The concept of "Huaxia Yiguan"—the traditional clothing system of the Han people, commonly known today as Hanfu—is a vast and ancient river of history, flowing for over five millennia. While the fabrics, patterns, and accessories are dazzling, the true nature of Hanfu is determined by its Form System (Xingzhi).
Within this complex system, the structure of the collar and the lapel (Ling and Jin) is not just a component; it is the core. It is the defining skeletal structure upon which the aesthetic of Chinese traditional clothing hangs. To understand Hanfu is to understand its collar.
This article attempts to peel back the layers of embroidery and silk to analyze the essence of the Hanfu collar system. We will explore the geometric logic of how these garments are cut and how the "secondary shaping" of wearing them creates the iconic silhouette of Chinese history.
Beyond Appearance: The Three-Dimensional Truth
When modern enthusiasts purchase Hanfu, the focus is often on the "upper body effect"—how it looks in the mirror. More experienced buyers might look at the "flat lay" diagram to see the shape of the garment when spread out. However, true researchers of Xingzhi (shape and structure) must go deeper.
Hanfu is three-dimensional architecture for the body. To truly understand a garment, one must open the front lapel and examine the Inner structure.
There is a concept in biology that applies beautifully here: The Dead Leaf Butterfly looks exactly like a dry leaf, but no one would claim the insect and the leaf are the same thing. Similarly, two robes might look identical on the outside, but their internal structures define their true nature.
A proper analysis requires a "Perspective View"—looking through the outer layer to see the hidden inner lapel. In the Hanfu system, the inner lapel is not a vestigial scrap of fabric; it is a structural equal to the outer lapel. It balances the garment, anchors the ties, and connects to the wearer’s left side (the Yang position), creating a harmony of forces.
Defining "Jiaojin": The Crossed Lapel System
Ancient texts like the Yu Pian state that "Jiaojin is the clothing collar," but this was often just a description of the visual look. In this structural analysis, we redefine Jiaojin (交襟) to mean something specific:
A state where, based on the cutting of the fabric, the inner and outer lapels overlap and bear tension simultaneously from the left and right, creating a balanced closure.
The "Jiaojin" family is the main trunk of the Hanfu tree. It includes four primary branches:
- Jiaoling (Classic Crossed Collar)
- Quling (Curved Collar)
- Yuanling (Round Collar)
- Shuling (Standing Collar)
The golden rule for identifying a true Hanfu structure is simple: The inner lapel must function equally to the outer lapel. One is inside (Yin), one is outside (Yang), but both must handle the mechanical stress of the garment closure.
I. Jiaoling Jiaojin: The Classic Crossed Collar
This is the most ubiquitous form of Hanfu, often simply called "Jiaoling." Visually, it forms the iconic "y" shape across the chest. Structurally, it implies that the collar and lapels cross over one another.
This category is vast, but it can be divided based on how the lapel (Ren) is cut:
1. Xu Ren (Extended Lapel)
In this method, an additional piece of fabric is added to extend the lapel, ensuring a deep overlap.
- Fully Symmetric: Seen in various dynasties (like the Ru with a waist seam or the side-slit Ao). Here, the inner and outer lapels are identical mirror images. They meet at a center seam and extend outward. When tied, they pull evenly to the left and right, creating perfect mechanical balance.
- Asymmetric: Sometimes the inner lapel panel is narrower than the outer one. However, structurally, it remains a Xu Ren. The inner lapel still connects to the left side of the body, anchoring the garment securely.
2. Bu Xu Ren (Non-Extended Lapel)
Not all crossed collars require an added extension.
- Shallow Overlap: In some cuts, the collar crosses, and the lapels overlap, but only slightly. This is common in lighter garments.
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Integrated Cut (Yuan Zhuan):
In some Ao (jackets), the collar and lapel are cut from a single continuous piece of fabric without a center seam. Despite the different cutting logic, the result is the same: internal and external forces pulling left and right to maintain balance.
II. Quling Jiaojin: The Curved Collar
The Quling is a fascinating hybrid, a bridge between the straight crossed collar and the round collar.
In this structure, the inner lapel is cut with a curve (like a round collar), while the outer lapel retains the straight geometry of half a crossed collar. Despite the visual asymmetry of the cut, the mechanics remain true to the system: the inner curved lapel anchors to the left waist, and the outer lapel wraps over it.
III. Yuanling Jiaojin: The Round Collar Robe
The Round Collar Robe (Yuanling Pao) is often misunderstood as a simple circular neck hole. In reality, it is a complex overlapping system.
- Fully Symmetric: In the classic Tang and Song style robes, the inner and outer lapels are fully symmetric with a center seam. The circular collar strips overlap and are secured by a button (often a knot button).
The "Fanling" (Lapel Flip): Because the inner and outer structures are symmetric, these robes could be unbuttoned and the lapels flipped open to create a winged collar effect—a popular style in the Tang Dynasty.
- Asymmetric Cut: As the style evolved, some versions featured an outer lapel with a round curve and an inner lapel that resembled half a crossed collar. Even here, the triangulation of forces (the button at the neck and ties at the side) maintains the structural integrity.
IV. Shuling Jiaojin: The Standing Collar
The Standing Collar (Shuling) represents a significant evolution that appeared in the mid-Ming Dynasty. While it was a dominant fashion for less than a century, it marks a shift in cutting philosophy: The separation of Collar and Lapel.
In 90% of Hanfu history, the collar and lapel are "Integrated"—the fabric flows continuously from the neck down the chest. The Standing Collar breaks this. The collar stands up to hug the neck, while the lapel continues downward.
- Structure: Even with a standing collar, the body of the garment remains a Jiaojin (Crossed Lapel) system. The neck buttons shut, but the body wraps over, securing with ties on the side.
- Force Distribution: This creates a triangular force system: the neck button anchors the top, and the left and right ties anchor the waist.
It is crucial to note that the Standing Collar in Hanfu serves the Crossed Lapel system. If a standing collar is applied to a garment that does not follow these structural rules, it diverges from the traditional Hanfu system.
The Twin Systems: The Transformation of Duijin (Parallel Lapels)
If Jiaojin is an overlap, Duijin (Parallel Lapels) can be viewed mathematically as an overlap of zero. However, in the philosophy of Hanfu, these two are not separate entities; they are twins that constantly transform into one another.
Classification of Duijin (Parallel Cut)
- Zhi Ling (Straight Collar): The collar runs straight down the parallel lapels from top to bottom.
- He Ling (Joined Collar): Similar to the straight collar, but the collar edging only goes halfway down.
- Yuan Ling (Round Parallel): The lapels are parallel, but the neck is scooped into a circle (often seen in overcoats or vests).
- Shu Ling (Standing Parallel): A standing collar applied to a parallel opening, fastened with buttons down the front.
The "Duichuanjiao" Phenomenon: Parallel Cut, Crossed Wear
This is the most critical concept for understanding the versatility of Hanfu: Secondary shaping.
Hanfu is not a rigid armor; it is a soft structure that takes its final form only when draped upon the human body. There exists a category of garments that are cut as Duijin (Parallel) but are worn as Jiaojin (Crossed). We call this Duichuanjiao (对穿交).
1. The "Airplane Sleeve" (Feiji Xiu)
In modern Hanfu terminology, the "Airplane Sleeve" short shirt is a prime example. Lay it flat on a table, and it is a Straight Collar Parallel garment. However, you cannot wear it like an open cardigan. To wear it correctly, you must cross the lapels over one another and tie them. The parallel cut transforms into a crossed look.
2. Zhuzi Shenyi
This phenomenon applies to long robes as well. The famous Zhuzi Shenyi (a scholar's robe associated with Zhu Xi) is cut with parallel lapels. Yet, through the system of ties and belts, it is worn crossed.
3. The Litmus Test of Tradition
This relationship offers us a powerful tool for analyzing Hanfu history.
- If a Parallel Collar garment can be worn crossed (Duichuanjiao), it belongs to the mainstream, arterial trunk of the Hanfu system.
- If a Parallel Collar garment cannot be worn crossed, it likely belongs to a specific, momentary trend or a peripheral branch of the fashion system, rather than the core tradition.
The Arterial Flow of History
The history of the Huaxia people spans 5,000 years. In that immense stretch of time, countless clothing styles have appeared, dazzled the eyes, and vanished into the dust of history. Many were fleeting fashions, "current season" trends that did not last.
However, the crossed lapel system is different. It is supported by historical texts, verified by unearthed artifacts, and deeply rooted in the cultural philosophy of order and balance.
From the foundational Jiaoling to the hybrid Quling, the formal Yuanling, and the evolved Shuling, the concept of the crossed, balanced lapel is the "main artery" of Hanfu. It connects the structural logic of the garment to the cultural logic of the people. To wear it is not just to wear a costume, but to inhabit a structure of history that has stood the test of millennia.