When a popular period drama recently faced accusations of costume duplication, it sparked a wider conversation about originality in television. In Meiren Yu (美人余), the visual echo of character outfits did not go unnoticed by audiences. This situation mirrors a persistent pattern across many historical series, where designers frequently recycle styles. An actor might wear nearly identical attire in different projects, blurring the lines between their roles. The rapid expansion of short-form content has intensified this, with compact productions often lifting aesthetic elements directly from their lengthier counterparts. At the heart of these repetitions lies a creative stagnation, a safe retreat into familiar visuals that risks boring viewers. This reliance on similar designs points to a deeper industry habit. Rather than cultivating unique visions, some productions opt for proven, marketable looks. She might play a warrior in one story and a noble in another, yet her wardrobe feels strangely consistent. This aesthetic convergence suggests a lack of inventive risk, where financial pressures override artistic ambition. Furthermore, legal frameworks for protecting costume copyright remain underdeveloped, making it easy for one show to mimic another's sartorial choices without significant repercussion. The outcome is a visual landscape that feels repetitive, denying audiences the…

Time-travel into novels, game-like systems, and "infinite flow" (a popular Chinese internet term for stories where characters face endless quests or survival scenarios)—The Journey of Legend (赴山海) is giving the wuxia genre a fresh reset. The series is jointly produced by iQIYI, Tencent Video, Straw Bear Pictures, Yehua Film, and Tongle Media, directed by Ren Haitao and Lin Feng, with Liu Fang as head writer. Starring Cheng Yi and Nazha, it is currently streaming on iQIYI and Tencent Video. Adapted from the classic novel Shenzhou Qixia (神州奇侠) by wuxia master Wen Rui'an, the story follows modern youth Xiao Mingming, who suddenly gets pulled into the novel itself. Bound by a "demonic system," he becomes the young swordsman Xiao Qiushui and must live through the book's storyline. Only by completing the main quest—unifying the martial world—can he return to reality. By blending an innovative meta concept with traditional wuxia values, The Journey of Legend puts martial arts dramas back in the spotlight. Breaking Out with Skyrocketing Popularity Judging from the first week's numbers, The Journey of Legend had a spectacular launch. Even before release, pre-orders on both iQIYI and Tencent Video surpassed ten million. Many viewers jokingly called it "embryo-watching mode"…

The last two years in the drama market have felt like a desert: too many misses, too few real hits. When it comes to the industry's definition of who can "carry a drama" (扛剧, means recognition from producers and platforms, not just fan hype), producers and platforms are becoming much more cautious. Compared to the so-called "traffic stars" whose pulling power is always in a Schrödinger's cat state—sometimes effective, sometimes an illusion—the top actresses who have built their status step by step through solid works are generally seen as the real deal when it comes to carrying a show. But in just one year, even this assumption has been shaken hard by the turbulence of the market. This rundown isn't about crowning or dismissing anyone—it's about looking closely at how these actresses are holding up in the storm: what they still have in hand, and what is slipping through their fingers. Yang Zi and Zhao Liying: Invincible Status? If we're talking about who still has an "unbroken golden body" (metaphor for a stable, almost invincible status), from the '85 generation to the post-2000s, it really feels like only Yang Zi (杨紫) and Zhao Liying (赵丽颖) remain. Zhao Liying's The Legend…

There was a time when Bai Jingting (白敬亭), Wu Lei (吴磊), Jackson Yee (易烊千玺), and Liu Haoran (刘昊然) were widely recognized as the "Big Four Crushes" (四大墙头). Even people who weren’t active fans enjoyed openly expressing their affection for them on social media. It was a kind of casual admiration—lightweight, emotionally rewarding, but never disruptive to daily life. Today, these four are no longer waiting around for their "crush fans" to come back. For them, the "crush" label has already become outdated. Instead, a younger generation of actors is stepping up: Zhang Linghe (张凌赫), Song Weilong (宋威龙), Li Yunrui (李昀瑞), and Wang Anyu (王安宇) are now the most frequently mentioned names for the "New Big Four Crushes." With this shift, doubts naturally arise. Who has the authority to decide which stars count as a "crush"? Who is doing the judging, who is bundling them together, and who might be at risk of dropping out at any moment? Whether the "new Big Four" can truly hold onto this lightweight yet demanding title remains uncertain. Who Defines and Judges a "Crush Star"? The word "crush" in this context (墙头, literally wall top) originated in anime fandom. It was first used to describe…

The Tang-style makeup and hairstyles nowadays indeed seem different from before. You may wonder why there are such obvious red patches on their faces, even to an exaggerated degree. Actually, this is a kind of classical makeup called 'Jiuyunzhuang' (酒晕妆). As the name implies, it resembles the blush after getting drunk. The bold 'red makeup' became the mainstream of facial makeup as women became more confident and independent. It was extremely popular, with many noble ladies applying rouge to their entire cheeks, including the upper eyelids, half of their ears, and the lower jaw. This boldness and preference for red was a popular makeup style during the reign of Empress Wu Zetian and the prosperous Tang Dynasty (even until the Five Dynasties), which was rare in other dynasties. 'Zhuangtaiji' (妆台记) clearly states, 'For a beauty's makeup, after applying powder on the face, mix rouge in the palm and apply it to both cheeks. The thick one is called Jiuyunzhuang; the light one is 'Taohuazhuang' (桃花妆); applying a thin layer of red and covering it with powder is 'Feixiazhuang' (飞霞妆).' It's evident that 'Jiuyunzhuang' is the most extreme one, also known as 'Yunhongzhuang' (晕红妆) and 'Zuizhuang' (醉妆). In Tang Dynasty paintings…

What exactly is the hair accessory worn on the head of Li Qingyue, played by Bai Lu in Feud (临江仙)? When did pavilions and towers start being used as direct head ornaments? What does this hairpin symbolize? Does it have any special origin? First, let's get to the conclusion. This kind of hairpin with the design of celestial mountains and pavilions on the sea was quite popular among noblewomen in the Ming Dynasty. It symbolized the family's status and supreme glory and represented the ancient people's beautiful vision of ascending to immortality. It's said that "immortals prefer to live in buildings". The Book of Han mentions that immortals live in palaces made of gold and silver. So, does wearing this hairpin with pavilions bring one closer to ascending to immortality? If we talk about it, this kind of hairpin actually has a cultural relic prototype. Although it's not as large and exaggerated as the current props in TV dramas, it's even more delicate. The gold hairpin of Concubine Wan, the wife of Prince Yizhuang (Zhu Houye) of the Ming Dynasty, not only features pavilions and towers in a tiny space above the hairpin. There are also statues and attendants in…

In today's TV dramas, the costumes often feature extremely long trains. One can't help but wonder: Apart from the cinematic effect, is this kind of trailing skirt really suitable for daily wear? Did the ancients dress like this too? Aren't they afraid of getting them dirty? First of all, don't be misled by the long - trailing dresses in TV dramas. Even in Hanfu, the trailing styles mostly exist in formal dresses or semi - formal dresses (formal wear), not in the common people's daily clothes. There were also corresponding outfits for daily labor. Moreover, nobles didn't wear such long skirts every day. As shown in the picture, in the pre - Qin period, such clothes were only worn on major ceremonial occasions. So, they were only for large and formal events. However, there were exceptions. For example, the popular fashion in a specific environment was irresistible. In addition to the noble's formal dress scenarios in each dynasty, some well - off families in the civilian population also followed a trend of extravagance. They regarded wearing large - sleeved robes and long - trailing skirts as fashionable. This kind of trend usually emerged in the middle and late periods of…

In the costume TV drama The Legend of Zang Hai, played by Xiao Zhan, can put letters in his sleeves. Can such seemingly large sleeves really hold things without them falling out? Let's start with the conclusion. In the past, most sleeves that could hold things had cuffs. Those completely open large sleeves were mainly for ceremonial purposes and generally couldn't hold things directly. Usually, there would be attendants following to carry bags. And Zang Hai's sleeves clearly have cuffs, so things can be directly stuffed into them. Additionally, apart from sleeves, the ancients also used handbags and backpacks. So, when we see characters like Zhuang Er taking out or stuffing things from their bosoms or belts, we can't help but wonder if it's uncomfortable. Moreover, things would fall out once the belt was loosened. Back to the issue of sleeves, there were actually some "tricks" in the design of ancient people's sleeves. Generally speaking, cuffed sleeves have two characteristics. One is the type with narrow - ended sleeves, such as the pipa - shaped sleeves popular in the Ming Dynasty and the hanging - beard sleeves popular in the Han Dynasty. The shape of these sleeves naturally forms a…

In the period drama The Story of Minglan, there's a line about "loosening the hair buns and letting the hair fall, imitating the styles of courtesans". Is leaving two strands of bangs by the temples really a style of the demimonde? Is there really such a saying? Then, have most period dramas nowadays fallen into this trap? Let's start with the conclusion. Many of us now call a similar hairstyle the "catfish whiskers". In fact, it also has a prototype. For example, during the Han and Jin dynasties, especially after the Eastern Han, there were two strands of hanging hair called "chuí tiáo" (垂髫). You can see this in themes like paintings of immortals in the Wei and Jin dynasties and the hairstyles of ancient children. Strictly speaking, this kind of chuí tiáo is not bangs, but neatly arranged strands of hair falling from the hair bun, forming a decorative structure. However, the period when this hairstyle with hanging strands on both sides was popular was relatively short, mainly during the Wei and Jin dynasties, the so - called era of "Wei and Jin elegance". It's still different from the "catfish whiskers" we see in today's cdramas. Even though later…

When watching costume dramas, we often notice that those from our childhood still feel like traditional ones in our memory, while the ones we watch now seem more like modern dramas set in ancient times. There are multiple reasons for this. Let's start from the beginning. Bangs First, let's discuss bangs, a common styling element in modern costume dramas. In the past, the most common bangs were like those in My Fair Princess. Later, various types emerged, such as side - swept and blunt bangs, with a strand of hair often hanging in front of the characters' foreheads. In ancient times, after reaching adulthood, it was a basic courtesy for both men and women to keep their hair tidy. Confucianism condemned "loose hair" as a barbaric act. In public, men wore hats and women coiled their hair. "Bangs" in ancient records usually referred to children, also known as "liuhai fa" (留孩发), which evolved into "liuhai" (刘海). There were also accessories like the moe (抹额) to adorn the forehead. It was first used by warriors and later spread to women's clothing. According to records, it originated from using mink fur to warm the forehead in the cold north. Modern Makeup Secondly,…

In the ancient cdrama "The Prisoner Of Beauty", the female characters wear Han - style clothing and sometimes drape a transparent gauze dress over it. Through the hazy layer, one can faintly see the lines of the inner clothing. Is this an ancient people's dressing preference? Let's start with the conclusion. This style inevitably makes people think of the "Plain Gauze Zen Robe" unearthed from the No. 1 Han Tomb at Mawangdui in Changsha. The Zen robe, also called a "single - layer robe", is a single - layer garment. The two plain gauze Zen robes unearthed from Mawangdui weigh 48g and 49g respectively, and can be folded and stored in a matchbox. The unearthed plain gauze Zen robe belonged to Xin Zhui, the wife of Li Cang, the prime minister of the Changsha Kingdom. Except for the collar and cuffs decorated with brocade, the whole robe is made of plain gauze, without lining and color. So it's called the plain gauze Zen robe in the unearthed inventory. This gauze dress is very light, reflecting the Han Dynasty clothing dressing style of layering a light gauze dress over a brocade robe. Through the 49 - gram plain gauze, the patterns…

In the ancient - costumed TV drama The Prisoner Of Beauty (折腰), the sleeves of the clothes worn by Song Zuer's character, Xiao Qiao, are mostly round. Do such sleeves really exist? Let me start with the conclusion. The reference background for the costumes and props in The Prisoner Of Beauty is the Han Dynasty. At present, although the costumes and styling have undergone cinematic adaptations, we can still vaguely see some classic ancient sleeve styles. For example, during the Qin and Han dynasties, the 'Chuihu Sleeve' (垂胡袖) was popular. The cuff of this sleeve was narrow, and the sleeve shape was similar to the wrinkled flesh hanging under a yellow - ox's throat (in an extended sense, 'Hu' refers to all such things), with a gentle arc. According to Shuowen Jiezi (说文解字), 'Hu means the hanging part under a cow's jaw.' However, the cinematic 'Chuihu Sleeve' has obviously undergone some combined and 'radical' modifications, incorporating the large - arc characteristics of the Ming - style Pipa Sleeve. Many 'Han - style' Chuihu Sleeves on the market now also have this effect. Visual Differences The biggest visual difference between the Chuihu Sleeve and the Pipa Sleeve lies in the sleeve…

CCTV maintains its reputation as China's quality drama curator. The first half of 2025 delivered eight standout series, blending suspense, social commentary, and genre experimentation. These productions showcase top-tier acting, bold narratives, and cultural resonance, from industrial struggles to archaeological mysteries. Here are the definitive hits that dominated screens and conversations nationwide. 1. Drug Busters: Thunderstorm (扫毒风暴)  Drug Busters: Thunderstorm redefined the anti-crime genre. Its ensemble cast brought raw authenticity to interconnected storylines ripped from real cases. Dark cinematography amplified the brutality of gang conflicts and police operations, while nuanced characterizations avoided simplistic hero/villain tropes. The series’ unflinching portrayal of China’s crackdown on organized crime resonated as both thriller and social document. 2. Above the Dark Clouds (乌云之上) Above the Dark Clouds  offered a fresh take on suspense. Sun Li’s detective Han Qing investigated her partner Zhong Wei’s disappearance, navigating a dual narrative that blurred the lines between ally and enemy. The twist-driven plot culminated in Li Xiaoran’s chilling performance as Zhou Xueman, a tea house owner unmasked as a criminal mastermind. Its "answer-first" structure hooked viewers immediately, proving procedural formulas still innovate. 3. Cipher (绝密较量) Cipher  merged espionage with relentless action. Zhang Luyi led a powerhouse cast in this…

In Chinese historical dramas, the oil-paper umbrella transcends mere prop—it becomes a silent narrator of elegance. Eight leading actresses have woven this artifact into iconic moments, blending tradition with character depth. From misty riverbanks to snow-dusted courtyards, their interpretations span ethereal poise to defiant strength, proving the umbrella’s timeless power in visual storytelling. Yang Mi Fifteen years after her breakout role as Tang Xuejian (唐雪见) in Chinese Paladin (仙剑奇侠传), Yang Mi’s (杨幂) relationship with the oil-paper umbrella has evolved alongside her career. In The Dream of Red Mansions, her early portrayal radiated youthful mischief, the umbrella a playful extension of her character’s restless energy. By Brotherhood of Blades (绣春刀), maturity transformed her stance: as painter Bei Zhai (北斋), she cradled the umbrella like a scholar’s brush—deliberate, grounded, a quiet counterpoint to her earlier vibrance. Her 2025 collaboration with People’s Artists magazine marked a full-circle renaissance. Against ink-wash backdrops, the 39-year-old balanced the umbrella with regal ease, merging Ming Dynasty-inspired tailoring with contemporary minimalism. No longer just an accessory, it framed her as a custodian of heritage—sturdy yet fluid, much like her own artistic journey from ingenue to industry pillar. Zhao Liying Zhao Liying’s (赵丽颖) umbrella narratives trace her path from…

Get ready to immerse yourself in a golden age of Wuxia storytelling. Following acclaimed hits like Mysterious Lotus Casebook (莲花楼) and Who Is the Hero (说英雄谁是英雄), six highly anticipated martial arts epics are set to conquer screens throughout 2025. This unprecedented wave offers diverse narratives, from intricate political conspiracies and mystical quests to gritty underworld struggles, all woven with the timeless threads of honor, betrayal, and breathtaking combat. With powerhouse casts, renowned directors, and adaptations of beloved literary works, these series promise to redefine the genre and captivate global audiences. Prepare for a year where the ancient art of swordsmanship and chivalry takes center stage like never before. 1. An He Zhuan Three major productions are poised to ignite the summer viewing season. An He Zhuan (暗河传) emerges as a pure martial arts spectacle. Set within the same expansive universe as The Blood of Youth (少年歌行), it plunges viewers into the brutal underworld of assassins, where loyalties fracture and survival demands ruthless choices. This series delves into the grittier, more perilous aspects of the martial world – assassination plots, stark clashes between righteousness and evil, themes of redemption, and painful betrayals. Director Yin Tao (尹涛) steers this adaptation penned by…

At 36, Jing Tian (景甜) captivates social media with candid snaps featuring playful braids and radiant smiles. Beyond viral aesthetics, her disciplined lifestyle and strategic career shift post Rattan (司藤) reveal a woman redefining stardom through authenticity and resilience. Her laughter echoes through screens like wind chimes in July—unscripted, bright, and disarming. When Jing Tian uploaded "life snippets" on July 11, 2025, she ignited more than a hashtag; she unleashed a cultural exhale. Against curated perfection dominating feeds, her moss-green skirt and carefree twin braids became emblems of unfiltered joy. Netizens flooded comments: "Her smile healed my burnout," one confessed. Another marveled, "Is she truly 36?" This wasn’t mere vanity—it was a masterclass in rewriting beauty rules through lived experience, not filters. Braids as Rebellion The photos’ power lies in their unstudied grace. Jing’s simple tee and waterfall-side poses reject red-carpet formalism. Her loosely woven braids—practical, nostalgic—symbolize shedding performative glamour. "We chase flawless illusions," a fashion critic noted, "but Jing’s messy authenticity dismantles that." Her crescent-moon eyes and faint dimples amplify this genuineness, making "ageless" less about biology than spirit. Fan reactions reveal deeper yearning. "She reminded me of childhood summers," shared a mother in Chengdu. For Gen-Z followers, Jing’s…

In ancient Chinese dramas inspired by the Han Dynasty style, it's common to see that women regarded small lips as beautiful. Even in the styling of Song Zuer in the drama Zhe Yao, netizens exclaimed that Song's small lips are indeed suitable for Han - Dynasty women. Is it really the case? First, the conclusion: Han - Dynasty women generally considered small lips beautiful. Even if they didn't have small lips originally, they would paint them to look small. The makeup technique was to first apply white powder to cover the original lip color, and then use lip rouge to draw a round lip shape. The larger ones were like cherries, the smaller ones were like beads, or just one - circle smaller than the original lip shape. So this way of painting small lips is also called "dotting the lips". However, it's not absolute, and there was also the full - lip makeup method. This lip shape was generally small, creating a sense of hierarchy in the lip makeup, making the otherwise simple makeup more memorable and also reflecting the gentle personality of Han - Dynasty women. The strong covering ability of the white powder allowed the lip shape…

No ancient costume drama has truly done justice to Hanfu! In the TV drama The Prisoner Of Beauty (折腰), we can see a kind of "dress" with a curved hem. When worn, it makes one look dignified and slender. Its prototype is the one - piece Shenyi (深衣) popular in the Qin and Han dynasties. However, few ancient costume dramas have managed to get it right. When it comes to Shenyi, we have to mention Quju (曲裾). And when talking about Quju, we can't ignore the Mawangdui Han Tomb. The reports and unearthed cultural relics from this Western Han tomb have further confirmed the structure of Quju, refreshed the understanding of most Hanfu enthusiasts, and reorganized the early systems of "small Quju", "single - wrapped Quju", and "X - wrapped/multiple - wrapped Quju". The Quju robes unearthed from the Western Han tomb are regarded as the orthodox physical standard representing the clothing of the Qin and Han dynasties. The upper - body effect of this type of Quju robe shows a triangular overlapping of the continuous front panel. By the width of the skirt edge, we can distinguish the forms of inner and outer clothes. This form of cutting the…

Netizens have questioned whether Ci Sha's Hanfu image in the new drama has a Korean style. Some netizens pointed out that his styling in the drama A Good Time and Beautiful Brocade contains elements from Korean historical dramas. Is it really the case? It seems that people don't really understand Ming Dynasty costumes. Let's start with the conclusion. This kind of hat can be generally called "big hat" or "wide - brimmed hat". It was inherited from the Yuan Dynasty and was an important headgear in the Ming Dynasty. Korea was a vassal state of China in the Ming Dynasty, and its clothing was also influenced by China. However, we shouldn't cede our own culture because of the influence of early Korean dramas. Even earlier, the prototype of this kind of hat appeared in the Five Dynasties. It was mostly worn by men to avoid sand and relieve social awkwardness. The bamboo - woven straw hat was a must - have for many scholars when traveling because of its coolness. Women wore veiled hats with gauze. Ming Dynasty big hats had straight brims and wide hat brims. The hat shapes varied in height and could be round or square (nearly…

What exactly do the hairstyles that can clearly distinguish between young ladies and maids look like at a glance? In some current period cdramas, it's really hard to tell who is the young lady and who is the maid because the basic hairstyles and clothing of maids and young ladies are almost the same, with only the difference between a simplified version and an elaborate one. Some maids even dress more 'formally' than the young ladies. Clothing Styles Regarding the maid's styling, although clothing styles have changed over dynasties, hairstyles and hair buns have changed less. Maids' clothing mainly consists of segmented dresses and round - collar robes, presenting a distinct image difference in ladies' paintings. Usually, we can distinguish their dressing styles from ancient paintings, but it's not absolute. Maids mostly wear dresses and trousers inside. In the Tang and Song Dynasties, round - collar robes/shirts were popular, but they became less common after the middle of the Ming Dynasty. In the Tang Dynasty, maids' round - collar robes were looser, with wide sleeves, and a belt was often used to cinch the waist. The colors were bright and eye - catching, and their heads were decorated with various…