The basic garment of China, for both sexes, was a robe-like or tunic-like wrapped garment. Elites wore robes, preferably of silk, that were wrapped around the body and tied closed with a waist sash. Such robes were either long enough to require no lower garments or somewhat shorter (e.g. thigh length) and worn over trousers or a skirt. Trousers and skirts were not closely tied to gender and were worn by both men and women. Both sexes considered it socially essential to wear their hair bound up in a topknot or other dressed style, and covered with a head cloth or hat of some kind. Elite women favored highly colorful patterned silk cloth for their clothing
Elite dress for both sexes was based on Chinese models, with males of the ruling class wearing plain long robes for ordinary wear and dragon robes or robes with Mandarin squares for official use. Women's dress strongly reflected Chinese women's fashionable attire. Working people of both sexes wore dark, wrapped jackets with skirts for women or short trousers for either sex-the "black pajamas" of Vietnam peasants that became an iconic image for Americans during the Vietnam War.
Culturally, southern Vietnam-Cochin China-was more closely related to Southeast Asia, and especially Cambodia, than to China. That was reflected in local dress, which featured wrapped skirts (sarongs) for both men and women, with wrapped upper garments for women and light, shirtlike jackets (or no upper garment) for men.
Under French colonial rule, from the 1860s to the 1950s, some elite men wore variant or hybrid forms of European dress, and some women of the same classes wore fashionable Western dress. Partly in response to this Westernization of Vietnamese dress, a new women's ensemble, the ao dai, evolved in the early twentieth century. It features a blouse worn above loose silk trousers, the whole outfit topped with a long, loose tunic open to the hip at each side. Though a recent innovation, the ao dai was accepted as a "traditional" and national dress by the mid-twentieth century and had retained that role.
Soon domestically produced silk fabric competed with imported Chinese and Korean textiles, though the latter retained high prestige value. In the aristocratic culture of the Nara (710-785) and Heian (795-1185) periods, fashion was thoroughly assimilated to Japanese cultural norms and was expressed in details such as color, cut, and decorative motifs in clothing that retained always the basic theme of the wrapped long robe. Men wore long robes of patterned silk or, for riding and other activities, shorter wrapped jackets over wide, baggy trousers of matching or contrasting material. Women of that era wore multiple layers of wrapped robes, cut so as to reveal each layer beneath the last; the tasteful blending of colors of such layered ensembles was an admired feminine accomplishment.
During the era of rule by a warrior aristocracy (samurai) that began in 1185 and lasted for nearly 700 years, clothing for both men and women evolved toward the T-shaped wrapped garment known as the kimono, in which elements of taste were expressed more in textile elements than by the cut or style of the garment itself. Fashion and style found expression in dyed, woven, or embroidered fabrics of sumptuous quality and fantastic variety; the wearing of an embroidered family crest at the nape of the neck by families with the right to do so; the choice of fabric and tying technique of the wide obi sash used to fasten a woman's kimono, and so on. Kimonos were displaced for most purposes by ordinary western-style clothing in the post-World War II period, and afterward were largely worn only as formal wear and on special occasions.
Clothing of working-class Japanese in premodern times was made of hempen cloth or, from about the sixteenth century onward, of cotton, usually indigo-dyed using techniques that are now much admired by connoisseurs of folk textiles. Traditional working-class garb survives in some rural Japanese communities as a somewhat self-conscious expression of conservative values.
Korean national dress for both men and women is known as hanbok, which simply means "Korean robe." The traditional men's ensemble, which is related to clothing of Manchuria and the steppe lands beyond but has no close connections to Chinese men's clothing, consists of a wrapped short jacket worn over voluminously baggy trousers tucked into black felt boots, the whole outfit topped with a stiff silk gauze coat in some light color, such as pale green or pale blue. A stiff black horsehair or straw hat completes the outfit.
The woman's hanbok, in contrast, is probably derived from a Tang Dynasty women's fashion for high-waisted dresses worn with a short jacket (or from a later Chinese revival of that Tang style). It consists of a skirt or very wide trousers worn with a long-sleeved wrapped top tied with a ribbon just below the bustline, the whole outfit covered with a silk gauze overskirt. The woman's hanbok has undergone numerous changes in style over the course of time. A simplified version has been revived in Korea as a form of national dress that is considered beautiful, patriotic, and feminine.
Japan
nontheistic religion or philosophy (Sanskrit: धर्म dharma; Pali: धम्म dhamma) that encompasses a variety of traditions, beliefs and spiritual practices largely based on teachings attributed to Gautama Buddha, commonly known as the Buddha ("the awakened one").
a monotheistic and Abrahamic religion articulated by the Qur'an, a religious text considered by its adherents to be the verbatim word of God (Allāh), and, for the vast majority of adherents, by the teachings and normative