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The Hanfu, revered as the national costume of the Han Chinese people, is more than just a form of attire. It symbolizes a rich cultural heritage that spans thousands of years. The origins of Hanfu can be traced back to the era of the Yellow Emperor, a mythical figure who is regarded as the ancestor of the Han Chinese people. Over the millennia, men’s Hanfu has been shaped and influenced by the philosophies, aesthetics, male qipao and customs of different dynasties. Men’s Hanfu typically consists of a robe or jacket worn over a long skirt or trousers. Common features include a cross-collar, waist belt, and broad sleeves. Men’s Hanfu varies greatly depending on the occasion, plus size qipao with each style bearing distinct characteristics. The garment is often made of high-quality silk, embroidered with intricate patterns symbolizing prosperity and good luck. It symbolizes the unity of heaven and earth, embodying the ancient Chinese worldview. Shenyi is a one-piece Hanfu style that was usually worn for ceremonial or ritualistic occasions. It was particularly popular during the Ming Dynasty. Pao, often seen as the most formal style of Hanfu, is a round-collared robe that was usually worn by scholars and officials. Zhiduo is a more casual style of Hanfu, featuring a loose robe that provides comfort and ease of movement. Men’s Hanfu is not just clothing but a cultural icon that carries deep historical and philosophical significance. Its design reflects the wearer’s social status and education. It expresses the Confucian values of ritual, respect, and righteousness, which are central to Han Chinese culture. The rise of globalization and western clothing styles led to the decline of Hanfu for some time. However, a revival is underway, especially among the younger generation. In recent years, a growing number of young Chinese people have embraced their cultural heritage by wearing Hanfu. It’s now common to see Hanfu-wearing enthusiasts at cultural events, college campuses, and even in urban settings. The unique aesthetics and rich cultural connotations of men’s Hanfu have also captured the attention of the global fashion industry. Designers worldwide are incorporating elements of Hanfu into their creations, contributing to the renaissance of this traditional attire. Men’s Hanfu, with its rich cultural significance and unique aesthetics, continues to play an influential role in shaping Chinese and global fashion. In contemporary fashion, men’s Hanfu is often paired with modern accessories, such as sneakers or leather bags, creating a stylish blend of tradition and modernity. What are the basic components of a men’s Hanfu outfit? A typical men’s Hanfu outfit includes a robe or jacket (top), a long skirt or trousers (bottom), and often a belt to secure the top at the waist. Its resurgence among the younger generation is a testament to its timeless appeal and the enduring legacy of Han Chinese culture. Yes, while traditionally associated with formal and ceremonial events, many contemporary styles of men’s Hanfu are designed for comfort and daily wear. Can men’s Hanfu be worn daily? Is it acceptable for non-Chinese people to wear Hanfu? Yes, wearing Hanfu is generally seen as an appreciation of Chinese culture. It’s recommended to understand the garment’s historical and cultural context and wear it respectfully. Hanfu, often made from delicate fabrics like silk, should ideally be dry-cleaned. How should I care for my Hanfu? If hand-washing, use mild detergent and avoid wringing it out. Where can I buy men’s Hanfu? Men’s Hanfu can be purchased online, in specialized boutiques, or in traditional markets in Chinese cities.

In the dynamic landscape of global fashion, traditional Chinese clothing – known as Hanfu – holds a distinguished position. Yandanhanfu, a curated retailer specializing in hanfu men styles, offers a gateway into this captivating element of Chinese heritage. Originating from China, Hanfu, particularly hanfu male or male hanfu, has become a global phenomenon due to its unique design and historical significance. Although we do not manufacture these pieces ourselves, we’re passionate about offering a wide variety of male Hanfu, each reflecting the richness and diversity of Chinese history. Each brand we collaborate with brings its unique perspective to the hanfu men styles, ensuring an array of designs that cater to a wide range of preferences. Our platform, Yandanhanfu, collaborates with a multitude of brands that specialize in creating male Hanfu using traditional methods and materials. Hanfu, especially hanfu male, is more than just clothing. But why do Chinese people wear Hanfu? Wearing Hanfu, like the male hanfu we offer, connects the wearer to their cultural roots and allows them to express their love for their heritage. It’s an integral part of Chinese culture and history, a symbol of national identity. In recent years, the cultural and historical significance of Hanfu has taken on new life in the fashion world, allowing wearers to embrace and celebrate their heritage. The revival of interest in Hanfu represents a broader trend towards appreciating and preserving traditional culture and values. One of the questions we often receive at Yandanhanfu is, “Is it okay for a non-Chinese person to wear Hanfu?” Our answer is yes, absolutely! This includes people who are not Chinese or those of white ethnicity. However, it’s important to note that wearing Hanfu should come with an understanding and respect for its cultural significance. Hanfu men styles, like any other cultural dress, can be appreciated and worn by anyone, regardless of their ethnicity or nationality. It’s not just a fashion statement but a way to appreciate and connect with a culture different from one’s own. Therefore, whether you are wearing a modern hanfu or a more traditional style, it’s crucial to wear it respectfully, recognizing the cultural heritage it represents. Modern Hanfu, while taking inspiration from history, does not lose its traditional essence. Is modern Hanfu gender-neutral? Yi: A type of tunic worn underneath. Generally speaking, there are specific designs for men and women, chinese traditional cloth but the overall structure of modern Hanfu does cater to a fluid style that can be adapted by any gender. Pao: A robe worn over the Yi. Ku: Trousers, also known as Hanfu pants. A complete modern Hanfu outfit often comprises three layers – the inner garment or ‘Danyi,’ the middle layer or ‘Zhongyi,’ and the outer layer or ‘Waitao.’ Underneath the Hanfu, typically, an undergarment is worn for comfort and modesty. But what shoes are worn with Hanfu? Traditional Chinese cloth shoes or ‘thousand-layer’ sole shoes are often worn with Hanfu. A Hanfu ensemble would be incomplete without traditional footwear. They are comfortable, light, and aesthetically pleasing, completing the elegance of the Hanfu. When it comes to traditional East Asian clothing, modern hanfu it’s easy to get confused between different styles. For instance, what is the difference between a Hanbok and a Hanfu? While both are traditional dresses, they belong to different cultures. Although there may be aesthetic similarities due to cultural exchanges over centuries, each has unique characteristics and cultural significance. Hanfu is traditional Chinese clothing, while Hanbok is traditional Korean clothing. Why is Hanfu, especially the modern Hanfu, so popular? And why can it be expensive? The resurgence of Hanfu popularity is largely driven by a renewed sense of national pride and a desire to reconnect with historical roots. Younger generations, in particular, have embraced this trend, making hanfu men styles a common sight. As for the cost, Hanfu can be quite an investment due to the high-quality materials used and the intricate craftsmanship involved in each piece. They are not mass-produced fashion items but are often made with meticulous care, respecting traditional techniques and patterns, which adds to their price. The traditional Hanfu has seen a significant transformation with the introduction of modern Hanfu. Whether it’s more streamlined silhouettes or the use of new materials and colors, modern Hanfu creates an exciting intersection between the past and the present. These modern adaptations take the core essence of Hanfu and blend it with contemporary fashion trends. At Yandanhanfu, we are proud to collaborate with brands that share our passion for Hanfu. This makes it a versatile choice for those seeking to explore traditional Chinese clothing without compromising on modern aesthetics. While we cannot list all the brands here, we guarantee that our platform provides a diverse selection of the highest quality male Hanfu, ensuring that there is something for everyone. Whether you are fascinated by Chinese history, love the elegance of traditional clothing, or simply want to try something different, Hanfu offers a wealth of possibilities. Each brand brings a unique approach to Hanfu, whether it’s a commitment to traditional craftsmanship, the use of innovative materials, or unique design aesthetics. It’s more than just clothing – it’s a statement of culture, history, and personal style. We invite you to explore our collection and discover the grace of tradition for yourself. At Yandanhanfu, we’re proud to be part of this cultural heritage, offering an exquisite range of male Hanfu from various brands. No matter where you come from or what your background is, wearing Hanfu is an opportunity to appreciate and respect the richness of Chinese culture. So why not embrace this timeless fashion and make it your own?

Are you planning to attend or host a Hanfu party? Does the occasion demand you to dress in the most authentic way possible? Well, if you have answered, “yes” to at least one of these questions, you have come to the right place. Here, we have listed some of the most beautiful, exquisite and bright orange hanfu dresses that you would have ever seen in your life. Is the color theme of the party bright and bold? Let’s take a look at the section below to know the answer to this one. Does the Hanfu dress work well without any accessories? However, is the Hanfu good enough to help you rock the authentic Chinese traditional dress look? In most cases, your Hanfu dress, especially if it is in a bright hue like orange, is more than enough to complete your authentic Chinese hanfu look. However, we recommend you complement your outfit with some basic accessories for two main reasons. Firstly, these accessories accentuate the beauty of your dress and make you look more authentic than ever. Secondly, these accessories represent elements of Chinese culture, and it is always good to carry them with you on these important occasions. What are the main accessories that you should wear along with a Hanfu dress? While there are many accessories that you can wear to get a complete look with your Hanfu outfit, we will tell you only the basic ones here. Earrings – These are a must, as the ancient Chinese wore 1, 2 or even 3 earrings on each ear. Belts – You have to wear belts or satin waist bands known as dai when you wear Hanfu dresses, to accentuate your curves. Pendants – It is highly recommended to wear jade pendants in shapes of Chinese elements like rape flowers, maple leaves, monasteries, dragons, phoenix birds and more. Now that you have sorted out your accessories, here is your chance to pick from one of these beautiful outfits. Hand fans – These are not absolutely necessary; however, if the function is a formal or religious one or a costume party, it helps to carry one in your hand. A traditional and fluffy Hanfu dress with a whimsical touch – that’s how we can describe this bright orange three-piece outfit. On the skirt and the back of the outer coat, you will find intricate patterns of crane and cloud, making it a perfect choice to be worn during autumn. With a skirt pendulum of 4.5m, this dress is available in many sizes, ranging from small to extra large. It comes with a blouse, skirt and an outer daxiushan coat. For the perfect autumn hanfu cosplay party, we recommend you to complement this dress with all the needed accessories like a hand fan, headband, eyebrow stickers, makeup, shoes and more. You will definitely love this orange Hanfu dress, as it makes you look like a princess in all regality. This handmade hanfu comes with embroidered floral patterns all over to represent the authentic Chinese elements properly. The skirt comes with a cotton lining, ensuring that you don’t feel comfortable when you wear it for a long time. However, what catches your attention in this outfit is the design of the embroidered patterns along the skirt and sleeves. While most traditional Hanfu dresses have patterns of birds and flowers, this one comes with embroidered patterns of the Pipa, a Chinese musical instrument, in addition to the floral patterns. This makes this dress look unique when compared to other Hanfu dresses, and a must-have in your wardrobe, too. This is a subtle but stylish outfit in an attractive shade of gradient orange. If you want to wear this dress at the waist, you will get a cami, blouse, skirt and jacket. However, if you want to wear it at the chest, you will get a blouse, dress and jacket. When you set out to buy this dress, you can choose from two different styles – the Qiyao (waist) and Qixiong (Chest). It comes with a classic hanfu jacket and huge bell-shaped sleeves – a trademark style of all traditional Chinese outfits. If you are looking for a Hanfu dress to be worn at traditional parties or important festival days, you can opt for the Qiyao style, as it is the more traditional of the two. If you are looking for a bright Hanfu suit with some traditional Chinese elements, your search should end here. The qixiong has traditional palace floral prints, which lend much-needed authenticity to this outfit. Though it doesn’t contain the long, bell-shaped sleeves that you will usually find in the other Hanfu dresses, the Chinese patterns on the waist more than make up for the look. You can be sure that this dress doesn’t cause any discomfort to girls, as all the miscellaneous threads have been completely trimmed here. This handmade chiffon qixiong dress comes in three pieces – an inner blouse, a scarf, and a dress. If you love a dash of colors in your outfit, this one is a good choice for you. It comes in three pieces – an inner blouse, an outer blouse and a skirt, with all of these pieces representing some elements of the Tang Dynasty. Here is a bright orange Hanfu dress that will captivate you in the first instant itself. The flowing skirt comes in different color partitions, and each partition represents beautiful Chinese patterns to make you rock your cosplay or costume parties. Orange Hanfu dresses can bring a lot of life, color and vibrancy to any party. They are made from extremely soft materials to give you comfort for a long time. If you have been waiting to get a Hanfu dress that is nothing like the usual ones, here is your chance. Grab one before the stocks run out.

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So now that you’ve learned about all these pieces separately, we arrive at the question: how do we put all of these pieces together? Body, sleeves, collar: these are the main three things that we use to distinguish types of hanfu. In naming conventions, we usually refer to a piece in the order of collar-sleeve-body. Let’s go over some ways these are usually put together, how to refer to them, and other details that might not have been covered in previous articles. Take a look at this image: What body type, sleeve type, hanfu for chinese new year and collar type is it? Well, I’ll tell you first that this is a Shan, meaning that it’s a single-layered top or robe shorter than the knees with no yao lan. Take a look at the sleeves-do they curve or change in diameter at all? The collar’s shape is pretty obviously parallel, or duijin, since the two sides come straight down and don’t touch. Yes, they seem to narrow in a striaght line from the root of the sleeve to the cuff, meaning this is a feijixiu design, qipao wedding dress or airplane sleeve. Well then, we can refer to this as a duijin feijixiu shan: a parallel collar, airplane…

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But things are changing this year. According to a report by iiMedia Research, the majority of Hanfu consumers are still predominantly women, who now account for 64.8 percent of the total. But the male fan base is growing, standing at 35.2 percent. Consumers aged 26-40 account for more than 60 percent followed by those aged 26-30 (36.38 percent). Geographically speaking, 21.15 percent of consumers are located in eastern China, 17.1 percent in the north and 17.1 percent are in the southern part of the country. A little less than half (40.44 percent) live in first-tier cities. Liu Weixiu, or Hanfu Grandma, is 77 years old. She used to be a Peking Opera performer but is now focused on her Hanfu modeling career. Most of them (82.7 percent) hold a bachelor’s degree and are getting slightly older as well, although young people are the mainstay. At the event, she was accompanied by 18-year-old Chen Jiawei who’s been engaged in the industry for almost five years, and has 8 million followers on his social media platforms. During the past year, he’s been walking the runway in Hanfu, along with Hanfu Grandma. A collection of pictures of her in Hanfu made her an internet celebrity. Together, vintage cheongsam they portray a grandmother-grandson duo. He also helps the septuagenarian deal with fans, big stages and media.

If its too complicated thats ok! Hi, thanks for the question! I covered the basic types of men’s hanfu here and here, so in this post I’ll describe the basic types of women’s hanfu. Resources on identifying different types of hanfu can be found in my reference tag. Ruqun/襦裙 – the most basic type of hanfu consisting of a top and a wrap-around skirt. The top is called “ru/襦” and the skirt is called “qun/ 裙”, hence “ruqun”. Sleeves can be narrow or wide. Generally speaking, people divide ruqun into two types based on the height of the skirt: “Qiyao Ruqun/ 齐腰襦裙” (waist-high ruqun) and “Qixiong Ruqun/ 齐胸襦裙” (chest-high ruqun). Both men and women can wear it. “Qiyao Ruqun” is the kind of ruqun in which the waistband is on the waist. Men’s ruqun are cross-collared only. “Qixiong Ruqun”, on the other hand, has its waistband above the chest. For women, the top’s collar can be parallel (left), crossed (middle), or u-shaped (right). It’s only worn by women. The top’s collar can be parallel (left) or crossed (right). As seen in the photos above, ruqun is often accessorized with a long scarf called Pibo/披帛. Originally used to protect against wind and cold air, pibo gradually became an important feature of hanfu. It consists of a double-layered top called “ao/袄“ and a waist-high skirt (”qun”), hence “aoqun”. Aoqun/袄裙 – a type of ruqun that became fashionable during the Ming Dynasty. Unlike the “standard” ruqun that has the top tucked inside the skirt, the aoqun’s top is worn untucked, above the skirt. There are two types of “ao” – “short ao” and “long ao”. The “short ao” (left, right) reaches the waist, while the “long ao” (middle) covers the knees. Ao collars can be crossed (left, middle), upright (right), or square (not shown). Only worn by women. Unlike ruqun and aoqun which are made of separate top and bottom pieces, the Shenyi/深衣 style of hanfu consists of one-piece robes that wrap around the body once or several times. Quju/曲裾 (curved-hem robe) and Zhiju/直裾(straight-hem robe) are two types of shenyi. The quju (left, middle) is a robe in which the bottom hem of the left lapel spirals its way up to the waist of the wearer. Modern quju can come in a shortened version (middle) that reveals the skirt worn underneath. In contrast to the quju, the bottom hem of the zhiju (right) circles around levelly, creating a straight line. Quju and Zhiju are worn by both men and women. It can be secured at the front either with ties or a metal button. Extremely versatile, it can be long or short, have narrow or wide sleeves, and is worn by both men and women. Beizi/褙子 – a parallel-collar “jacket” with side slits beginning at the armpit or at the waist. Another name for Ming Dynasty-style beizi is Pifeng/披风 (right). During the Song Dynasty, it was popular to wear narrow-sleeved beizi over a chest undergarment and skirt/pants (middle). Pifeng collars can also be upright (not shown). It comes in various lengths and is usually worn over ruqun. Banbi/半臂 – a half-sleeve jacket worn by both men and women. Its collar can be parallel (left), crossed (middle), or u-shaped (right). When paired with ruqun, it can be worn tucked inside the skirt as well as over the skirt (untucked). Bijia/比甲 – a sleeveless jacket, usually worn over aoqun, that comes in various lengths and styles. Daxiushan/大袖衫 – large-sleeve robe commonly paired with ruqun. As its name indicates, its main feature is its broad sleeves. The length is at least 78 inches, and the width exceeds 40 inches. The material is generally thin and light, because it was originally created for wear in the summer. Of course this doesn’t cover everything, but it describes the basic hanfu styles that appear most often on this blog.

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Perfect for office wear, this sleek modernized Mamian skirt has a streamlined design with adorable button details! Extremely versatile skirts that can be styled easily with traditional and modern elements. Pair with any Ming Dynasty jacket for a cozy traditional look, or with your favorite sweater for an easy everyday ensemble! This item has a 14 day construction period. All handmade garments, Chang Chang has a specialty in basics for various Chinese dynasties. Although their modernized designs are to die for as well! 裳裳者华汉服工作室, or Chang Chang Hanfu Studio, is an indie brand that hanfu fans can’t get enough of! Note that Chinese sizes are smaller than US sizes. With a cozy and warm style, their construction is top knotch garnering a rating of 4.9 stars on Taobao. Please measure in centimeters. Please hand wash carefully as to not ruin the embroidery, jewels, or buttons. To avoid wrong sizings, chinese traditional female clothing please refer to the sizing chart in the photos. Hand washing and air drying also extends the life of your hanfu. Please air dry the clothes on a hanger. For ironing, please use lowest heat setting or steam out the wrinkles.

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Xiapei (Chinese: 霞帔; lit. Chinese clothing accessory in either the form of a long scarf, a neckband, or in the shape of waistcoat depending on the time period. It was also referred as xiapeizhui (Chinese: 霞帔坠) when it was ornamented with a peizhui (Chinese: 帔坠; pinyin: pèizhuì; lit. The xiapei appeared as early as the Qin dynasty and continues to be worn until now (although the shape of the xiapei evolved with time). In the Ming and Qing dynasties, the xiapei, along with the fengguan, became the daily clothing of queens and the formal clothing of the wives of senior officials. Since the Song dynasty, peizhui started to be used to ornate the xiapei. The xiapei eventually became part of the traditional Chinese wedding attire for commoners. The xiapei was also introduced and worn in the late Goryeo and Joseon where it was called hapi; it was bestowed by the Ming dynasty along with the jeokui and many other garment items. Wei, Jin, Northern and Southern dynasties. During the Wei, Jin, Northern and Southern dynasties, the xiapei was known as embroidered collar. The xiapei appears as early as the Qin and Han dynasty and was in the shape of the long, thin-silk scarf. In the Sui and Tang dynasties, the xiapei gained its name due to its beauty like rosy clouds (霞; xia). During this period, it became increasingly popular. In the Song dynasty, xiapei became a component part of the formal attire; the embellishment of the xiapei in this period were determined according to the social rank of its wearer. Peizhui (帔坠), the ornament which was used to decorate the xiapei, were among the jewelries given by wealthy families and high status families to women on their wedding. In the Tang dynasty, the xiapei was an embroidered scarf made of silk which was attached to a woman’s neck and shoulder that would wrap around her body. In the Ming dynasty, the xiapei was inherited from the one worn in the Song dynasty. Similarly to the way it was worn in the Tang dynasty, the xiapei was still attached to the neck and shoulder of a woman, except that it was repositioned to also hang on her chest in order to display the ornament (i.e. peizhui) which was attached to the front end of the xiapei. The Ming dynasty xiapei was a form of long embroidered neckband which was trimmed with gold and lace. It was also used as part of the ceremonial attire for titled women. Women who were given rank of 1st and rank of 2nd by the Ming emperor had to wear a xiapei which was decorated with golden cloud and pheasant patterns embroidery. Women who were given the rank of 8th and 9th had to wear a xiapei which was embroidered with branch pattern. The xiapei eventually became part of the wedding attire for commoners. Ming dynasty Empress Xiao yizhuang. It was worn by queens as daily attires and by the wives of senior official as a formal attire. Ming dynasty noblewomen wearing a green embroidered xiapei over her red robe. Ming dynasty Empress Xiaoduan wearing xiapei. Ming dynasty noblewomen wearing a blue embroidered xiapei over her red robe. Woman wearing xiapei; portrait of an official woman. Woman wearing xiapei in late Ming. Coloured tassels were decorated the bottom part of the waistcoat. In the Qing dynasty, the Ming dynasty xiapei (long scarf) evolved into the Qing dynasty xiapei which was in the form of a sleeveless waistcoat. Similarly to the Ming dynasty, the waistcoat xiapei was worn by the queens as a daily form of attire while the wives of senior official as a formal attire. The waistcoat-shaped xiapei was tied at the sides, reached below the knee and had a fringed pointed bottom hem. Throughout the Qing dynasty, Han Chinese women, following the Ming dynasty customs, would wear the xiapei on their wedding day. The xiapei was actually first worn as part of the Wedding attire and after the wedding, it would be worn for special events. Ordinary women wear allowed to wear xiapei on rare occasion, such as weddings and funerals. Qing dynasty lady in a red robe and xiapei over shoulders. Waistcoat-like xiapei, Qing dynasty. Chinese woman wearing xiapei, Xu Family of Guangzhou Chinese officials, Qing dynasty. Women’s waistcoat-like xiapei, Qing dynasty, late 19th century. The xiapei was called hapi in Korea; it was a long, wide piece of black silk which was worn over the shoulders. Hapi was an ornamental garment and was a ceremonial cape which was worn by the queens, crown princess, and royal women (including the consort of the crown prince, the consort of the crown prince’s son, the queen dowager, and the grand queen dowager) along with the jeokui. The hapi was bestowed by the Ming dynasty and was included in the set of ceremonial attire sent to the queen. According to the Annals of Joseon, from 1403 to the first half of the 17th century the Ming Dynasty sent a letter, which confers the queen with a title, along with the hapi and many other items. Black hapi worn on top of jeokui. Encyclopedia of Korean Folk Culture. Hapi (black silk band with gold ornament motifs) is worn over the shoulders. San Francisco: Long River Press. Lewandowski, Elizabeth J. (2011). The complete costume dictionary. Lanham, Maryland: The Scarecrow Press. Yang, Shaorong (2004). Traditional Chinese clothing : costumes, adornments & culture (1st ed.). Journal of the Royal Asiatic Society. National Museum of Korea. KESSLER, ADAM T. (2017-08-23). “The Last Days of the Song Dynasty: Evidence of the Flight of Song Officials to Southeast Asia before the Mongol Invasions”. San Francisco, CA: China Books & Periodicals. Xun Zhou; Chunming Gao (1987). 5000 years of Chinese costumes. Tibberts, Jennifer (2021-01-01). “Investigating How Qipao and Hanfu Dresses are Representative of China”. Mactaggart Art Collection. Edmonton: University of Alberta Press. Vollmer, John E. (2007). Dressed to rule : 18th century court attire in the Mactaggart Art Collection. Encyclopedia of Korean Folk Culture. This page was last edited on 24 April 2024, at 20:38 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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The Kong Family Mansion (Chinese: 孔府; pinyin: Kǒng fǔ) was the historical residence of the direct descendants of Confucius in the City of Qufu, the hometown of Confucius in Shandong Province, China. The extant structures mainly date from the Ming and Qing dynasties. The Kong family was in charge of conducting elaborate religious ceremonies on occasions such as plantings, harvests, honoring the dead, and birthdays. From the mansion, the family tended to the Confucian sites in Qufu and also governed the largest private rural estate in China. Besides the yamen and the inner quarters, the complex also contains an eastern and a western study as well as a back garden. Today, the mansion is a museum and part of the UNESCO World Heritage Site “Temple and Cemetery of Confucius and the Kong Family Mansion in Qufu”. The eastern study was used by the Duke of Yansheng to meet official guests and worship his ancestors. Within this overall arrangement, the spatial distribution of the buildings according to the seniority, gender, and status of their inhabitants reflects the Confucian principle of order and hierarchy: The most senior descendant of Confucius took up residence in the central of the three main buildings; his younger brother occupied the Yi Gun hall to the east. The western study was used by the family for study, meals, and entertaining friends. Its tallest structure is the four-story refuge tower (Chinese: 避難樓; pinyin: Bìnán Lóu) that was designed as a shelter during an attack but was never used. In its present layout, the mansion comprises 152 buildings with 480 rooms, which cover an area of 12,470 square metres (134,200 sq ft). The mansion houses an archive with about 60,000 documents related to the life in the mansion over a period of 400 years during the Ming and Qing dynasties. The first mansion for the Kong family of the Duke Yansheng was built in 1038 during the Song dynasty. In 1503, during the reign of the Hongzhi Emperor, the complex was expanded into three rows of buildings with 560 rooms and – like the neighboring Confucius Temple – nine courtyards. In 1377, the mansion was relocated and rebuilt under orders of the first emperor of the Ming dynasty. The damaged portions of the mansion were rebuilt two years later; the cost of both these 19th-century renovations was covered by the emperor. Despite these later renovations, the Kong Family Mansion remains the best-preserved Ming-era residential complex of its size. Even during the fire, men did not dare to enter the women’s part of the mansion to fight the fire, leading to greater damage to this portion of the mansion complex. The last head of the Kong family to live in the mansion was Kong Decheng, the 77th generation descendant of Confucius. Kong Decheng fled to Chongqing because of the Second Sino-Japanese War in 1937. He did not return to Qufu but moved on to Taiwan during the Chinese Civil War. Traditional Ming dynasty hanfu robes given by the Ming emperors to the Chinese noble Dukes Yansheng, descended from Confucius, long sleeve qipao are still preserved in the Confucius Mansion after over five centuries. There is another Kong Family Mansion in Quzhou built by the southern branch of Confucius descendants. Robes from the Qing emperors are also preserved there. The main entrance gate to the complex (Chinese: 孔府大門; pinyin: Kǒngfǔ Dàmén) is marked by a tablet that reads “Sage Mansion” (Chinese: 聖府; pinyin: Shèngfǔ). The Jurchens in the Jin dynasty and Mongols in the Yuan dynasty continued to patronize and support the Confucian Duke Yansheng. The administration of the Kong family’s official functions and businesses was structured into departments similar to the six ministries of the imperial government: Department of Rites (ancestor worship), Department of Seals (jurisdiction and edicts), Music, Letters, and Archives, Rent Collection and Sacrificial Fields. The central courtyard is flanked to the east and west by former administrative office buildings. Located to the north of the Central Courtyard, the Gate of Double Glory (Chinese: 重光門; pinyin: Chóngguāng Mén) was erected in 1503 and opened only for ceremonial purposes, visits by the emperor, or the arrival of imperial edicts. The structure is 6.24 meters wide, 2.03 meters deep, and 5.95 meters in height. It is also known as the “Yi Gate” (Chinese: 儀門; pinyin: Yí Mén) or “Sai Gate” (Chinese: 塞門; pinyin: Sāi Mén). The Great Hall (Chinese: 大堂; pinyin: Dà Táng) was the site of the duke’s official business and the place for the proclamation of imperial edicts. The Second Hall (Chinese: 二堂; pinyin: Èr Táng) was used for receiving high-ranking officials as well as for examinations in music and rites by the duke. It contains seven tablets inscribed by emperors, including one with the character “shou” (longevity) written by the Empress Dowager Cixi. When holding court, the duke was seated in the hall on a wooden chair that was covered by a tiger skin. This gate (Chinese: 內宅門; pinyin: Nèizhái Mén) dates to the Ming dynasty. The Third Hall (Chinese: 三堂; pinyin: Sān Táng), also known as the “Hall of Withdrawal”, was used by the duke for drinking tea. During the residence of the Kong family, the gate was heavily guarded and restricted access to the residential portion of the mansion accessible only to the family and a small number of mostly female servants. The gate building stands 11.8 meters wide, 6.1 meters deep, and 6.5 meters tall. Trespassing into the inner compound was punishable by death. Drinking water had to be delivered through a trough in the wall. On the internal ghost wall behind this entrance is a painting of a “tan” (tān), a mythical animal representing greed. Although the tan already has the Eight Treasures (associated with the Eight Immortals, it is still attempting to swallow the sun. The Front Reception Hall (Chinese: 前上房; pinyin: Qiánshàng Fáng) is a structure with seven bays that was used for receiving relatives, banquets, marriage and funeral ceremonies. The painting was placed at the exit from the inner apartments to the administrative portion to warn the members of the Kong family against greed in their business dealings outside. The rear building (Chinese: 後堂樓; pinyin: Hòutáng Lóu) was erected during the reign of the Qing dynasty’s Jiaqing Emperor. It has a floor space of 3900 square meters and contained the private rooms of the duke. Originally a study for the duke, the rear five rooms (Chinese: 後五間; pinyin: Hòuwǔ Jiān) become a quarter for the maids of the residence during the late Qing dynasty. Mencius’s sites – Meng family mansion 孟府, Temple of Mencius 孟廟, and Cemetery of Mencius 孟林. The last duke to inhabit the Rear Building was Kong Decheng. Zhao, Ruixue (2013-06-14). “Dressed like nobility”. Kong Mansion, Qufu, China. Sankar, Siva (2017-09-28). “A school that can teach the world a lesson”. Late Imperial China. 37 (2). Johns Hopkins University Press: 137-170. doi:10.1353/late.2016.0013. Wang, Guojun (December 2016). “The Inconvenient Imperial Visit: Writing Clothing and Ethnicity in 1684 Qufu”. Kile, S.E.; Kleutghen, Kristina (June 2017). “Seeing through Pictures and Poetry: A History of Lenses (1681)”. Late Imperial China. Sloane, Jesse D. (October 2014). “Rebuilding Confucian Ideology: Ethnicity and Biography in the Appropriation of Tradition”. 38 (1). Johns Hopkins University Press: 47-112. doi:10.1353/late.2017.0001. Sungkyun Journal of East Asian Studies. Wikimedia Commons has media related to Kong Family Mansion. The New York Times. Zhou, Zehao (2011). THE ANTI – CONFUCIAN CAMPAIGN DURING THE CULTURAL REVOL UTION, AUGUST 1966 -JANUARY 1967 (PDF) (Doctor of Philosophy). JEN, LIN-LIU (September 25, 2009). “Following the Path of the Great Sage”. University of Maryland, College Park.

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