
  40. http://www.chinaknowledge.de/Literature/Historiography/shiji.html
  41. https://www.atlantis-press.com/article/125970424.pdf
  42. https://publishing.cdlib.org/ucpressebooks/view?docId=kt5j49q621&doc.view=content&chunk.id=pt02&toc.depth=1&brand=ucpress
  43. https://www.gutenberg.org/files/57247/57247-h/57247-h.htm
  44. https://www.thecollector.com/the-evolution-of-the-japanese-kimono/
  45. https://artsandculture.google.com/story/heian-period-costumes-kyoto-women-s-university/GgUhgthsq7w7IQ?hl=en
  46. https://www.researchgate.net/publication/276227604_A_Study_of_the_Clothes_Phenomenon_of_the_Heian_Period_of_Japan
  47. https://smarthistory.org/illustrated-scroll-tale-of-genji/
  48. https://www.researchgate.net/publication/364422879_On_the_Traditional_Clothing_Culture_of_Korea_and_Japan_under_the_Influence_of_China
  49. https://artsandculture.google.com/story/serving-the-celestial-throne-court-officials-39-robes-of-korea-and-china-the-chung-young-yang-embroidery-museum/0wVh7ALgt4Q54Q?hl=en
  50. https://artsandculture.google.com/story/the-costume-the-pattern-of-joseon-dynasty-government-officials-uniform-black-dallyeong-gyeonggi-provincial-museum/hAVR3JpgwbhPIw?hl=en
  51. https://www.vam.ac.uk/articles/hanbok-traditional-korean-dress
  52. https://contents.history.go.kr/front/tz/view.do?levelId=tz_b18
  53. https://www.globaltimes.cn/page/202411/1322989.shtml
  54. https://en.ntu.edu.cn/HuaXiaYiGuanHanfuSociety/list.htm
  55. https://www.newhanfu.com/25456.html
  56. https://chinaexplorertour.com/2025/blog/song-dynasty-hanfu-photoshoot-2025/
  57. https://journals.sagepub.com/doi/full/10.1177/13675494251336606
  58. https://identityhunters.org/2025/03/20/hanfu-revival-cultural-nationalism-within-ccp-discourse/
  59. https://www.tandfonline.com/doi/full/10.1080/10941665.2025.2545385?src=
  60. https://iao.henu.edu.cn/yw/Campus/Student_Clubs.htm
  61. https://store.newhanfu.com/how-popular-is-hanfu-in-china-now.html
  62. https://www.newhanfu.com/63632.html
  63. https://radii.co/article/sfw25-tech-meets-fashion
  64. https://generasian.blog/2024/05/03/reclaiming-roots-a-modern-twist-on-cultural-fashion/
  65. https://www.newhanfu.com/event/63091.html
  66. https://www.facebook.com/chinadaily/posts/a-time-traveling-experience-in-a-second-2025-xitang-hanfu-culture-week-has-kicke/1283378307153078/
  67. https://news.cgtn.com/news/2025-11-04/Xi-an-hosts-Hanfu-wedding-welcoming-couples-from-abroad-1I22SYcyZeU/p.html
  68. https://www.chinadiscovery.com/xian-tours/xian-hanfu-experience.html
  69. https://www.marketreportanalytics.com/reports/traditional-hanfu-33550
  70. https://www.statista.com/statistics/226793/e-commerce-revenue-of-alibabacom/
  71. https://www.scirp.org/journal/paperinformation?paperid=85441
  72. https://www.sapiens.org/culture/china-rise-green-fashion/
Add your contribution
Related Hubs
User Avatar
No comments yet.