Background of Hanfu Parade Day At noon on November 22, 2003, Wang Letian, a power worker, dressed in Hanfu, which disappeared in daily life for 358 years, appeared on the street. He dressed in a Hanfu composed of a long Quju (曲裾) and a cocoon silk outer garment, strolls in the square, park and shopping mall in Zhengzhou, the capital of Henan Province. He said he did so in the hope of "promoting Hanfu" with his own meager strength and making people accept the traditional Chinese clothing again. Although this Han suit is simple and even a little out of shape, it was sewn by Wang Letian and his friends. These like-minded men even set up a team to search for documents, pick up sewing needles and make this Hanfu. Despite the ridicule and incomprehension of some people, Wang Letian calmly walked through the crowd and walked on the most prosperous street in Zhengzhou. He is more and more determined to promote Hanfu. He hopes to influence others with his limited power. Zhang Congxing, a reporter from Lianhe Zaobao in Singapore, came across the photos and wrote a report based on them. This article has also become the first article to…

When it comes to the skirts of the Ming Dynasty, many people will remember the typical "Ma Mian Qun (马面裙, horse face skirt)",  often gives a sense of elegance and wealth. It looks very dignified and gentle when matched with Han suit Ao (袄).   Introduction of Ma Mian Qun & Lan Ma Mian Qun, also known as "Ma Mian Zhe Qun (horse face pleats skirt)", is a kind of traditional Chinese dress. There are four front and back skirt doors, overlapping each other, side pleating, middle skirt door overlapping part, commonly known as "Ma Mian (horse face, 马面)". The whole circle of patterns on the Ma Mian Qun's is called Lan, the bottom is called bottom Lan, and the top is called knee Lan. Double Lan was very popular in the middle of the Ming Dynasty. But later, with the growth of women's top in the Ming Dynasty, the knee Lan was gradually weakened because they were covered, while the bottoms Lan were widened and bold.   Why is it called "Ma Mian"? The question of why Ma Mian Qun named has always been puzzling, what's the relationship between the animal's name and the skirt? In fact, "Ma Mian"…

It might not be the first time you've heard of Hanfu (汉服). This kind of traditional Chinese costume has been discussed by media around the world frequently. More and more Hanfu events are being held, and more and more people are trying to wear traditional costumes. When browsing social media, you can often see beautiful pictures of Hanfu dresses. Even many people have incorporated them into their daily life. What types of groups are fancy in Hanfu? What are their original intentions of buying and wearing Hanfu? What attractiveness does Hanfu suit have? and more... This new report will introduce to you the current environment of Hanfu in several aspects. I. The Overall Situation of Hanfu Rapid Development of Hanfu Industry The revival of Hanfu culture began in 2003. An electric worker named Wang Letian walked with Hanfu on the street to promote it. This was the first person who wear Hanfu in the public. Currently, there are more than 1300 Hanfu cultural associations in the world in 2017, and there are more than 2000 in 2019, an increase of 46% can be seen in these two years. In China, there are more than 2 million consumers in the Hanfu…

A few days ago, we published an article about how to take beautiful hanfu pictures. Today we are going to show you how to take photos of handsome hanfu pictures. Stand Usually, when shooting, most of the postures stand more, start running in from a simple stand. You can try to relax, meditate and lean on objects. Squatting Squatting or sitting posture, easy to combine the environment, create emotions, as well as the overall sense of story. Running and Jumping Running and jumping is one of the best ways to make the picture look dynamic. Create character dynamics with lines. Use the dust and clothes raised by running. Using the dust and clothes raised by running can form the interaction between characters and objects and increase the tension of the picture. Lift up gently, just like a swordsman flying over the eaves. A Small Proportion of the Environment Popularly speaking, it is a long-term shooting, which combines artistic conception to show the interaction of characters. The position in the picture can be either the center or the corner, making the characters the finishing touches of the whole scene. When taking this kind of photograph, the picture needs to be concise…

In Chinese culture, accessories are a language of beauty. They are an extension of clothing expression. With accessories, Hanfu can be more appealing. Fans are one of the common accessories in Hanfu culture.  This article will lead you to understand the history of Hanfu's fans. Fans have about three thousands of history in China. After thousands of years of evolution and improvement, they have developed into hundreds of fans' families. Fans were originally known as the "Five Ming Fans (五明扇, Wu míng shàn)" in history, was invented by the "Shun" (舜, Chief of the Ancient Tribal Alliance of China). In the Yin and Zhou Dynasties, appeared a kind of "Di Fan" (翟扇, Dí shàn) made of the colorful pheasant tail feathers, so there is a saying of "Feather Fan". At that time, the fan was not used to fan the wind, but to serve as the emperor to ward off the wind and avoid the sand. It can be classified into two categories: First, Flat Fans (平扇), can not be folded. Brief introduction: during the Warring States, Qin, and Han Dynasties, flat fans became the mainstream of fans at that time, used by both emperors and civilians. In the Western Han…

Many friends who have just contacted Hanfu will find that Kimono and Hanbok (Korean clothes) are similar to Hanfu in many ways. This article takes you to know the differences between Hanfu, Kimono, and Hanbok.   Hanfu vs Kimono During the Nara period in Japan, the period of China's prosperous Tang Dynasty, Japan sent a large number of sent envoys to China to study culture, art, and law systems, including the clothing system. In the early days, the kimono was a replica of the Tang suit. At that time, they also imitated the Tang system and issued a "clothing order". So far, Japan still refers to the kimono as "Wu suit", which means clothes from Wudi (now Jiangsu and Zhejiang) in China. Although the kimono came from the development of Hanfu, it has developed its own national characteristics after a long period of history. Waistband: Hanfu: Hanfu usually has a narrow waistband; Kimono: there is no tie on the kimono placket, and the waist is wide with a fabric. Neckline: Hanfu: Hanfu neckline clothing is close to the back of the head; Kimono: In the kimono, the neckline of an ordinary woman's neck wrapped her neck tightly, and the geisha…

Hanfu is a traditional Chinese costume and one of China’s 5,000-year cultural symbols. In the last century, Hanfu was once forgotten by Chinese people. However, since the 21st century, through the Hanfu movement, Chinese Hanfu has reappeared in people's vision, and combined with modern design elements, making Hanfu rejuvenate. Top 10 Chinese Hanfu Dress 2018 With the revival of Chinese Hanfu costume, more and more people wear Hanfu and walk on the streets. Maybe one day you will find out, Oh! the beautiful clothes that the women wore were Hanfu clothes. Now through this article, let us take a look at the most popular Hanfu in 2018. 1. Kirin Costume Kirin, a traditional Chinese beast, has a mild temperament. In the legend, Kirin can live for thousands of years. The ancient people believed that when the Kirin appeared, there must be auspiciousness. Therefore, it is often used to describe people with outstanding talent and noble moral character. Kirin Hanfu costume is the best clothes for excellent people. I have a childhood friend who is going to study abroad soon, so I always wanted to send her a special gift. One night I saw the Kirin movie on TV, and the…

As one of the most popular styles of hanfu, Ming Dynasty Aoqun has a rich variety of styles and styles, and the Jiaoling Aoqun is one of the most common styles. This article is based on the artifacts of Jiaoling Aoqun, so that you can quickly understand the correct Ming Dynasty Aoqun top shape for your next hanfu purchase as well as hanfu making. Image quoted from hanfu making hobbyist @Sue簌簌.   1 Overall 1.1 Youren (右衽, the left lapel covers the right lapel). 1.2 A single layer is a Shan (衫) and a double layer is a Ao (袄). 1.3 Cutting method: with center seam and no shoulder seam.   2 Collar   3 Sleeves 3.1 Aoqun top can have a variety of sleeve shapes. 3.2 Pipa sleeves are wide, not narrow. 3.3 The benchmark through-arm length of Pipa sleeves is nearly two meters. 3.4 The sleeve root should not be too narrow. 3.5 The sleeve is divided into a section or two sections connected. 3.6 Sleeve pleats often accompany the existence of the sleeve edge.   4 Garment body 4.1 The underarms should be curved. 4.2 It is right with or without shoulder pleats. 4.3 The waist should…

Historical dramas often weave ambition and fate into grand tapestries, but few threads are as startling as the one followed by Gu Pingyuan (古平原). His story begins not in a mansion but in despair, a scholar whose path to imperial examination glory was shattered in an instant. A single act of spilled ink rerouted his destiny from scholar to exile, casting him into the remote harshness of Ninggu Pagoda (宁古塔). What defines Gu is not the fall, but the arduous climb back. Survival in exile required a different kind of cunning. The classical texts in his mind gradually made room for the calculus of the marketplace. His journey from the frozen frontier to the pinnacle of the Qing dynasty's commercial world is a relentless pursuit of both justice and prosperity, a quest to unravel the conspiracy that upended his life. The television adaptation, Legend of the Magnate (大生意人), has rapidly captivated audiences. While praised for its scale and emotional pull, viewers note a familiar echo. Gu Pingyuan's remarkable blend of scholarly wit, martial prowess, and disruptive commercial savvy feels less like a historical figure and more like a direct descendant of a modern archetype. The comparison is inevitable: here stands…

Why does a drama's heartbreaking finale linger so powerfully in our minds long after the screen fades to black? The recent conclusion of the historical costume drama Love & Crown has ignited fierce debate and left audiences in a collective state of sorrow. The series, starring Ren Jialun (任嘉伦) and set in a fictional dynastic court, culminates in a near-total tragedy: the male lead, Emperor Xiao Huan (萧焕), sacrifices himself to save the realm; his beloved, Ling Cangcang (凌苍苍), dies years later from heartbreak and illness; and even supporting characters meet grim fates. This deliberate departure from conventional happy endings challenges viewers and raises questions about narrative choices in historical romances. Is this profound tragedy a meaningful exploration of duty versus desire, or merely manipulative storytelling? The answer lies not just in the ending, but in the journey of the characters who embody these irreconcilable conflicts. The Weight of the Crown At the heart of Love & Crown is a brutal exploration of identity. Xiao Huan is fractured. As emperor, he is a symbol of state power, a puppet maneuvering through political intrigue, forced to suppress personal sentiment to balance treacherous ministers. His life is one of calculated isolation. Yet,…

A historical drama arrives without warning or promotion. Yet, within days, it has viewers clutching their pillows, peeking through their fingers, and sacrificing sleep. Its secret weapon? A potent fusion of folkloric nightmares and forensic medicine. The show, titled Treasure at Dawn (天书黎明), has ignited online forums, spawning a trending topic with over 180 million reads labeled "the pinnacle of Chinese suspense." By weaving murder plots into the fabric of traditional culture—where a shadow puppet show forecasts death and a ritual dance masks extermination—it taps into a deep, chilling vein of horror that feels intimately familiar and utterly terrifying. The Folkloric Trap The terror here doesn't rely on sudden shocks or gore. Instead, it weaponizes cultural comfort. The first case, "The Murderous Shadow Play," sets the tone. During a performance of the "Ten Courts of Hell," a wealthy merchant collapses, bleeding from his senses. On the screen, the leather silhouette eerily mimics his death throes. The investigator, Fuchen (符生), a brilliant but eccentric physician, examines the body. He finds specks of powder on the victim's clothes. A silver needle inserted under a fingernail turns black instantly. "Datura pollen mixed with toad venom," he mutters. "The play was a performance, but…

In the cutthroat world of Qing Dynasty commerce, a single victory can plant the seeds for a far greater defeat. This is the harsh lesson learned by tea merchant Gu Pingyuan (古平原), the protagonist of the period drama Legend of the Magnate (大生意人). After achieving the prestigious title of "Finest Tea Under Heaven," he finds himself not celebrating in the capital, but delivered in chains back to his personal hell: the remote, freezing penal colony of Ningguta (宁古塔). His tormentor? The very man he once ruined, the former garrison commander, Xu Feng (徐丰). Yet, as Gu soon discovers, the hand that delivered him to this fate was not Xu's, but that of a far more calculating and dangerous foe: the enigmatic Su Zixuan (苏紫轩). Anatomy of a Revenge Xu Feng's demise is a spectacle of self-engineered spite. Luring Gu Pingyuan back to Ningguta under false pretenses, he never intended to travel to the capital. His goal was a twisted, mutual destruction. By creating a scenario that would attract a wolf pack, he sought to make Gu experience his own fall from grace—a plummet from the clouds of hope back into the mud of despair. His final act was to burn…

In the depths of the Tang Dynasty’s nocturnal capital, a different kind of fear takes shape. It does not leap from shadows with claws bared, but seeps from the cracks of history itself. The drama Strange Tales of Tang Dynasty Ⅲ: Chang'an (唐朝诡事录之长安) masterfully unveils this distinctive school of terror, one that scores high not with graphic violence but with a profound, culturally-rooted dread. Its power lies in the unsettling space where documented history bleeds into folkloric nightmare, where the grandeur of a golden age casts the longest, most distorted shadows. This is horror that resonates in the silent moments, making audiences feel a chill that is ancient, familiar, and deeply psychological. History’s Heavy Shadow The series is meticulously built upon the solid ground of historical reality. The painstakingly recreated 108 wards of Chang'an are not just a backdrop but an active participant. The stark contrast between the bustling daytime markets and the eerie, lantern-lit silence after curfew creates a perfect habitat for fear. Cases are cleverly woven from historical threads. An incident involving a tribute golden peach from the Western Regions merges official records with a legend of a monstrous avian creature. Another mystery, set in a ghost market, grafts…

In the television drama Legend of the Magnate (大生意人), a seemingly straightforward transaction leaves audiences baffled. When the tea harvest is abundant, the merchant Hou Er (侯二) suppresses prices. The protagonist, Gu Pingyuan (古平原), defiantly offers farmers a ten percent higher price, pledging to buy the tea himself. However, he lacks the capital. He sends a note to Jin Da Nainai (晋大奶奶), matriarch of the Lao Ba family's banking empire, requesting a loan of 50,000 taels of silver. Her response is astonishing. She arrives in person, not with 50,000, but with 200,000 taels—a fortune equivalent to millions today. This move defies simple logic. It wasn't merely about repaying a past favor; it was a masterclass in long-term investment and strategic positioning. A Tested Partnership Jin Da Nainai's decision stemmed from profound trust in Gu Pingyuan's abilities. Their history was one of mutual salvation. When the Lao Ba family faced ruin, imprisoned by the scheming Li Wantang (李万堂), it was Gu's idea of issuing "fictitious checks" that secured their release. The crisis didn't end there. Li later attempted to withdraw a massive deposit, threatening the bank's liquidity while luring customers with higher interest. Gu devised another clever plan, turning Li's own…

The finale of Strange Tales of Tang Dynasty Ⅲ: Chang'an (唐诡3) has sparked vibrant discussions, particularly around its female characters. Many viewers argue that the supporting roles outshine the lead, creating a rich tapestry where each woman possesses a distinct and compelling beauty defined by her unique styling and narrative purpose. Vitality and Ingenuity Pei Xijun (裴喜君), portrayed by Gao Siwen (郜思雯), captivates with her signature "bunny" hairstyle. This look, featuring twin buns resembling rabbit ears, falls under the broader category of Shuangji (双髻). It perfectly mirrors her clever and lively personality. Her wardrobe, dominated by Qixiong shanqun (齐胸衫裙) robes in soft yellows and pinks, enhances a youthful, delicate charm. The costume design employs a clever color strategy. While the base palette is gentle, stylists introduced subtle contrasts with muted reds and blues or yellows and greens. These accents add visual pop without overwhelming the character's sweet essence, making her outfits both period-appropriate and strikingly modern to the eye. This thoughtful styling extends to Chu Yingtao (褚樱桃), played by Sun Xuening (孙雪宁). Her character's martial prowess is reflected in modified Yuanling (圆领) robes with detachable sleeves and turned-down collars, offering a practical yet elegant silhouette. The dominant deep hues of…

When Chinese actor and singer Wang Yibo (王一博) appeared on the variety show Day Day Up (天天向上) years ago, a specific costume detail ignited online curiosity. His headpiece, resembling a sparse fishnet, led many to wonder if it was a styling error. However, this accessory was a deliberate choice, rooted in centuries of tradition. Far from a mistake, it represents the Wangjin (网巾), a functional hair net from China's Ming Dynasty. This glimpse into historical fashion, facilitated by a modern celebrity, opens a window to understanding how everyday items from the past carried significant cultural weight. The conversation it sparked highlights a common disconnect between contemporary perceptions and historical reality, urging a closer look at the artifacts that shaped daily life in ancient China. Origins and Use The Wangjin was a foundational item in the wardrobe of Ming Dynasty men. Designed as a mesh net, its primary function was to bind one's hair, or bundle the hair, containing loose strands and creating a neat base for headwear. Its adoption was not merely a fashion trend but a practical solution for managing hair, which was typically worn long. The net also provided grip, preventing hats and official headdresses from slipping during…

What happens when a lone wolf defies an entire world order? In the stratified universe of cultivation, where powerful sects hoard knowledge and resources, the story of a solitary practitioner reaching the pinnacle is almost mythical. The tale of Cang Kun Shangren (苍坤上人) is one such legend—a story not just of spectacular ascension but of a catastrophic, self-engineered downfall. From a resource-less rogue to a late-stage Yuanying (元婴) expert who made the heavens tremble, his journey rewrote the rules. Yet, his name is now a cautionary whisper, a mystery wrapped in ancient malice and personal ambition. This is the unraveling of the so-called Heaven-South's Mad Cultivator, a man who challenged empires only to become a puppet in a far older game. The Rise of a Renegade Cang Kun's path was one of relentless, violent self-reliance. Without the backing of a great sect, he turned the most forbidden ruins and perilous secret realms into his personal treasury. He fought for every scrap of spirit herb, every fragment of ancient jade slip containing lost techniques. His methods were brutal and transactional, recognizing no authority but his own growing power. This philosophy forged a terrifyingly strong cultivator but also painted a target on…

Today, a shower involves stepping into a tiled space, reaching for brightly bottled gels, and enjoying instant lather. But in ancient China, from the dusty courts of the Zhou to the bustling markets of the Qing, bathing was a deliberate practice woven into the social and spiritual fabric. Without modern plumbing or chemistry, people turned to the earth and kitchen for solutions. This narrative isn't about mere cleanliness; it's about a cultural dedication to purity that evolved over millennia, using everything from grain runoff to animal organs. The story of their bathing rituals reveals a sophisticated, resourceful approach to personal care that rivals our own in ingenuity and intent. Bathing Rituals In ancient China, washing was codified. The classic text Book of Rites prescribed washing hair every three days and bathing the body every five. This was not a casual suggestion but a recognized standard for refinement and health. During the Han Dynasty, this principle was institutionalized for officials, who were granted a "rest and bath" day every fifth day to attend to personal hygiene. Such practices underscored that cleanliness was both a private duty and a public expectation. The language itself was precise. The act of cleansing was divided…

In contemporary historical dramas set in ancient China, a puzzling visual trend often leaves viewers scratching their heads: maidservants and their mistresses appear almost identically dressed, differentiated only by slightly less elaborate accessories. This blurring of costume hierarchies challenges audience perception and raises questions about historical authenticity. What were the actual sartorial rules for servants in imperial households? How did clothing and hairstyles clearly demarcate social standing? Moving beyond modern screen interpretations, historical artifacts and paintings reveal a defined and practical aesthetic for maidservants, one that balanced functionality with visible subordination. Understanding these codes not only enriches our view of the past but also offers a lens to critique current cinematic practices. Attire and Status Servants' clothing across dynasties was fundamentally shaped by practicality and symbolism. Unlike their mistresses, who wore luxurious silks and brocades, maidservants typically donned garments made from humble Mian (棉, cotton) and Ma (麻, linen). These fabrics were affordable, durable, and suited for daily chores. After cotton's proliferation in the Ming dynasty, it became the standard material for working attire. The basic ensemble often consisted of a simple, cross-collar top worn over trousers, allowing for ease of movement during tasks like cleaning, serving, or accompanying the…