In ancient costume dramas or some images of Hanfu from the Tang Dynasty, you can often see these skirts that are directly tied around the chest. After all, there were no designs like elastic bands or safety pins for such skirts in ancient times. Did they rely entirely on large breasts to hold them up? Wouldn't they fall down? First, let's state the conclusion. In fact, this kind of skirt is supported by conforming to human engineering and the friction of the fabric. Moreover, this popular way of wearing was prevalent in the Tang Dynasty, and the plump body shape could also support such clothes. In addition, there were also designs like spaghetti strap dresses in history, so girls had a wide range of choices. Popularity in Tang Dynasty Why was this way of wearing popular in the Tang Dynasty? By the Sui and Tang Dynasties in the history of our clothing development, the waistline of skirts became popular to move upwards, especially during the prosperous Tang Dynasty and later. This was related to the confidence of women in their figures at that time and the trend of advocating a plump and strong body shape. Now, the common folk name…

Dapeng’s (大鹏) The Lychees from Chang'an (长安的荔枝) emerges as the summer’s most anticipated cinematic feat, translating Ma Boyong’s (马伯庸) bestselling novella into a visual spectacle. Directed by and starring Dapeng as the low-level Tang Dynasty official Li Shande (李善德), the film chronicles an impossible imperial mission: delivering fresh lychees from Lingnan to Chang’an before spoilage. The film masterfully balances historical authenticity with narrative tension, earning a 7.7 rating – Dapeng’s highest directorial score to date. Its blend of bureaucratic satire, breathtaking landscapes, and emotional depth offers audiences both laughter and poignant reflection on sacrifice and resilience. Visual Poetry on Screen Rejecting sweeping establishing shots, cinematographer employed long lenses to compress space, echoing traditional Chinese painting’s "scattered perspective." Li Shande appears minuscule against Chang’an’s oppressive palace walls, visually amplifying his vulnerability within the imperial machinery. This deliberate framing transforms architecture into a character – cold, imposing, and indifferent to human struggle. Lingnan provides a visceral contrast. Lush lychee orchards burst with saturated greens, while humid air practically shimmers on screen. Indigenous clothing, rugged dwellings, and bustling port scenes immerse viewers in a frontier region defined by cultural exchange and raw natural power. The production meticulously recreated Tang-era trade aesthetics, from Persian-inspired patterns…

A new wave of scrutiny washes over historical television dramas. Audiences, armed with digital tools and scholarly zeal, dissect every silk thread, architectural flourish, and ceremonial gesture. These modern-day detectives, playfully dubbed "Lievenhoeks" after the pioneering microscopist, transform viewing into an archaeological dig. Fueled by creators embracing unprecedented historical rigor, this phenomenon bridges entertainment and education, turning screens into portals for tangible cultural rediscovery. The meticulous recreation of bygone eras fosters not just immersion, but a profound public engagement with China’s rich heritage. Costume Archaeology Unlocked Beyond mere spectacle, costumes in series like Flourished Peony (国色芳华) become historical documents. The Peacock Crown worn by a dancer isn't just glitter; it’s a direct echo of the Tang Dynasty "Female Equestrian Drumming Figurine" housed in Xi'an's museum. Similarly, the towering "Half-Flipped Chignon" hairstyle sported by the Pingkang Fang proprietor in The Lychees from Chang'an (长安的荔枝) mirrors the grandeur seen in the Dunhuang (敦煌) mural "Portrait of the Governor's Wife." These aren't designer flights of fancy; they are careful reconstructions based on surviving artifacts and visual records, offering viewers a direct visual link to ancient aesthetics and social status markers. The accuracy transforms actors into living exhibits, their attire whispering tales of craftsmanship…

Summer twilight descends upon Xi’an’s ancient city walls as a local ballad drifts through the humid air. Below the ramparts, a vibrant tapestry unfolds: young women in flowing Qixiong Ruqun (齐胸襦裙) skirts glide over cobblestones carrying silk fans, boys in traditional Futou headwear flash peace signs beside sausage vendors, and self-styled "Tang princesses" with tinkling hair ornaments weave through bicycle commuters. This seamless fusion of antiquity and urban life defines China’s ancient capital today. Across its historic quarters, a generation born after 1995 drives a cultural resurgence—transforming Hanfu from ceremonial costume into daily poetry. Threads of Transformation Xi’an’s streets have become runways for resurrected elegance. At the Tang Paradise Mall’s Hanfu Center near the Great Tang All-Day Mall, stylists livestream makeup tutorials, demonstrating how seventh-century "Luozidai" eyebrows complement Tang-style dresses. Behind them, racks display Ming Dynasty Mamian skirts and Tang half-sleeve robes—a sartorial timeline spanning dynasties. By day, tourists pose with circular fans before the Bell Tower’s soaring eaves. Inside the immersive "Chang’an Twelve Hours" theme park, scholars in round-collared gowns stroll alongside veiled maidens. As lanterns illuminate the 2-kilometer promenade at dusk, performers in reconstructed court dresses descend palace staircases, their gold Buyao hairpins catching spotlights. The Bell Tower…

Anticipation surges for Chang’an Shi’er Ji (长安十二计), the historical political thriller starring Cheng Yi as Xie Huai’an (谢淮安)—a scholar orchestrating vengeance against 12 corrupt officials. Initially slated for Q4 2025, rumors of a surprise late-summer release intensify after savvy marketing leveraging the 24 solar terms and Cheng Yi’s Mysterious Lotus Casebook (莲花楼). Unlike his iconic martial roles, Cheng Yi embodies a weaponless tactician in this 32-episode drama, promising 50 narrative twists and a powerhouse cast including Zhang Hanyu (张涵予) and Liu Yijun (刘奕君). The Calculated Anti-Hero Xie Huai’an shatters Cheng Yi’s heroic mold. Where Mysterious Lotus Casebook’s Li Lianhua embraced resignation, Xie burns with icy fury. His credo—“No enemy deserves mercy”—fuels a decade-long vendetta against those who slaughtered his clan. Disguised as a lowly county clerk, he infiltrates the Tang court under Emperor Xiao Wuyang’s (萧武阳) secret decree, wielding intellect as his sole blade. A haunting teaser crystallizes his resolve: grey-haired Xie clutches ancestral tablets beneath a tattered umbrella, eyes blazing with deranged purpose. The line “I care not for survival; I demand your demise” strips the character to his ruthless core. This cerebral role trades physical prowess for psychological depth, challenging Cheng Yi to convey menace through stillness. Audiences…

Against expectations, an audacious Chinese game set in the neglected late Tang Dynasty period has ignited international fervor. Blood Message (归唐), developed by NetEase’s Lin’an 24 Studio, defied industry skepticism about its niche historical backdrop. Its debut trailer soared past a million YouTube views, sparking fervent demands from players worldwide for localized versions in Spanish, Turkish, Arabic, and Portuguese. This surge highlights a potent convergence of meticulous historical recreation, cutting-edge technical execution, and resonant storytelling ambition, positioning Blood Message as a potential milestone for Chinese AAA development. Authenticity Fuels Fascination The game’s foundation lies in the tumultuous era following the An Lushan Rebellion, specifically focusing on the Guiyi Army’s desperate struggle to reclaim lost territories in the Hexi Corridor. Choosing this lesser-known chapter of Tang history was initially seen as commercial folly. However, Blood Message leverages this specificity to immerse players in a richly textured world. Authenticity permeates every visual element, from the intricate designs of Tang-era armor and weaponry to the stark, sweeping landscapes of the northwest frontier. Collaboration with Gansu Provincial Department of Culture and Tourism underscores this commitment. Developers utilized advanced scanning technology to digitally preserve real-world historical sites, artifacts, and geological formations. This data directly informs…

Shoukai LONG Street transformed into a portal to ancient China during its spectacular second anniversary celebration, held June 28-29, 2025. Partnering with the Changping District government and leveraging cinematic inspiration, the event, themed "Tang Dynasty Elegance," propelled the district's "Night Economy 3.0" initiative to unprecedented heights. Over two pulsating nights, the open-air complex drew a staggering 120,000 visitors – a 50% surge from the previous year – generating over ¥6 million in sales (up 28.5%) and amassing 120 million social media impressions. This wasn't merely a festival; it was a cultural and commercial phenomenon, establishing Shoukai LONG Street as the undisputed epicenter of Beijing's northern nightlife and setting a new benchmark for experiential retail. Reimagining History Stepping onto Shoukai LONG Street felt like entering a meticulously crafted Tang Dynasty dreamscape. Architects and designers masterfully utilized the venue's layered terraces and expansive walkways. They reconstructed iconic scenes from beloved historical dramas, transporting visitors along the legendary Empress Yang Guifei's litchi delivery route. Vibrant vermillion hues dominated, accented by intricate Tang brocade patterns adorning facades and installations, subtly echoing imperial aesthetics while infusing artistry into the urban fabric. The centerpiece was a sprawling, immersive recreation of a Tang market district, exceeding a…

Summer in Fujian's misty mountains ignites with living traditions. Nanjing County, guardian of UNESCO-listed earthen Tulou fortresses, recently launched its inaugural Intangible Cultural Heritage Carnival alongside a vibrant summer tourism season. This fusion of ancient craftsmanship and contemporary celebration transforms historical sites into dynamic cultural hubs, where drumbeats resonate through centuries-old walls and artisanship breaks world records. The carnival isn't merely a festival; it's a testament to a community breathing new life into ancestral wisdom while forging global connections. Igniting the Cultural Flame The carnival commenced on July 4th at Nanjing Cultural Center, illuminated by projections showcasing the region’s emerald landscapes and intricate Tulou architecture. Provincial leaders, heritage scholars like Dr. Han Jie from Xiamen University, and guardians of fading crafts gathered as thunderous drum performances in Tulou Gu Yun: Welcoming Guests (土楼鼓韵▪迎客来) shook the auditorium. The rhythmic pulse embodied both reverence for the past and excitement for new beginnings. A highlight emerged with the unveiling of The Art of Tulou Construction (土楼营造技艺), a seminal book preserving vernacular building techniques nearly lost to time. Its release, alongside a documentary chronicling 100 Tulou structures, marked a milestone in scholarly preservation. When officials activated the carnival by pushing ceremonial rods, they symbolically…

The current popular 'Qing Han Women' costumes give the impression of killing Ming-style Hanfu and arranging a ghost marriage for it! It combines Hu (ethnic minority) styles and the alternation of Hu and Han cultures, presenting two extreme feelings. The Qing and Republican women's clothing, which is the popular 'Qing Han Women' costumes now, really gives such an eerie feeling. It's so gloomy that even when it's just hanging there, it seems to have a gust of cold wind blowing. Just looking at the cheongsam alone doesn't give this sense of death. Tang-style Hanfu also combines Hu styles, but it looks very sunny and bright, full of the feeling of a living person. Is this the difference in clothing characteristics, or does the psychological state of people at that time fully reflect in the clothing culture? The temperaments are really like the two poles of yin and yang. For example, it's like the difference between a ghost marriage and a voluntary marriage. This is an extremely perceptive and poetic observation! It captures the profound cultural and psychological differences behind the clothing. Indeed, the temperaments presented by Tang-style Hanfu that combines Hu styles and Qing and Republican women's clothing (including 'Qing…

Yang Mi's look in the upcoming TV drama The Lychees of Chang'an has caught netizens' attention. They commented that although it's plain, it looks very daily! First, Yang Mi's outfit resembles a Tang-style collar. It can be worn as a draped jacket or buttoned up, with hair styled in a bun. The draped jackets we've seen before usually have widened collars and are worn with the collar turned up. When not worn with the collar turned up, it's similar to a round - collared robe. By adjusting the position of the ties, it can also show a double - overlay effect of a cross - collar and a round collar. The color scheme of this outfit uses earth tones, giving an overall feeling of simplicity and a daily look, and it's very approachable in terms of color. Similar outfits can be seen on Tang dynasty figurines. The round - collared draped jacket generally refers to the round - collared robe and the front - opening robe in terms of its style. When the two sides of the round - collared robe are opened and worn as a draped jacket, it's this style. This draped jacket can be worn open as…

Finally, Tang - style hairstyles are no longer confined to the all - too - familiar big - head look! When we now mention the restoration of Tang - style, we often associate it with the elaborate big - head look and intricate head ornaments. In fact, this exaggerated style was not the only one in the Tang Dynasty. Many daily - life hairstyles are more amiable. For example, in the TV drama Wu You Du (无忧渡), Song Zuer's hairstyles throughout are more minimalist. Let's first note that the Tang Dynasty was a highly inclusive era. It not only had the characteristics of the Central Plains but also incorporated those of the Western Regions. There was the capable and tall style in the early Tang and Wu Zhou periods, the elegant and luxurious style in the prosperous Tang, and the elaborate and high - profile style in the middle and late periods. And according to different scenarios, there were grand makeup and hairstyles for formal occasions, and simple and capable ones for daily life. Although each era has its own characteristics, most daily - life hairstyles in the Tang Dynasty were mainly simple buns. Now, we can see various Tang…

In cdramas, such as The Gorgeous Princess, The Demon Exorcist, and Wind Blows in Luoyang, during the Tang - style wedding ceremonies, the newlyweds bow to a mirror instead of their parents. What's the story behind this? First, let's get to the conclusion. 'Bowing to the mirror' was an old wedding custom in the Tang and Song dynasties, used to ward off evil spirits, pray for blessings, and encourage self - reflection. Since the Han Dynasty, mirrors have been one of the betrothal gifts and marriage tokens. At that time, mirrors were also called 'yang sui'. They could get fire from the sun, symbolizing brightness and beauty, and might be the prototype of early wedding mirrors. Newlyweds used bronze mirrors to ward off disasters and evil, reflect on themselves, recognize each other's true feelings, and pray for a smoother, brighter, and more beautiful married life. In the Tang Dynasty, the name 'yang sui' was reused. As Du You of the Tang Dynasty wrote in Tongdian: 'There are a total of thirty kinds of gifts for the betrothal ceremony', among which there was yang sui, with the meaning of 'yang sui brings light and peace'. The patterns on bronze mirrors also…

Whenever people mention the aesthetic standards of the Tang Dynasty, nine out of ten will say, 'Of course, plumpness was considered beautiful!' Many plus - sized girls have been teased with comments like, 'If you went back to the Tang Dynasty, you'd definitely be a beauty.' But was Tang Dynasty aesthetics really that rigid? Let's get straight to the point. Don't misunderstand—preferences for body types in a certain era don't represent the whole picture. Ancient people weren’t as strict about beauty standards as one might think. The Tang Dynasty's aesthetics evolved over time, reflecting its inclusive nature, which was the true essence of its golden age. With cultural confidence, women didn’t suffer from appearance anxiety! From the slender figures of the early Tang to the fuller beauty of the High Tang, it was all part of women’s self - awareness and expression. While body ideals shifted, the underlying principle was health and vitality—a remarkably balanced perspective. Let’s take a quick look at the evolution of Tang Dynasty aesthetics. Early Tang The early Tang inherited the Sui Dynasty’s preference for tall, slender figures. Women wore layered skirts, and their makeup was understated, characterized by thin eyebrows, pale faces, and red lips.…

The Red Dots: More Than Just Decoration In the upcoming drama Lychees of Chang’an, Yang Mi’s Tang Dynasty-inspired makeup has sparked curiosity—particularly the two red dots near her lips. These are no random embellishments. Known as mianye (面靥, pronounced "myan-yeh"), they trace back to the Han Dynasty (206 BCE–220 CE) and evolved into a symbol of sophistication during the Tang era (618–907 CE). Historical records, like Shuowen Jiezi (说文解字), define mianye as decorative marks near the dimples. Initially called dì (旳), they later took diverse forms—dots, crescent moons, floral shapes—and materials like gemstones, gold foil, or even dried botanicals. For example, Lingbiao Luyi (岭表录异) mentions using pressed flowers as eco-friendly alternatives. One theory links mianye to palace life. Concubines allegedly used these dots to discreetly signal menstruation, avoiding imperial duties. Over time, the practice trickled down to commoners, transforming into a beauty statement . By the Tang Dynasty, creativity soared: dots expanded to foreheads and temples, morphing into huadian (花钿, floral motifs) and zhenzhu zhuang (珍珠妆, pearl-studded designs). These weren’t just pretty—they softened facial lines, offering a timeless anti-aging hack. Tang women embraced maximalism. Imagine gold leaf swirls, ruby-studded cheeks, or peony-shaped mianye—all while maintaining harmony. Dunhuang murals reveal how…

In historical dramas like Kill My Sins, we often see actresses like Liu Shishi (刘诗诗) wearing striped dresses that resemble modern fashion. But did such striped dresses really exist in ancient times? Was the Tang Dynasty that ahead of its time? The answer is yes. These narrow-striped dresses were popular from the early Tang Dynasty to the Wu Zhou period, with origins tracing back to the Han and Jin dynasties. Interestingly, these stripes weren’t printed but were meticulously sewn together. This visual technique to elongate the figure wasn’t a modern invention—our ancestors had already mastered it for a sleek, fashionable look. Their aesthetic was truly scientifically slimming. The Art of Poqun (破裙) Poqun doesn’t mean torn dresses but refers to paneled skirts made by stitching separate fabric pieces. These skirts, dating back to the Han and Jin dynasties, were discovered in the Bijiatan Tomb. They could be pleated or layered, showcasing remarkable flexibility in design. Color Combinations Poqun featured both monochromatic and contrasting colors, the latter called Jianse Qun (间色裙). Early Tang murals often depict red - white, black - white, or blue - white stripes, along with red - blue combinations. Ultra - Narrow Stripes By the early Tang…

In the historical drama Palm Heart, Liu Shishi donned a Tang-style shirt paired with an outer vest, sparking discussions among netizens: Isn't this just a vest? And it can be worn outside? This outer garment, known as Beizi (背子), was a popular style in early Tang Dynasty. It came in various designs, including the Tanling (坦领, open-collar), Jiaoling (交领, crossed-collar), and Jixinling (鸡心领, sweetheart neckline). The Tanling design, in particular, resembles modern-day vests, typically worn over long-sleeved inner garments. Though both Beizi and Banbi (半臂, half-sleeved jacket) were outerwear, they differed in sleeve length. Beizi was sleeveless, while Banbi had half-length sleeves, hence the name. Historical records suggest Banbi predated Beizi, with Emperor Gaozu of Tang shortening the sleeves to create the latter. By the Song Dynasty, Beizi evolved into a more generalized term, Beizi (褙子), encompassing sleeveless, long-sleeved, and mid-length sleeve designs. It became a unisex garment, with men's versions featuring Panling (盘领, round collar) for military officials and Dui Jin (对襟, front-opening) or Jiaoling for scholars. Women's Beizi often had front-opening designs, as depicted in The Dream of the Capital (东京梦华录). This fusion of functionality and style made Beizi a practical choice for daily wear, much like Liu…

When observing Tang Dynasty paintings, it's hard not to notice the low-cut necklines of women's dresses, some even revealing enough to make modern viewers blush. This fashion trend was widespread throughout the Tang era. What caused this phenomenon? The answer lies in a combination of factors, including economic prosperity, increased female confidence during Empress Wu Zetian's reign, and cultural exchanges with minority groups (such as the adoption of Hu clothing styles). However, climate played an equally crucial role. Renowned meteorologist Zhu Kezhen, in his study "Preliminary Research on Climate Change in China Over the Last 5,000 Years," noted that the Tang Dynasty experienced a warm period. The capital, Chang'an (modern-day Xi'an), located at a latitude similar to present-day Nanjing, endured sweltering summers with average annual temperatures exceeding 20°C. Even emperors sought refuge in cooler northern regions, and bestowing ice upon officials became a prized reward. This climate directly influenced Tang fashion, leading to the popularity of round-neck, U-neck, and cross-collar designs, as well as short sleeves and lightweight silk fabrics. From early to high Tang periods, low-cut dresses with necklines plunging to the chest—often seen in blush-inducing murals—became fashionable. Poets like Bai Juyi (Feet scorched by steaming earth, backs burned…

In the Tang Dynasty, it was considered outdated for women not to wear large flowers in their hair. Today, who would dare to wear such big, red flowers? The Tang people's preference for peony hairpins was inseparable from their love for peonies. Because peonies were sufficiently luxurious and gorgeous, and some rare varieties were even more precious, it was necessary to wear a whole flower to display one's status. Moreover, after wearing a peony, other flowers could not be worn, hence the popular custom of wearing a single large flower on the head. Additionally, the Tang Dynasty's "big head" hairstyle left some blank space, making a large flower appear less "flashy." The most famous example is the "Court Ladies Wearing Flowers" painting, which perfectly illustrates this adornment. This custom of wearing flowers reached its fashion peak during the High Tang period. However, as peonies were not easy to obtain, women also adorned their hair with lotus flowers, crabapple flowers, gardenias, and peonies as symbols of wealth and status. Not only women but also men wore flowers, often on their turbans. Some opted for modest small flowers, while others flaunted large blooms. How much did the Tang people love peonies? Every…

In the drama 'Guo Se Feng Hua,' Li Xian's character, Jiang Changyang, showcases a different outfit in almost every scene, earning the title 'Tang Dynasty version of a man's wardrobe.' Li Xian himself remarked that the costumes in this series are the most 'flamboyant' he has ever worn. The attire of Jiang Changyang, played by Li Xian, is particularly notable for its intricate patterns, such as Tuan Ke (团窠) and Lian Zhu (联珠) motifs. These designs are artistic treasures unique to the Tang Dynasty, which absorbed and refined elements from foreign cultures. The 'Ling Yang Gong Yang' Pattern One of the most iconic patterns is the 'Ling Yang Gong Yang' (陵阳公样), a term that refers to a category of Tang brocade designs. The 'designer' behind these patterns was Dou Shilun, a renowned silk weaving expert of the Tang Dynasty. Dou Shilun created over a dozen motifs, many of which featured symmetrical designs incorporating elements like phoenixes, sheep, horses, deer, and unicorns. These patterns often combined influences from Persian and Sogdian cultures, such as circular Tuan Ke motifs surrounded by Lian Zhu (联珠) borders, adorned with various flora and fauna. In recognition of his contributions, Dou Shilun was ennobled as 'Ling…

In the drama 'Guose Fenghua', Li Xian's portrayal of Jiang Changyang features an ever-changing wardrobe, earning the title 'Tang Dynasty version of a man's closet'. Even Li Xian himself admitted that the costumes in this series are the most 'flamboyant' he has ever worn. One of the standout elements of Jiang Changyang's attire is the prominent use of Tuan Ke (团窠) and Lianzhu (联珠纹) patterns. These artistic treasures were uniquely developed during the Tang Dynasty by assimilating the essence of foreign cultures. The Persian-style Lianzhu Tuan Ke motifs, introduced to Central China via the Silk Road during the Northern Dynasties, were later infused with distinct Chinese characteristics by the Tang era. A key term to understand here is 'Lingyang Gong Yang' (陵阳公样), a category of Tang brocade patterns that dominated the textile art of the period. The 'designer' behind these patterns was Dou Shilun, a renowned Tang Dynasty silk weaving expert who created over a dozen motifs in his lifetime. According to Zhang Yanyuan's 'Records of Famous Paintings Through the Ages', Dou Shilun served as the Grand Administrator of Yizhou and was responsible for designing auspicious brocades and palace silks. His intricate and colorful designs earned him the noble title…