Shenyi of Chinese Hanfu

as one of the important styles of ancient Hanfu, bears the long history, culture, and unique aesthetic concepts of the Chinese nation. It is not only a kind of clothing but also an important manifestation of the social features, etiquette systems, and people's spiritual pursuits in ancient times. 

The Origin and Development of Shenyi

The origin of Shenyi can be traced back to the pre-Qin period. According to the record in "The Book of Rites—Shenyi," "In ancient times, Shenyi had certain systems to conform to the compasses, set squares, ropes, weights, and measures." This indicates that Shenyi was designed in accordance with certain norms and principles, reflecting the ancients' awe of nature and the pursuit of moral norms. 

During the Spring and Autumn Period and the Warring States Period, Shenyi gradually became popular. Nobles and literati from various states all wore Shenyi to show their identities and self-cultivation. At that time, the style of Shenyi was relatively simple. The upper garment and the lower skirt were connected, covering the body deeply, presenting a solemn temperament as a whole.

In the Qin and Han dynasties, Shenyi was further developed and improved. After the Qin Dynasty unified the six states, it implemented a series of cultural unification policies, and Shenyi was also standardized and unified to some extent. In the Han Dynasty, shenyi became the mainstream clothing in society. Whether nobles or common people, they generally wore Shenyi. At this time, the styles of Shenyi were more diverse, including curved-front Shenyi, straight-front Shenyi, and other different types.

Warring States Period

During the Warring States Period, the upper garment and the lower skirt of Shenyi were connected, covering the body deeply, and it was relatively simple as a whole. Its main characteristics are as follows:

The upper garment and the lower skirt were cut separately, but when sewing, they were connected together to form a whole.

 

 

There were usually some decorations, such as edges and embroidery, at the collar, cuffs, and hem of Shenyi to increase the beauty of the clothing.

The colors of Shenyi were mainly plain colors like black, white, and gray, reflecting the aesthetic concept that people advocated simplicity at that time.

Qin and Han Dynasties

In the Qin and Han dynasties, the styles of Shenyi were more diverse, mainly including curved-front Shenyi and straight-front Shenyi.

Curved-front Shenyi: Curved-front Shenyi was one of the most popular styles of Shenyi in the Qin and Han dynasties. Its characteristic was that the upper garment and the lower skirt were connected, and the front of the garment wound around with many layers, forming a curved shape. There were usually some decorations, such as edges and embroideries at the collar, cuffs and hem of curved-front Shenyi to increase the beauty of the clothing. The colors of curved-front Shenyi were mainly black, white and red, reflecting the aesthetic concept that people advocated solemnity and magnificence at that time.

Straight-front Shenyi: Straight-front Shenyi was another common style of Shenyi in the Qin and Han dynasties. Its characteristic was that the upper garment and the lower skirt were connected, and the front of the garment hung down vertically without winding layers. There were usually also some decorations, such as edges and embroideries at the collar, cuffs and hem of straight-front Shenyi to increase the beauty of the clothing. The colors of straight-front Shenyi were mainly black, white and gray, reflecting the aesthetic concept that people advocated: simplicity and conciseness at that time.

 

 

Wei, Jin, and the Southern and Northern Dynasties

During the Wei, Jin, and Southern and Northern Dynasties, due to the integration of the north and the south and frequent cultural exchanges, the styles of Shenyi also changed to some extent. At this time, Shenyi paid more attention to comfort and practicality, and the styles were relatively simple and loose.

The proportion of the upper garment and the lower skirt was more coordinated. The upper garment became shorter and the lower skirt became longer, presenting an overall slender and elegant temperament.

The decorations at the collar, cuffs, and hem of Shenyi were simpler, usually only with some simple edges or embroidery.

The colors of Shenyi were mainly plain colors such as white, black, and gray, and some light-colored Shenyi also appeared.

Sui and Tang Dynasties

 In the Sui and Tang dynasties, the country was prosperous, and the culture and art reached a new peak. The styles of Shenyi also became more magnificent and colorful.

The proportion of the upper garment and the lower skirt was more coordinated. The upper garment became shorter and the lower skirt became longer, presenting an overall slender and elegant temperament.

The decorations at the collar, cuffs, and hem of Shenyi were more diverse, including embroidery, pearls and jades, gold and silver ornaments, etc., to increase the beauty of the clothing.

The colors of Shenyi were mainly bright colors such as red, green, and yellow, reflecting the aesthetic concept that people advocated for magnificence and wealth at that time.

Song, Yuan, Ming and Qing Dynasties

In the Song, Yuan, Ming, and Qing dynasties, the styles of Shenyi gradually became stable, but there were still some changes in details.

The proportion of the upper garment and the lower skirt basically remained unchanged. The upper garment became shorter and the lower skirt became longer, presenting an overall slender and elegant temperament.

The decorations at the collar, cuffs, and hem of Shenyi were simpler, usually only with some simple edges or embroidery.

The colors of Shenyi were mainly plain colors such as black, white and gray, and some light-colored Shenyi also appeared

The Seven Sages of the Bamboo Grove and Shenyi During the Wei, Jin, and Southern and Northern Dynasties, the Seven Sages of the Bamboo Grove were famous for their unrestrained personalities and unique literary and artistic achievements. They often wore Shenyi, drinking wine, composing poems and playing the zither in the bamboo forest, expressing their pursuit of freedom, equality and true love. The styles of Shenyi worn by the Seven Sages of the Bamboo Grove were simple and loose, reflecting their resistance to secular etiquette and their longing for nature and authenticity. ###

IV. Cultural Connotations of Shenyi

Shenyi is not only a kind of clothing but also a cultural symbol, which contains rich cultural connotations.

Etiquette Norms

Shenyi was designed in accordance with certain norms and principles, reflecting the ancients' awe of nature and the pursuit of moral norms. The connection of the upper garment and the lower skirt of Shenyi symbolizes the unity of heaven and earth. The decorations at the collar, cuffs, and hem of Shenyi also have certain meanings. For example, the edges symbolize rules, and embroidery symbolizes beauty. There are also certain etiquette norms for wearing Shenyi. Different occasions and identities require wearing different styles of Shenyi.

Aesthetic Concepts

The styles and colors of Shenyi reflect the aesthetic concepts of the ancients. The styles and colors of Shenyi in different dynasties are different, but they all reflect the pursuit of different aesthetic concepts such as solemnity, magnificence, simplicity, and nature by people at that time. The design of Shenyi pays attention to the overall coordination and beauty, showing a unique aesthetic style through details such as the proportion of the upper garment and the lower skirt and the decorations at the collar, cuffs, and hem.

National Spirit

As one of the traditional Chinese ethnic costumes, Shenyi embodies the national spirit of the Chinese nation. The characteristics of Shenyi, such as solemnity, magnificence, and simplicity, all reflect the national spirit of the Chinese nation, such as self-esteem, self-confidence, self-improvement, and self-reliance. The inheritance and development of Shenyi also reflect the Chinese nation's love and inheritance of traditional culture.

In conclusion, Shenyi, as an important style of ancient Hanfu, bears the long history, culture, and unique aesthetic concepts of the Chinese nation. It is not only a kind of clothing but also a cultural symbol, containing rich cultural connotations and national spirit. In the current era, we should strengthen the research and inheritance of traditional costumes such as Shenyi so that these ancient cultural heritages can shine with new luster in the new era.