As winter approaches, more and more Hanfu enthusiasts are focusing their attention on the Ming style Hanfu. Whereas in the Ming style Hanfu costume, the combination of an Ao (袄, jacket) on top and a Qun (裙, skirt) on the bottom is especially popular. Ao has several types of collars, and today we are focusing on the standing collar today, briefly introduce the history and how to wear it.   History of the standing collar  Some of you might recognize the standing collar as the mandarin collar, most people think the standing collar is derived from Qing Dynasty Manchurian dress, also known as the cheongsam or qipao, but it is actually originally invented and passed down from the Ming Dynasty, the dynasty before the Qing Dynasty, it is a part of the hanfu system and was later on adapted into Manchurian dresses, and today it’s widely known in the world as the mandarin collar, and recognized as one of the most distinctive features of Chinese clothing. Do you remember this Ming Dynasty painting? Almost every woman and child are wearing the cross collared Aoqun, showing how popular this style was at that time. However, when we look more closely at…

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…

Television screens glow with a particular kind of magic when a performer truly belongs in the past. The Gu Zhuang Ju (古装剧) hinges not just on ornate costumes, but on actors who wear history with innate grace. They move with a learned poise, their presence feeling both authentic and elevated, turning each scene into a living portrait. From the restrained intensity of one star in The Promise of Chang'an (长安诺) to the gentle resilience another brings to One and Only (周生如故), these artists do more than recite lines. They build worlds. Their performances bridge centuries, making ancient struggles and joys feel immediate, reminding viewers why these stories endure. Luo Yunxi (罗云熙) For actor Luo Yunxi, the historical role is an exercise in physical poetry. His presence is often described as possessing an otherworldly grace, a quality that turns costume into second skin and movement into narrative. This is not mere posture, but a complete fusion of actor and archetype, where every gesture carries intention. His performance in the series Whispers of Fate (水龙吟) marked a shift. Here, the elegant immortal was replaced by the grounded resolve of a Wuxia hero. He performed demanding fight sequences under arduous conditions, believing physical…

The year 2025 promises a rich harvest for Chinese period and fantasy drama, offering audiences not just escape into the past, but deep immersion into meticulously constructed worlds. This season’s standout series move beyond generic palace intrigues or simplistic romances, instead grounding their narratives in the specific textures of commerce, magic, and forensic science. From the clink of silver in merchant guilds to the whisper of ancient spells and the silent testimony of a corpse, each story finds its power in granular detail and specialized domains. Legend of the Magnate (大生意人) Aired: 2025 Period Background: Late Qing Dynasty, Xianfeng (咸丰) reign onwards Genres: Historical, Business Saga, Drama Main Roles: Chen Xiao (as Gu Pingyuan), Sun Qian (as Chang Yu'er) Adapted from: Original script The late Qing Dynasty was a cauldron of upheaval. Gu Pingyuan (古平原), a scholar falsely accused in the imperial examinations, finds himself exiled to Ningguta (宁古塔), a remote penal colony. His journey, however, becomes a detour into a different kind of arena. A chance encounter with an old merchant, Chang Si (常四), ignites his latent acumen. Starting from the precarious margins of the salt and tea trades, he navigates a world governed not by Confucian classics but…

While modern audiences often associate historical Chinese dramas with palace intrigues or fantastical romances, a new wave of storytelling is pushing into grittier, more specialized territories. These series are moving beyond familiar frameworks to examine specific institutions, professions, and social structures of the past, offering a fresh lens on history. They blend meticulous period detail with narrative tension, creating worlds that feel both authentically distant and compellingly immediate. The following six upcoming series exemplify this trend, each carving out a distinct niche within the broader historical and Xianxia landscape. Win or Die (夜不收) Win or Die shifts the focus from the Forbidden City's glittering halls to the wind-swept, perilous frontiers of the Ming Dynasty. This series delves into the world of military intelligence and covert operations during a fragile peace. Period Background: Ming Dynasty, during the Wanli (万历) reign. The setting is the tense border regions between Ming forces and the Oirat Mongols, a landscape of shifting alliances and latent conflict. Genres: Historical, Military, War, Espionage Main Roles: Jing Boran (井柏然) portrays Chen Guang (陈广), the stoic and capable commander of a "Win or Die" unit. Wu Xingjian (吴幸键) plays Qiao Sanyi (乔三一), his protege, tasked with a mission that…

Set against the turbulent backdrop of late Qing Dynasty China, the television drama Legend of the Magnate (大生意人) has captured national attention. It follows the extraordinary journey of Gu Pingyuan (古平原), a man who rises from exiled convict to commercial titan. His ventures span banking, tea, and the lucrative salt trade, bringing him into complex dealings with officials, gentry, fellow merchants, and foreign interests. At its core, the drama is a masterclass in human psychology, demonstrating that success in commerce is inextricably linked to understanding people. The strategies Gu employs to navigate a world of greed, wisdom, and power are not relics of the past; they are timeless insights into human motivation. Mastering these principles of human interaction can provide a decisive advantage in any endeavor. Leveraging Greed The character of Wang Tiangui (王天贵) embodies insatiable greed. As a wealthy Shanxi (山西) banker, his vaults are full, yet his desire for more is endless. His ultimate goal is to seize the legendary Chuang Wang (闯王) treasure. Gu Pingyuan understands this driving force perfectly. Instead of confronting Wang directly, he dangles the ultimate bait: access to the treasure. Lured by the promise of unimaginable wealth, Wang follows Gu into a vault…

Fictional sagas often chronicle the rise of heroes, but few journeys are as starkly transformative as that of Gu Pingyuan (古平原). His life, a tapestry woven with threads of betrayal, ingenuity, and relentless patriotism, transcends a simple business fable. Stripped of everything during the Qing dynasty, he faced exile in the frozen wasteland of Ningguta (宁古塔), a punishment orchestrated by the unlikeliest of foes. Yet, from this desolation, he would emerge not just as a survivor, but as a commercial legend whose decisions swayed national economies and challenged foreign powers. His story is not one of unchecked triumph, but a testament to the cost of greatness, where every victory is tempered by personal sacrifice and the ever-looming shadow of a crumbling state. Exile and Survival Gu Pingyuan’s early path mirrored that of countless scholars, defined by books and the imperial examinations. A brilliant student, his destiny seemed fixed until a cruel interruption—news of his mother’s critical illness—shattered his composure in the exam hall. The resulting disturbance earned him a 15-year sentence to Ningguta. Unbeknownst to him, this was no accident of fate, but a calculated move by his own father, who had abandoned his family and rebuilt his life as…

Major streaming platforms now act as primary patrons, directly shaping careers. Rumors swirl regarding actress Zhao Lusi (赵露思) aligning with Tiger Whale Entertainment, a move emblematic of a larger shift. These companies are no longer mere distributors; they are portfolio managers, treating artistic talent as strategic assets to be acquired and optimized. The relationship between creator and platform is being fundamentally rewritten, focusing on long-term value extraction over single projects. 1. Cost Efficiency Drives Star Contracts When a popular actress announced her new studio during a birthday celebration, thanking her new company, the camera panned to the founder of a prominent entertainment firm in the audience. This moment, swiftly amplified on social media, confirmed a significant shift within China's entertainment landscape. It symbolizes a growing trend where major streaming platforms are moving beyond mere content distribution to directly manage and contract top-performing talent. This strategic alignment between star and platform is redefining traditional artist-agency relationships, creating a new ecosystem built on integrated production, talent management, and financial efficiency. The implications extend far beyond a single celebrity's career move, pointing to a fundamental restructuring of how entertainment business is conducted. The Controlled Star The collaboration between actress Zhao Lusi and Alibaba's…

Have you recently scrolled past a historical drama photo where a young actor's helmet is crowned with two wildly long, colorful feathers? This exact image of actor Zhang Linghe (张凌赫) from the costume drama Chasing the Jade (逐玉) set the internet abuzz. Fans were instantly reminded of the iconic Monkey King, Sun Wukong (孙悟空), leading many to joke, "Has ancient costume drama borrowed the Great Sage's style?" This striking headdress, far from a modern fantasy invention, is a deliberate callback to a deep and symbolic tradition in Chinese performance arts. Known as pheasant feathers or "Zhijiling (雉鸡翎)", these plumes are more than decorative flair. They are a dynamic language of their own, whispering tales of character, status, and millennia of cultural evolution directly from the wearer's brow. Roots in Ritual and Battle The story of these feathers begins not on stage, but in ancient ceremony. Their earliest traceable lineage connects to the ritual dances of the Zhou Dynasty, governed by the strict codes of Zhou Li (周礼). In these performances, particularly the esteemed "Ba Yi (八佾)" dance reserved for imperial rites, dancers held ceremonial implements called "Di (翟)." These were often crafted from the long, iridescent tail feathers of pheasants,…

In the vibrant landscape of contemporary Chinese television, a new historical drama is capturing widespread attention. Yun Chu Ling (云初令), an adaptation of the novel by Chao Yunzi (朝云紫), weaves a captivating story of second chances and relentless vengeance. Helmed by director Zhu Ruibin (朱锐斌), the series features Yu Shuxin (虞书欣) in the lead role of Yun Chu, while speculation points to Zhang Yunlong (张云龙) as a potential co-star. Set in the intricate courts of imperial China, the plot revolves around a high-born woman who, after suffering a profound betrayal, is miraculously reborn to alter her fate. This narrative taps into the enduring appeal of redemption arcs, presenting a protagonist who evolves from a victim of circumstance to an architect of her own destiny. The anticipation surrounding this production stems not only from its promising cast but also from its engagement with themes of intelligence, strategy, and personal agency, offering a fresh take within the period drama genre. The Awakening Yun Chu's initial life was defined by misplaced trust and societal expectations. As the cherished daughter of a renowned military family, she entered a marriage that seemed ideal but concealed a dark reality. Her husband and his relatives systematically used…

When actress Zhang Yaqin (张雅钦) recently appeared in a Hanfu ensemble, the internet divided. For some, it was an immediate callback to her role as Lu Yuan (陆鸢) in the time-travel drama An Ancient Love Song (古相思曲). For many others, the look missed the mark, feeling disjointed and overly busy. Why did this particular outfit, rich in historical references, fail to resonate? The answer lies not in a lack of beauty, but in a collision of eras. Her styling became a textbook case of how mixing distinct historical aesthetics without a unifying vision can create visual confusion, pulling the observer out of the immersive fantasy such clothing aims to build. Historical Harmony Lost The most striking issue is the temporal dissonance. Her hairstyle is a Shuang Huan Wang Xian Ji (双鬟望仙髻), a high, twin-loop style popular during the Wei, Jin, and Northern and Southern Dynasties, often seen in deity and court lady paintings. This ethereal look was complemented by dangling side locks, or Chui Shao (垂髾), enhancing the otherworldly vibe. However, the hairpins tell a different story. She wore two styles of Buyao (步摇), or step-shakers. One was a Western Han design, its dangling beads meant to sway gently with…

A recent public appearance by actress Yang Mi ignited a fiery online debate. Her choice? A meticulously crafted traditional Chinese hair bun paired not with a Qipao or modernized Hanfu, but with a crisp, contemporary blouse. Critics were quick to declare the mix a mismatch, questioning the logic behind blending a classical hairstyle with Western-style fashion. Yet, this seemingly simple style clash touches on deeper questions about tradition, modernity, and who gets to define the rules of cultural expression. Is this a fashion faux pas, or a bold step towards redefining a heritage art form for a new generation? A Historical Journey The Chinese hair bun, or Ji (髻), is far more than a hairstyle. Its history is woven into the fabric of social rites and personal identity. In ancient China, the act of a young woman putting up her hair for the first time during the Jiji Li (及笄礼), or Hair Pinning Ceremony, was a pivotal rite of passage into adulthood. This transformation from loose locks to a secured bun was a powerful social symbol. Archaeological evidence suggests the practice dates back to the Neolithic Age, evolving significantly through dynasties. The Han Dynasty favored soft, low-hanging chignons that conveyed…

In many television series set against the backdrop of the Tang Dynasty, like the popular drama Flourished Peony (锦绣芳华), audiences often notice the distinctive headwear worn by characters. This item, which might look oddly familiar to a modern eye, is called a Futou (幞头). It was the most common form of male headgear during that era, a simple yet sophisticated piece of cloth that evolved into a powerful symbol of identity and status. Far from being a static fashion item, its transformation mirrors the social and cultural currents of one of China's most celebrated dynasties. More Than Just Cloth The Futou originated as a practical headscarf. Its basic form involved wrapping a piece of black silk or linen around the head. There were two primary methods: the soft wrap and the hard wrap. The soft wrap was for everyday use, where the cloth was tied directly onto the head, conforming to its shape. The hard wrap was more structured. It required a stiffened base, known as a Jinzi (巾子), placed on the head first. The cloth was then wrapped over this frame to create a more pronounced and formal shape. The style of the Jinzi changed noticeably over time. In…

A new period mystery series quietly premiered on national television, yet its arrival stirred little immediate fanfare. Treasure at Dawn (天书黎明) features young investigators using ancient medical wisdom to solve crimes, a premise that seemed ripe for attention. Starring Li Hongyi (李宏毅), Su Xiaotong (苏晓彤), and Yu Cheng'en (余承恩), the show promised a blend of historical intrigue and Traditional Chinese Medicine (TCM) unlike anything else on air. Despite its creative ambitions, viewer numbers have been modest, leaving many to wonder if this unique drama has been prematurely overlooked. What happens when a detective's toolkit contains not a magnifying glass, but acupuncture needles and herbal formulas? A Novel Prescription The series immediately distinguishes itself through its core investigative method. The story begins with a mass poisoning at a medical gathering. Li Hongyi's character, Fu Sheng (符生), a young physician, finds himself the prime suspect after his mentor dies clutching a rare medicinal ingredient. To clear his name, he must rely on the Yellow Emperor's Inner Canon (黄帝内经), applying diagnostic principles like observation, listening, questioning, and palpation to crime scenes. A discolored tongue coating or an irregular pulse becomes a vital clue. In the opening episodes, over twenty specialized TCM terms are…