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…

Recently, the new drama A Good Match for Chen and Jin starring Ren Min and Ci Sha started filming. Netizens directly called out the costumes they wore, saying, "These clothes are so bad. Change them quickly!" Why did netizens say so? The costume style of this drama is in the Ming Dynasty style. In Ming-style costumes, the most important aspects are the clothing pattern, texture, and the allowance. The pattern can only be seen when the clothes are laid flat, so the most obvious thing recognizable to the naked eye is the allowance issue, which directly affects the clothing pattern. The allowance here refers to the "total sleeve length". Some formal wear patterns pay attention to "the sleeve should reach beyond the wrist when the arm is bent back". That is, when cutting, there should be enough room for the arm to bend, so that the sleeve length won't be affected when the arm is bent. When the wearer bends their arm, this kind of sleeve will present a beautiful streamline. Previously, the costumes in The Ninth Purple were criticized by netizens. The clothes basically had no allowance, making the person look big-headed and small-bodied, with completely uncoordinated proportions. The…

It turns out that there's not nothing under the skirts! In the ancient costume drama The Ferryman of Peace and Tranquility, the image of the puppet wearing pants is truly eye - catching. It seems that female characters rarely wear pants. After reading this, you can boldly say: Ancient women also wore leggings under their skirts, and they were even in the style of harem pants! Previously, in the drama The Splendid Life, there were scenes where the characters almost 'flashed' without leggings, which made many people mistakenly think that there were just bare legs under the skirts. This is really a big joke. Let's start with the conclusion. Pants have existed in ancient times for a long time. Crotch - sewn pants have been unearthed from the Shang and Zhou dynasties. In the Tang Dynasty, a kind of harem pants that could be worn outside even became popular. They had a design to cinch the cuffs, which was very fashionable and convenient for daily life. Similar harem pants appear in The Ferryman of Peace and Tranquility and The Gorgeous Empire. Don't they look exactly the same as the harem pants we wear now? This kind of pants appeared earlier…

It's unclear when it started, but almost all heroines and heroes in ancient - costume dramas now sport high ponytails, and the 'armor battle - damaged makeup' trend has also become popular. Netizens point out that high ponytails can actually hit the face during martial arts practice, which is quite painful. The mass replication of high ponytails and battle - damaged makeup not only risks causing visual fatigue but also likely puts pressure on makeup artists and stylists to create unique variations. Let's revisit the costume drama styles of 50 years ago. The most classic is arguably the image from A Touch of Zen. In 1970, actress Xu Feng starred in A Touch of Zen, which catapulted her to fame and established her cold yet glamorous 'heroine' persona. Her character design featured a high bun, often paired with a headscarf or hat. Over her 15 - year screen career, she appeared in about 50 films, all as a heroine. This sleek attire and hairstyle conveyed an independent, self - reliant, and powerful image. Looking at other classic films, heroines rarely wore ponytails. Even with updos or half - updos adorned with accessories, the styling showcased distinct personalities while still emphasizing…

Why are there so many white lanterns in dramas like Yan Hui Shi, which references Ming Dynasty costumes? Even during festivals, white lanterns dominate. Isn't it considered unlucky to hang white lanterns at home? Let’s start with the conclusion. In traditional Chinese lantern culture, lanterns come in various colors, and white lanterns are one of them. Many ancient paintings depict white lanterns used in celebrations and rituals. People believed that lighting white lanterns at night could dispel darkness and convey blessings and good wishes. During festivals, households would hang white lanterns to express hopes for future happiness and prosperity. In daily life, white lanterns were also used for illumination, while other colored lanterns served as decorative accents. When lit, white lanterns emit a soft yellow glow, making them a common sight in ancient paintings. In Ming Dynasty-inspired dramas, aside from geometric-shaped lanterns (square, round, triangular) or those resembling animals and objects, we also see unique designs like horn lanterns, crimson gauze lanterns, and boneless lanterns. Among these, horn lanterns are one type of 'white lanterns' we often see. Similar lanterns include those made from sheep horn or the more expensive rhinoceros horn. Though they appear white, they are closer to…

It's rare to see short sleeves in ancient costume dramas. Why is that? Did ancient people not have summer Hanfu? Wearing multiple layers must have been unbearably hot, right? Let's get straight to the point. How did ancient people stay cool and stylish? They weren't foolish enough to suffocate themselves in long - sleeved layers. Ancient vests came in short - sleeved, sleeveless, and even strappy designs. If you rummage through an ancient wardrobe, you’d find inspiration that defies our conservative stereotypes. For example, the 'vest' or 'Bijia' was a sleeveless, front - opening garment with slits reaching below the knees. Inherited from the Song Dynasty and popular during the Yuan and Ming dynasties, it usually reached the hips or knees, and some were even longer, less than a foot from the ground. It was often worn over other clothes, and could be worn alone at home when relaxing and enjoying the cool. In the Ming dynasty, such vests were also called 'Gua' or 'Bijia', referring to sleeveless tops of various collar styles. At home, without an undergarment and with lightweight fabric, 'wardrobe malfunctions' were common. No wonder outsiders were barred from the inner quarters! Short sleeves, known as 'Banxiu'…

Sometimes, it feels awkward to see characters in TV dramas wearing large - sleeved outfits for outings, meals, dates, fights, or even sleeping. Were ancient clothes really all about big sleeves? How inconvenient would it be to use the restroom? Are historical drama sleeves getting even larger these days? One netizen joked: 'So big you could fit a person inside!' Let's get straight to the point. While we often describe Hanfu as 'wide robes and large sleeves', it's important to note that this is a characteristic of formal Hanfu, used to show the wearer's social status, like the historical Dashu Shan (大袖衫) or Gongfu (公服). People rarely wore such exaggerated sleeves outside ceremonial occasions. Let's break down Hanfu sleeve styles. There are many suitable for daily life. Narrow sleeves are practical for labor or martial arts; Chuihu sleeves (垂胡袖), Pipa sleeves (琵琶袖), and straight sleeves are for non - labor daily wear; short sleeves can be casual outer layers or summer homewear. For example, the Quju (曲裾) and Zhiju (直裾) unlined gauze robes, common in the Western Han Dynasty, had sleeve openings around 29 cm wide. Modern fashion sleeves average 10 cm, with looser ones at 15 cm. So, 30…

In the Cdrama When the Wild Geese Return, Chen Duling's post - marriage hairstyle surprised viewers: 'Why is this married hairstyle so odd? The ends just stick straight up!' In fact, this is the Sanlvtou (三绺头), a style popular among Han women in the late Ming Dynasty. The hairstyle features a 'wild goose tail' at the back, looking more dignified and steady. The Sanlvtou divides the hair into three sections: front, middle, and back. Each section is braided and gathered in a distinct way, thus getting the name 'Sanlvtou'. However, this hair - combing method can be traced back even earlier. For example, in the second act of The Box of Toiletries by an anonymous writer of the Yuan Dynasty, there is a line: 'Who would have thought that Kou Chengyu, a woman with the Sanlvtou hairstyle and two - piece clothing, has such loyalty.' Specifically, the Sanlvtou has two side strands called 'Lvebin (掠鬓)'. They frame the face like delicate clouds or cicada wings, so they are also poetically named 'Cloud - Like Hair' or 'Cicada - Wing Hair'. The front section of hair can be swept back, laid flat, or slightly raised, then tied with a red ribbon…

Who in Their Right Mind Takes a Bath with Clothes On? In current historical dramas, bathing scenes often show characters entering the bath fully clothed, with just a tub in sight. Does it mean ancient people just rinsed off? Netizens note that earlier films and TV shows depicted bathing more realistically, while modern ones seem overly reserved. It's not only about clothing; the bathing set - ups are also disappointingly simplistic. Let's clarify: bathing wasn't as basic as it's often shown. Besides the tub, ancient bathing rituals involved tools like scrubbing cloths and herbal cleansers. Cleanliness was more than a quick rinse. Earlier productions, whether ancient or modern, often followed visual logic. Actors wore undergarments and used petals or other coverings to maintain modesty. Though mocked, these scenes created many iconic moments. In ancient times, bathing was not just for hygiene; it was a sacred ritual. As the saying goes, "One who washes their hair must tidy their hat; one who bathes must freshen their clothes." The term "沐浴" (bathing) was divided into "沐" (washing hair) and "浴" (washing the body). According to "The Book of Rites", people washed their hair every three days and their bodies every five, though…

Finally, in historical dramas like 'Family Business,' 'National Beauty and Fragrance,' and 'Joy of Life,' the appearance of many child characters has sparked netizen discussions: 'So this is how ancient children looked!' Let's start with the conclusion. Ancient children generally went through stages of shaving, growing, and tying their hair. Their hairstyles varied, similar to how kids grow today. Parents, take note: children wearing Hanfu don't need adult hairstyles; it's not awkward at all. Did you also dream of dressing and styling like adults as a kid? But it was just a fantasy. Some historical dramas, for dramatic effect, often give children adult hairstyles and even add crowns, turning them into 'mini - adults' without childlike charm. Ancient children usually tied their hair into buns around ages 15 - 16, when boys reached 'weak crown' (coming - of - age) or girls 'hairpin' (adulthood). Before that, they mostly wrapped their hair in colorful cloth, showing their playfulness and cuteness. Let's explore further. At first, children's hair was mostly fine 'fetal hair.' They often shaved and regrew it, as seen in ancient paintings. The top hair was usually styled into an inverted triangle, called 'tiáo.' You can feel the scene of…

The Qin Dynasty (221–206 BCE), though lasting merely 15 years, revolutionized China. The first emperor of China, Qin Shi Huang (秦始皇), abolished feudalism, replacing it with a centralized bureaucracy. Standardized weights, measures, and script unified the realm, while massive projects—the Great Wall, Lingqu Canal, and the emperor's mausoleum with its Terracotta Army—showcased state power. However, harsh laws, forced labor, and censorship bred widespread resentment, leading to rebellions after the emperor's death. Join us in time travel: Explore Qin Dynasty epics where gripping storytelling meets historical truths, and discover why these cultural echoes still resonate today. The Qin Empire Series 大秦帝国系列 The Qin Empire series (2009–2020) stands as a towering achievement in historical television, offering a panoramic chronicle of the Qin state's evolution from a beleaguered frontier territory to the unifier of China under its first emperor, Qin Shi Huang. Spanning four seasons and over a decade of production, this epic saga combines meticulous historical research with gripping drama, illuminating the ideological, military, and cultural forces that forged imperial China. More than a mere retelling of events, the series grapples with profound questions about power, governance, and the human cost of progress, making it an essential watch for both history enthusiasts…

In 960 CE, as the fractured Five Dynasties and Ten Kingdoms period (五代十国时期) teetered toward collapse, a shrewd general named Zhao Kuangyin staged a bloodless coup, donning the imperial yellow robe to found the Song Dynasty (960–1279 CE). This era became a paradox of Chinese history—a golden age of artistic refinement and technological genius shadowed by relentless military threats. The Song split into the Northern Song, with its dazzling capital Bianjing, and the Southern Song, exiled to Hangzhou after the catastrophic Jingkang Incident of 1127, where Jurchen invaders shattered the court's complacency. Under the Song, China thrived as a cosmopolitan marvel: scholar-officials like Wang Anshi reimagined governance through bold reforms, poets such as Su Shi penned verses that still ache with beauty, and innovations like movable type printing ignited a knowledge revolution. Yet the dynasty's intellectual and economic zenith clashed with existential crises—Khitan horsemen, Xi Xia uprisings, and the Mongol storm looming on the horizon. Behind the serene ink-wash landscapes lay a world of cutthroat politics: literati factions warring over reform, emperors balancing Confucian ideals with pragmatism, and generals like Yue Fei sacrificing all to "serve the nation with utmost loyalty." Step into dramas where silk-clad scholars debate in lantern-lit…

If you think lotus leaf hats are a modern trend, our ancestors would surely laugh at you: "You kids are so outdated and unfashionable!" This iconic headwear dates back much earlier than you might imagine, with roots tracing to the Northern and Southern Dynasties. Historical records like "The History of the Northern Dynasties" mention bearers wearing them in summer, while "Tales of the Hidden World" from the Liu Song Dynasty recounts a sorcerer tricking a governor into wearing a magical lotus hat that later revealed its true form, astonishing everyone. The most vivid depiction appears in Ming Dynasty painter Qiu Ying's "Assembly of the Immortals," showcasing an immortal wearing an identical lotus leaf hat. Nature has always been the muse for innovation. Later adaptations led to rounded hats with varying materials—felt caps from wool, blended silk - wool Diexiao hats, and pure silk variants. The key difference lay in "dyed silk replacing wool," as noted in historical texts. This accessory became a cinematic staple too, like Yang Fangbing's portrayal of Yang Guifei, whose hat dripped with pearl strands resembling dewdrops on lotus leaves. Among the Yi ethnic group in Sichuan's high - altitude Meigu County, married women wear similar hats…

In the past, historical dramas often featured costumes with large necklines, resembling an ancient version of 'deep V-necks.' But were such off-shoulder outfits truly worn in history? And why are they less common in modern productions? There were indeed similar styles, at most revealing the neck. Historical artifacts like the murals from Xu Xianxiu's tomb and figurines from the Wei-Jin period might give the impression of off-shoulder outfits. However, these were typically layered with undergarments beneath the outer robe. For instance, during the Northern and Southern Dynasties, the 'Da Xiu Ru' (大袖襦) was popular. This style, often seen in figurines, featured wide sleeves, though only sleeve fragments have been unearthed so far. Based on these artifacts and the characteristics of 'Ru,' scholars have reconstructed how the Da Xiu Ru might have looked, with variations in neckline size. Notably, figurines wearing such large-neckline outfits invariably have a circular or horizontal line around the neck, representing the collar of an undergarment or 'Liang Dang' (裲裆). By the Southern Dynasties, waistlines of skirts rose to the chest, while some upper garments retained the Da Xiu Ru style. The necklines during this period resembled modern cinematic effects, barely revealing the collarbone. However, achieving the…

Dilraba Dilmurat (迪丽热巴) has redefined versatility in Chinese costume dramas, seamlessly shifting from mischievous fox spirits to battle-hardened warriors. Her ability to anchor fantastical plots with emotional authenticity makes her a standout in the genre. Take The Long Ballad: As Li Changge, she delivered a masterclass in restraint, whether strategizing siege defenses or silently mourning her family's massacre. In Eternal Love of Dream, she balanced Bai Fengjiu's whimsy with grit, turning a lovestruck princess into a symbol of resilience. These roles aren't just performances—they're blueprints for how modern xianxia and historical dramas can prioritize character over spectacle. Below, we break down five dramas that showcase her range, each distinct in tone yet unified by her magnetic presence. Eternal Love of Dream 三生三世枕上书 Aired: 2020 Period Background: Mythological fantasy world spanning three lifetimes. Genres: Romance, Fantasy, Xianxia. Main Roles: Dilraba as Bai Fengjiu, a nine-tailed fox princess; Gao Weiguang as Dong Hua Dijun. Adapted From: Tang Qi Gongzi's novel Three Lives, Three Worlds: The Pillow Book. Spanning three lifetimes, Eternal Love of Dream follows Bai Fengjiu, a fiery nine-tailed fox princess from the Qingqiu fox tribe, as she relentlessly pursues Dong Hua Dijun, an ancient deity who sacrificed his emotions to…

Bai Lu's (白鹿) rise in costume dramas isn't just about beauty—it's a masterclass in versatility. From the tender restraint of a noblewoman to the fiery swagger of a rebel queen, she molds each role into something unforgettable. Take The Journey of Chong Zi: her character Cui Shiyi, a reserved heiress bound by tradition, contrasts sharply with The Legends of Lu Zhaoyao, a leather-clad warlord who smirks while swinging a sword. Even within a single series, like Song of Youth, she shifts seamlessly from Ming-dynasty elegance in embroidered silk to comedic chaos in slapstick disguises. Her secret? She leans into extremes. In The Legends, a crimson robe and unapologetic red eyeliner scream "villainess," while in Court Lady, a single red-dress dance scene—all swirling sleeves and defiant glances—cements her as the queen of physical storytelling. No two roles blur; each is a bold, deliberate stroke on a growing canvas of reinvention. This article highlights her top works, blending rich storytelling, cultural depth, and performances that transcend language barriers. One and Only 周生如故 Aired: 2021 Period Background: Set in a fictional dynasty mirroring the Northern and Southern Dynasties (420–589 CE), a turbulent era marked by fractured kingdoms, military coups, and rigid Confucian social…

If you've ever wondered how Chinese historical dramas blend martial arts, romance, and myth into binge-worthy spectacles, Wang Hedi (王鹤棣) is your gateway actor. Known for roles that demand both physicality and emotional depth—like the time-traveling detective in Guardians of the Dafeng—Wang has become a defining face of China's costume drama boom. This article breaks down Wang Hedi's essential costume dramas, highlighting what makes each unique: intricate worldbuilding, genre-blending narratives, and performances that transcend language barriers. Guardians of the Dafeng 大奉打更人 Aired: 2025 Period Background: A fictional dynasty inspired by the Tang and Ming dynasties, blending historical aesthetics with fantasy elements. Genres: Historical fantasy, mystery, romance, comedy. Main Roles: Wang Hedi as Xu Qi'an, Tian Xiwei as Princess Lin'an Adapted From: The hit web novel of the same name by Mai Bao Xiao Lang Jun The series opens with Xu Qi'an investigating a series of ritualistic murders linked to a cult worshipping the "White Bone Goddess." Using forensic techniques alien to the Great Feng—like analyzing blood spatter patterns and soil samples—he exposes a plot to destabilize the throne. However, the deeper he digs, the more he uncovers about his own mysterious arrival in this era, including cryptic clues left by…

In period dramas and ancient-style photography, cloaks are a common sight, but did you know they are actually a modern hybrid of Chinese and Western influences? The traditional Chinese cloak, known as 'Dou Peng,' typically consists of a separate hood and outer garment. The cloak itself refers to the outer layer, possibly derived from the design of straw raincoats (Suoyi). This separation allows for versatility—wearing just the cloak for warmth or pairing it with a hood in harsh weather. The hood, called 'Feng Mao' or 'Guanyin Dou,' serves its own practical purpose. Illustrations from Sun Wen's 'Dream of the Red Chamber' depict cloaks without hoods: sleeveless, loose, ankle-length, with either no collar or a standing collar, and front panels that drape naturally. Some feature attached straps for ease of movement, worn draped over the shoulders. Resembling an upside-down ancient bell, these cloaks were also called 'Yi Kou Zhong' (一口钟) or 'Yi Guo Yuan' (一裹圆) during the Qing Dynasty and in modern academia. This design aligns with the cloaks seen in the 1987 adaptation of 'Dream of the Red Chamber,' where the hood and cloak are separate. Modern depictions of cloaks often blend early straw raincoats and bamboo hats (Douli). Some…

When watching costume dramas, we often wonder why the ones we watched in our childhood still feel like authentic period pieces, while the current ones seem more like modern dramas set in ancient settings. There are numerous reasons for this. Let's start from the beginning. Liu Hai (刘海) One of the most common styling elements in modern costume dramas is Liu Hai. In the early days, the most common type was probably the wispy bangs similar to those in Princess Returning Pearl. Later, all kinds of bangs became ubiquitous, including side-swept bangs and straight-across bangs. Even characters in the martial arts world often have a rebellious strand of hair hanging in front of their foreheads. Actually, after reaching adulthood in ancient times, it was a basic courtesy for both men and women to keep their hair tidy. Even those living in the martial arts world adhered to the principle of "the body and hair are gifts from parents." Confucianism even condemned loose - haired people as barbarians. In public, men usually wore hats or scarves, and women coiled their hair or used hairpins to tie it up. Unless in extreme situations where they were unable to manage their hair, hairstyles…

As one of China's most versatile actors, Xiao Zhan (肖战) has carved a unique niche in the world of historical and fantasy serie. His roles often showcase not only his acting range but also the intricate beauty of traditional Chinese aesthetics—from flowing hanfu robes to meticulously recreated imperial settings. Whether you're drawn to epic tales of loyalty and heroism, intricate political intrigues, or soul-stirring romances set against mythical backdrops, Xiao Zhan's dramas deliver unforgettable narratives. This guide will spotlight his most iconic period dramas. Prepare to be captivated by sword-clashing grandeur, poetic storytelling, and a star whose talent shines as brightly as the worlds he brings to life. Cang Hai Zhuan 藏海传 Aired: 2025 (Upcoming) Genres: Historical, Political Intrigue, Revenge Main Roles: Xiao Zhan (Cang Hai), Zhang Jingyi (Xiang Antu) Set in the fictional Great Yong dynasty, Cang Hai Zhuan revolves around the titular character (Xiao Zhan), a survivor of a clan massacre who dedicates a decade to mastering strategy, craftsmanship, and political manipulation. His mission: infiltrate the imperial court disguised as a scholar to unravel the conspiracy behind his family's annihilation. The story intertwines personal vengeance with national salvation as Cang Hai climbs the bureaucratic ladder, forging fragile alliances…