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Capping Ceremony: The Chinese Coming of Age

If you have never heard of the Chinese Coming of Age Ceremony, you are definitely not ignorant – the ceremony that elaborates the entrance into adulthood in China is not longer in practice in the general sense – but everything about this tradition is totally worth a visit!

It all started in the beginning of the Chinese civilization, marked by these slavery states named Xia, Shang, and Zhou Dynasties, roughly between 2070 BC and 256 BC. The very early Xia and Shang Dynasties involved quite a lot of myths, so let us begin our discussion starting from the Zhou Dynasty. At that time, the empire was established upon the principles of rites and harmony, and more concretely expressed would be the governing system, the ceremony system and even the clothing system. Our story begins from such clothing system, and more specifically, the capping system. You may find this funny, but throughout the oriental history, wearing decent and appropriate hats trumps outstanding clothes, which can be seen from the character that means hat, cap, or crown, “冠”. This character has a top, which means coverage; On the bottom left there is a character “元”, which means origin or head; The bottom right side has “寸”, in here it suggests obeying a law, a principle. Therefore, the capping ceremony was a priority, it marks the entrance of adulthood for boys, it means from this moment on, the boy is a man. This ceremony normally arrives at the age of 20, and after which, the young man can get married and even rule the country.

This is a ceremony that has been performed until the end of the empirical China, with variations, sometimes an emperor-to-be can receive this ceremony earlier in order to ascend to the throne sooner; And sometimes a young man receives this ceremony a few days before his marriage. But overall, the coming to age has always been between 15 and 20. The girls also receive a coming of age ceremony at the age of 15, but it has more to do with new hair-dos than wearing a hat. The more prominent periods of time for such tradition had been the Han ruling periods, including these prosperous times of Tang, Song and Ming. In the Yuan and Qing Dynasty due to the minority ruling and the subsequent cultural identity disparity, this tradition eventually was disregarded and forgotten. What came after the Qing Dynasty (1644-1912) was a long period of Westernization and radical social change, such tradition therefore never had another opportunity to be revived.

So, what kind of hats are involved? Do people from all social classes wear similar head-wears? In fact there is a difference between what type of headwear one can put on, only the governmental official were allowed to wear hats, civilians could only wear head cloth. Since we had this tradition for the past few thousand of years, there were quite some fun development around hats – let’s go find out!

a person holding hat

Live your life, do your work, then take your hat.

– Valentina Tereshkova

When you see the old oriental illustrations of people, it is quite clear who has the more important role and who is only supportive simply by comparing their physical sizes, and the same principle applies somewhat to their hats – the more important people also wears bigger head-wears. The emperors since Zhou Dynasty always wore very large crowns with a flat top and lots of dangling beads (A). Some officials at that time also wore hats similar to these crowns, but with fewer strings of beads or none at all. Throughout the Chinese history, there is a distinction between the civil servants and the military attache in terms of their clothing requirements. In the illustration below, which shows some of the distinctive styles of head-wears throughout history, B and F usually belong to the civil servants, whereas E with the feather on top is meant for military attache. The C can be seen more often over the head of judges, and the D is meant for regular scholars.

Selected head-wear styles from ancient Chinese history

Illustration by Fiona Sheng

In the later empirical time, especially represented by the Tang, Song and Ming Dynasties, the Han majority ethnic group was in power, and the clothing and capping style followed that of the ancient times, and the head-wear style is similar to the above described types with developments. More notably the hats of the governmental officials started to take on a rather “special” look, as shown in the illustration below. The top left one had “bunny ears”, which later in the Ming Dynasty was changed into these oval or long “ears”, and they would shake at the slightest head movements, thus allowing the emperor to spot immediately who is not paying attention during their morning gatherings. The bottom 2 on the left side are typical in the Qing Dynasty, there are summer and winter versions, with very distinctive long “tail” decorations made from feathers. The best performing officials can also receive additional feather (with circular patterns) to attach to this “tail”, ranging from 1-3 of such additions. The one marked with the red circle is from the Yuan Dynasty, and during this time, the head-wears clearly display a cross between the traditional Han and Mongolian cultures.

Selected head-wear styles for officials

Illustration by Fiona Sheng

In the civilian life, no exact hats are allowed, but head clothes shall be used instead. There are many styles of head cloth one can wear, and caps were developed from such head clothes. There are some simple ones including those on the head of the Terracotta worriers, and others that are more elaborate, such as the bottom few of the illustration below. According to historical records, caps were very useful in providing protection during war times, unfortunately though not enough record remained to show us how the early ones exactly looked like. Since Han Dynasty, the head cloth became a trend amongst social elites and scholars, so you may also see officials wearing head cloths instead of their proper hats in unofficial situations. The circled one from the illustration below is a great example of such head-wear.

Selected head-wear styles for civilians

Illustration by Fiona Sheng

Have you experienced the Coming of Age Ceremony of some kind? Do you feel attached to some hats or head-wears? Do share with us!

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A Zebra in Me

Zebra – Oriental Ink Brush Painting

Rice Paper, 40cm x 40cm

By Fiona Sheng

@InkDifferent Studio | Brussels

The zebras are funny creatures, they look like horses and run like horses, but they are far from being horses. They have these pretty stripes that distinguish them from many other animals, and they have this notorious temper that renders them impossible to keep close. I cannot imagine the very first time the zebras were introduced to the metropolitan world, they must have caused such a sensation! They inevitably became the icon of the fashion world, and their skin pattern was taken to be used as such too. To me, however, I find myself relating to zebras on many levels, the disguise, the temper and perhaps more.

In the early days, people found the domesticated horses wonderful animals – they can carry heavy loads, run hundreds of miles, and even fight bravely bearing people on their backs – zebras must be useful in similar ways too, they thought. How wrong were these people! After hard work around zebras, people realised that these animals may obey orders in closed up environments, but as soon as they leave this particular space, they no longer listen. The domestication process of zebras had occasional success, but these nervous creatures that jump at the slightest noise gave people too much headache to be worth the trouble. Study say that the zebras enjoy living in a group, and that is indeed what we see the most, zebra after zebra moving together, we cannot tell where one starts where one ends, because of the too many blinding stripes they have. But after careful analysis, experts point out that these creatures also are rather independent, even though they live in a close group environment. The group would then be chaotic once one startles, causing panic amongst all. So, point is, the zebras are too wild to be domesticated, they are too unpredictable.

zebra on grassland grayscale photography

“I asked the Zebra, ‘Are you black with white stripes? Or white with black stripes?’ And the zebra asked me, ‘Are you good with bad habits? Or are you bad with good habits?’”

– Shel Silverstein

I have often thought about myself when studying animal behaviour – am I much different? I believe one of my deepest desires is to be free, be wild, follow my heart and create my own dreams. I also must place myself in the social environment, try to blend in, make my own stripes blindingly invisible in certain situations for better self-protection. But I know myself, my stripes will not only serve as “blinding” mechanism, these beautiful patterns shall also make me stand out, as they are unique, just like me.

The truth is, from the perspective of another species, I may only be just a zebra with zebra stripes – who hasn’t gotten these? During the streaming of this painting, one question was raised about self-acceptance. I find it a question of such significance that renders me speechless. In retrospect however, I think we can see this question in a different light, even though some of us have noticeable defects on our faces, undermining our confidence and self-esteem, making us too self-conscious to behave normally, we shall still see the fact that we are all but zebras with very similar looking stripes, the so-called differences that we care about so much may not matter to anyone else. I personally believe that sometimes not considering ourselves anything special may also solve some of our self-acceptance issues, perhaps it works better than the other way around. Accept that you and I are just zebras, be silly and be happy.


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Wisdom & Suffering of a Cheetah

Cheetah – Oriental Ink Brush Painting

Rice Paper, 40cm x 40cm

By Fiona Sheng

@InkDifferent Studio | Brussels

The fastest land animal, what a cheetah had to trade for such glory? To understand this, I believe the Chinese has an ancient word, “舍得” (shě de), which can be very useful in analysing a cheetah. Let me attempt to explain the meaning of this word first – this may be a rather difficult task. This is a word filled with philosophical wisdom, the meaning is multifold, it can mean to give up something, be willing to part with or make a trade-off with someone or something. I am certainly unsatisfied with such an explanation, so let’s break it down to take a closer look.

“舍” means to let go of, be charitable; “得” refers to a gain, an acquisition. This word is composed of these opposing concepts in this order, which is exactly where the philosophy lies – only pain leads to gain, no pain no gain, big pain has big gain and small pain leads to small gain. This is a life wisdom. This word teaches us to take an objective stance when treating the people and events around us, weigh the matters by heart, see the actual value of importance in our lives. For instance, when faced with robbery, would our 20 dollars mean more than our lives? Would the spilling of harmful words be worthwhile towards our loved ones in an heated argument? Would we regret not telling them words of love instead in retrospect? Should I get over my laziness and finish my meaningful project right now, even though I am happy and satisfied as it is? Such decisions are everywhere, confronting us everyday. All these emotions and the weighing between the loss and the gain, the generosity and stinginess, the good and the bad, the to do and not to do, everything altogether is included in the concept of “舍得”. It is an art, harmony is achieved in the delicate balancing of each pain and each gain. Today, let us look at the cheetah’s pains and gains.

cheetah on rock

“Have the will of a tiger, the speed of a cheetah, and the heart of a lion.”

– Kevin McCarty

The cheetah is a machine made for speed. A cheetah has enlarged nasal cavity, letting in more oxygen during high-speed chases; Its lung and heart are connected with the circulatory system and are equipped with strong artery and adrenal glands, allowing for efficient transmission of oxygen via blood circulation. The cheetah has a long spine and legs, paired with a streamlined body, it is quite light weight; Its spine is springy, allowing for the maximised acceleration; Its claws not retractable, acting like spiked shoes in a race, can firmly grab the ground during the run; It has a long and fluffy tail, maintaining the body balance in sharp turns; Without the restriction of the collarbones, its shoulder blades can gain the most optimised action space, wonderful for running.

But all these advantages at what cost? The enlarged nasal cavity squeezed away the mouth space, leading to smaller teeth than those of other large cats. This can be a big disadvantage in any fights; The circulation system can only sustain the cheetah to run at a speed of over 100 km/h for 3-5 minutes, anything beyond may lead to death from overheat. After each chase, a cheetah has to take 10 minutes to recover, and during which time, it is at an extremely vulnerable state – unable to guard its newly acquired food, and unable to defend itself. It cannot even take the food up in a tree for safe keeping, because the claws are too short and blunt to allow much climbing; Its lack of collarbone also renders a cheetah weak in physical combat.

In summary, strength and weakness come hand in hand in this graceful fragile yet mighty creature. The “舍” and the “得” has such clear demonstration in the cheetah. Is it worthwhile? I cannot say, but if I were to choose as a cheetah, I may very well make the same decisions.

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Lions in the Oriental Art

Lion – Oriental Ink Brush Painting

Rice Paper, 40cm x 40cm

By Fiona Sheng

@InkDifferent Studio | Brussels

The Asian lions are mostly from India, so for the most of Chinese people, they are exotic and mystical. They are also representatives of bravery and power, so just like tigers, the lions are also depicted and their images are wide spread, ranging from buildings to statues and paintings. The meaning of the lion image also shares the auspicious blessing, just like that of a tiger.

For those who are familiar with the Chinese lion paintings, it may be quite apparent that the artists may never have seen lions in reality. For a long time in the Chinese artistic creation of lions, the most typical lion are seated, their heads large and very round, large mouths, giant eyes and the mane somewhat curly. So even though this look is quite removed from their original appearance, this style of lion creation remained quite stable in China that lasted hundreds of years.

wildlife photography of brown lion

“Always be fearless. Walk like lion, talk like pigeons, live like elephants and love like an infant child.”

When lions were first brought into China via the silk road over 2,000 years ago, these creatures quickly aroused the affection from the emperors of the Han Dynasty. The early craftsman created animals that resembled the actual lions well, leading the historians to believe that some craftsman may have actually seen lions before. Paintings of lion were also close to the realistic look of a lion until at least Tang Dynasty, because the lion paintings that are found in tombs from Tang Dynasty showcases detailed and quite realistic lions. During the long duration of the Chinese social development however, it became more clear that the artists who have witnessed a lion is few in number, one very apparent example would be the stone lions that are created to protecting certain homes.

bird people art street

Stone Lion Statue

The vast majority of such guardians are made to shield the home owner from demons or bad luck, and the vast majority of the artists who crafted them have no idea how the lions appear, they only learn from their masters. They are more puppy like in my opinion, not exactly lion looking in fact.

Lion Plate

Tang Dynasty, Chinese National Museum

This artistic plate provides a great example of the lion art in the traditional oriental art world. The shape of the body, the atmosphere, the precision in the muscle lines, and every single body part all indicate the hight of the lion art creation of the ancient oriental world.

Later in the Chinese lion painting field the creation seemed to have stagnated, and the quality of the paintings vary drastically. However, in general, the Ming Dynasty was a relatively prosperous period and for a long while the international trade via the ocean brought in exotic animals again, including the lions, until the full closure of the boarders by sea.

Lion Painting

Zhou Quan, Ming Dynasty, Tokyo National Museum

This piece is a decent description of the lion from the Ming Dynasty works of art. The rather faithful depiction of the animal remains scarce in the traditional Oriental artworks.

Since the Ming Dynasty however, the last empirical time Qing Dynasty only received a lion once, which passed away after merely 3 months. This lead to a decline in the construction of the lion shape until the 1900s.

Lion Painting

Zhang Wei Bang, Qing Dynasty, Taipei Forbidden City Museum

Compared with the above Ming production, this lion created in the Qing Dynasty lack accuracy in too many aspects. This may be due to the artistic skills of the painting, but it is not fair to conclude based on this single factor. The society most likely lacked the live samples from which an artist can study.

The lion art in summary, went through an interesting path in China, basically starting realistic, continuing with creative innovation, and then back to relatively faithful depiction again. Even in the stone statue making, there are 2 main types, the traditional big headed ones and the rather accurate ones, especially in the cities where there is more international interaction.

Enjoy such cultural discussions? Have comments? I look forward to hearing from you!



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