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…

Recent photos of actress Chen Duling wearing an elaborate phoenix crown hairstyle have ignited online discussions about the differences between Ming and Qing dynasty headwear traditions. While many praised the aesthetic, others questioned whether the design leaned too heavily toward Qing influences. Key Distinctions Between Ming and Qing Phoenix Crowns: 1. Structure: Ming crowns typically featured full - coverage designs, whereas Qing crowns (especially post - mid - Qing) often showed partial coverage or hybrid styles like the flattened Dianzi (钿子) hairpieces. 2. Ornamentation Patterns: Ming crowns followed strict hierarchical rules with symbolic arrangements of dragons (gold wirework) and phoenixes (kingfisher feather inlays). Qing designs displayed more eclectic combinations of decorative elements. 3. Hanging Decorations: Ming pieces used pearl/malachite beaded 'tassels' (挑牌) on sides, while Qing versions developed dramatic front/side pearl curtains (珠帘) that eventually obscured the face in late - Qing fashion. 4. Cultural Accessibility: Ming crowns remained exclusive to noblewomen, but Qing versions became accessible to wealthy commoners, explaining why more Qing - era examples survive today. Only four intact Ming crowns exist, all housed in Beijing museums. Historical Context: The Qing Dianzi evolved from early 'head wrapping' styles, featuring decorative hairpin flowers on semi/fully - covered bases.…

Many people's impressions of female officials in the Ming Dynasty may come from two TV dramas: 'Shang Shi' and 'The Imperial Doctress.' The former is a work by Yu Zheng, while the latter is directed by Li Guoli. The influence of these dramas is undeniable, shaping public perception. Some might ask: Did female officials really dress so lavishly, adorned with gold and silver? Let’s explore what these officials actually looked like. The Palace Official System Emperor Hongwu, when establishing the palace official system, referred to previous dynasties' practices and set up six departments and one supervisory office: Shanggong (尚宫), Shangyi (尚仪), Shangfu (尚服), Shangshi (尚食), Shangqin (尚寝), and Shanggong (尚功), along with the Gongzheng Si (宫正司). The duties of female officials were broadly divided into routine palace responsibilities and ceremonial roles in royal events. The system was perfected during the Hongwu era, becoming the standard for later generations. Attire Inheritance From the Tang to the Ming Dynasty, the attire of female officials was largely inherited. According to historical records like 'Ming Shilu' and 'Da Ming Ji Li,' they typically wore black gauze hats (some resembling Tang - style headwear), narrow - sleeved round - collared robes, leather belts at the…

In the recent TV series "The Purple Hairpin," actor Ye Zuxin's portrayal of a crown prince has sparked discussions among viewers, particularly regarding the authenticity of his costume. A key point of contention is why a crown prince would wear a robe adorned with five - clawed dragons. To clarify, the gunlongpao (衮龙袍), a round - collared robe featuring circular dragon motifs, was a common attire for Ming Dynasty emperors, crown princes, and imperial relatives. This garment, paired with the yishanguan (翼善冠) hat, was worn during various court activities, lectures, and ceremonies. Contrary to popular belief, the five - clawed dragon design was not exclusive to the emperor but was shared among the imperial family, with variations in the number of dragon motifs. The misconception that only the emperor could wear five - clawed dragons stems from Qing Dynasty dress codes, not Ming traditions. Over time, the gunlongpao evolved, incorporating more elaborate designs for formal occasions, such as the addition of twelve symbolic patterns during the reign of Emperor Yingzong. These patterns, representing elements like the sun, moon, and stars, were reserved for grand ceremonies, making the robes more ornate than everyday wear. The series, while attempting to recreate Ming…

The Ming Dynasty (1368–1644) stands as one of China's most transformative and culturally vibrant eras, bridging medieval traditions with early modern innovations. Founded by Zhu Yuanzhang, a peasant-turned-emperor who overthrew the Mongol-led Yuan Dynasty, the Ming restored Han Chinese rule and established a centralized bureaucracy that shaped governance for centuries. Its name, meaning "brilliant splendor," reflects both its aspirations and contradictions: a period of monumental achievements in art, technology, and global trade, yet also marked by political intrigue, social upheaval, and eventual collapse. Ming-era dramas often explore themes of loyalty, ambition, and resilience. The dynasty's complexity—its blend of intellectual enlightenment and authoritarian control—offers fertile ground for narratives about power's corrupting influence and the human cost of progress. Whether depicting palace conspiracies, military strategists outwitting invaders, or merchants navigating Silk Road rivalries, these stories resonate with universal questions about leadership and morality. Ming Dynasty in 1566 大明王朝1566 Set during the twilight years of Emperor Jiajing's reign (1521–1567), Ming Dynasty in 1566 is widely regarded as a masterpiece of historical drama for its unflinching portrayal of political decay and moral ambiguity in late Ming governance. The series centers on the interplay between three power factions: the corrupt Grand Secretariat led by Yan…

Let's get one thing straight: Nirvana in Fire (琅琊榜) isn't just a TV show. It's a cultural reset. The 2015 masterpiece redefined political intrigue in Chinese drama, blending razor-sharp plotting, tragic heroes, and a level of detail that made historians weep with joy. Season 2, while stellar, lived in the shadow of Hu Ge's iconic Mei Changsu. But Nirvana in Fire 3? It's not here to chase the past—it's here to burn it down and rebuild. With a fiery new duo, a kingdom teetering on collapse, and the original creative team back in the saddle, this might just be the reboot that outshines its predecessors. Two Men, One Throne, and a Nation in Flames Set in the fictional Yan Kingdom, the story pivots on a clash of titans: Tuoba Yi (Zhang Wanyi, 张晚意), the battle-hardened "King of the Northern Seas", and Tang Sheng (Zhang Xincheng, 张新成), a prodigy from the legendary Langya Pavilion. Yan is a tinderbox. Corrupt officials bleed the court dry, while rival kingdoms circle like wolves. Tuoba Yi, armed with an army and a hunger for power, sees chaos as an opportunity. Tang Sheng, however, is the wildcard—a scholar who believes stability can only come through cunning,…

In period dramas set in the Ming Dynasty, you'll often notice large white collars, sometimes even layered over patterned ones. Was this just a peculiar fashion choice? The answer lies in practicality. Back then, people wanted to avoid frequent laundry, especially since sweat easily soiled collars in summer. The solution? A detachable white collar called "Huling" (护领). This removable piece could be washed separately, maintaining cleanliness without worrying about color bleeding. Its neutral white hue also made it versatile, matching any outfit color effortlessly. For those who wanted to skip washing altogether, disposable paper collars existed as early as the Wei - Jin period. The "Book of Wei" records an official using paper collars for frugality. By the Ming Dynasty, widespread papermaking made these affordable for commoners, while nobles used specialty papers—essentially creating the first "daily disposable" collars. Huling came in varying widths, though none exceeded the main collar's size. While main collars could be colorful, Huling remained plain white. Some debate exists about colored or embroidered versions, but these likely prioritized aesthetics over functionality. Typically used on cross - collar or front - opening outer garments, they weren't mandatory—underlayers still required regular washing. Compared to modern garments where cleaning…

In China's streaming era, female-centric IP adaptations have long oscillated between two extremes: romanticized "sweet pet" (甜宠) narratives (Marvelous Women 锦心似玉) and formulaic harem scheming (The Story of Minglan 知否). However, Zhejiang Lexin's 2025 drama The Scheming Maiden marks a pivotal shift, prioritizing career-driven revenge over romantic entanglements. This transition reflects a broader industry trend: audiences, particularly women, now demand protagonists who wield intellect and agency beyond marital politics. While Marvelous Women (adapted from The Scheme of a Concubine) initially promised a nuanced portrayal of a Ming-era daughter of concubine’s (庶女) rise, critics argue it diluted its source material's complexity into a "Mary Sue romance," where the heroine's survival hinges on male validation rather than strategic brilliance. In contrast, The Scheming Maiden—adapted from a web novel of the same name—centers on Liang Wan'er, a disowned merchant's daughter who infiltrates a rival trading guild to avenge her family's ruin. Her weapon? Not matrimony, but mercantile acumen and psychological warfare. Marvelous Women vs. The Scheming Maiden 1. Narrative Priorities: Love vs. Vengeance Marvelous Women: Despite its "empowered" premise, the drama devolved into a love triangle between the heroine, her husband, and a childhood friend. Key plot points—like the protagonist's embroidery business—were sidelined…

The horse-face skirt’s journey through China’s dynastic eras reveals not just changing aesthetics but seismic cultural shifts. Between the Ming and Qing dynasties, this iconic garment transformed from a study in Confucian restraint to a manifesto of imperial grandeur, mirroring the philosophical and political currents that reshaped the nation. Ming Dynasty: Elegance Through Restraint The Ming era (1368–1644) elevated simplicity to an art form. Horse-face skirts from this period favored clean lines and subtle symbolism, reflecting the dynasty’s revival of Han Chinese traditions after Mongol rule. Dominated by solid hues like indigo, russet, and ivory, these skirts derived beauty from precision tailoring rather than overt decoration. The most elaborate Ming examples featured narrow lan (襕)—decorative bands at knee level—embroidered with understated geometric patterns or small floral motifs. A mid-16th century skirt from a Nanjing tomb exemplifies this ethos: its unbleached hemp fabric bears a single band of silver-thread cloud designs, a nod to scholarly ideals of humility and harmony with nature. Qing Dynasty: Opulence as Political Language With the Manchu conquest in 1644, the horse-face skirt became a battleground for cultural negotiation. Qing rulers preserved the Han garment’s structure but infused it with nomadic sensibilities. Skirts exploded with color, featuring entire landscapes…

Recently, the filming of "Noble Lady" starring Chen Duling (陈都灵) wrapped up, and some promotional and on - set photos of Chen Duling were released online. Some netizens said that the costumes looked a bit cheap and made the characters look old. However, another group of netizens thought that they finally saw authentic Ming - style Hanfu in a costume drama. The costumes in "Noble Lady" mainly follow the traditional Ming - Dynasty style of Hanfu. They are mainly high - collared, cross - collared long jackets, with cloaks worn over them on formal occasions, and horse - face skirts as the lower skirts. The Ming - style costumes in this drama also include high - collared, vertical - collared and cross - collared jacket - skirt sets, as well as traditional cross - collared jacket - skirt sets. Through different color combinations and patterns, the lively and playful sides of the characters can be highlighted. The overall style of the costumes in this drama is quite grand, covering printing, gold - weaving, embroidery, and hidden - pattern techniques. As the characters' identities change in the plot, the costumes gradually show the elegance of Ming - Dynasty noble ladies. Among…

As a history enthusiast and frequent viewer of period dramas, I’ve noticed a troubling trend: even well-received shows often stumble when it comes to historical accuracy in costumes. Ming Dynasty in 1566 (大明王朝1566), a political drama lauded for its intricate plot and acting, is no exception. Despite its sky-high ratings, the series fails to accurately portray Ming-era official attire—a surprising misstep given the wealth of surviving records and artifacts from the period. Historical Accuracy vs. Creative Liberties The drama revolves around court politics, featuring emperors, ministers, and bureaucrats. Ming official clothing, meticulously documented in texts like the History of Ming, leaves little room for ambiguity. Yet the show’s costume design strays far from reality. Take the officials’ headwear, for example. The odd, box-like crowns worn by characters resemble a simplified version of the Longjin (笼巾), a ceremonial headpiece reserved for nobility—not regular officials. According to the History of Ming, the Longjin was part of formal court attire (chaofu, 朝服) worn during grand ceremonies. It included intricate accessories like jade or gold cicadas, pheasant feathers, and layered silk bands. Yet in the show, the design feels cheap and anachronistic—closer to a generic “ancient official” costume bought in bulk for low-budget productions.…

If you spotted a character in a historical drama twirling in a pink, pleated dress and thought, Wow, that looks surprisingly modern, you're not alone. The outfit in question, featured in The Glory (雁回时), closely resembles a contemporary flared dress, but it actually belongs to a category of Ming Dynasty garments known as tieli (贴里). This style, along with the similar yesa (曳撒), reflects a fascinating blend of influences, practicality, and visual appeal—so much so that modern designers could easily take inspiration from it. Tieli vs. Yesa: Not Just for Women At first glance, tieli and yesa might look like elegant, structured dresses, but in the Ming Dynasty, they were primarily worn by men. Both originated under the influence of Yuan-Mongol styles but were later adapted into Han Chinese fashion. The key difference? Yesa features a smooth front panel known as a Mamian (马面), while tieli is characterized by full pleats from top to bottom. These structured garments were designed for mobility, making them popular choices for officials, scholars, and even military figures. While women occasionally wore these garments, it was often as part of cross-dressing trends in dramas or plays, where they took on male roles. Today, it’s not…

As someone deeply passionate about historical clothing and accessories, people often ask me: "Does your knowledge of ancient fashion ruin your enjoyment of period dramas?" The answer is—quite the opposite! In fact, it adds another layer of enjoyment, turning each viewing into a treasure hunt for accurate details (or amusing anachronisms). Take "Nirvana in Fire 2" (琅琊榜之风起长林), for example. The series boasts stunning visuals, but as I watched, I couldn't help but notice a curious detail—the jewelry worn by characters like Empress Xun (荀皇后) and the Grand Lady of Laiyang (莱阳太夫人) bore striking similarities to Ming Dynasty designs. However, their application in the drama was... unconventional, to say the least. It appears that the production team sourced historically inspired pieces but missed the mark on how they were actually worn. Filigree Gold Phoenix Hairpins One of the most eye-catching pieces worn by Empress Xun is a set of three gold phoenix hairpins (累丝嵌宝石金凤簪). These exquisite accessories have a real-life counterpart: they are modeled after jewelry unearthed from Ming Dynasty imperial tombs in the western suburbs of Beijing. These tombs, unfortunately looted and excavated long ago, left behind only fragments of their once-lavish burial artifacts, yet what remains showcases remarkable craftsmanship.…

In the celestial hierarchy of Journey to the West (西游记), divine mounts (神骑) occupy a paradoxical role: they are both exalted and enslaved. Lions, elephants, and golden-haired beasts—once fearsome demons—are collared, neutered, and pressed into service by bodhisattvas and sages. Their domestication symbolizes Heaven's power to redeem chaos into order. Yet one figure stands apart, unbroken and unbridled: Wukong, the Monkey King. The Anatomy of a Divine Mount Heaven's stables are not filled by chance. To qualify as a mount, a creature must meet strict criteria—criteria Wukong shattered with every swing of his staff. The Biology of Submission Divine mounts are almost exclusively quadrupeds: lions, elephants, oxen, or horses. Their four-legged stance signifies stability, a biological pragmatism for carrying gods across realms. Wukong, however, is a bipedal primate—a mimic of humans who stands upright, wields tools, and laughs at gravity. His very anatomy rebels against the concept of being "ridden." In Chinese symbolism, monkeys represent the restless "heart-mind" (xinyuan), a metaphor for desires that resist control. To mount him would be to tame the untamable, a paradox even the Jade Emperor's bureaucracy couldn't resolve. The Politics of Punishment Divine mounts are not born—they are made. Take the Nine-Headed Lion, a…

If you ever find yourself at the National Museum of China and notice a long queue forming, chances are visitors are eagerly waiting to catch a glimpse of one of the most exquisite artifacts of the Ming Dynasty—the Nine-Dragon and Nine-Phoenix Crown. This imperial masterpiece, once adorning the head of Empress Dowager Xiaoduan, has captured the fascination of history enthusiasts and cultural aficionados alike. Recently, the museums exclusive line of merchandise, inspired by this legendary crown, has set the internet abuzz. Among these, a meticulously crafted refrigerator magnet has gained viral status, merging traditional opulence with modern collectibles. Fortunately for admirers, the museum has now opened online reservations for the coveted item, sparing visitors the need for an early morning queue. The Nine-Dragon and Nine-Phoenix Crown was unearthed in 1957 from the underground chambers of the Ming Dingling Mausoleum in Beijing, resting alongside other stunning imperial headpieces. The tomb housed four intricately designed crowns: the Three-Dragon and Two-Phoenix Crown, the Nine-Dragon and Nine-Phoenix Crown, the Twelve-Dragon and Nine-Phoenix Crown, and the Six-Dragon and Three-Phoenix Crown. Among these, the Nine-Dragon and Nine-Phoenix Crown, once worn by Empress Dowager Xiaoduan, stands out as a symbol of regal sophistication. Its significance is so…

Set against the backdrop of the Ming Dynasty, Under the Moonlight (锦囊妙录) is poised to be the next big hit in the realm of historical mystery dramas. Slated for a prime-time premiere on CCTV-8 starting January 14, with exclusive streaming on Youku, this series promises to deliver a captivating mix of suspense, romance, and cultural richness. With its intricate storytelling, visually stunning aesthetics, and deep dive into Ming Dynasty folklore, the show is set to captivate audiences across North America, Southeast Asia, and the broader English-speaking world. A Tale of Intrigue and Romance At the heart of Under the Moonlight lies the compelling partnership between Luo Shu (罗疏), a determined woman fighting against her tragic fate, and Qi Menglin (齐梦麟), a free-spirited young man eager to carve his own path in the world. Together, they form an unlikely detective duo, navigating a series of baffling cases that test their wits and resolve. Each case they tackle reveals not only the complexities of human nature but also the societal injustices of the era, particularly those faced by women. As they unravel one mystery after another, their bond deepens, blending professional camaraderie with budding romance. However, their journey is far from straightforward.…

Chinese actress Yang Zi (杨紫), known for her versatile roles in television dramas, has once again captured the public’s attention—this time, not for her acting, but for her impeccable fashion sense. Recently, the star shared photos of herself dressed in Hanfu, traditional Chinese clothing, to celebrate the Lantern Festival. The images, which quickly went viral, showcased Yang Zi in two stunning Ming Dynasty-inspired outfits, sparking discussions about the modern revival of Hanfu and its place in everyday fashion. A Nod to Ming Dynasty Elegance Yang Zi’s Hanfu choices are rooted in the Ming Dynasty (1368–1644), a period known for its rich cultural heritage and distinctive fashion. The two outfits she wore are variations of aoqun (袄裙), a traditional style consisting of a top (ao) and a skirt (qun). The first ensemble features a soft pink ao with a crossed collar, paired with a gray pleated skirt. The second look is a refreshing green ao with a front-opening design, layered over a subtle red undergarment, creating a harmonious yet striking color contrast. What makes Yang Zi’s outfits stand out is their accessibility. Unlike the elaborate Hanfu often seen in historical dramas, her choices are tailored for modern wear. The muted tones—pink,…

The increasing popularity of historical fantasy dramas has brought new and exciting performances to the forefront. Sword and Fairy 6 6 (祈今朝), a recent hit in the winter TV season, has captivated audiences not only with its gripping storyline but also through the vivid portrayal of its ensemble cast. Among the many colorful characters, Ming Xiu (明绣), played by Bingke Bai (白冰可), has emerged as a standout. With a role deeply rooted in both personal growth and the overarching themes of sacrifice and destiny, Ming Xiu's evolution has become one of the most poignant aspects of the series. The Emotional Journey of Ming Xiu Ming Xiu's backstory is one filled with both tragedy and transformation. As a child, she witnessed her mother’s death at the hands of demons. This traumatic experience led her to a deep hatred for these creatures and a desire to remain within the safety of her master, Gu Hanjiang (顾寒江). Gu, who adopts her and raises her as a disciple, becomes her sole anchor in a world full of chaos. Initially, Ming Xiu is cold and distant, keeping others at arm’s length, trusting only her master. Her sharp tongue and prickly attitude, often seen in her…

It was an ordinary day in the historic streets of Luoyang when Dong Mingzhu (董明珠), a celebrated Chinese business leader, donned her first Hanfu—a pale blue Ming-style ensemble that caught the eyes of onlookers. Just eight days later, she returned, this time wearing a regal Tang dynasty outfit that matched her commanding presence. Accompanied by her friends, each draped in their chosen styles, Dong’s adventures became a viral moment for Hanfu lovers across China. While Dong’s choice in Hanfu showcased her unique personality, the quiet star of her story was an unassuming county in Shandong—Cao County (曹县). The Hanfu she wore, like many others seen in ancient-style photoshoots or festivals, originated from this lesser-known corner of China. The Small Town with Big Hanfu Dreams Located in southeastern Shandong, Cao County has undergone a cultural and economic metamorphosis. On the surface, it remains humble—far from the bustling touristy image one might expect. But venture fifteen kilometers to Daji Township, and you step into a thriving hub of creativity and entrepreneurship, where small shops handle everything from fabric cutting to digital printing and logistics. Once famous for its mass production of performance costumes, Cao County has emerged as a center of affordable…

In a significant move that marks the end of an era for Chinese basketball, Yao Ming (姚明) has announced his resignation as President of the Chinese Basketball Association (CBA). After serving for seven years in this influential role, Yao, whose name has become synonymous with basketball in China, has decided to step down to focus on personal plans and the long-term development of the sport in the country. During his tenure, which began in 2017, Yao played a pivotal role in shaping the modern landscape of Chinese basketball. His leadership was instrumental in advancing the sport at grassroots and professional levels, introducing key reforms, and driving a vision of basketball's growth in China. However, despite the many accomplishments, his time as CBA president was also marked by challenges, particularly on the international stage. Yao Ming's Legacy: Transformation and Setbacks When Yao Ming first took the reins of the Chinese Basketball Association in 2017, he inherited a sport that needed structural and systemic reform. As the former NBA All-Star and global basketball icon, Yao brought star power and a deep understanding of the game to the role. Under his leadership, the CBA witnessed several significant developments. The most notable was the…