NEWHANFU

Finally, Tang - style hairstyles are no longer confined to the all - too - familiar big - head look! When we now mention the restoration of Tang - style, we often associate it with the elaborate big - head look and intricate head ornaments. In fact, this exaggerated style was not the only one in the Tang Dynasty. Many daily - life hairstyles are more amiable. For example, in the TV drama Wu You Du (无忧渡), Song Zuer's hairstyles throughout are more minimalist. Let's first note that the Tang Dynasty was a highly inclusive era. It not only had the characteristics of the Central Plains but also incorporated those of the Western Regions. There was the capable and tall style in the early Tang and Wu Zhou periods, the elegant and luxurious style in the prosperous Tang, and the elaborate and high - profile style in the middle and late periods. And according to different scenarios, there were grand makeup and hairstyles for formal occasions, and simple and capable ones for daily life. Although each era has its own characteristics, most daily - life hairstyles in the Tang Dynasty were mainly simple buns. Now, we can see various Tang…...

Recently, Chen Duling specially shot a set of costumes in the style of 1980s ancient - costume dramas, which left netizens hardly recognizing her. Some even wonder: Is there really such a significant aesthetic difference between classical makeup and modern makeup? Let's start with the conclusion. The biggest difference between them lies in the 'charm'. Most of the so - called classical makeup adheres to the traditional aesthetic standards for eyebrow and lip shapes, presenting a classical charm. In contrast, modern makeup is mostly the result of integration under the influence of various trends, like the once - popular Korean and European - American styles, with a style leaning towards modern simplicity and fashion. This charm, though abstract, can be expressed in forms. For example, the makeup and styling of the 1987 version of A Dream of Red Mansions are often regarded as a classic because its style shows a harmonious beauty. Here, harmony means that the proportion of a person's eyebrows and eyes complements the makeup, without being obtrusive, and the colors are warm - toned. So, the reason why classical makeup is enduringly attractive is the grasp of this sense of harmony. The most challenging part of classical…...

Today is a special sharing session about cheongsam pankou buttons. In the process of making a cheongsam, these buttons are not only the finishing touch but also the starting point, just like the opening of a perfect work. A surprising or unexpected start can always spark more attention and appreciation later. Meanwhile, these buttons, which are linked to the essence of traditional Chinese culture, are an important way for us to rediscover Chinese characteristics. They are small, delicate, and a vivid symbol of the ancient people's aesthetics. In ancient times, our ancestors needed to use ropes or belts to tie knots or fasten buttons to fix the front of their clothes and keep warm during work. This kind of knot can be regarded as the earliest origin of the frog buttons. Later, with the development of dynasties, the knots also changed accordingly. For example, the "ribbon" in the Zhou Dynasty, the "silk ribbon" in the Northern and Southern Dynasties, the "silk knot ribbon" in the prosperous Tang Dynasty, and the "jade ring ribbon" in the Song Dynasty. These are all the step - by - step changes of the knot ribbons evolving into frog buttons. In the Ming and Qing…...

"Come over next Saturday night," Chef Yang Boying said. "I'll make an old school dish—cordyceps duck. You won't find it in restaurants these days." I arrived right on time. Yang lifted the lid off a steaming pot, releasing the scent of something rich and ancient. Inside was a rustic farm duck, slow-steamed for four hours in a dark, nourishing broth. Sprouting from the skin were black threads that looked like rat tails—twenty pieces of cordyceps, carefully skewered into the flesh. The sight was strange, even a little eerie, but the aroma was unforgettable. Medicine and Food Share the Same Root Cordyceps duck (虫草鸭子), a medicinal classic from 19th-century Sichuan, embodies the Chinese belief that food and medicine share the same root. Once served at Chengdu's Tong Ren Tang—a pharmacy that also sold nourishing dishes—it was never just a meal. Cordyceps, a rare fungus that grows from caterpillars, is prized in traditional Chinese medicine for enhancing energy and immunity. The method used to cook this duck—piercing it and inserting the fungus by hand—was both precise and poetic. Today, few make it this way. The cordyceps are usually tossed into the pot with the duck, no fancy presentation. But Yang prefers the…...

Every year, during the Dragon Boat Festival (端午节), you'll see families across China hanging bundles of mugwort (艾草) on their doors, wearing fragrant sachets close to their bodies, and tying colorful threads on children's wrists. In places like Henan and Zhejiang, pots are filled with garlic and eggs. These time-honored traditions, passed down for thousands of years, form a complete "protective system" against evil spirits. But the Dragon Boat Festival isn't just a day to remember the poet Qu Yuan. Its long-standing folk practices signify a celebration of life, a prayer for the living, and a struggle against the uncertainty of life. Traditional Food Rituals as Protection During Festivals A saying goes, "If you don't wear mugwort on Dragon Boat Festival, you'll turn into a ghost after death." Mugwort and calamus, often placed at the thresholds of homes, act like plant-based charms, creating a symbolic barrier to safeguard both family and body. Food, which enters the body directly, forms an even closer connection with people and is given the special power to ward off evil spirits. For example, the red beans, salted egg yolks, and salted meats wrapped inside zongzi (粽子, traditional sticky rice dumplings) are considered "yang objects" (阳物),…...

Have you ever seen a neckerchief in a costume drama for the first time? In the costume drama Unburdened Ferry, Duan Banxia, played by Song Zuer, often appears wearing a short shawl. It looks like a pibo (披帛), but the way of tying a knot in front of the chest is so similar to our modern neckerchief. Could this also be a kind of "time - traveling" fashion? Let's answer first. It's called a "neckerchief". Similar ways of wearing it were seen in the Northern and Southern Dynasties, and it became even more popular during the late Tang, Five Dynasties, and the Northern Song. It should be an extended style of the pibo or peizi (帔子), but actually shorter and wider than the pibo. It's mainly used to wrap the neck, keep out the cold, and match clothes. In the painting The Picture of Proofreading Books in the Northern Qi Dynasty, we can see the tying style of the neckerchief of ladies in the Northern and Southern Dynasties. At this time, peizi already existed and was once commonly in a "short and wide" style, which is very similar to the neckerchief we see later. After the Wu Zhou period, something…...

Yang Zi's new makeup look in the ancient costume drama "Jia Ye" (The Family Business) is truly eye - catching. With a white veil on her head, netizens exclaimed, "Do I seem to see the Goddess of Mercy?" First, Yang Zi's veil style is somewhat similar to the "gaitou" (盖头) in Song Dynasty paintings and also resembles the fujin popular among women in the late Ming Dynasty, but it doesn't cover the forehead. The gaitou refers to a "square purple silk cloth" that can cover half of the body. It's just a square piece of cloth. One can go out directly by draping it over the head. As Mr. Shen Congwen verified, "the 'gaitou' was indeed a popular head - wear among women in the Song Dynasty." The relationship between the Ming Dynasty fujin and the Song Dynasty gaitou remains inconclusive. In the drama "Jin Nang Miao Lu" (The Wonderful Record in the Pouch) with a Ming - style setting, the "gaitou" also appeared. It can be seen that the gaitou is more like a square scarf for draping. Working women may tie it up locally for convenience. The fujin popular in the Ming Dynasty is actually a headscarf with…...

We always habitually praise the beauty of cheongsams. However, its beauty needs a woman's figure and bearing to support and shape it, just like a win - win cooperation, where neither can be missing. Bearing is influenced by personal vision and mindset, while body shape is restricted by height, weight, and body proportions. The former requires long - term cultivation, while the latter can be improved by some methods. So today, I want to talk about the relationship between different female body types and cheongsams, aiming to solve the common problems when choosing cheongsams, such as 'What style of cheongsam suits me?', 'Will I look good in it?' In fact, these concerns are mainly about our own body shapes. Everyone has advantages and disadvantages in their figures, and a good choice can make up for the shortcomings. How to Choose Qipao Styles for Different Body Types First, we need to understand our body characteristics. Common body types mainly include H - shaped, strawberry - shaped, pear - shaped, X - shaped, and apple - shaped. H - shaped Body The H - shaped body has a straight - up - and - down shape with no obvious waist curve, so…...

In the ancient - costume drama The Longest Promise, Hanikiz's Tang - style makeup was truly impressive. Considering her previous Dunhuang - themed looks, netizens exclaimed that she was the 'Chosen One of the Tang Dynasty'. Why do we have such a strong impression of this kind of makeup? Let me start with the conclusion. We often say that the 'Hu style' prevailed in the Tang Dynasty. But where did this 'Hu style' come from? Looking back at this trend, the Uyghur people are a prominent example. The Uyghurs were originally called 'Huihe'. Through historical development and evolution, they eventually became the Uyghur ethnic minority we know today. The Uyghurs have distinct facial features, with thick eyebrows, big eyes, and three - dimensional facial structures, along with a strong and healthy build, which gives people a strong sense of the 'Hu style'. The historical influence of the Uyghurs is also profound. Before the Tang Dynasty, they were called 'Huihe' and once submitted to the Turks. Later, when the Turks were in turmoil and the Tang army attacked the Turks, they helped the Huihe establish the 'Uyghur Khaganate'. From then on, they 'abandoned their nomadic lifestyle and became sedentary people', which…...

Recently, the new drama styling of Meng Ziyi has sparked quite a controversy. This large neckline design that reveals the collarbone, which we seemed to only see in early costume dramas, is popular again. In fact, this design isn't just in TV dramas but also in ancient - style photo studios everywhere. Some people even deliberately lower the collar to show their collarbones and camisoles. This somewhat revealing image is more like 'border - crossing' rather than creating an ancient - style atmosphere. Does this way of dressing really exist? First, there were indeed wide - necked robe designs in the Qin and Han dynasties, used as outerwear when layering. Later, during the Northern and Southern Dynasties, it was mainly applied to ruqun (a traditional Chinese women's clothing style), a transition from the shallow cross - collar to the front - closing collar similar to that in the Tang Dynasty. However, this way of dressing was revealing but not alluring, having nothing to do with border - crossing. How wide could the necklines be in the Qin and Han dynasties? The side width of the neckline of the straight - skirted robe N10 in the Mashan Chu Tomb was 43…...