| Shenyi | |||||||||
|---|---|---|---|---|---|---|---|---|---|
 Modern reproduction of a Confucian shenyi. | |||||||||
| Chinese name | |||||||||
| Chinese | 深衣 | ||||||||
| Literal meaning | Deep clothing | ||||||||
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| Vietnamese name | |||||||||
| Vietnamese alphabet | thâm y | ||||||||
| Hán-Nôm | 深衣 | ||||||||
| Korean name | |||||||||
| Hangul | 심의 | ||||||||
| Hanja | 深衣 | ||||||||
| Literal meaning | Profound gown | ||||||||
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Theshenyi (Chinese:深衣;pinyin:shēnyī;lit. 'deep clothing';[1]: 12 [2]: 135 Korean: 심의;Hanja: 深衣;RR: Simui;Yale:sim.ui) is a type ofrobe in traditionalHanChinese clothing (Hanfu) characterized by obliquely straightplackets withoverlapping collars, fastened by abelt and otheraccessories such asribbons andbuckles. The garment got its name from its complete enveloping of the wearer's body, hence "wrapping the body deep within the clothes".[1]: 12 [2]: 135 A garment typically worn byConfucianscholars asacademic dresses,[3]shenyi was recorded in theBook of Rites (Liji), declined after theHan dynasty, regained popularity in theSong dynasty and remained aformal attire until the fall of theMing dynasty and thesubsequent conquest by theManchuQing dynasty.
Theshenyi is a long one-piece robe, unlike theRu–Qun/Ku attire that was more popular amongaristocrats andscholar-officials prior to theQin dynasty, where the upper and lower garments are separate pieces.[3] Theshenyi, along with its components,[4] existed prior to theZhou dynasty[5][6] and appeared at least since theShang dynasty,[3] but was developed into a complete system of attire during Zhou dynasty, being shaped by the strictZhou feudal hierarchical system in terms of social levels, gender, age, and situation and was used as a basic form of clothing.[3] It then became the mainstream clothing choice during theQin andHan dynasties,[3] by the latter of which it had evolved into two styles: thequjupao (曲裾袍), characterized by helical plackets; and thezhijupao (直裾袍), characterized by straight plackets.[1]: 13–14 Theshenyi later gradually declined in popularity around theWei,Jin, andNorthern and Southern dynasties period.[3] However, its influence persisted among the commoners in the followingSui andTang dynasties,[3] during which theround collar robes such asyuanlingshan andchest-high skirts were more popular within thehigh society. Theshenyi regained popularity as a form of formal wear for educated elites during theSong andMing dynasties[7] with advocation from famous scholars such as Song dynasty'sZhu Xi in hisZhuzi jiali (朱子家禮),[8] and Ming dynasty'sHuang Zongxi, as well as Jiang Yong in theQing dynasty.[3]
Theshenyi was also introduced to other countries of theSinosphere, where it exerted influences on the formal attire styles in bothKorea andJapan. Theshenyi is calledsimui inKorean with the samehanja characters as in Chinese, and was worn by Korean confucianists during theGoryeo andJoseon period.[5][9]Áo giao lĩnh, a traditionalVietnamese robe worn commonly before theFrench colonization during the 19th century, was also heavily influenced by theshenyi.
The termshenyi (深衣)) is composed of two Chinese charactersshēn (深) which can be translated as 'deep' andyī (衣) which literally means 'clothing' in the broad sense. Combined, the termshenyi literally means "deep clothing".
The structure of theHanfu system is typically composed of upper and lower parts; it also typically comes into two styles: one-piece garment (where the upper and lower parts are connected together), and two-pieces garments (where the upper and lower parts are not connected).[3][10]
And as stated by theLiji, theshenyi was one long robe as opposed to the combination of a top and a bottom.[11] However, the structure of theshenyi is made of two pieces: an upper garment calledyī (衣)) and lower garment calledcháng (裳), which are then connected together to form a one-piece robe.[3][1]: 12 Thus, theshenyi differ structurally from thepaofu, which is a one-piece robe where the lower and upper part is cut in a single fabric. Moreover, a standardshenyi was also made up of twelve panel of fabric which were sewn together.[12]
Theshenyi, along with its components,[4] already existed prior to theZhou dynasty[5][6] having first appeared at least since theShang dynasty.[3] However, in the Shang andWestern Zhou dynasties, people prominently wore a set of attire calledyichang, which consisted of ajacket calledyi and a longskirt calledchang.[12][13] Out of convenience, theyi andchang were sewn together to form a robe;[14] this combination then resulted into theshenyi which was developed in theZhou dynasty.[15][4] Theshenyi eventually became the dominant form ofHanfu robe from theZhou dynasty to theHan dynasty remaining popular;[14][16]: 260 From theSpring and Autumn period to the Han dynasty, the looseshenyi with wide sleeves was fashionable amongst the members of the royal families, the aristocrats, and the elites.[17] The looseshenyi which wrapped around the body to back and lacked a front end slit and was designed for the upper classes of society, especially for women, who wanted to avoid exposing their body parts when walking.[17] This design of this wrap-style ofshenyi was an important necessity in a period where thekun had yet to become popular amongst the general population.[18]: 16 The preoccupation of the elites with layered, loose-fitting clothing also displayed their desire to distance themselves from the labourers, signalling their high status.[17] By theHan dynasty, theshenyi had evolved in forms;[1]: 12 it then further developed in the Han dynasty where small variations in styles and shapes appeared.[12][14] Following the Han dynasty, theshenyi lost popularity in the succeeding dynasties until it was revived again theSong dynasty.[10][19]
TheWestern Zhou dynasty had strict rules and regulations which regulated the daily attire of its citizen based on their social status; these regulations also governed the material, shape, sizes, colours, and decorative patterns of their garments.[16]: 255 Theshenyi was also shaped by the Zhou dynasty's hierarchical system based on social class, gender, age, and the situation.[3] However, despite these complex regulations, theshenyi was still a basic form of garment which served the needs for all classes, from nobles to commoners, old to young, men to women; and people would therefore expressed their identities through recognizable objects, decorations, colours, and materials on their outer garments.[3] Nobles would wear a decorated coat over theshenyi, while commoners would wear it alone.[3]
In the earlyEastern Zhou dynasty period, there were still strict rules and regulations which regulated the clothing of all social classes and were used to maintain social distinction between people of different classes.[11]
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In theWarring States period, theshenyi was a moderately formal style of clothing.[1]: 13 Theshenyi which was representative of the Warring States period, was designed to have the front stretched and wrapped around the body several times.[17] The wrapping-styleshenyi for men and women can be seen in theSilk painting depicting a man riding a dragon and theSilk painting with female figure, dragon and phoenix patterns respectively[18]: 16–17 Both paintings unearthed from aChu tomb, Warring States period, 5th century BC, Changsha, Hunan Province.[20][21]
Materials which were used in this period tended to be linen; however, when theshenyi was made into ceremonial garments, then black silk would be used instead.[1]: 13 It was worn by both the literati and the warriors as it was both functional and simplistic in style.[1]: 13 Theshenyi was also tied right below the waist level in the front with a silk ribbon, calleddadai (大带) orshendai (绅带), on which a decorative piece was attached to.[1]: 13 [22]
The design features ofshenyi also match the ancientChinese culture.[23] In this period, theshenyi was also deeply rooted in the traditional Chinese ethics and morals which forbid close contacts between males and females.[1]: 12 In this period, theshenyi had to conform to the certain rules and regulations which were recorded in the special chapter calledShenyi (深衣) in theLiji.[1]: 12 [22] According to theLiji, the ancientshenyi had to fulfill the following:[22]
古者深衣，蓋有制度，以應規、矩、繩、權、衡。短毋見膚，長毋被土。續衽，鉤邊。要縫半下；袼之高下，可以運肘；袂之長短，反詘之及肘。帶下毋厭髀，上毋厭脅，當無骨者。
[Ancient shenyi] had definite measurements, so as to satisfy the requirements of the compass and square, the line, the balance, and the steelyard. It was not made so short as to show any of the skin, nor so long as to touch the ground. The outside pieces of the skirt joined, and were hooked together at the side; (the width of) the seam at the waist was half that at the bottom (of the skirt). The sleeve was joined to the body of the dress at the armpit, so as to allow the freest movement of the elbow-joint; the length of the lower part admitted of the cuffs being turned back to the elbow. The sash was put on where there were no bones, so as not to interfere with the action of the thighs below or of the ribs above.
— Translated by James Legge, Liji: Shenyi
The same chapter described theshenyi as being made of twelve panels of fabric corresponding to the twelve months and all twelve robes are cut into one clothing style.[22] Moreover, the shape of the component of theshenyi is also described:[22]
制：十有二幅以應十有二月；袂圜以應規；曲袷如矩以應方；負繩及踝以應直；下齊如權衡以應平。
In the making (of the garment) twelve strips (of the cloth) were used, to correspond to the twelve months. The sleeve was made round, as if fashioned by a disk. The opening at the neck was square, as if made by means of that instrument so named. The cord-like (seam) at the back descended to the ankles, as if it had been a straight line. The edge at the bottom was like the steelyard of a balance, made perfectly even.
— Translated by James Legge, Liji: Shenyi
These prescribed rules and regulations did not only defined theshenyi as the combination of theyi andchang together, but also prescribed the length of theshenyi in this period which had to be long enough to prevent the exposure of the skin but short enough to prevent it from trailing on the floor,[1]: 12–13 and the explanation behind the function of these prescribed measurements, and the location of the belt referred asdai (带;帶).[22] It also prescribed the rules on the colours and decorations of the trims based on the circumstances of its wearer:[22]
具父母、大父母，衣純以繢；具父母，衣純以青。如孤子，衣純以素。純袂、緣、純邊，廣各寸半。
For ornament, while his parents and grandparents were alive, (a son) wore the dress with its border embroidered. If (only) his parents were alive, the ornamental border was blue. In the case of an orphan son, the border was white. The border round the mouth of the sleeves and all the edges of the dress was an inch and a half wide.
— Translated by James Legge, Liji: Shenyi
Moreover, in addition to the prescribed rules and regulations present in the chapterShenyi (深衣), more details can be found in the chapterYuzao (玉藻) of theLiji which described theshenyi as having ayouren opening,[11] and being a one-piece long robe with broad sleeve openings; with its circumference at the waist be three times that of the sleeve-opening and that of its hem be even larger:[24]
朝玄端，夕深衣。深衣三袪，縫齊倍要，衽當旁，袂可以回肘。長中繼掩尺。袷二寸，祛尺二寸，緣廣寸半。以帛裹布，非禮也。
In the morning they wore thexuanduan; in the evening, the shenyi. [The shenyi] at the waist was thrice the width of the sleeve; and at the bottom twice as wide as at the waist. It was gathered in at each side (of the body). The sleeve could be turned back to the elbow. The outer or under garment joined on to the sleeve and covered a cubit of it. The collar was 2 inches wide; the cuff, a cubit and 2 inches long; the border, 1.5 inch broad. To wear silk under or inside linen was contrary to rule.
— Translated by James Legge, Liji : Yu Zao
There are two purposes for the loose-cut design: firstly, the body shape is less visible to others; the second reason is to allow the wearer to move the body as freely as possible. The wearer's skin should be appropriately covered to meet the first purpose. The waistband should only accentuate the outline of the waist; the outline of the rest of the body should be well hidden from view.[23] Nonetheless, the second purpose, which engages more freedom of movement for the wearer's body.
In the chapterShenyi (深衣) of theLiji, the making of theshenyi is said to match the "compass" (規;gui), the "try square" (矩;ju), the "plumb bob" (繩;sheng), and the "balance scale" (權衡;quanheng).[22][25] These four tools have normative connotations inLiji: Thegui,ju, andsheng generally refer to the rules and standards people should follow; thequanheng defines the ability to balance all the advantages and disadvantages and result in the best solution.[23]
In appearance, rounded cuffs of theshenyi to match the compass; squared neckline to match the squareness, the seams at the back part of theshenyi drop down to the ankle to match the straightness, and steelyard balance the bottom edge to match evenness. The terms "squareness," "straightness," and "evenness" can be used to describe both the physical properties of objects and the moral qualities of people. These wordplays tie the physical properties of tools to virtues. Every part ofshenyi has the attributes of an instrument, which gives the text multiple moral meanings.[23]
TheLiji also explains how theshenyi helps construct its wearer's character through the symbolic relationship between the tools, virtues, and each part of theshenyi. The circular shape of the cuffs allows the user to raise his arms while walking, allowing him to maintain correct comportment (rong). The straight seams worn in the rear (fusheng) and the square neckline worn in the front (baofang) are intended to straighten one's approach to political issues. The bottom edge is meant to seem like a steelyard balance to calm one's thoughts and focus one's aim.[23]
The back seam of theshenyi is first linked to the physical characteristics of "straightness" in thesheng and then to the moral trait of "straightness." When attention to political matters, the wearer of theshenyi will be straight in the sense of becoming "upright" the design of the square-shaped neckline indicates "making correct" corresponds to the wearer's role performance. The evenness of the bottom edge is supposed to be able to keep the wearer's thoughts "even" in the sense of "balancing," allowing him to focus on a single goal.[23]Liji emphasizes how each part ofshenyi represents a moral trait, such as selflessness, straightness, and evenness.
Nevertheless, the chapterShenyi (深衣) also emphasizes the body effects on wearers. The body concealing and physical movement freedom are two significant reasons whyshenyi was made in this design. Body mobility is brought up again inLiji, which says that the cuffs are created round to allow the wearer to cultivate his physical comportments (rong), not because roundness indicates a certain moral quality. In early Confucian ethics, having refined body comportment is regarded ethically significant.[23] Theshenyi allows the user to cultivate a person's comportment while also cultivating one's character by allowing a broad range of body mobility.
TheLiji also implies that the symbolic meanings of theshenyi which may be sensed by the wearer's body, in addition to being accessed cognitively and mentally. Both the Chinese verbs "to carry" (fu) and "to embrace" (bao) employed regarding the straight seams and square-shaped neckline frequently indicate a close bodily relationship between its subject and object. These two words are widely used to describe how the human body moves. The text implies that the wearer's body carries and embraces the straightness and squareness. Therefore, it can be sensed through the tactile sensations when theshenyi contacts the wearer's skin. Moreover, the evenness of the bottom border of theshenyi may be sensed when the wearer stretches it with his hands or when his thighs naturally meet it while walking.[23] The users ofshenyi may need to walk smoothly and firmly to keep its bottom edge even.
The design of theshenyi also encourages its wearer to use their bodies in a certain way. The fact that the text alternates between explaining the moral characteristics that theshenyi represents and discussing how it links to the wearer's body indicates that the design ofshenyi has considered both thephysiological andpsychological-cognitive effects it has on its wearer.[23]
By the Mid-warring states period, however, the rules and regulations started to disintegrate.[11] This can be observed in theMashan tombs, where a lady, who was a member of theshi class,[note 1] was buried sometimes around the year 340 – 278 BC with twelve long robes which were all cut in the approximate style ofshenyi whether they were padded with silk floss (mianpao), single in layer (danyi) or lined (jiayi).[11] The forms of theseshenyi, however, were not standardized and show variations in cut and construction.[11] Moreover, some of the textiles and decorations used in making those robes were against the rules and regulations for her ranks and violated the rules which were stipulated in theLiji.[11] Theshenyi found in theMashan tombs had a straight-front which falls straight down.[11]
Theshenyi grew in popularity during the transition period from theWarring States period to theWestern Han dynasty; and with its increased in popularity, the shape of theshenyi deviated further from its earlier prescriptions.[11][note 2] During theQin andHan dynasties, theshenyi dominated the connection method of the upper and lower parts and became the mainstream choice.[3]
In theQin dynasty,Qin Shi Huang abolished themianfu-system of the Zhou dynasty and implemented theshenyi-system specifying that third ranked officials and above were required to wearshenyi made out green silk while commoners had to wearshenyi which were white in colour.[26]: 16 This system adopted by Qin Shi Huang laid the foundations of theHanfu-system in the succeeding dynasties.[26]: 16
TheWestern Han dynasty also implemented theshenyi-system, which featured the use of a cicada-shaped hat, red clothes, and a collar in the shape oftian (田), and garments which were sewn in theshenyi-style with an upper and lower garment sewed together.[27] Theshenyi was also worn together with theguan and shoes as a form of formal attire in the Han dynasty while in ordinary times,shanku attire and theruqun attire were born by men and women respectively.[26]: 16
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By the Western Han dynasty, the shape of theshenyi had deviated from the earlier versions as it can be found in theMawangdui tomb of the same period belonging toLady Dai.[11] Theshenyi had evolved into two types of robe: thequjupao (曲裾袍; 'curved robe'; "curved gown"), and thezhijupao (直裾袍; 'straight robe').[1]: 13–14 These two robes differed from each other based on their front opening and the way their lapels overlapped: thequjupao would curve and wraps the dress to the back while the front opening of thezhijupao would fall straight down.[11] Thequjupao directly evolved from the wrapping-styleshenyi which was worn in thepre-Qin period and became popular in the Han dynasty.[18]: 32
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Thequjupao was more luxurious than thezhijupao as it required approximately 40% more materials than thezhijupao,therefore the presence of more wraps inqujupao indicates that the robes are more increasingly more luxurious.[11]
Moreover, theshenyi in this period, regardless of its cut, could also be padded, lined, or unlined.[11] More examples of unearthed archeological artefacts ofshenyi made of diverse cuts and materials from theMawangdui tomb can be found in Museums, such as thezhíjūsùshādānyī (直裾素纱襌衣; 'straight plain gauze unlined robe'), thequjusushadanyi (曲裾素纱褝衣; 'curved plain gauze unlined robe'),[14] andsimianqujupao (丝绵曲裾袍; 'silk cotton qujupao'),[29] found in theHunan Museum. According to theWestern Han dynasty-eraFangyan by Yang Xiong, thedanyi (襌衣; 'unlined clothing')—also calleddie (褋),zuoyi (袏衣), andchengyi (裎衣) depending on its geographical location—was calledshenyi in ancient times.[30]
There were also gradual changes but clear distinctions in the form of theshenyi between the early and late period of the Western Han dynasty.[12] In the early Western Han, some women wore body-huggingshenyi which was floor length with wide and long sleeves, long enough to cover the hand.[12] Others worequjupao with a flowing extended panels which would create a tiered effects at the back.[12]
Moreover, the design of theshenyi was closely related to the evolution of the Chinese trousers, especially theku.[17] A form ofzhijupao, known aschan oryú (褕)[31] orchānyú (襜褕), also became popular in the Han dynasty.[1]: 14 However, when thechanyu first appeared, it was considered to be improper to use it as a ceremonial garment; it was also improper to use it outside of the house, and it was also improper to wear it at home when receiving guests.[1]: 14 The disrespectful nature of wearingchanyu at the court was even recorded in theShiji.[1]: 14 [32][33] Reasons why the wearing ofchanyu was considered improper in those circumstances might be related to the wearing of the ancientku, which were trousers without crotches; and thus, this form ofzhijupao might not have been sufficiently long to cover the body which was a disgraceful act from its wearer.[1]: 14 In theShuowen Jiezi chapterJijiupian (急就篇) byShi You, also dating from the Western Han dynasty, the set of attire calledzheku (褶袴) consisted of a trousers calledzhekukun (褶袴褌) which was covered by thechanyu (襜褕), a short and tight knee-length robe.[34][17] Thekun (褌) were a form of Chinese trousers with crotches as opposed to theku.[17]
With time, when thekun became more popular, thezhijupao, which was shorter and easier to put on than thequjupao; thezhijupao then started replacing thequjupao which had been long enough to cover theku.[18]: 32 Thekun, however, were only popular for some people of certain occupations, such as warriors, servants, and the lower class, in the Han dynasty and was not widely used by the general population as it was not easily accepted by the traditional etiquette of the Han culture.[17] Therefore, thekun was never able to replace theku; moreover, the design of the ancientku had also evolved with time becoming long enough to cover the thighs, with some parts even covering the upper parts of the hips, such as theqiongku which was especially designed for women in the Western Han dynasty court.[17] By the middle of the Western Han dynasty, thequjupao became nearly obsolete; and by the late Western Han dynasty, theshenyi were straight rather than spiralled.[12] In theEastern Han dynasty, very few people woreshenyi.[27]
In theSong dynasty,Neo-Confucian philosophies determined the conduct code of the scholars which then had a great influence on the lives of the people.[35]: 184 Zhu Xi and his Neo-Confucian colleagues developed a new cosmology, moral philosophy, and political principles based on intellectuals and elites sharing responsibility for the dynasty's management.[10]
The Neo-Confucians also re-constructed the meaning of theshenyi, restored, and re-invented it as the attire of the Neo-Confucian scholars in order to distinguish themselves from other scholars who came from school of thoughts.[10] Some Song dynasty scholars, such asSima Guang andZhu Xi, made their own version of the scholar gown based on theLiji, while other scholars such as Jin Lüxiang promoted it among his peers.[19] In hisZhuzi jiali (朱子家禮), Zhu Xi described the style of the long garment in considerable detail.[10] However, the shenyi used as a scholar gown was not popular in the Song dynasty and was even considered as "strange garment" despite some scholar-officials appreciated it.[10][19] Zhu Xi himself hesitated to wear it in public due to the social stigma which were associated to it; Zhu Xi was also accused for wearing strange garments by Shi Shengzu, who also accused Zhu Xi's followers of defying the social conventions.[10] Sima Guang, on the other hand, had the habit to wear the shenyi in private in his garden.[10]
According to philosopher and ancient scholar Lü Dalin (1044–91), noblemen and scholars used the shenyi for informality and ease, whereas commoners wore it as formal clothing. The garment was worn by court officials, noblemen and noblewomen, palace ladies, scholars and their wives, artisans, merchants, and farmers. It was the traditional informal attire of the ancient nobility. The robe became the formal clothing of commoners in the ancient Chinese world, reversing this reasoning. The Song Neo-Confucians praised the robe not only for its elegance and simplicity but also because it represented an essential political function.[10] In the Song dynasty, the shenyi was made with white fabric.[19]
In theMing dynasty, in line with the attempt of theHongwu Emperor to replace all the foreign clothing used by the Mongols of Yuan, with the support of the Chinese elites who had supported the military campaigns against the Mongols. The Ming dynasty court thus gave many court commissions to the scholars who then helped enshrine Neo-Confucianism which was exemplified by Zhu Xi'sZhuzi jiali (朱子家禮) as the orthodoxy of the Ming dynasty leading to the sudden rise in popularity of the Confucian shenyi.[10] This form of shenyi had suddenly become a popular form of robe for the scholars in 1368 and also became the official attire of the scholars.[10] Moreover, the shenyi had become a symbol of status and Han ethnicity as it was devoid of all foreign influence and also denoted Chinese intellectual pride and superiority.[10]
The scholar robe's shenyi was a significant topic during the transition period between the Ming dynasty and the Qing dynasty. Huang Zongxi chose Huang Runyu's research version to serve as his contrast. According to Huang Zongxi's research, the scholar's robe shenyi represented the transfer of literati political values instead of dynastic politics and imperial orthodoxy. He said that the scholar's robe's style and function exactly matched the "great implication" (da yi) of literati values. Identifying the specific portion known as ren is the main distinction between these two versions. Ren was casually marked in the center of Huang Runyu's rendition and referred to the entire front piece, folding over the other side. The robe's expanded bottom, known as xuren, was fashionable throughout the Ming dynasty and can be seen in numerous Ming paintings.[10]
On the other hand, Huang Zongxi called ren the collar on the right folding to the left. This definition of ren is narrow and particular, referring to the collar that runs from the neck to the ground. The phrase xuren (continuing the ren) in Records of Rituals refers to the continuance of the collar. Xuren is no longer a name for a robe portion but rather a description of how ren is tailored, according to Huang Zongxi.[10]
In the 19th century, some members of the gentry class still regarded the shenyi as a Chinese symbol and as having a proper status in society.[10] The Catholic missionaries in the 19th century who visited China perceived Chinese religions (being constituted of thesanjiao) as a degeneration of "true monotheism", widespread superstition, and idolatry while the Protestant missionaries perceived them as being religions with corrupted priesthood, mindless ritualism and idolatry in the Buddhist and Taoist worship.[36] The missionaries also viewed Christianity as being a higher civilizing force than Confucianism.[36] However, this view was not accepted by all the Chinese people, such as Kang Youwei and Cheng Huanzhang.[36]
Kang Youwei, who was an influential advocate of reforms in late Qing dynasty to theearly Republican period,[37] rejected the idea that Confucianism was defective when compared to Christianity. Kang Youwei thus wrote a controversial book in 1897, calledKongzi gaizhi kao (孔子改制考; 'Confucius the Reformer'), in which cited therufu (儒服; 'Confucian robe').[36]
Cheng Huanzhang, the founder of theConfucian Religion Association (孔教會;Kongjiao hui) in 1912[37][38] who also established thezongsheng hui (宗圣会) in Gaoyao in Guangdong,[36] aimed to bring advocates together for the restoration of Confucian texts to the educational curriculum and the official recognition of Confucianism as China's national religion.[37] Thus, in the written by Cheng Huanzhang also wrote theKongjiaolun, where he argued that therufu was the clothing attire worn by the Confucianism religion priests.[39] He also listed 12 attributes which were associated with the religiosity of Confucianism: one of these attributes was aboutrufu, which according to him, was a specific form of attire consisting of the Confucian shenyi and a cap which had been designed by Confucius for his followers to wear.[38] However, despite the support of the prominent literati following the opening of theKongjiao hui, which had also become the most illustrious and influential organization of its time,[38] the parliament voted to not accord an official recognition to Confucianism as a ‘religion’ in both 1913 and 1916; the parliament gave official institutional status to five religions: Buddhism, Daoism, Catholicism, Protestantism, and Islam, and excluded Confucianism.[37]
Theshenyi reappeared in the 21st century in China. The ancient-style shenyi in the form of both qujupao and the zhijupao reappeared and is worn by both men and women.[10] In 2003, a man named Wang Letian wore a DIYraojinshenyi on the streets.[10]
Thequjupao was a robe which was long enough to cover the ankles of its wearer; it has an overlapping front lapel which closed on the right side in a style calledjiaoling youren; however, its right front piece was cut as a triangular front piece that crossed in front of the body and has rounded under hem.[1]: 13–14 [12] Thequjupao would curve and wraps the dress to the back of its wearer[11] allowing the contrasting or decorative edging of the robe would create a spiralling effect when encircling the body.[12] The collar of thequjupao was deliberately made in such ways to prevent any part of its wearer's body from being exposed.[18]: 16
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Another type of thequjupao is theRàojǐn Shēnyī. It can typically be found in theMawangdui tomb No.1 of theWestern Han dynasty.[40]: 41–42 [41]: 16 It is characterised by an overlapping, curved front lapel that is long enough to wrap around the entire body.[40]: 41–42 It usually has a silk belt that is tied tightly around the waist and hips to stop the garment from coming loose, which position depends on the length of the garment.[40]: 41 The sleeves can be of varying configurations, and the garment can be made to be either loose or fitted.[40]: 41–42
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The front opening of thezhijupao would fall straight down instead of having a curving front.[11]
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Theshenyi in later dynasties directly descended from theshenyi worn in earlier dynasties Theshenyi was originally made oframie cultivated in China. Ramie fabric needs to be bleached and produced 45 to 60 centimetre wide textile.[citation needed]
Similarly to theshenyi worn from Zhou to Han dynasties, the shenyi designed in Song dynasty followed the same principles. Theyi (衣; "blouse") andchang (裳; "skirt") of the shenyi is sewn together.[19] The upper part is made up of 4 panels of ramie fabric, representing four seasons of a year. 2 panels are fold and sewn to cover the upper body. Another 2 panels of ramie fabric are sewn onto each side of the yi as two sleeves. The lower part is made up of 12 panels of fabric sewn together (十二片縫合), representing 12 months a year.[22] Its sleeves are wide with black cuff. It is also tied with a wide belt calleddadai (大帶) is tied in the front. According to the Japanese scholar Riken Nakai's shenyi template, there are four design features of the Shenyi dressing: upper and lower connections, square collar, length to the ankle, and additional coverage.[3] In theSong dynasty, the shenyi was made with white fabric.[19]
TheDiyi was a set of attire which was worn as ceremonial clothing; a shenyi was also part of the diyi.
InKorea, theshenyi is calledsimui (Korean: 심의;Hanja: 深衣).[5][42] It was introduced from China in the middle of Goryeo; however, the exact date of its introduction is unknown.[5] Thesimui was worn as an outer garment by theseonbi.[43] Theseonbi in Joseon imitated the clothing attire designed by Zhu Xi, i.e. theshenyi and the literati hat.[44] Theseonbi, who valued thesimui greatly, embraced it as a symbol of Confucian civilization, and continued to publish treatise on thesimui starting from the sixteenth century AD.[10] Thesimui also influenced other clothing, such as thecheollik, thenansam, andhakchangui.[5]
Thesimui is white and in terms of design, it has wide sleeves and is composed on an upper and lower part which is attached together (衣裳連衣;Uisangyeonui) at the waistline; the lower part has 12 panels which represents 12 months.[42][43] It is a high-waist robe and a belt (大帶;dadae) is tied to thesimui.[42][43] There were also various forms ofsimui which developed in the Joseon.[5][9]
The earlyTokugawa period inJapan, some Japanese scholars, such asSeika Fujiwara andHayashi Razan, who self-proclaimed themselves as followers ofZhu Xi wore the Confucianshenyi and gave lectures in it.[10]
Seika Fujiwara, was usually perceived as the patriarch of theJapanese Neo-Confucian movement during the Tokugawa period.[45]: 167 Seika used to be aBuddhist monk before turning toConfucianism[46]: 104 and probably renounced Buddhism in the year 1594.[45]: 167
According to his biographer and follower, Hayashi Razan, Seika even appeared in front ofTokugawa Ieyasu in 1600 dressed in the Chinese-style Confucianshenyi andfujin which were prescribed for rituals by Zhu Xi;[45]: 171 this event also marked the beginning of the popularity of Confucianism in Japan.[46]: 104
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Photographs from the Nguyễn dynasty (1802–1945) indicate that shenyi robes continued to be worn till the end of the dynasty. These robes were only worn in Confucian ceremonies.
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