It was most popular during the Song dynasty, Ming dynasty, and from the early Qing to the Mid-Qing dynasty. The beizi originated in the Song dynasty. When worn by men, it is sometimes referred as changyi (Chinese: 氅衣), hechang (Chinese: 鹤氅; pinyin: hèchǎng; lit. According to Zhu Xi, the beizi may have originally been clothing worn by concubines and maidservants, and it was then named after these people as they would always walk behind their mistress. In the Ming dynasty, the beizi was referred as pifeng (Chinese: 披風; pinyin: pī fēng). In earlier times, the beizi did not exist according to both Zhu Xi and Lu You, and it only became popular by the Late Northern Song dynasty. In the Song dynasty, the beizi was worn by all social strata regardless of gender; however, it was a more prevalent in people of the higher social status. According to Ye Mende, the beizi was initially worn as a military clothing with “half-sleeves”; the sleeves were later extended and hanging ribbons were added from the armpits and back. Emperor Zhezong and Emperor Huizong both wore yellow beizi while the Grand Councillors of the Northern Song period would wear purple beizi with a round collar; this form of fashion remained until the Xuanhe period. The beizi had a straight silhouette, and the Song dynasty people liked its elegance which reflect the cultural and psychological development of the Song dynasty people who liked simplicity. While women were prescribed to wear beizi as a regular dress, men could only wear it in informal situation. Zhu Xi also created some rules for dressing, which included the wearing of beizi by unmarried women and concubines. The male Song dynasty beizi was worn as informal clothing at home because it could be left unfastened in the front, because of the relaxed waistline and as the beizi could come in variety of length and width. During the Song dynasty, the hechang (Chinese: 鶴氅; pinyin: hèchǎng; lit. Hechang was long and loose, and it could be made of down of crane and other birds, it was long enough for its lower hem to reach the ground. Examples of beizi artefacts worn by women dating from Song dynasty were unearthed from the tomb of Huang Sheng. Commoner women wearing beizi, Song dynasty. Song dynasty women wearing beizi (褙子), Northern Song dynasty (960-1127 AD). Unearthed beizi with narrow sleeves from the tomb of Huang Sheng, Southern Song dynasty. Song dynasty relief of a woman wearing a beizi. Women wearing beizi, Song dynasty Tomb Painting Found in Tengfeng City. Court Ladies of the Former Shu wearing post-Tang Style beizi. Song dynasty beizi, 12th century. A man wearing a “Song Style” beizi, or hechang (鶴氅). Portrait of Bi Shichang wearing hechang. A man wearing a hechang. In the Ming dynasty, the women’s pifeng became so long by the 16th century that it caused some anxieties to government officials as the women’s pifeng started to look closer to the men’s clothing; i.e. traditionally, woman’s upper garment had to be levelled at her waist with a lower garment which meets the upper garment in order to represent “earth supports heaven”. In the Ming dynasty, when the pifeng came to be lengthened to the point that woman’s upper garment covered the lower skirts; it was perceived as a confusion between man and woman as it was men who traditionally had their upper garments covering their lower garments to symbolize “heaven embraces earth”. The pifeng was a prominent clothing for women in the late ming dynasty as a daily dress in the 16th and 17th century. Ming dynasty portrait of a Woman wearing a “Ming Styled” beizi (also known as pifeng). Ming dynasty portrait of a man wearing a “Ming Styled” beizi. During the Qing dynasty, the Ming-style form of clothing remained dominant for Han Chinese women; this included the beizi among various forms of clothing. The pifeng continued to be worn even after the fall of the Qing dynasty, but eventually disappeared by the 19th century. Qing dynasty beizi, illustration d. Qing dynasty beizi, illustration d. Qing dynasty beizi, illustration d. Woman wearing beizi, Domestic Scene from an Opulent Household, Qianlong period. Woman wearing beizi, Qing dynasty. In the 17th and 18th century AD, the beizi (褙子) was one of the most common clothing and fashion worn by women in Qing dynasty, along with the ruqun, yunjian, taozi and bijia. The beizi and pifeng which are based on various dynasties regained popularity in the 21st century with the emergence of the Hanfu Movement and were modernized or improved. Beizi, from the 18th century novel Dream of the Red Chamber. The beizi could also be found with side slits which could start at beginning at the armpit down its length or without any side slits at all. In the song dynasty, the beizi was not fastened so that the inner clothing could be exposed. The beizi also came in variety of length, i.e. above knees, below knees, and ankle length, and the sleeves could vary in size (i.e. either narrow or broad). The beizi has a straight silhouette with vents and seams at the sides. There is a style of beizi wherein ribbons could be hung from both the armpits and the back, with a silk belt which fastened the front and back of the beizi together, or the front and back parts of the beizi could also be left unbound. According to Cheng Dachang, the use of ribbons under the armpits was assumed to have been a way to imitate the crossing ribbons of earlier ancient Chinese clothing in order to maintain the clothing of the ancient times. A “half-beizi”, a beizi with short sleeves; it was originally worn as a military uniform but it was then worn by the literati and the commoners despite being against the Song dynasty’s dressing etiquette. They were made of ramie or raw silk fabric. A “sleeveless beizi”, which looks like a modern sleeveless vest, was used as a casual clothing and could be found in the market. The beizi also developed with time. In the Song dynasty, the sleeves of the beizi was fuller, but it became more tubular in shape in the Ming dynasty. The earlier Song dynasty beizi had a band which finished the edges down to the bottom hem, but with time, it developed further and a contrasting neckband which encircled the neck down to the mid-chest; a closing was also found at the mid-chest. By the late Ming dynasty, the beizi (also known as pifeng) had become longer and almost covered the skirts completely which came to look almost like the men’s clothing and the sleeves grew larger trailing well below the finger tips. The neckband, however, was shortened to reach mid-chest and the robe was made wider. The gender difference is that while wide-sleeved beizi were considered formal wear for women (narrow-sleeved beizi were casual wear for women), both wide and narrow-sleeved beizi were only used as casual wear for men. In the Romance of the Three Kingdoms, Zhuge Liang is said to be wearing hechang. Zhu Geliang wearing a hechang (also known as beizi). In Chinese opera, costumes such as nüpi (Chinese: 女帔; a form of women’s formal attire) and pi (Chinese: 帔; a form of men’s formal attire) were derived from the beizi worn during the Ming dynasty (i.e. pifeng). In the Ming dynasty, qipao dress modern beizi can be secured at the front either with a metal or jade clasp button called zimu kou (Chinese: 子母扣). Water sleeves were also added to the sleeves for both pi and nüpi; the water sleeves worn with the nüpi are longer than those worn with the pi. The nüpi had straight sides and vents and was knee length; the length of the nüpi was historically accurate. The pi had a flared side seams with vents and was ankle-length. Both pi and nüpi had tubular sleeves which were longer than then wrist length. It could be closed with a single Chinese frog button or with a fabric tie. Qing dynasty period pi costume (front view). Qing dynasty period pi costume (back view). The hechang (known as hakchang in Korea) was introduced during the 17th and 18th century in Joseon by people who had exchanges with Chinese or liked Chinese classic styles and gradually became popular among the Joseon people; Joseon scholars started to borrow the looks of Zhuge Liang due to the popularity of the Romance of the Three Kingdoms; and thus, the hakchangui was increasingly worn by more and more Joseon scholars. In Joseon, fans with white feather and the hakchangui became the representative clothing of Zhuge Liang, hermits, and scholars who followed taoism. The Ao Nhat Binh was further developed in the Nguyen dynasty to denote social ranking of women through the use of colours and embroidery patterns. Latin script (pos 1) (help)), which was a casual outer garment worn by the female royal family, female officials, and high noble ladies of the Nguyen dynasty during informal occasions, originated from the Ming dynasty pifeng (Vietnamese: Áo Phi Phong) which was popular in China. Zhongguo gu dai ming wu da dian. Fu Hua, 華夫. Zang, Yingchun; 臧迎春. Jinan Shi: Jinan chu ban she. 2003). Zhongguo chuan tong fu shi. 李竹润., 王德华., 顾映晨. Beijing: Wu zhou chuan bo chu ban she. Frontiers of History in China. Hua, Mei; 华梅 (2004). Zhongguo fu shi (Di 1 ban ed.). Beijing: Wu zhou chuan bo chu ban she. Yuan, Zujie (2007). “Dressing for power: Rite, costume, and state authority in Ming Dynasty China”. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Cambridge, United Kingdom: Cambridge University Press. University of Hawaii Press. B. Bonds, Alexandra (2008). Beijing Opera Costumes: The Visual Communication of Character and Culture. New York: Columbia University Press. 朱和平 (July 2001). 《中国服饰史稿》 (PDF) (in Chinese) (1st ed.). Finnane, Antonia (2008). Changing clothes in China : fashion, history, nation. 中州古籍出版社. 梅·華 (2011). Chinese Clothing. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Cambridge University Press. p. Silberstein, Rachel (2020). A fashionable century : textile artistry and commerce in the late Qing. Cambridge, United Kingdom. pp. Burkus, Anne Gail (2010). Through a forest of chancellors : fugitive histories in Liu Yuan’s Lingyan ge, an illustrated book from seventeenth-century Suzhou. Silberstein, Rachel (2020). A fashionable century : textile artistry and commerce in the late Qing. Wang, Anita Xiaoming (2018). “The Idealised Lives of Women: Visions of Beauty in Chinese Popular Prints of the Qing Dynasty”. Yuan, active Liu. Cambridge, Mass. Arts Asiatiques. 73: 61-80. doi:10.3406/arasi.2018.1993. Cloak” and “Cape” in Hanfu?”. Bonds, Alexandra B. (2008). Beijing opera costumes : the visual communication of character and culture. Ge, Liangyan (2015). The scholar and the state : fiction as political discourse in late imperial China. Bonds, Alexandra B. (2019). Beijing opera costumes : the visual communication of character and culture. Honolulu: University of Hawaiʻi Press. New York, NY. pp. Park, Sun-Hee; Hong, Na-Young (2011). “A Study on Hakchangui, the Scholar’s Robe with Dark Trim”. Kim, Da Eun; Cho, Woo Hyun (2019-11-30). “A Study on Hakchanguis between the 17th and 18th Century : Focused on Confucian Clothing Portraits by Jang Man”. Journal of the Korean Society of Costume. Journal of the Korean Society of Costume. Áo dài Cô Sáu. 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