A traditional wedding kimono with tsunokakushi (wedding headpiece)

A traditional red Uchikake kimono with cranes

The kimono (着物^?)^[1] is a Japanese traditional garment worn by men, women and children. The word "kimono", which literally means a "thing to wear" (ki "wear" and mono "thing"),^[2] has come to denote these full-length robes. The standard plural of the word kimono in English is kimonos,^[3] but the unmarked Japanese plural kimono is also sometimes used.

Kimono are T-shaped, straight-lined robes worn so that the hem falls to the ankle, with attached collars and long, wide sleeves. Kimono are wrapped around the body, always with the left side over the right (except when dressing the dead for burial.),^[4] and secured by a sash called an obi, which is tied at the back. Kimono are generally worn with traditional footwear (especially zōri or geta) and split-toe socks (tabi).^[5]

Today, kimono are most often worn by women, and on special occasions. Traditionally, unmarried women wore a style of kimono called furisode,^[5] with almost floor-length sleeves, on special occasions. A few older women and even fewer men still wear the kimono on a daily basis. Men wear the kimono most often at weddings, tea ceremonies, and other very special or very formal occasions. Professional sumo wrestlers are often seen in the kimono because they are required to wear traditional Japanese dress whenever appearing in public.^[6]

History[link]

As the kimono has another name, gofuku (呉服^?, literally "clothes of Wu (吳)"), the earliest kimonos were heavily influenced by traditional Han Chinese clothing, known today as hanfu (漢服^?, kanfuku in Japanese), through Japanese embassies to China which resulted in extensive Chinese culture adoptions by Japan, as early as the 5th century AD.^[5] It was during the 8th century, however, that Chinese fashions came into style among the Japanese, and the overlapping collar became particularly a women's fashion.^[5] During Japan's Heian period (794–1192 AD), the kimono became increasingly stylized, though one still wore a half-apron, called a mo, over it.^[5] During the Muromachi age (1392–1573 AD), the Kosode, a single kimono formerly considered underwear, began to be worn without the hakama (trousers, divided skirt) over it, and thus began to be held closed by an obi "belt".^[5] During the Edo period (1603–1867 AD), the sleeves began to grow in length, especially among unmarried women, and the Obi became wider, with various styles of tying coming into fashion.^[5] Since then, the basic shape of both the men’s and women’s kimono has remained essentially unchanged. Kimonos made with exceptional skill from fine materials have been regarded as great works of art.^[5]

The formal kimono was replaced by the more convenient Western clothes and yukata as everyday wear. After an edict by Emperor Meiji,^[7] police, railroad men and teachers moved to Western clothes. The Western clothes became the army and school uniform for boys. After the 1923 Great Kantō earthquake, kimono wearers often became victims of robbery because they could not run very fast due to the restricting nature of the kimono on the body and geta slippers. The Tokyo Women's & Children's Wear Manufacturers' Association (東京婦人子供服組合) promoted Western clothes. Between 1920 and 1930 the sailor outfit replaced the undivided hakama in school uniforms for girls. The 1932 fire at Shirokiya's Nihonbashi store is said to have been the catalyst for the decline in kimonos as everyday wear. Kimono-clad Japanese women did not wear panties and several women refused to jump into safety nets because they were ashamed of being seen from below. (It is, however, suggested, that this is an urban myth.)^[8][9] The national uniform, Kokumin-fuku (国民服), a type of Western clothes, was mandated for males in 1940.^[10][11][12] Today most people wear Western clothes and wear the breezier and more comfortable yukata for special occasions.

Textiles and manufacture[link]

A maiko off-duty, dressed in kimono at Gion, Kyoto

Kimonos for men are available in various sizes and should fall approximately to the ankle without tucking. A woman's kimono has additional length to allow for the ohashori, the tuck that can be seen under the obi, which is used to adjust the kimono to the individual wearer. An ideally tailored kimono has sleeves that fall to the wrist when the arms are lowered.

Kimonos are traditionally made from a single bolt of fabric called a tan. Tan come in standard dimensions—about 14 inches wide and 12½ yards long^[5]—and the entire bolt is used to make one kimono. The finished kimono consists of four main strips of fabric—two panels covering the body and two panels forming the sleeves—with additional smaller strips forming the narrow front panels and collar.^[5] Historically, kimonos were often taken apart for washing as separate panels and resewn by hand. Because the entire bolt remains in the finished garment without cutting, the kimono can be retailored easily to fit a different person.^[5]

The maximum width of the sleeve is dictated by the width of the fabric. The distance from the center of the spine to the end of the sleeve could not exceed twice the width of the fabric. Traditional kimono fabric was typically no more than 36 centimeters (14 inches) wide. Thus the distance from spine to wrist could not exceed a maximum of roughly 68 centimeters (27 inches). Modern kimono fabric is woven as wide as 42 centimeters (17 inches) to accommodate modern Japanese body sizes. Very tall or heavy people, such as sumo wrestlers, must have kimonos custom-made by either joining multiple bolts, weaving custom-width fabric, or using non-standard size fabric.^[13]

Traditionally, kimonos are sewn by hand, but even machine-made kimonos require substantial hand-stitching. Kimono fabrics are also frequently hand made and hand decorated. Various techniques such as yūzen dye resist are used for applying decoration and patterns to the base cloth. Repeating patterns that cover a large area of a kimono are traditionally done with the yūzen resist technique and a stencil. Over time there have been many variations in color, fabric and style, as well as accessories such as the obi.

The kimono and obi are traditionally made of silk, silk brocade, silk crepes (such as chirimen) and satin weaves (such as rinzu). Modern kimonos are also widely available in less-expensive easy-care fabrics such as rayon, cotton sateen, cotton, polyester and other synthetic fibers. Silk is still considered the ideal fabric.

Modern styles of furisode

Customarily, woven patterns and dyed repeat patterns are considered informal. Formal kimonos have free-style designs dyed over the whole surface or along the hem.^[5] During the Heian period, kimonos were worn with up to a dozen or more colorful contrasting layers, with each combination of colors being a named pattern.^[5] Today, the kimono is normally worn with a single layer on top of one or more undergarments. The pattern of the kimono can also determine in which season it should be worn. For example, a pattern with butterflies or cherry blossoms would be worn in spring. Watery designs are common during the summer. A popular autumn motif is the russet leaf of the Japanese maple; for winter, designs may include bamboo, pine trees and plum blossoms.

A popular form of textile art in Japan is shibori (intricate tie dye), found on some of the more expensive kimonos and haori kimono jackets. Patterns are created by minutely binding the fabric and masking off areas, then dying it, usually done by hand. When the bindings are removed, an undyed pattern is revealed. Shibori work can be further enhanced with yuzen (hand applied) drawing or painting with textile dyes or with embroidery; it is then known as tsujigahana. Shibori textiles are very time consuming to produce and require great skill, so the textiles and garments created from them are very expensive and highly prized.

Old kimonos are often recycled in various ways: altered to make haori, hiyoku, or kimonos for children, used to patch similar kimono, used for making handbags and similar kimono accessories, and used to make covers, bags or cases for various implements, especially for sweet-picks used in tea ceremonies. Damaged kimonos can be disassembled and resewn to hide the soiled areas, and those with damage below the waistline can be worn under a hakama. Historically, skilled craftsmen laboriously picked the silk thread from old kimono and rewove it into a new textile in the width of a heko obi for men's kimono, using a recycling weaving method called saki-ori.

Parts[link]

Diagram of the kimono parts

Various terms refer to parts of a kimono, as listed below.

• Dōura (胴裏^?): upper lining on a woman's kimono.
• Eri (衿^?): collar.
• Fuki: hem guard.
• Furi: sleeve below the armhole.
• Maemigoro (前身頃^?): front main panel, excluding sleeves. The covering portion of the other side of the back, maemigoro is divided into "right maemigoro" and "left maemigoro".
• Miyatsukuchi: opening under the sleeve.
• Okumi (衽^?): front inside panel situated on the front edge of the left and right, excluding the sleeve of a kimono. Until the collar, down to the bottom of the dress goes, up and down part of the strip of cloth. Have sewn the front body. It is also called "袵".
• Sode (袖^?): sleeve.^[5]
• Sodeguchi (袖口^?): sleeve opening.
• Sodetsuke (袖付^?): kimono armhole.
• Susomawashi (裾回し^?): lower lining.
• Tamoto (袂^?): sleeve pouch.
• Tomoeri (共衿^?): over-collar (collar protector).
• Uraeri (裏襟^?): inner collar.
• Ushiromigoro (後身頃^?): back main panel, excluding sleeves, covering the back portion. They are basically sewn back-centered and consist of "right ushiromigoro" and "left ushiromigoro", but for wool fabric, the ushiromigoro consists of one piece.

Cost[link]

A modern second hand kimono shop

A woman's kimono may easily exceed US$10,000;^[14] a complete kimono outfit, with kimono, undergarments, obi, ties, socks, sandals, and accessories, can exceed US$20,000. A single obi may cost several thousand dollars. However, most kimonos owned by kimono hobbyists or by practitioners of traditional arts are far less expensive. Enterprising people make their own kimono and undergarments by following a standard pattern, or by recycling older kimonos. Cheaper and machine-made fabrics can substitute for the traditional hand-dyed silk. There is also a thriving business in Japan for second-hand kimonos, which can cost as little as ¥500 (about $5). Women's obis, however, mostly remain an expensive item. Although simple patterned or plain colored ones can cost as little as ¥1,500 (about $15), even a used obi can cost hundreds of dollars, and experienced craftsmanship is required to make them. Men's obis, even those made from silk, tend to be much less expensive, because they are narrower, shorter and less decorative than those worn by women.

Styles[link]

Kimonos range from extremely formal to casual. The level of formality of women's kimono is determined mostly by the pattern of the fabric, and color. Young women's kimonos have longer sleeves, signifying that they are not married, and tend to be more elaborate than similarly formal older women's kimono.^[5] Men's kimonos are usually one basic shape and are mainly worn in subdued colors. Formality is also determined by the type and color of accessories, the fabric, and the number or absence of kamon (family crests), with five crests signifying extreme formality.^[5] Silk is the most desirable, and most formal, fabric. Kimonos made of fabrics such as cotton and polyester generally reflect a more casual style.

Women's kimonos[link]

Many modern Japanese women lack the skill to put on a kimono unaided: the typical woman's kimono outfit consists of twelve or more separate pieces that are worn, matched, and secured in prescribed ways, and the assistance of licensed professional kimono dressers may be required. Called upon mostly for special occasions, kimono dressers both work out of hair salons and make house calls.

Choosing an appropriate type of kimono requires knowledge of the garment's symbolism and subtle social messages, reflecting the woman's age, marital status, and the level of formality of the occasion.

[edit] Furisode

A young woman wearing a furisode kimono

(振袖): furisode literally translates as swinging sleeves—the sleeves of furisode average between 39 and 42 inches (1,100 mm) in length. Furisode are the most formal kimono for unmarried women, with colorful patterns that cover the entire garment. They are usually worn at coming-of-age ceremonies (seijin shiki) and by unmarried female relatives of the bride at weddings and wedding receptions.

[edit] Hōmongi

(訪問着): literally translates as visiting wear. Characterized by patterns that flow over the shoulders, seams and sleeves, hōmongi rank slightly higher than their close relative, the tsukesage. Hōmongi may be worn by both married and unmarried women; often friends of the bride will wear hōmongi at weddings (except relatives) and receptions. They may also be worn to formal parties.

Pongee Hōmongi were made to promote kimono after WWII. Pongee is used for casual clothes, so they are not for formal occasions no matter how expensive they are.

[edit] Iromuji

(色無地): single-colored kimono that may be worn by married and unmarried women. They are mainly worn to tea ceremonies. The dyed silk may be figured (rinzu, similar to jacquard), but has no differently colored patterns.

[edit] Komon

(小紋): "fine pattern". Kimono with a small, repeated pattern throughout the garment. This style is more casual and may be worn around town, or dressed up with a formal obi for a restaurant. Both married and unmarried women may wear komon.

Edo komon

(江戸小紋): is a type of komon characterized by tiny dots arranged in dense patterns that form larger designs. The Edo komon dyeing technique originated with the samurai class during the Edo period. A kimono with this type of pattern is of the same formality as an iromuji, and when decorated with kamon, may be worn as visiting wear (equivalent to a tsukesage or hōmongi).

[edit] Mofuku

Mofuku is formal mourning dress for men or women. Both men and women wear kimono of plain black silk with five kamon over white undergarments and white tabi. For women, the obi and all accessories are also black. Men wear a subdued obi and black and white or black and gray striped hakama with black or white zori.

The completely black mourning ensemble is usually reserved for family and others who are close to the deceased.

[edit] Tomesode

Irotomesode

(色留袖): single-color kimono, patterned only below the waistline. Irotomesode are slightly less formal than kurotomesode, and are worn by married women, usually close relatives of the bride and groom at weddings. An irotomesode may have three or five kamon.

Kurotomesode

(黒留袖): a black kimono patterned only below the waistline, kurotomesode are the most formal kimono for married women. They are often worn by the mothers of the bride and groom at weddings. Kurotomesode usually have five kamon printed on the sleeves, chest and back of the kimono.

[edit] Tsukesage

(付け下げ): has more modest patterns that cover a smaller area—mainly below the waist—than the more formal hōmongi. They may also be worn by married women.The differences from homongi is the size of the pattern, seam connection, and not same clothes at inside and outside at "hakke." As demitoilet, not used in important occasion, but light patterned homongi is more highly rated than classic patterned tsukesage. General tsukesage is often used for parties, not ceremonies.

[edit] Uchikake

Uchikake is a highly formal kimono worn only by a bride or at a stage performance. The Uchikake is often heavily brocaded and is supposed to be worn outside the actual kimono and obi, as a sort of coat. One therefore never ties the obi around the uchikake. It is supposed to trail along the floor, this is also why it is heavily padded along the hem. The uchikake of the bridal costume is either white or very colorful often with red as the base color.

[edit] Susohiki / Hikizuri

Women dressed as maiko (apprentice geisha), wearing specially tailored "maiko-style" furisode kimonos with tucks in sleeves and at shoulders

The susohiki is mostly worn by geisha or by stage performers of the traditional Japanese dance. It is quite long, compared to regular kimono, because the skirt is supposed to trail along the floor. Susohiki literally means "trail the skirt". Where a normal kimono for women is normally 1.5–1.6 m (4.7–5.2 ft) long, a susohiki can be up to 2 m (6.3 ft) long. This is also why geisha and maiko lift their kimono skirt when walking outside, also to show their beautiful underkimono or "nagajuban" (see below).^[15]

Men's kimonos[link]

Couple being married in traditional dress.

In contrast to women's kimono, men's kimono outfits are far simpler, typically consisting of five pieces, not including footwear.

Men's kimono sleeves are attached to the body of the kimono with no more than a few inches unattached at the bottom, unlike the women's style of very deep sleeves mostly unattached from the body of the kimono. Men's sleeves are less deep than women's kimono sleeves to accommodate the obi around the waist beneath them, whereas on a woman's kimono, the long, unattached bottom of the sleeve can hang over the obi without getting in the way.

Jin-Haori - Kimono tabards for armoured Samurai

In the modern era, the principal distinctions between men's kimono are in the fabric. The typical men's kimono is a subdued, dark color; black, dark blues, greens, and browns are common. Fabrics are usually matte. Some have a subtle pattern, and textured fabrics are common in more casual kimono. More casual kimono may be made in slightly brighter colors, such as lighter purples, greens and blues. Sumo wrestlers have occasionally been known to wear quite bright colors such as fuchsia.

The most formal style of kimono is plain black silk with five kamon on the chest, shoulders and back. Slightly less formal is the three-kamon kimono.

Accessories and related garments[link]

A traditional silk datejime with stiffer middle and softer ends

Women's straw zōri

Date eri or kasane eri

is a long rectangular piece made to resemble a folded kimono collar. It is a decorative accessory used in women's formal kimono styles between the collars of the nagajuban and the kimono to emulate the appearance of wearing an extra layer of kimono beneath.

Datejime or datemaki

(伊達締め) is a wide undersash used to tie the nagajuban and the outer kimono and hold them in place.

Eri-sugata or kantan eri or date eri

(衿姿) is a detached collar that can be worn instead of a nagajuban in summer, when it can be too hot to comfortably wear a nagajuban. It replaces the nagajuban collar in supporting the kimono's collar.

Fundoshi

(褌) is the traditional Japanese undergarment (loin cloth) for adult males, made from a length of cotton.

Geta

(下駄) are wooden sandals worn by men and women with yukata. One unique style is worn solely by geisha.

Hakama

(袴) is a divided (umanoribakama) or undivided skirt (andonbakama) which resembles a wide pair of trousers, traditionally worn by men but contemporarily also by women in less formal situations. It is also worn in certain martial arts such as aikido. A hakama typically is pleated and fastened by ribbons, tied around the waist over the obi. Men's hakama also have a koshi ita, which is a stiff or padded part in the lower back of the wearer. Hakama are worn in several budo arts such as aikido, kendo, iaidō and naginata. Hakama are often worn by women at college graduation ceremonies, and by Miko on shinto shrines. Depending on the pattern and material, hakama can range from very formal to visiting wear.

Hanten

(袢纏) is the worker's version of the more formal haori. Often padded for warmth, as opposed to the somewhat lighter happi.

Haori

(羽織) is a hip- or thigh-length kimono-like jacket, which adds formality to an outfit. Haori were originally worn only by men, until it became a fashion for women in the Meiji period. They are now worn by both men and women. Men's haori are typically shorter than women's.

Haori-himo

(羽織紐) is a tasseled, woven string fastener for haori. The most formal color is white.

Happi

(法被) is a type of haori traditionally worn by shop keepers and is now associated mostly with festivals.

Hiyoku

(ひよく) is a type of under-kimono, historically worn by women beneath the kimono. Today they are only worn on formal occasions such as weddings and other important social events. High class kimonos may have extra layers of lining to emulate the appearance of hiyoku worn beneath.

Juban

Hadajuban

(肌襦袢) is a thin garment similar to an undershirt. It is worn under the nagajuban.^[16][17]

Nagajuban

(長襦袢, or simply juban) is a kimono-shaped robe worn by both men and women beneath the main outer garment.^[18] Since silk kimono are delicate and difficult to clean, the nagajuban helps to keep the outer kimono clean by preventing contact with the wearer's skin. Only the collar edge of the nagajuban shows from beneath the outer kimono.^[19] Many nagajuban have removable collars, to allow them to be changed to match the outer garment, and to be easily washed without washing the entire garment. While the most formal type of nagajuban are white, they are often as beautifully ornate and patterned as the outer kimono. Since men's kimono are usually fairly subdued in pattern and color, the nagajuban allows for discreetly wearing very striking designs and colors.^[20]

Kanzashi

(簪) are hair ornaments worn by women. Many different styles exist, including silk flowers, wooden combs, and jade hairpins.

Kimono slip

(着物スリップ^?, kimono surippu)^[21] The susoyoke and hadajuban combined into a one-piece garment.^[22][23]

Karihimo, koshihimo

(腰紐) is a narrow sash used to aid in dressing up, often made of silk or wool. They are used to hold virtually anything in place during the process of dressing up, and can be used in many ways depending on what is worn. Some of the karihimos are removed after datejime or obi have been tied, while others remain worn beneath the layers of the dress. The karihimo that is worn around the hips to create the extra fold or ohashori in women's kimono is called koshihimo, literally "hip ribbon".

Netsuke

is an ornament worn suspended from the men's obi.

Obi

Obi (帯) is the sash worn with kimono.

Samue

(作務衣) are the everyday clothes for a male Zen Buddhist monk, and the favored garment for shakuhachi players.

Susoyoke

(裾除け) is a thin half-slip-like piece of underwear worn by women under the nagajuban.^[16][24]

Tabi

(足袋) are ankle-high, divided-toe socks usually worn with zōri or geta. There also exist sturdier, boot-like jikatabi, which are used for example to fieldwork.

Waraji

(草鞋) are straw rope sandals which are mostly worn by monks.

Yukata

(浴衣) is an unlined kimono-like garment for summer use, usually made of cotton, linen, or hemp. Yukata are strictly informal, most often worn to outdoor festivals, by men and women of all ages. They are also worn at onsen (hot spring) resorts, where they are often provided for the guests in the resort's own pattern.

Zōri

(草履) are traditional sandals worn by both men and women, similar in design to flip-flops. Their formality ranges from strictly informal to fully formal. They are made of many materials, including cloth, leather, vinyl and woven grass, and can be highly decorated or very simple.

Layering[link]

In modern-day Japan the meanings of the layering of kimono and hiyoku are usually forgotten. Only maiko and geisha now use this layering technique for dances and subtle erotic suggestion, usually emphasising the back of the neck. Modern Japanese brides may also wear a traditional Shinto bridal kimono which is worn with a hiyoku.

Traditionally kimonos were worn with hiyoku or floating linings. Hiyoku can be a second kimono worn beneath the first and give the traditional layered look to the kimono. Often in modern kimonos the hiyoku is simply the name for the double sided lower-half of the kimono which may be exposed to other eyes depending on how the kimono is worn.

Old-fashioned kimono styles meant that hiyoku were entire under-kimono, however modern day layers are usually only partial, to give the impression of layering.

Care[link]

How to fold a kimono

In the past, a kimono would often be entirely taken apart for washing, and then re-sewn for wearing.^[5] This traditional washing method is called arai hari. Because the stitches must be taken out for washing, traditional kimonos need to be hand sewn. Arai hari is very expensive and difficult and is one of the causes of the declining popularity of kimono. Modern fabrics and cleaning methods have been developed that eliminate this need, although the traditional washing of kimono is still practiced, especially for high-end garments.

New, custom-made kimonos are generally delivered to a customer with long, loose basting stitches placed around the outside edges. These stitches are called shitsuke ito. They are sometimes replaced for storage. They help to prevent bunching, folding and wrinkling, and keep the kimono's layers in alignment.

Like many other traditional Japanese garments, there are specific ways to fold kimonos. These methods help to preserve the garment and to keep it from creasing when stored. Kimonos are often stored wrapped in paper called tatōshi.

Kimonos need to be aired out at least seasonally and before and after each time they are worn. Many people prefer to have their kimono dry cleaned. Although this can be extremely expensive, it is generally less expensive than arai hari but may be impossible for certain fabrics or dyes.

References[link]

Further reading[link]

• Milenovich, Sophie (2007). Kimonos. New York: Abrams. ISBN 978-0-8109-9450-8. 

External links[link]

Listen to this article (info/dl)

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Wikimedia Commons has media related to: kimono

Look up kimono in Wiktionary, the free dictionary.

• The Canadian Museum of Civilization - Landscape Kimonos of Itchiku Kubota
• Tokyo National Museum Look for "textiles" under "decorative arts".
• Glossary of Japanese Kimono Terms
• Japanese Kimono - Many photos
• Kyoto National Museum: Textiles
• The Costume Museum: Costume History in Japan
• Kimono Fraise; includes directions on how to put on a kimono
• Immortal Geisha Forums; Comprehensive Resource on Vintage and Modern Kimono Culture
• Love Kimono!; A lot of knowledge of kimono with pictures.
• Love Kimono; Range Of Kimonos Sold Across The Globe.
• Tsuruko Maiko Forums; Information and Discussions on Kimono
• How to wear a kimono, tie an obi, and use accessories
• Tokyo Senshoku Art Professional Training College

Craft Materials[link]

• "Kimono from the V&A Collection". Asia. Victoria and Albert Museum. http://www.vam.ac.uk/page/k/kimono/. Retrieved 2007-07-13. 
• "Fashioning Kimono: Dress in early 20th century Japan". Asia. Victoria and Albert Museum. http://www.vam.ac.uk/collections/asia/past_exhns/kimono/index.html. Retrieved 2007-06-16. 

v t e Japanese clothing Traditional clothing Kiahan (kyahan) Fundoshi Furisode Jinbei Jūnihitoe Kimono Hakama Samue Tomesode Yukata Uwagi Happi Sokutai Shitagi Hachimaki Belt/Sash Obi (sash) Uwa-obi Footwear Tabi Zōri Waraji Jika-tabi Geta Uwabaki Loose Socks

This article contains Chinese text. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Chinese characters.

Bruce Lee (born Lee Jun-fan; 27 November 1940 – 20 July 1973) was a Chinese American^[3] Hong Kong actor,^[4] martial arts instructor,^[5] philosopher, film director, film producer, screenwriter, and founder of the Jeet Kune Do martial arts movement. He is widely considered by many commentators, critics, media and other martial artists to be the most influential martial artist and pop culture icon of the 20th Century.^[6][7][8] He is often credited with changing the way Asians were presented in American films.^[6]

Lee was born in San Francisco to parents of Hong Kong heritage but was raised in Hong Kong until his late teens. Lee returned to the United States at the age of 18 to claim his U.S. citizenship and receive his higher education.^[9] It was during this time that he began teaching martial arts, which soon led to film and television roles.

His Hong Kong and Hollywood-produced films elevated the traditional Hong Kong martial arts film to a new level of popularity and acclaim, and sparked a major surge of interest in Chinese martial arts in the West in the 1970s. The direction and tone of his films changed and influenced martial arts and martial arts films in Hong Kong and the rest of the world, as well.^[10] He is noted for his roles in five feature-length films: Lo Wei's The Big Boss (1971) and Fist of Fury (1972); Way of the Dragon (1972), directed and written by Lee; Warner Brothers' Enter the Dragon (1973) and The Game of Death (1978), both directed by Robert Clouse.^[11]

Lee became an iconic figure known throughout the world, particularly among the Chinese, as he portrayed Chinese nationalism in his films.^[12] He initially trained in Wing Chun, but he later rejected well-defined martial art styles, favouring instead the use of techniques from various sources, in the spirit of his personal martial arts philosophy, which he dubbed Jeet Kune Do (The Way of the Intercepting Fist).

Early life[link]

Part of the series on Chinese martial arts
List of Chinese martial arts
Terms
Kung fu (功夫) Wushu (武術) Qigong (氣功)
Historical places
Shaolin Monastery (少林寺) Wudang Mountains (武當山) Mount Hua (華山) Mount Emei (峨嵋山) Kunlun Mountains (崑崙山)
Historical people
Yue Fei (岳飛) Yim Wing-chun (嚴詠春) Hung Hei-gun (洪熙官) Fong Sai-yuk (方世玉) Dong Haichuan (董海川) Yang Lu-ch'an (楊露禪) Wu Quanyou (吳全佑) Ten Tigers of Canton (廣東十虎) Chen Fake (陳發科) Chan Heung (陳享) Wong Fei-hung (黃飛鴻) Sun Lu-t'ang (孫祿堂) Huo Yuanjia (霍元甲) Yip Man (葉問) Wang Zi-Ping (王子平)
Famous modern actors
Bruce Lee (李小龍) Jackie Chan (成龍) Sammo Hung (洪金寶) Yuen Biao (元彪) Jet Li (李連杰)
Legendary figures
Bodhidharma (菩提達摩) Zhang Sanfeng (張三丰) Eight immortals (八仙) Five Elders (五祖)
Related
Hong Kong action cinema Wushu (sport) Wuxia (武俠)
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Bruce Lee was born on 27 November 1940 at the Chinese Hospital in Chinatown, San Francisco. According to the Chinese zodiac Lee was born in both the hour and the year of the Dragon which in this cultural tradition is considered a strong and fortuitous omen.^[13] His father, Lee Hoi-chuen, was fully Chinese, and his mother, Grace Ho (何愛瑜), was half Chinese and half Caucasian.^[14] Grace was the daughter of Ho Kom-tong and the niece of Sir Robert Ho-tung, both notable Honk Kong businessmen and philanthropists.^[15] Lee was the fourth child of five children: Agnes, Phoebe, Peter, and Robert. Lee and his parents returned to Hong Kong when he was three months old.^[16]

Names[link]

Lee's Cantonese birth name was Lee Jun-fan (李振藩).^[17] The name homophonically means "return again"; it was given to Lee by his mother, who felt he would return to the United States once he came of age.^[18] Because of his mother's superstitious nature, she originally named him Sai-fon (細鳳), which is a feminine name meaning "small phoenix".^[19] The English name "Bruce" was thought to be given by the hospital attending physician, Dr. Mary Glover.^[20]

Lee had three other Chinese names: Li Yuanxin (李源鑫), a family/clan name; Li Yuanjian (李元鑒), as a student name while he was attending La Salle College, and his Chinese screen name Li Xiaolong (李小龍; Xiaolong means "little dragon"). Lee's given name Jun-fan was originally written in Chinese as 震藩, however, the Jun (震) Chinese character was identical to part of his grandfather's name, Lee Jun-biu (李震彪). Hence, the Chinese character for Jun in Lee's name was changed to the homonym 振 instead, to avoid naming taboo in Chinese tradition.

Family[link]

Lee's father, Lee Hoi-chuen, was one of the leading Cantonese opera and film actors at the time, and was embarking on a year-long Cantonese opera tour with his family on the eve of the Japanese invasion of Hong Kong. Lee Hoi-chuen had been touring the United States for many years and performing at numerous Chinese communities there.

Although a number of his peers decided to stay in the United States, Lee Hoi-chuen decided to go back to Hong Kong after his wife gave birth to Bruce Lee. Within months, Hong Kong was invaded and the Lees lived for three years and eight months under Japanese occupation. After the war ended, Lee Hoi-chuen resumed his acting career and became a more popular actor during Hong Kong's rebuilding years.

Lee's mother, Grace Ho, was from one of the wealthiest and most powerful clans in Hong Kong, the Ho-tungs. She was the niece of Sir Robert Ho-tung,^[15][21] of Eurasian descent and patriarch of the clan. As such, the young Bruce Lee grew up in an affluent and privileged environment. Despite this advantage of his family's status, the Hong Kong neighborhood Lee grew up in became over-crowded, dangerous, and full of gang rivalries because of the mass number of people fleeing communist China to Hong Kong, :^[19]

Post-war Hong Kong was a tough place to grow up. Gangs ruled the city streets and Lee was often forced to fight them. But Bruce liked a challenge and faced his adversaries head on. To his parents dismay, Bruce's street fighting continued and the violent nature of his confrontations was escalating.

After being involved in several street fights, Lee's parents decided that he needed to be trained in the martial arts. Lee's first introduction to martial arts was through his father. He learned the fundamentals of Wu-style t'ai chi ch'uan from his father.^[22]

Wing Chun[link]

The largest influence on Lee's martial arts development was his study of Wing Chun. Lee began training in Wing Chun at the age of 13 under the Wing Chun teacher Yip Man in 1954, after losing a fight with rival gang members. Yip's regular classes generally consisted of the forms practice, chi sao (sticking hands) drills, wooden dummy techniques, and free-sparring.^[23] There was no set pattern to the classes.^[23] Yip tried to keep his students from fighting in the street gangs of Hong Kong by encouraging them to fight in organized competitions.^[24]

After a year into his Wing Chun training, most of Yip Man's other students refused to train with Lee after they learnt of his ancestry (his mother was half Chinese and half Caucasian) as the Chinese generally were against teaching their martial arts techniques to non-Asians.^[25][26] Lee's sparring partner, Hawkins Cheung states, "Probably fewer than six people in the whole Wing Chun clan were personally taught, or even partly taught, by Yip Man".^[27] However, Lee showed a keen interest in Wing Chun, and continued to train privately with Yip Man and Wong Shun Leung in 1955.^[28]

Leaving Hong Kong[link]

After attending Tak Sun School (德信學校) (a couple of blocks from his home at 218 Nathan Road, Kowloon), Lee entered the primary school division of La Salle College in 1950 or 1952 (at the age of 12). In around 1956, due to poor academic performance (or possibly poor conduct as well), he was transferred to St. Francis Xavier's College (high school) where he would be mentored by Brother Edward, a teacher and coach of the school boxing team.

In the spring of 1959, Lee got into yet another street fight and the police were called.^[29] From all the way to his late teens, Lee's street fights became more frequent and included beating up the son of a feared triad family. Eventually, Lee's father decided for him to leave Hong Kong to pursue a safer and healthier avenue in the United States. His parents confirmed the police's fear that this time Lee's opponent had an organised crime background, and there was the possibility that a contract was out for his life.

The police detective came and he says "Excuse me Mr. Lee, your son is really fighting bad in school. If he gets into just one more fight I might have to put him in jail".

—Robert Lee^[19]

In April 1959, Lee's parents decided to send him to the United States to stay with his older sister, Agnes Lee (李秋鳳), who was already living with family friends in San Francisco.

New life in America[link]

At the age of 18, Lee returned to the United States with $100 in his pocket and the titles of 1957 High School Boxing Champion and 1958 Crown colony Cha Cha Champion of Hong Kong.^[13] After living in San Francisco for several months, he moved to Seattle in 1959, to continue his high school education, where he also worked for Ruby Chow as a live-in waiter at her restaurant.

Chow's husband was a co-worker and friend of Lee's father. Lee's elder brother Peter Lee (李忠琛) would also join him in Seattle for a short stay before moving on to Minnesota to attend college. In December 1960, Lee completed his high school education and received his diploma from Edison Technical School (now Seattle Central Community College, located on Capitol Hill, Seattle).

In March 1961, Lee enrolled at the University of Washington, majoring in drama according to the university's alumni association information,^[30] not in philosophy as claimed by Lee himself and many others. Lee also studied philosophy, psychology, and various other subjects.^[31][32] It was at the University of Washington that he met his future wife Linda Emery, a fellow student studying to become a teacher, whom he married in August 1964.

Lee had two children with Linda Emery, Brandon Lee (1965–93) and Shannon Lee (b. 1969).

Jun Fan Gung Fu[link]

Lee began teaching martial arts in the United States in 1959. He called what he taught Jun Fan Gung Fu (literally Bruce Lee's Kung Fu). It was basically his approach to Wing Chun.^[33] Lee taught friends he met in Seattle, starting with Judo practitioner Jesse Glover, who later became his first assistant instructor. Lee opened his first martial arts school, named the Lee Jun Fan Gung Fu Institute, in Seattle.

Lee dropped out of college in the spring of 1964 and moved to Oakland to live with James Yimm Lee (嚴鏡海). James Lee was twenty years senior to Bruce Lee and a well known Chinese martial artist in the area. Together, they founded the second Jun Fan martial art studio in Oakland. James Lee was also responsible for introducing Bruce Lee to Ed Parker, royalty of the U.S. martial arts world and organizer of the Long Beach International Karate Championships at which Bruce Lee was later "discovered" by Hollywood.

Jeet Kune Do[link]

The Jeet Kune Do emblem is a registered trademark held by the Bruce Lee Estate. The Chinese characters around the Taijitu symbol read: "Using no way as way" and "Having no limitation as limitation" The arrows represent the endless interaction between yang and yin.^[34]

Jeet Kune Do originated in 1967. After filming one season of The Green Hornet, Lee found himself out of work and opened The Jun Fan Institute of Gung Fu. A controversial match with Wong Jack Man influenced Lee's philosophy about martial arts. Lee concluded that the fight had lasted too long and that he had failed to live up to his potential using his Wing Chun techniques. He took the view that traditional martial arts techniques were too rigid and formalistic to be practical in scenarios of chaotic street fighting. Lee decided to develop a system with an emphasis on "practicality, flexibility, speed, and efficiency". He started to use different methods of training such as weight training for strength, running for endurance, stretching for flexibility, and many others which he constantly adapted, including fencing and basic boxing techniques.

Lee emphasised what he called "the style of no style". This consisted of getting rid of the formalised approach which Lee claimed was indicative of traditional styles. Lee felt the system he now called Jun Fan Gung Fu was even too restrictive, and eventually evolved into a philosophy and martial art he would come to call Jeet Kune Do or the Way of the Intercepting Fist. It is a term he would later regret, because Jeet Kune Do implied specific parameters that styles connote; whereas the idea of his martial art was to exist outside of parameters and limitations.^[35]

Long Beach International Karate Championships[link]

At the invitation of Ed Parker, Lee appeared in the 1964 Long Beach International Karate Championships^[36] and performed repetitions of two-finger push-ups (using the thumb and the index finger of one hand) with feet at approximately a shoulder-width apart. In the same Long Beach event he also performed the "One inch punch",^[37] the description of which is as follows: Lee stood upright, his right foot forward with knees bent slightly, in front of a standing, stationary partner. Lee's right arm was partly extended and his right fist approximately an inch away from the partner's chest. Without retracting his right arm, Lee then forcibly delivered the punch to his partner while largely maintaining his posture, sending the partner backwards and falling into a chair said to be placed behind the partner to prevent injury, though his partner's momentum soon caused him to fall to the floor. His volunteer was Bob Baker of Stockton, California. "I told Bruce not to do this type of demonstration again", Baker recalled. "When he punched me that last time, I had to stay home from work because the pain in my chest was unbearable".^[38]

It was at the 1964 championships where Lee first met Taekwondo master Jhoon Goo Rhee. The two developed a friendship – a relationship from which they benefited as martial artists. Rhee taught Lee the side kick in detail, and Lee taught Rhee the "non-telegraphic" punch.^[39]

Lee appeared at the 1967 Long Beach International Karate Championships and performed various demonstrations, including the famous "unstoppable punch" against USKA world Karate champion Vic Moore.^[36] Lee told Moore that he was going to throw a straight punch to the face, and all he had to do was to try to block it. Lee took several steps back and asked if Moore was ready, when Moore nodded in affirmation, Lee glided towards him until he was within striking range. He then threw a straight punch directly at Moore's face, and stopped before impact. In eight attempts, Moore failed to block any of the punches.^[40][41]