Zhiduo (viz. Chinese: 直掇; pinyin: zhíduō; lit. Chinese: 直身; pinyin: zhíshēn; lit. Chinese: 长衣; traditional Chinese: 長衣; lit. Chinese: 海青; lit. As a specific term, the zhiduo refers to the former. The zhiduo was also called daopao by Wang Zhishen in the Ming dynasty although the daopao refers to another kind of paofu. Hanfu and the priests’ zhiduo, in the broad sense. In present days Taiwan, the haiqing is also worn by the Zhenyi Taoist priests. Nowadays, the haiqing is sometimes referred as daopao. The term “haiqing” can also be a specific term which refers to the long black or yellow robe worn by Buddhist monks. In Japan, the zhiduo was pronounced jikitotsu (Japanese: 直綴/じきとつ). Buddhist monks; the jikcheol was worn under the Kasaya until the early Joseon period. The zhiduo was also introduced in both Japan and Korea where Chinese Buddhism had been spread. The Buddhist monk’s zhiduo was worn as early as the Tang dynasty. After the middle Tang dynasty, the zhiduo was worn together with the right bare cassock, called jiasha (Chinese: 袈裟; pinyin: jiasha). The jiasha was typically black in colour in the Han dynasty; purple in the Tang dynasty and turned yellow since the Five dynasties period until now as the colour yellow in Buddhism represents the highest set of values: desire-less-ness, humility, and renunciation. The term jiasha was borrowed from the term Kasaya in China where it became a specific term to refer to a one-piece rectangular robe made out of patchwork. In certain geographical areas, the jiasha was also possible for the jiasha to be red or brown in colour. The wearing of the zhiduo together with the jiasha eventually became the standard dressing style for Buddhist monks and continued to prevail in the Song, Yuan, and Ming dynasties with little changes in styles. In China, there were also regulations established by the Imperial court which regulated the colour of the jiasha based on ranks but which could vary depending on the different dynastic period. In present-days, the Tang dynasty-style jiasha which is purple in colour still remains popular among the Japanese Buddhist monks. The custom and practice of wearing jiasha over the zhiduo then spread to Korea and Japan. During the early Qing dynasty, the Qing court issued the Tifayifu policies on the Han Chinese population, which led to the disappearance of most Hanfu. In the Qing dynasty, the jiasha stopped being used and the Buddhist monk’s zhiduo was used alone. Indian Kasaya was also introduced. The zhiduo was, however, spared from this policy as it was part of the ten exceptions. The Indian Kasaya was composed of the sanyi (Chinese: 三衣; pinyin: sānyī; lit. However, the Indian Kasaya was not well-received in China as the Chinese deeply believed in the Confucian concept of propriety; and as a result, any forms of body exposure was perceived as being improper and was associated with barbarians. The absence of right shoulder exposure started in northern China in order to shield the body from the cold and to fulfill the Chinese cultural requirements. Being fully clothed is an expression of Chinese clothing culture, and compared to their Indian counterparts, the Chinese did not perceive the exposure of shoulders as a sign of respect. This change occurred during the Chinese medieval era with the bareness completely disappearing in the Cao Wei period. In the Northern Wei period, people from the Palace saw the bared arm of the monks. They thought this was inappropriate. People from the West in general have their arms uncovered. It was called pianshan. Then a right sleeve was added, both sides of which were sewn. It was open from the collar in the front, so the original appearance was maintained. Therefore, it is known that the left part of the pianshan was actually just the inner robe, while the right part is to cover the shoulder. The pianshan (Chinese: 偏衫; pinyin: piānshān; lit. Initially the Buddhist monks wore the pianshan as an upper garment along with a Chinese skirt called qun (Chinese: 裙; pinyin: qún; lit. The hujianyi was a piece of fabric which covers the right shoulder of Buddhist nuns and was only used by the nuns; it started to be used after some Buddhist nuns suffered harassment by men for wearing right shoulder-exposing clothes. China and can be found in the Yi Jing《易經》. Since the single long garment first appeared when the pianshan and qun were sewn together to form a long robe; this long robe follows the structure of the shenyi, and thus follows one of the traditional clothing system in Hanfu. This style of dress was imitated until the Tang dynasty, when the pianshan and qun were sewn together to form a single long garment. By the time of the Yuan dynasty, this long robe was termed zhiduo. Dongyang Dehui in 1338 during the Yuan dynasty. The wearing of these long robes by Buddhist monks is a legacy of the Tang and Song period. In ancient times, the haiqing was adopted by the Chan temples. The haiqing originated from the hanfu-style worn in the Han and Tang dynasties. Modern-day Buddhist monks and laity refer to the long Buddhist robe as haiqing (Chinese: 海青). The haiqing however maintains some traces of traditional Chinese culture and shows some glimpse of the dress which had been worn by the elites in ancient China. During the Tang and Song period, the Indian-style Kasaya went through major changes until they did not have the same style as the original Kasaya anymore. For example, the closure of the haiqing which overlaps and closes to the right, a style referred as called jiaoling youren, was passed down from the Shang dynasty and at the same time coincides with the Buddhist custom of respecting the right side. Research on Ancient Chinese costumes’》, the zhiduo evolved from the zhongdan (Chinese: 中(单)襌; lit. Initially the zhiduo was mostly worn by monks, but in the Song dynasty and in the subsequent dynasties, it became a form of daily clothing for Han Chinese men. According to Shen Congwen’s Zhongguo gudai fushi yanjiu《中国古代服饰研究 – lit. Song dynasty painting of scholars wearing zhiduo. In the Song dynasty, the casual zhiduo was loose with a central seam at the back; it however lacked slits on its lower part. Song dynasty painting of a man wearing zhiduo. The haiqing is a style worn by Buddhist monastic and laity who pay homage to the Buddha. A Ming dynasty portrait illustrating a man wearing zhiduo, woman wearing banbi. It is characterized with wide and loose sleeves, along with wide loose waist and lower hem; these features made them comfortable to wear. It can also be found in dark blue. In Japan, the zhiduo is known as jikitotsu (Japanese: 直綴/じきとつ). Nowadays, the haiqing is typically found into the following colours: black which is the colour worn by most followers of Buddhism when they homage to the Buddha, and yellow which is the colour worn by abbot of a temple or by a monastic who is officiating during a Dharma service. It is also known as koromo. A kesa is worn on top of the koromo. Portrait of a monk, Japan, 16th century. The koromo is worn by Japanese Buddhist monks or priests; the robe is typically black or blue. Korean: 장삼; Hanja: 長衫) of the Buddhist monks. The jangsam worn by the Korean Buddhist monks was worn as early as the Goryeo period. Up until the early period of Joseon, the jangsam which was worn under the kasaya was in the form of the jikcheol. There are two types of Buddhist jangsam which is worn as monastic robe in present days, the jangsam of the Jogye Order and the Taego Order of Buddhism. Juui (Korean: 주의; Hanja: 周衣). During the Three Kingdoms period, Buddhism was introduced to Korea through China, and the Korean Buddhist monks wore Chinese style Buddhist robes, which is the Chinese-style zhiduo. The jikcheol developed in one of the current Korean, long-sleeved Buddhist jangsam. A form of present days Buddhist jangsam was developed through the combination of the wide sleeves of the dopo with the form of the durumagi. Burkus, Anne Gail (2010). Through a forest of chancellors : fugitive histories in Liu Yuan’s Lingyan ge, an illustrated book from seventeenth-century Suzhou. Yuan, active Liu. Cambridge, Mass.: Harvard University Press. The Buddhist jangsam was also adopted as the shaman robe in jeseokgori. 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Yungang : art, history, archaeology, qipao shirt liturgy. Yifa (2002). The origins of Buddhist monastic codes in China : an annotated translation and study of the Chanyuan qinggui. Princeton: Princeton University Press. Zongze. Honolulu: University of Hawaii Press. The complete I ching : the definitive translation. Waddell, N. A.; Waddell, Norman (1978). “Dōgen’s Hōkyō-ki PART II”. Translated by Alfred Huang (10th ed.). Rochester, Vt.: Inner Traditions. Poceski, Mario (2015). The Records of Mazu and the Making of Classical Chan Literature. Nan, Huaijin (1997). Basic Buddhism : exploring Buddhism and Zen. New York: Oxford University Press. Baroni, Helen Josephine (2002). The illustrated encyclopedia of Zen Buddhism (1st ed.). New York: Rosen Pub. Encyclopedia of Korean Folk Culture. This page was last edited on 29 November 2024, at 21:12 (UTC). Huaijin Nan. York Beach, Me.: Samuel Weiser. 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