Recently, the new drama styling of Meng Ziyi has sparked quite a controversy. This large neckline design that reveals the collarbone, which we seemed to only see in early costume dramas, is popular again. In fact, this design isn't just in TV dramas but also in ancient - style photo studios everywhere. Some people even deliberately lower the collar to show their collarbones and camisoles. This somewhat revealing image is more like 'border - crossing' rather than creating an ancient - style atmosphere. Does this way of dressing really exist? First, there were indeed wide - necked robe designs in the Qin and Han dynasties, used as outerwear when layering. Later, during the Northern and Southern Dynasties, it was mainly applied to ruqun (a traditional Chinese women's clothing style), a transition from the shallow cross - collar to the front - closing collar similar to that in the Tang Dynasty. However, this way of dressing was revealing but not alluring, having nothing to do with border - crossing. How wide could the necklines be in the Qin and Han dynasties? The side width of the neckline of the straight - skirted robe N10 in the Mashan Chu Tomb was 43…

The Lantern Festival, as the last important festival in the Chinese Spring Festival customs, is an ancient festival that has lasted for more than two thousand years. In the ancient Chinese calendar, the first lunar month is called the Yuan month. According to Shuowen Jiezi, "Yuan" means the beginning, and "Xiao" means night. The 15th day of the first lunar month is the first full - moon night of the year, a time when everything begins anew and spring returns to the earth. So, this day is called the Lantern Festival, also known as the Shangyuan Festival. Since there is a custom of hanging lanterns on this day, it is also called the Lantern Festival. There are also some religious origins among its many meanings. In Taoist culture, as recorded in Dream of the Liang Record written by Wu Zimu in the Song Dynasty, "The 15th day of the first lunar month is the Yuanxi Festival, the time when the Heavenly Official of Shangyuan bestows blessings." In the Southern Dynasties, Imperial Decree of Emperor Yuan of Liang also recorded that "Shangyuan is the time when the Heavenly Official bestows blessings; Zhongyuan is the time when the Earthly Official pardons sins;…

Fresh from the editing suite and diving into interviews, The Lost Tomb Reborn (Zang Hai Zhuan) director Cao Yiwen (曹译文) radiates energy discussing the show's global impact. Premiering on May 18th on CCTV-8 and Youku, the drama sparked discussions across 190 regions, igniting fan theories and creative buzz. Cao credits its success to intentional narrative gaps. "We planted 'hooks' and left space for fan creation," he shares. This deliberate openness fueled a dynamic wave of audience participation. But how did a period drama sustain such fervor? How did protagonist Zang Hai's (藏海) journey captivate millions? Director Cao reveals his approach. Starring Xiao Zhan (肖战) as Zang Hai, the series avoids flashy revenge tropes. "We focused solely on Zang Hai's fate," Cao states. "His revenge stems from devastating personal loss -the destruction of his innocent childhood. We built his growth meticulously." This meant rejecting overpowered heroes. Despite talents in geomancy (Kanyu) and architecture (Ying Zao), Zang Hai starts as an underdog. "He’s smart, young, inexperienced within brutal feudal power structures. He faces real setbacks." Complexity extends to the villains, notably the fan-dubbed "Skinny Monkeys" (Pi Jin Hou Nan Tuan) – Yang Zhen (杨真), Qu Jiao (瞿蛟), and Chu Huaiming (褚怀明). Cao…

It turns out that there's not nothing under the skirts! In the ancient costume drama The Ferryman of Peace and Tranquility, the image of the puppet wearing pants is truly eye - catching. It seems that female characters rarely wear pants. After reading this, you can boldly say: Ancient women also wore leggings under their skirts, and they were even in the style of harem pants! Previously, in the drama The Splendid Life, there were scenes where the characters almost 'flashed' without leggings, which made many people mistakenly think that there were just bare legs under the skirts. This is really a big joke. Let's start with the conclusion. Pants have existed in ancient times for a long time. Crotch - sewn pants have been unearthed from the Shang and Zhou dynasties. In the Tang Dynasty, a kind of harem pants that could be worn outside even became popular. They had a design to cinch the cuffs, which was very fashionable and convenient for daily life. Similar harem pants appear in The Ferryman of Peace and Tranquility and The Gorgeous Empire. Don't they look exactly the same as the harem pants we wear now? This kind of pants appeared earlier…

In historical Cdramas, we often come across women sporting exaggerated and voluminous hairstyles, like the Ming-style makeup in When the Wild Geese Return and the Tang-style makeup in The National Beauty and Fragrance. Netizens can't help but wonder: Did ancient people really have such astonishing hair volume? The answer is no. It wasn't necessarily that ancient people naturally had thick hair. In reality, their hair density might not have been as depicted in films and TV shows. Instead, they wore wigs, known as "Yiji" (义髻) in ancient times, which were the forerunners of modern hairpieces. The trend of wearing wigs started among upper - class women. Their goal was to add volume and create more elaborate hairstyles, similar to today's hair extensions. The materials for Yiji were diverse. It wasn't limited to human hair (which was costly) but also included thin wood shavings, horsehair, etc. Generally, Yiji were made from hair or wood - based substitutes. For example, the lacquered wooden wig unearthed from the Astana Tombs in Turpan, Xinjiang, is a standard 'Single - Blade Half - Turned Chignon'. It's made of wood, painted black, and decorated with white - painted flowers, auspicious clouds, and phoenixes. The base has…

Do you also think that commoners in ancient times, like those portrayed in historical dramas, mostly wore coarse linen clothes? You might not know that ancient people also had a few decent outfits for special occasions such as festivals, visiting relatives, or attending weddings. Some have asked why we don't discuss commoners' clothing, assuming the articles only focus on noble styles. People might wonder, 'Could commoners really wear silk or gold in daily life?' There's actually some misunderstanding here. In ancient times, many trends originated among the nobility and later spread to commoners, while some crafts improved among commoners and rose to popularity among nobles. So, there was no absolute rule. Here's the conclusion: ancient clothing styles were quite similar (except for some impractical wide - sleeved designs). What people wore mainly depended on the occasion—for grand ceremonies or rituals, they would prepare finer attire. The quality of clothing was reflected in the fabric, craftsmanship, and vibrancy of colors. Another factor was occupation. Laborers wore durable clothes like hemp garments, but not all commoners worked in fields, so coarse linen wasn't universal. In the Ming Dynasty, for example, the silk industry thrived in Jiangnan (江南), and even ordinary people wore…

Just as Tagore described, "Every open rose brings me the greetings of that rose in the eternal spring." And as Bei Dao interpreted spring precisely, "This is spring, the wildly beating heart disturbs the floating clouds in the water." What is really disturbed? Is it the heart, or the long - awaited desire to embrace beauty after a dull winter? So, in today's issue, inspired by color - matching in dressing and using beautiful cheongsams as materials, let's explore the amazing color - matching in the eyes of cheongsam designers, which we can apply in our daily outfits. Light Colors Main color: 80% Ningzhi White (凝脂白) + 20% Apricot Yellow. This is an extremely gentle cheongsam. The warm - toned color scheme is skin - brightening and elegant, perfect for women to decorate themselves sensually. The main color, like condensed milk, comes from the traditional Chinese color Ningzhi White, which matches the charming luster of silk. It echoes Bai Juyi's famous line in "Song of Everlasting Sorrow": "In spring's cold she bathed in the Huaqing Pool, the warm water smoothed her creamy skin." The matching yellow magnolia embroidery takes the rich yellow tone of ripe spring apricots. The stronger the…

In the ancient costume drama No Worries Ferry, Zuer Song's Tang Dynasty-style bun appears simple yet elegant. The hair accessories on her temples, not overly exaggerated, perfectly complement her facial features. So, what exactly are these hair accessories called? Well, they are decorative hair ornaments. Initially, combs, Bi (篦), and Huadian (花钿) were worn on the temples, and later, specialized accessories like Lianshu (帘梳) and Yanbin (掩鬓) emerged. This way of wearing them helps fill the decorative gaps in the bun, adding layers and visually elevating the crown of the head while enhancing facial contours. Let's start with combs. This comb - wearing method has a long history, dating back to the Han and Jin Dynasties as decorative items, categorized into wide - toothed combs and fine - toothed Bi. It reached its peak of popularity during the Tang and Song Dynasties. In the mid - to - late Tang Dynasty, with the improvement of living conditions, women became more inclined to adorn themselves. They would style elaborate, tall buns and wear various hair accessories. Combs, like jade pendants, were symbols of social status. The higher one's status, the more exquisite and luxurious the combs were. Ancient combs, as hair…

Have we been using blankets wrong all these years? In cdramas, the blankets we commonly see are rectangular, similar to what we use today. However, in the TV series Guo Se Fang Hua, Yang Zi's blanket with a unique cut - out design is quite impressive. When pulled up, it snugly covers the shoulders, providing a sense of security. This kind of blanket dates back to the Warring States period, making it a 'classic design'. In contrast, traditional rectangular quilts, though warm, often expose the shoulders because of their straight edges. During seasonal changes and cold winters, shoulders are vulnerable to cold drafts. The ancient concave - backed blanket has an ingenious design. Its tailored cut - out ensures the shoulders are well - covered, offering both comfort and excellent insulation. It's astonishing that this practical design, now seen as innovative, was adopted by our ancestors over two thousand years ago during the Eastern Zhou dynasty. Auspicious Embroidery The ancients loved embroidering auspicious patterns on blankets. The Warring States blanket used ancient lock - stitch embroidery with paired dragon and phoenix motifs in deep blue, emerald blue, red - brown, vermilion, and yellow threads. This is similar to the pattern…

The beauty of summer Qipao lies in the allure of silk and satin. The encounter with the scents of gardenia and jasmine marks an unforgettable start. Summer, a vibrant and colorful season, has finally arrived. Although the heat can be tough for many, it's nothing compared to the richness and beauty this season brings. For women who love Qipao, summer is the perfect time to display its inherent charm. Today, let's explore the beauty of Qipao suitable for summer. Song Jin and Su Jin If fabric is the essence of a Qipao, then a Qipao made of Song Jin (宋锦) is a living embodiment of rich historical and cultural heritage. It dates back to the Song Dynasty, telling the story of that era's splendor and the remarkable weaving craftsmanship. A Song Jin Qipao is an excellent choice for summer. With its firm yet soft texture, elegant patterns, and classical allure, the wearer exudes artistic charm and noble grace. Take this Song Jin Qipao as an example. Its unique, classical floral print is eye - catching. The straight - cut silhouette with wavy edges adds a touch of playfulness, while the bold peony motifs in soft camel and light purple create…

In the historical drama 'Hua Jian Ling,' Ju Jingyi's red and blue dress, adorned with petal - like decorations, left a deep impression. Did such clothing actually exist? Let's start with the conclusion. This triangular decorative piece can be referred to as 'Gui' or 'Chui Shao,' named for its resemblance to a jade tablet. Clothing decorated with Gui is broadly called 'Gui Yi,' a type of ceremonial attire. The earliest documented record of 'Gui Yi' appears in Song Yu's 'Ode to the Goddess': 'She shakes her embroidered robe and dons the Gui attire,' which sounds quite romantic. This might be the closest traditional garment to what one would imagine as celestial attire. Its exact structure remains unclear, but its general form can be inferred from paintings. First, let's explore what 'Gui' is. Descriptions of Gui Yi mention 'the hanging part is wide at the top and narrow at the bottom,' resembling an inverted triangle. As the name suggests, Gui Yi involves attaching 'Gui' decorations to clothing. However, the specifics of Gui Yi remain vague. It has been said to be ceremonial attire for noblewomen and frequently appears in paintings of celestial beings (e.g., Song Yu's 'Ode to the Goddess'). But…

Who understands! There was a kind of resplendent beauty in old TV dramas. When I was a child watching period dramas, I was always amazed by the large phoenix hairpins and the dazzling golden ornaments on the characters' heads. It fulfilled the imagination of grandeur and nobility. Why is this style less common in modern dramas? Let's start with the conclusion. This style of wearing numerous hairpins was particularly representative of the late Tang Dynasty, with its origins traceable back to the Southern and Northern Dynasties. The late Tang period witnessed unprecedented extravagance in women's hairstyles and attire, often described as 'explosively stylish.' Literary descriptions further deepened our imagination of ancient women's hair ornaments. For example, Emperor Xiao Yan of the Southern and Northern Dynasties wrote in 'Song of the River,' 'Twelve rows of golden hairpins on the head, five - patterned silk shoes on the feet.' Tang poet Shi Jianwu also noted in 'Makeup Removal Poem,' 'Under the lamp, I gaze again at the bronze mirror, vainly inserting twelve rows of golden hairpins.' The popularity of such intricate hair ornaments was due to the Tang trend of high buns. The larger the hairstyle, the more hairpins were used. Thus,…

Today, let's continue our special topic on In the Mood for Love and appreciate the beauty of Maggie Cheung's cheongsams. Before delving into the topic, let's talk about the behind - the - scenes details of this movie. Maggie Cheung changed into 23 cheongsams in In the Mood for Love, all designed by the Hong Kong art director Cheung Shu - ping himself. Some of the cheongsam fabrics were his personal collections over the years, and the patterns and fabrics were already out of print. So, it's almost an eternal regret that it's impossible to recreate Su Lizhen's beauty exactly. Then, these cheongsams were handmade by Hong Kong master Leung Long - kwong, who has over sixty years of experience in cheongsam making. As he said, "I've never changed my profession in my life. I earn money with my heart." For these 23 cheongsams, Cheung Shu - ping was mainly responsible for design, color matching and sourcing fabrics, while Leung Long - kwong was in charge of measuring the body, cutting and sewing. It can be said that without the seamless cooperation of these two masters, there wouldn't be this world - renowned Chinese masterpiece. The emergence of In the…

Is Cross-Dressing in Historical Dramas for Real? In many historical dramas, we often see women dressing as men to navigate various social settings. While modern audiences might view clothing as a matter of personal freedom, in ancient times, women wearing men's attire was far from acceptable—it was considered a breach of etiquette and societal norms. The answer lies in the rigid hierarchical systems of the past, where distinctions between age, gender, and social status were deeply ingrained. The idea of "separating men and women" wasn't mere moral policing but a means to enforce strict gender boundaries. As recorded in the Book of Rites: Internal Rules, "men and women shall not share garments." However, exceptions did exist. During the pre-Qin and Han dynasties, particularly in military contexts, women donning armor was a tactical move. For example, the Records of the Grand Historian: Annals of Xiang Yu recounts that Liu Bang deployed 2,000 women in armor to mislead Chu forces during a critical battle. Such instances, though rare, highlight the strategic use of cross-dressing. The Northern and Southern Dynasties saw legendary figures like Mulan, who famously took her father's place in the army, as immortalized in the Ballad of Mulan. Yet, as…

When Qipao meets traditional Chinese red, each piece is a true masterpiece! The fusion of gardenia and jasmine scents creates an unforgettable beginning. Today, I’m sharing about red Qipao. Among all colors, red is undoubtedly the star of Qipao. It's not only associated with wedding attire but also deeply rooted in China's historical and cultural symbolism. Red embodies the soul of Chinese culture, symbolizing auspiciousness, celebration, eternal brightness, warmth, hope, vitality, and prosperity. In Chinese history, the five colors—white, blue, black, red, and yellow—were linked to the Five Elements (metal, wood, water, fire, earth) and virtues (benevolence, righteousness, propriety, wisdom, trust). Starting from the Zhou Dynasty, red was revered as a symbol of power and nobility, gradually becoming a staple in both royal and common households. By the Tang and Song Dynasties, red was widely adopted in daily wear and weddings. In the Tang Dynasty, the fourth - rank officials wore dark crimson, and the fifth - rank officials wore light crimson. The popular colors at that time were crimson, purple, bright yellow, and green. The combination of crimson and green was commonly used for women's clothing, and this color scheme was also applied in weddings, with grooms in red…

In the TV series When the Wild Geese Return, Wang Yan's character Aunt Zhou once said that wearing crimson red brightens the complexion. It seems she was right. In traditional Chinese colors, red is the most complexion - enhancing. Whether it's the bright red of the New Year or the peach pink of young girls, it brings to mind the vibrant spring. Actually, the crimson Wang Yan mentioned, judging from her attire, is more like 'Feihong' (妃红) or 'Yanzhi' (胭脂). The term 'Fei' color is related to clothing. One theory says it was originally 'Lychee Color' and became 'Yang Fei Color' because of Yang Guifei's love for lychees. Another theory is that it's named after the colors of her clothes. Anyway, 'Yang Fei Color' is linked to this Tang - Dynasty beauty. It's a milder version of crimson red. To understand its hue, we need to know about 'Fei' (绯) color. In ancient novels, 'Fei' robes describe women in fiery red. The character 'Fei' first appeared in Sui and Tang poetry and was defined by Xu Xuan in the Song Dynasty as 'a deep red dye for fabrics'. Historically, red was 'fire color', and 'Fei' is deeper, so 'Feihong' means…

Isn't It Uncomfortable? In period dramas, we often see these hard pillows. Even in museums, most pillow artifacts are made of wood or ceramic, making one wonder if they were truly this uncomfortable. The answer is that ancient pillows came in various forms, including silk, cloth, ceramic, wood, and even jade. However, softer pillows like silk or cloth ones didn’t preserve as well, so most surviving artifacts today are hard pillows. The Chinese character for 'pillow' (枕) has a 'wood' radical, suggesting that early pillows were primarily made of materials like wood or dried grass. The ancient text 'Shuowen Jiezi' defines a pillow as 'a support for the head during rest.' Some also used stones as pillows, especially in hot summers, as the coolness could relieve discomfort. As living standards improved, pillows diversified. For example, a silk pillow was unearthed from the Han Dynasty Mawangdui Tomb—a soft pillow! This rectangular pillow, embroidered with 'longevity patterns,' was stuffed with Eupatorium leaves, known for their aromatic and medicinal properties. The pillow’s ends were adorned with raised brocade, and its sides featured fragrant silk embroidery. This wasn’t just a silk pillow but also a medicinal one, proving that nobles had access to soft…

Whether watching period dramas or wearing traditional Hanfu, the topic of posture often brings up sloping shoulders, with Liu Yifei being a classic example. So, does classical aesthetics truly equate to sloping shoulders? A recent article on Ming Dynasty undergarments sparked a lengthy debate about the classical aesthetics of sloping versus square shoulders. Today, let’s dive into this discussion. First, the conclusion: Are square shoulders unsuitable for classical attire? Not necessarily. Traditional clothing’s flat - cut structure naturally accommodates the shoulders, creating a softened, secondary shape. The discomfort or visual awkwardness some perceive often stems from posture—some people unconsciously stiffen their shoulders when puffing their chests, while extreme thinness can disrupt visual balance, making the clothes appear oversized. Another factor is tailoring. Many period dramas incorporate structured cuts at the shoulder seams, leading to a constrained look. Style Comparison Hanfu’s flat - cut design allows extra fabric at the shoulder area, creating a graceful curve that enhances the upper body’s fullness and grandeur. While flat - cutting dominates, traditional Hanfu also includes localized structured adjustments like inset panels or darts. However, many period dramas, despite appearing flat - cut, use structured shoulder seams for a modern, fitted look. This results…

Sometimes, it feels awkward to see characters in TV dramas wearing large - sleeved outfits for outings, meals, dates, fights, or even sleeping. Were ancient clothes really all about big sleeves? How inconvenient would it be to use the restroom? Are historical drama sleeves getting even larger these days? One netizen joked: 'So big you could fit a person inside!' Let's get straight to the point. While we often describe Hanfu as 'wide robes and large sleeves', it's important to note that this is a characteristic of formal Hanfu, used to show the wearer's social status, like the historical Dashu Shan (大袖衫) or Gongfu (公服). People rarely wore such exaggerated sleeves outside ceremonial occasions. Let's break down Hanfu sleeve styles. There are many suitable for daily life. Narrow sleeves are practical for labor or martial arts; Chuihu sleeves (垂胡袖), Pipa sleeves (琵琶袖), and straight sleeves are for non - labor daily wear; short sleeves can be casual outer layers or summer homewear. For example, the Quju (曲裾) and Zhiju (直裾) unlined gauze robes, common in the Western Han Dynasty, had sleeve openings around 29 cm wide. Modern fashion sleeves average 10 cm, with looser ones at 15 cm. So, 30…

In the Cdrama When the Wild Geese Return, Chen Duling's post - marriage hairstyle surprised viewers: 'Why is this married hairstyle so odd? The ends just stick straight up!' In fact, this is the Sanlvtou (三绺头), a style popular among Han women in the late Ming Dynasty. The hairstyle features a 'wild goose tail' at the back, looking more dignified and steady. The Sanlvtou divides the hair into three sections: front, middle, and back. Each section is braided and gathered in a distinct way, thus getting the name 'Sanlvtou'. However, this hair - combing method can be traced back even earlier. For example, in the second act of The Box of Toiletries by an anonymous writer of the Yuan Dynasty, there is a line: 'Who would have thought that Kou Chengyu, a woman with the Sanlvtou hairstyle and two - piece clothing, has such loyalty.' Specifically, the Sanlvtou has two side strands called 'Lvebin (掠鬓)'. They frame the face like delicate clouds or cicada wings, so they are also poetically named 'Cloud - Like Hair' or 'Cicada - Wing Hair'. The front section of hair can be swept back, laid flat, or slightly raised, then tied with a red ribbon…