Every hot summer, many girls will feel that Song-style Hanfu is the first choice for this season, indeed, with the cool and soothing touch of skin, many people will be willing to choose Song-style Hanfu to spend the summer. In fact, in addition to the Song-style Hanfu, the Ming-style Hanfu is also a kind of "Summer Hanfu"! Even in the summer heat, Ming-style Hanfu can still "make a splash"!   The difference between Ming-style Hanfu and Song-style Hanfu Song-style Hanfu: Song Hanfu is the most suitable Hanfu for summer because it is the most simple Hanfu. Due to the background of the Song Dynasty, Song Hanfu are mainly slim and long, with narrow sleeves and cross collars. The "Beizi" and "Song trousers" are the main styles of Hanfu in the Song system. Ming-style Hanfu: In the beginning, the Ming Hanfu has always been regarded as a noblewoman's Hanfu, and because the Ming Hanfu is mostly based on horse-faced skirts, its craft is complicated plus the fabric and silk are expensive, so the price of Ming Hanfu has always been high. The "long jacket" and "short jacket" plus the "horse-faced skirt" also became the main style of Hanfu in the Ming…

The Ming Dynasty, one of the most civic-minded dynasties in China. From the literary works and historical records of the Ming Dynasty in circulation today, it can be seen that the dress culture of the Ming Dynasty also reached a relatively developed level. In traditional Chinese culture, the Chinese Ming Dynasty women's makeup, with a strong emphasis on subtlety and inner cultivation. Come along and enjoy this set of photos about Hanfu girls wear the Ming Dynasty costume.

The style of the Ming Dynasty Hanfu is slender and very suitable for photography.

A series of pictures, about Ming Dynasty clothing.

Today, I want to share the photos taken by Liang Xiaosuan, about the Ming Dynasty men's robe.

August 23 is the "Chu Shu (处暑)" in China's 24 solar terms, "处" is mean: "leave", "暑" is mean that "summer". It means that the heat of summer has passed and the prelude of autumn has slowly opened. Today, I bring you some suggestions on the style of Hanfu. They are suitable for wearing when the weather is slightly cooler. Stand collar ao dress (立领袄裙) The weather starts to cool down, so we need to keep warm in early autumn. Stand collar Ao dress fabric selection is generally moderate thickness, if cold can also be appropriate in the clothes wearing clothes to keep warm. Duijin ruqun (对襟襦裙) In autumn, mountain flowers are romantic and suitable for wearing a pair of Duijin ruqun to go out. And the Duijin ruqun is more convenient to handle, if you go out, the action is also more convenient. Crossed collar ruqun (交领襦裙) The crossed collar ruqun is warmer than the skirt, and you can wear thermal underwear under the jacket. In the cool weather. Vertical collar Cape ( 竖领披风) The vertical collar cape is lighter than the stand collar Ao dress. It can also wear a sling, or warm clothes, if the weather is…

In today's fragmented media landscape, a television drama can dominate traditional ratings while barely causing a ripple in the digital stream. This split personality challenges the very idea of a unified hit. Since its debut, the series Legend of the Magnate (大生意人) has delivered staggering numbers for CCTV-8. It shattered multiple records, claiming the top spot for a premiere's real-time rating on the channel in three years and holding an average near 3.5% per episode. By these measures, it is poised to become the channel's ratings champion for the latter half of the year. Yet, on major online video platforms, its performance tells a different story. The show's "heat index," a key metric for web popularity, has struggled to breach the significant 9000-point threshold. This disconnect is not new; many series have faced this same divide, leaving the industry still searching for a reliable bridge. What makes this case particularly notable is the contrast with other shows. Unlike some previous high-rated series that sparked online debate over their quality, social media discussions largely acknowledge Legend of the Magnate as well-made and engaging, with particular praise for its production design. This consensus, however, has not ignited the broader online fervor that…

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,…

The grand finale of Strange Tales of Tang Dynasty Ⅲ: Chang'an (唐朝诡事录之长安) has left its audience with more questions than closure. While the third season of this popular historical mystery series delivered the expected courtly intrigue and atmospheric detective work in the bustling capital of Chang'an, its conclusion felt curiously unfinished. The central power struggle between the young Emperor and his formidable aunt, the Princess Zhenguo (镇国), reached a simmering new tension, setting the stage for a future confrontation. Yet, several narrative threads introduced throughout the season were left dangling, and one character's entire purpose remains bafflingly unclear. For dedicated viewers, the finale was less a resolution and more an intermission, prompting intense speculation about what the creators have in store for the next chapter. The Monk Who Meant Nothing In the season's second case, "The Weeping of Chengfo Temple," investigators Su Wuming (苏无名) and Fei Ji encounter a monk named Kong Le (空了). His introduction is charged with deliberate mystery. He bears an uncanny resemblance to Qin Xiaobai (秦孝白), the legendary, blind court painter from a previous season's "Subduing the Demons" case. While the connection is visually teased, it is never explained. Kong Le speaks of a grueling pilgrimage…

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…

The animated adaptation of Wang Yu’s (忘语) popular Xianxia novel, The Gate of Mystical Realm (玄界之门), has premiered on Bilibili with a compelling three-episode launch. Introducing protagonists burdened by profound loss, the series immediately dives into a world of cultivation, vengeance, and hidden legacies. For fans of the author's previous work, A Mortal's Journey (凡人修仙传), this new story offers both fresh faces and tantalizing threads that suggest a shared, expansive universe where destinies are intricately woven. A Bleak Beginning The story opens not with grandeur, but with grief. We meet a young Shi Mu (石牧) in the coastal Shiquan Village (石泉村). His life shatters when his father, Shi Ting (石亭), is murdered. The tragedy deepens as assassins arrive, claiming the lives of his adoptive family. Only a mystical pearl, a gift from a celestial being he once rescued, preserves his life. This artifact becomes his silent guardian, a crucial tool for survival in a world that has shown him only cruelty. Orphaned, Shi Mu is taken to Feng City (丰城) by Jin Zhen (金珍), becoming a ward of the Jin family and gaining a gentle stepsister, Jin Yuhuan (金玉环). His path crosses another soul marked by sorrow when he encounters Zhong…

The dust has settled on the painted wall of the Qi Ting (旗亭) wine shop. Detectives Su Wuming (苏无名) and Lu Lingfeng (卢凌风) have apprehended the phantom fire manipulator, Mo Ying Youyan (墨影幽焰). Yet, the most remarkable victory of this case remains unrecorded in any official ledger. It belongs not to the magistrates with their badges of authority, but to a man everyone underestimated. The final feast in Chang’an celebrates more than a solved mystery; it honors a quiet, profound act of integrity that redefines what it means to be a hero in a world of glittering poetry and lurking shadows. The Banquet's True Purpose As the fourth celebratory feast of this long case is laid out, the atmosphere is one of weary relief. The master of illusions, Mo Ying Youyan, who used pyrotechnic sleight-of-hand to terrorize others, is securely bound. His accomplices, the performers of the Xuanhuo Troupe (玄火班), were coerced into service and have surrendered. The ingenious pharmacist, Fei Jishi (费鸡师), reveals he had been working behind the scenes for days, neutralizing poisons in the dessert and providing the crucial clue that linked the troupe to the wanted fugitive. It appears all threads are neatly tied. However, Su…

The fifth case in Strange Tales of Tang Dynasty Ⅲ: Chang'an (唐朝诡事录之长安), titled "A Foot Away from Heaven," closes with a somber revelation. The mastermind behind the merchant killings is finally unmasked, representing the last person Detective Lu Lingfeng (卢凌风) wished to confront. This resolution is not a triumphant capture but a poignant exposure of deep-seated societal decay festering beneath the glitter of the Tang capital. The investigation, beginning with a missing merchant's servant, peels back layers of charity, ambition, and ancestral pride to reveal a bitter core of class hatred and violent desperation. Charity and Suspicion Lu Lingfeng's inquiry into a missing servant leads him to the Jinguang Hui (金光会), an exclusive guild for immensely wealthy merchants. Simultaneously, he observes the activities of Anshe (安社), an organization distributing relief supplies. This charity, however, comes with a pointed condition: it is offered only to commoner families, deliberately excluding the established aristocratic Shizu (士族). This calculated slight ignites visible social friction. Du Yu (杜玉), an official from a prestigious family, can only issue weak reprimands to impoverished scholars who renounce their high-born clans for an extra bag of grain. The relief's organizer, He Bi, coolly states that districts dominated by aristocrats…

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 frozen wastes of the Northeast, a business war turns lethally personal. The recent episodes of the historical drama Legend of the Magnate (大生意人) have left audiences breathless, not with boardroom deals, but with a literal fight for survival in the snow. The shocking death of a key character has peeled back the layers of a vendetta, revealing a plot far more sinister than a simple rivalry. It turns a tale of commerce into a chilling story of revenge, exposing how deep one woman's hatred truly runs. A Frozen Trap The remote penal colony of Ningguta (宁古塔) is more than a setting; it is a character of brutal indifference. It is here that the accomplished merchant Gu Pingyuan (古平原) finds himself imprisoned once more, delivered into the vengeful hands of Xu Guandai (徐管带). Their history is bitter. Xu, a former warden disgraced and exiled himself, sees Gu not as a prisoner, but as the living embodiment of his own downfall. His "interrogation" methods are designed for prolonged torment, alternating between freezing exposure and fleeting warmth. Gu, ever the strategist, attempts to negotiate his way out. He offers Xu a path to regain wealth and status through an arms deal,…

When historical mystery drama Treasure at Dawn (天书黎明) quietly began streaming, few noticed its arrival. Yet for viewers who stumbled upon it, the series offered a refreshing authenticity often missing from bigger productions. Its lush green forests and bustling marketplace sets were real locations, not digital creations. The actors wore simple, slightly pilled linen garments—small details that built a convincing world. At the center of this world is Su Xiaotong (苏晓彤), an actress whose name became synonymous with a different historical mystery hit four years ago. Her return to the genre feels like meeting an old friend in a familiar neighborhood, but the neighborhood itself has changed dramatically. A Familiar Lane Su Xiaotong’s path to recognition was paved with period costumes. However, it was her role as the clever and endearing coroner Chu Chu (楚楚) in The Imperial Coroner (御赐小仵作) that made her a standout among a new generation of actresses. Her fresh, sweet appearance and natural acting won her the Best Actress award at the Huading Awards that year. Many saw her as a rising star among post-95-born actresses, poised for greater success. The character of Chu Chu left a deep imprint on audiences, becoming a role she is…

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…

Viewers of historical Chinese dramas often share a common thought during winter scenes: those actors must be freezing. The diaphanous gowns, often little more than a single layer of silk, seem utterly inadequate against painted backdrops of snow and ice. While a flowing cloak might be added for effect, the costumes underneath remain stubbornly, beautifully thin. This consistent aesthetic choice prompts the question: is this what people really wore, or is it purely for the camera? Historical Layering The reality of historical winter wear was fundamentally about layers, not just fabric weight. A Tang Dynasty woman, for instance, would have employed a sophisticated system of overlapping garments. This would start with close-fitting undergarments, followed by a lined jacket and skirt, and then a padded outer robe or coat. A final, large shawl or cape provided additional protection. This multi-layered approach trapped air and created insulation far superior to any single garment. For the elite, winter wear was both warm and luxurious. Mianpao (绵袍), or silk-wadded robes, were common. Here, "mian" refers to silk floss, a lightweight and highly effective insulating material akin to a natural down filling. More extravagant outfits incorporated furs from sable, fox, or rabbit for collars, cuffs,…