NEWHANFU

In the historical drama Guose Fanghua, the wedding crowns have sparked much discussion due to their opulence and intricate details. While they appear to be modeled after historical artifacts, a closer examination reveals some discrepancies. This article delves into the fascinating world of these crowns, exploring their origins, design, and the historical accuracy behind them. The Prototype: Empress Xiao's Crown The crown worn by the character He Weifang, played by Yang Zi, seems to be inspired by the crown of Empress Xiao from the Sui Dynasty. Over time, the design evolved through the Tang Dynasty, retaining elements like the Chaidian (hairpins) and Bobin (side ornaments) as markers of status. However, the crown's design in the drama doesn't perfectly align with the character's social standing, as historical records indicate that such crowns were reserved for high-ranking noblewomen. During the Tang Dynasty, women favored high buns, with the height and complexity of the hairstyle reflecting their social status. Noblewomen wore elaborate hair ornaments, including gold hairpins, in symmetrical pairs for formal occasions. The number of Huashu (floral ornaments) and Huadian (floral hairpins) varied by rank, with empresses wearing twelve and first-rank noblewomen wearing nine, decreasing by rank. The Components of the Crown…...

In the TV series 'Guo Se Fang Hua,' the wedding crown worn by the county princess has sparked heated discussions. While it was directly modeled after the Li Chui Crown from archaeological findings, many netizens question whether it was 'worn incorrectly.' The answer is that the crown referenced in the show might itself be a beautiful mistake in restoration. Nevertheless, the series remains a well - researched production, though some details still require refinement. Restoration isn't about simple 'copy - paste'—many fragmented or incomplete artifacts require contextual understanding of their era and usage. Minor errors are understandable, and viewers shouldn't judge the entire series based on isolated inaccuracies. Unearthed Situation and Replica Controversy Li Chui, the granddaughter of Emperor Li Yuan, gave up her title for love and had no official rank. However, she might still have been buried with corresponding accessories. When the Li Chui Crown was unearthed, both the crown and hair had disintegrated, leading to potential distortions. The reference prototype, displayed at the Shaanxi Archaeological Museum (not a permanent exhibit), is a controversial replica restored by German experts. The crown's discovery was groundbreaking, as relatively intact Tang Dynasty headpieces are rare. While experts initially proposed various theories,…...

In various historical dramas like 'Secret Records of the Brocade Bag' and 'Rain Clouds Over Ink', we often see women wearing a piece of cloth over their heads when going out. These women weren't necessarily heading to weddings - so what was the purpose of this head covering? The answer lies in what was known as the 'Gaitou' (盖头) during the Song Dynasty. The Song Dynasty inherited many systems from the Tang Dynasty, including its clothing customs. According to Zhou Hui's 'Qingbo Magazine': 'Scholars wore cool robes when riding horses, while women walking in public places covered half their bodies with square purple silk veils, commonly called Gaitou, which followed the Tang Dynasty Weimao (帷帽) tradition.' This reveals that the Song Dynasty Gaitou evolved from the Tang Dynasty Weimao. However, there were differences between the two. As noted by scholar Shen Congwen: 'The Weimao was a stiff hat with a hanging net curtain,' essentially a bamboo hat with a black net. The Gaitou was simpler - just a square piece of fabric, often made of silk ('Luo'), that could cover half the body. Shen Congwen wrote: 'The Gaitou was indeed a common head covering for Song Dynasty women.' Gao Cheng…...

When observing Tang Dynasty paintings, it's hard not to notice the low-cut necklines of women's dresses, some even revealing enough to make modern viewers blush. This fashion trend was widespread throughout the Tang era. What caused this phenomenon? The answer lies in a combination of factors, including economic prosperity, increased female confidence during Empress Wu Zetian's reign, and cultural exchanges with minority groups (such as the adoption of Hu clothing styles). However, climate played an equally crucial role. Renowned meteorologist Zhu Kezhen, in his study "Preliminary Research on Climate Change in China Over the Last 5,000 Years," noted that the Tang Dynasty experienced a warm period. The capital, Chang'an (modern-day Xi'an), located at a latitude similar to present-day Nanjing, endured sweltering summers with average annual temperatures exceeding 20°C. Even emperors sought refuge in cooler northern regions, and bestowing ice upon officials became a prized reward. This climate directly influenced Tang fashion, leading to the popularity of round-neck, U-neck, and cross-collar designs, as well as short sleeves and lightweight silk fabrics. From early to high Tang periods, low-cut dresses with necklines plunging to the chest—often seen in blush-inducing murals—became fashionable. Poets like Bai Juyi (Feet scorched by steaming earth, backs burned…...

In the Tang Dynasty, it was considered outdated for women not to wear large flowers in their hair. Today, who would dare to wear such big, red flowers? The Tang people's preference for peony hairpins was inseparable from their love for peonies. Because peonies were sufficiently luxurious and gorgeous, and some rare varieties were even more precious, it was necessary to wear a whole flower to display one's status. Moreover, after wearing a peony, other flowers could not be worn, hence the popular custom of wearing a single large flower on the head. Additionally, the Tang Dynasty's "big head" hairstyle left some blank space, making a large flower appear less "flashy." The most famous example is the "Court Ladies Wearing Flowers" painting, which perfectly illustrates this adornment. This custom of wearing flowers reached its fashion peak during the High Tang period. However, as peonies were not easy to obtain, women also adorned their hair with lotus flowers, crabapple flowers, gardenias, and peonies as symbols of wealth and status. Not only women but also men wore flowers, often on their turbans. Some opted for modest small flowers, while others flaunted large blooms. How much did the Tang people love peonies? Every…...

In the drama 'Guo Se Feng Hua,' Li Xian's character, Jiang Changyang, showcases a different outfit in almost every scene, earning the title 'Tang Dynasty version of a man's wardrobe.' Li Xian himself remarked that the costumes in this series are the most 'flamboyant' he has ever worn. The attire of Jiang Changyang, played by Li Xian, is particularly notable for its intricate patterns, such as Tuan Ke (团窠) and Lian Zhu (联珠) motifs. These designs are artistic treasures unique to the Tang Dynasty, which absorbed and refined elements from foreign cultures. The 'Ling Yang Gong Yang' Pattern One of the most iconic patterns is the 'Ling Yang Gong Yang' (陵阳公样), a term that refers to a category of Tang brocade designs. The 'designer' behind these patterns was Dou Shilun, a renowned silk weaving expert of the Tang Dynasty. Dou Shilun created over a dozen motifs, many of which featured symmetrical designs incorporating elements like phoenixes, sheep, horses, deer, and unicorns. These patterns often combined influences from Persian and Sogdian cultures, such as circular Tuan Ke motifs surrounded by Lian Zhu (联珠) borders, adorned with various flora and fauna. In recognition of his contributions, Dou Shilun was ennobled as 'Ling…...

In various Chinese historical dramas such as Jiuchong Zi, Jinnang Miaolu, Futu Yuan, and Canghai Zhuan, actors like Xiao Zhan, Li Yunrui, Wang Hedi, and Zhai Zilu are often seen wearing what appears to be stockings or fishnets on their heads. However, these are not stockings but a traditional headgear known as Wangjin (网巾), a net-like accessory used by adult men in the Ming Dynasty to tie and gather loose hair. Practical Uses of Wangjin Wangjin was primarily used to keep hair in place and prevent hats from slipping. It was a practical accessory for daily life, especially among commoners who wore it without additional head coverings. For those of higher social status, Wangjin was often worn under formal hats during important occasions. The popularity of Wangjin can be traced back to Emperor Zhu Yuanzhang of the Ming Dynasty. According to historical records, Zhu Yuanzhang once visited a Taoist temple in casual attire and observed a priest weaving Wangjin under lamplight. Intrigued, he inquired about its purpose and later issued a decree mandating its use across the empire, regardless of social status. Wangjin typically featured a top drawstring called Wangdai (网带), tied at the crown, and small strings at the…...

Recently, netizens noticed something special about Liu Shishi's costume in her new drama. It looked surprisingly like a modern short-sleeved T-shirt. However, this is actually a traditional Tang Dynasty garment known as Tanling Banbi (坦领半臂). Let's break down the name. Tanling refers to the neckline style, while Banbi  indicates the sleeve length. Combined, they describe a specific type of clothing popular during the Tang Dynasty. The Tanling Neckline The Tanling neckline resembles modern pullover shirts. This style dates back to the Shang and Zhou dynasties, though its exact structure remains unclear. It became particularly fashionable in the early Tang Dynasty. Compared to the round neckline, Tanling features a wider opening, often extending to the chest. Some designs even include a pointed center, earning it the nickname "chicken heart neckline". The resemblance to T-shirts comes from this broad neckline, similar to today's fashion pullovers. However, unlike modern T-shirts, Tanling garments usually have buttons or ties at the front or side for fastening. This design allowed wearers to change clothes without disturbing their elaborate hairstyles. The Banbi Sleeves The Banbi sleeves, often seen in period dramas, are typically associated with maids due to their practicality. However, they were not exclusive to any social…...

In the drama 'Guose Fenghua', Li Xian's portrayal of Jiang Changyang features an ever-changing wardrobe, earning the title 'Tang Dynasty version of a man's closet'. Even Li Xian himself admitted that the costumes in this series are the most 'flamboyant' he has ever worn. One of the standout elements of Jiang Changyang's attire is the prominent use of Tuan Ke (团窠) and Lianzhu (联珠纹) patterns. These artistic treasures were uniquely developed during the Tang Dynasty by assimilating the essence of foreign cultures. The Persian-style Lianzhu Tuan Ke motifs, introduced to Central China via the Silk Road during the Northern Dynasties, were later infused with distinct Chinese characteristics by the Tang era. A key term to understand here is 'Lingyang Gong Yang' (陵阳公样), a category of Tang brocade patterns that dominated the textile art of the period. The 'designer' behind these patterns was Dou Shilun, a renowned Tang Dynasty silk weaving expert who created over a dozen motifs in his lifetime. According to Zhang Yanyuan's 'Records of Famous Paintings Through the Ages', Dou Shilun served as the Grand Administrator of Yizhou and was responsible for designing auspicious brocades and palace silks. His intricate and colorful designs earned him the noble title…...

Have you ever wondered why women in Tang Dynasty-themed films and TV shows often appear 'top-heavy'? It's not an illusion! In classical makeup and styling, the hairstyles of the mid to late Tang Dynasty are famously referred to as 'big heads.' But why? Just take a look at the number of hair buns atop their heads. The trend of 'big heads' actually began to emerge as early as the late Eastern Han Dynasty, when noblewomen started favoring high buns, considering them a mark of beauty. The Tang Dynasty took this trend to its peak, leading to the creation of various types of artificial hairpieces (Yiji) specifically for high buns. What did women do if they wanted to achieve this look but lacked enough hair? They simply wore artificial hairpieces. Common materials for Yiji included real hair or wooden substitutes. For example, this spiral-shaped Yiji was made from 'fake hair,' lined with hemp cloth, wrapped with palm fibers, and dyed to create a spiral shape. It could be easily pressed onto the head, showcasing both antiquity and craftsmanship. The materials for Yiji were diverse, not limited to real hair. Thin wooden pieces were also used. One such example is the lacquered…...