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1919, Samuel Isett Woodbridge, Fifty Years in China, Richmond: Presbyterian Committee of Publication, page 113:Would it not be better to dress in Chinese garb? […] He purchased for a few dollars a complete Chinese costume, heelless cloth shoes and all. A watermelon cap for twenty-five cents completed the outfit.
1985, Eping Zhang, Kim Lem, “Chen Yun’s Role after the Cultural Revolution”, in Asian Affairs, volume 12, number 1, →DOI, page 56:If he had really been ill, how does one explain Chen's finger in every pie—political, economic, and even the cultural arts? It is safe to assume that this was Chen's way: taking a step backward so that he might fully assess the situation. This, of course, was typical of the Shanghai businessmen of Mao Dun's novels who wore watermelon caps and held waterpipes.
2003, Antonia Finnane, “Yangzhou’s “Mondernity”: Fashion and Consumption in the Early Nineteenth Century”, in positions, volume 11, number 2, page 410:In his butterfly shoes and watermelon cap, jade hooks on his belt for carrying watch and tobacco pouch, rain protector over his sedan chair for wet weather, grass-cloth jacket to change into when the days turned warm, his wife in pleated crepe skirt with five-terrace sleeve jacket, her tiny shoes fragrant with sweet-smelling scent, the man-about-town in early-nineteenth-century Yangzhou presented a figure rather specific to his own time.
2012, Tie Ning, translated by Hongling Zhang and Jason Sommer, The Bathing Women, New York: Scribner, →ISBN, page 236:Later, to ease the tension between them, Tiao bought for Fan from the Friendship Store a boy rag doll in a red flower-patterned cotton jacket and infants' split pants with a traditional watermelon cap.