Recent behind - the - scenes photos from the film set featuring Ju Jingyi and Chen Duling’s floral hairpin styles have sparked heated discussions online. Some netizens pointed out that Chen’s look appears "overwhelmed by oversized flowers and a smaller head," creating a disproportional effect, while Ju’s styling aligns more closely with traditional aesthetics. Analysis reveals that these differences stem from distinct interpretations of Tang Dynasty floral adornment culture: Chen Duling’s Historical Inspiration Her hairstyle draws from the "high coiled bun" (峨髻, é jì) depicted in Zhou Fang’s iconic painting Court Ladies Adorning Their Hair with Flowers (簪花仕女图). Historically, such buns required a height of 28 - 29 cm (Tang Dynasty measurement) to balance the visual weight of the floral ornaments. Modern adaptations often retain actors’ natural eyebrows rather than recreating the Tang practice of shaving and redrawing them, and today’s slimmer facial features make it challenging to replicate the original proportions. Netizens improved the balance by digitally raising the bun’s height and adding U - shaped hairpins for lateral symmetry. Ju Jingyi’s Styling Approach Her look adopts a classic Tang - Song era updo, featuring a center - parted front and a coiled top bun to elongate the silhouette…

The encounter between Qipao and the magnificent Chinese green creates unforgettable masterpieces. Green symbolizes the vastest and most touching freedom on earth. As writer Li Juan once said, 'When we see green, we always think: nothing will ever end, right?' This interpretation, though not as romantic or unique as others, perfectly captures the essence of green—its freshness and vitality that bring hope and life from spring to summer. It's no wonder so many people adore and continuously fall in love with green. This love has persisted since ancient times. Starting from the Han Dynasty, influenced by Taoist and Confucian philosophies, green became widely popular in both culture and aesthetics, admired for its natural and serene beauty. Beyond clothing, green was also prominently used in architecture, as recorded in Zhang Heng's 'Ode to the Western Capital.' In ancient Chinese art, green flourished in paintings, particularly in the Dunhuang Mogao Caves during the Wei, Jin, and Southern and Northern Dynasties. The harmonious blend of green with colors like earthy red, lapis lazuli blue, and black showcased its elegant and rich beauty. By the Tang and Song Dynasties, green became a staple in landscape paintings, symbolizing the vibrant life and artistic refinement of…

Ju Jingyi: Who Knew a Shoulder Strap Could Be So Versatile? Recently, a behind - the - scenes photo of Ju Jingyi in a drama role surfaced online. She wore a cross - collar dress with a strap tied around her shoulder, paired with a headscarf and a Panbo (襻膊), instantly evoking the imagery of a farming - themed story. Netizens were amazed: 'Who knew the Panbo could serve this purpose too?' In ancient times, a simple rope could solve many problems, especially in labor - intensive settings. For example, the Panbo was used to roll up oversized sleeves, a waistband kept skirts from unraveling, and wrist wraps secured sleeves during martial arts practice. Now, it has a new role: a must - have accessory for the 'farming heroine' aesthetic. Adding a strap not only creates layers in the outfit but also enhances approachability. The Panbo, specifically designed for rolling up sleeves, was commercialized during the Song Dynasty. Shen Congwen noted in Research on Ancient Chinese Clothing that Song laborers often tied their sleeves with ropes around their necks to keep them rolled up, officially termed 'Panbo'er'. Zhou Mi's Old Stories of Wulin·Small Businesses also listed 'Panbo'er' among street vendors'…

Some cheongsams are born to dance with summer! The encounter between the scents of gardenia and jasmine marks an unforgettable beginning. Certain beauties are naturally suited to conspire with summer, like a cool and elegant cheongsam. When the afternoon light cuts diagonally across the skirt, the wind takes on a beautiful shape. It glides along the curves of the waist, cascading into ripples at the slit. The satin adorned with magnolia or bamboo leaves, originally nurtured in ink wash, is awakened by the summer breeze, wrapping around a woman’s graceful silhouette and turning the heat into light, poetic rhythms. The upper body is secured with traditional knotted buttons, locking in warmth, while the lower body lets the summer breeze roam freely. The flowing patterns on the fabric reveal how this long summer is stitched into the lining of time. Wearing such a cheongsam is the most unique beauty and joy of summer. Red Series The main palette is 80% rouge red, 10% peacock blue, and 10% gardenia yellow. This cheongsam, woven with Eastern brocade and Western motifs, exudes the grandeur of the Tang Dynasty. The vibrant red Song brocade resembles molten Western glass, with diamond grids holding cross-shaped floral patterns…

Who in Their Right Mind Takes a Bath with Clothes On? In current historical dramas, bathing scenes often show characters entering the bath fully clothed, with just a tub in sight. Does it mean ancient people just rinsed off? Netizens note that earlier films and TV shows depicted bathing more realistically, while modern ones seem overly reserved. It's not only about clothing; the bathing set - ups are also disappointingly simplistic. Let's clarify: bathing wasn't as basic as it's often shown. Besides the tub, ancient bathing rituals involved tools like scrubbing cloths and herbal cleansers. Cleanliness was more than a quick rinse. Earlier productions, whether ancient or modern, often followed visual logic. Actors wore undergarments and used petals or other coverings to maintain modesty. Though mocked, these scenes created many iconic moments. In ancient times, bathing was not just for hygiene; it was a sacred ritual. As the saying goes, "One who washes their hair must tidy their hat; one who bathes must freshen their clothes." The term "沐浴" (bathing) was divided into "沐" (washing hair) and "浴" (washing the body). According to "The Book of Rites", people washed their hair every three days and their bodies every five, though…

Costume dramas need to pay more attention! In The Legend of Zhuohua, the ceremonial attire of Zhang Wanyi and Jing Tian as emperor and empress is confusing at first sight—almost like couple outfits. The much - praised imperial costumes are actually incorrect. By design, Jing Tian wears a Di Fu (翟服), and Zhang Wanyi wears a Mian Fu (冕服). Both have similar bird patterns, seemingly identical. Historically, the Di bird on the Di Fu and the Hua Chong (华虫) in the Twelve Ornaments of the Mian Fu were originally unrelated. Later, their designs merged, creating a beautiful 'mistake'—they look the same, and technically, they are. However, the emperor’s attire should be black (玄色), not dark blue. Distinguishing the Birds The Di (翟) is described in Shuowen Jiezi as a 'long - tailed pheasant,' referring to its feathers. In the avian hierarchy of Chinese motifs, if ranked, Hua Chong > Di > Phoenix, as the phoenix is usually considered highest, but Hua Chong and Di birds, for imperial attire, are often excluded from the general ranking. The Di is the highest - ranking motif for empresses and noblewomen. Following Tang Dynasty customs, the Song Dynasty mandated Di birds on noblewomen’s attire,…

Finally, a period drama where characters don't sleep in their day clothes. Many period dramas show characters sleeping fully dressed, which makes netizens wonder: Why neglect such an important daily routine? Did ancient people not have their own 'sleepwear'? Ancient sleepwear was called 'Xieyi' (亵衣). According to Shuowen Jiezi, 'Xie' means private or intimate clothing. Some wrongly think Xieyi is the same as undergarments like breastbands. In fact, it's a close - fitting garment worn over underclothes. Shiming·Shi Yifu says, 'Zhongyi (中衣) is worn outside undergarments and beneath outer robes.' Zhongyi, also known as 'inner clothing,' emphasizes its close - fitting nature. Shuowen·Yi Bu explains, 'Zhong refers to inner Xieyi,' and Tang Dynasty annotations state, 'Xieyi is clothing worn close to the body.' So, Zhongyi and Xieyi are essentially the same. The most common sleepwear was plain, cross - collared Zhongyi and pants. Cross - collars were the most typical style, followed by front - opening and round collars. When wearing front - opening styles, a breastband might be visible. Sleepwear designs changed little across dynasties, only adapting to contemporary fashion. It was often white, which was versatile and easy to spot dirt. There were long - sleeve, short -…

Did the ancients not worry about things falling out of their sleeves? In the historical drama Lotus Tower, the character Li Lianhua is nicknamed 'Lotus Pockets' by netizens. His role is like Doraemon, pulling out items such as secret letters, tokens, rings, water bottles, swords, and small objects from his sleeves. Could ancient people really stuff so many items of different sizes into their sleeves? Li Lianhua's sleeves seem incredibly capacious! Here's the conclusion: most sleeves that could hold items had cuffs. Unlike the wide - open sleeves used for ceremonial purposes, which generally couldn't hold things directly, and attendants often carried bags for them. Besides sleeves, ancient people also used handbags and backpacks. So, when you see characters easily taking out porcelain bottles or silver from their sleeves or belts, you might wonder—doesn't it hurt? More importantly, wouldn't things fall out? Sleeves with cuffs generally had two features: some were naturally gathered, like pipa sleeves or chuihu sleeves, forming a pouch - like shape. Others had hidden stitching inside wide sleeves to prevent slipping and hold lightweight items. However, carrying heavy or large items in sleeves would be noticeable. So, ancient people often carried small bags, either hidden in…

Recently, stills of Guli Nazha wearing Hanfu were released. Netizens noticed the trendy collar - turning style. Did the Chinese in the Ming Dynasty already have polo shirts? Let's start with the conclusion. It's an adjusted way of wearing a standing collar. Some previously criticized Ming - style Hanfu for not showing the neck well and making the face look bigger. This collar - turning method is a great solution. It offers more styling options and allows better ventilation in summer by unbuttoning the collar, killing two birds with one stone. The Ming Dynasty was a period when 'polo - shirt - style' clothing was very popular. A short - sleeved standing - collar diagonal - closure shirt was unearthed from a Ming tomb. The small white folded collars in ancient paintings might be the effect of wearing such short garments underneath. I initially speculate this short garment meets key criteria for innerwear: it's plain or light - colored, versatile for pairing with outerwear; it uses ties instead of buttons, not interfering with the outer layer. Recall our previous explanation about the Tang Dynasty's round - collar robes. Their innerwear was often half - sleeved. This shows why innerwear often…

What if your very existence doomed the ones you loved? "The Journey of Flower" (花千骨) is not your typical xianxia fantasy. Yes, there are swords, immortals, and sect rivalries—but at its heart, it's a ticking time bomb of forbidden love and fated tragedy. Each episode peels back a layer of mystery surrounding one girl born under a deathly curse, and the immortal who dares to teach her. Ep 1–12: Cursed Beginnings Qiangu's birth under a lethal curse dooms every living thing that loves her—demons swarm at her scent, villagers shun her, and even the land seems to wither in her presence. Orphaned and alone, she survives by scavenging in Lotus Flower Village, her only comfort the belief that mastering immortal arts might free her from this fatal destiny. When bandits massacre her adoptive family, Qiangu unleashes a desperate burst of power—her blood disintegrates their weapons and halts their advance, marking her as both miracle and monster. Enter Bai Zihua, the aloof leader of the Chang Liu sect: bound by heavenly law to eliminate any threat, yet moved by Qiangu's sacrifice in saving his life from a venomous trap. He senses her unique aura—a fated calamity that prophecy warns will one…

From a broken girl to a cunning general's wife, here's how Ling Bu Yi and Cheng Shao Shang fell into a war of love and lies. Raised by Strangers (EP1–10) Cheng Shao Shang was born into glory but not into love. The daughter of Cheng Shi and Xiao Yuanyi—renowned war heroes sent to defend the empire's borders—she should have been cradled in honor. Instead, she was left behind as an infant, entrusted not to trusted hands, but to indifference masked as duty. Fifteen years passed before her parents returned, and in that time, she learned that family was a title, not a promise. Raised in a home where warmth was as scarce as fairness, Shao Shang becomes the scapegoat of the Cheng household. Her aunt views her as wild and ungrateful; her grandmother dismisses her as slow-witted and unworthy. Deprived of formal education and punished for her outspokenness, she survives by wit and will alone. Her cousins learn calligraphy and manners; she learns silence, subterfuge, and how to turn every insult into armor. By the time General Cheng and Xiao Yuanyi come back, they find not a pliant child but a girl forged by neglect. Her sharp tongue and guarded…

What price would you pay for love that could destroy you? In Love Between Fairy and Devil (苍兰诀), the boundaries between love and revenge blur in a world of magic, betrayal, and dark desires. Dong Fang Qing Cang, a formidable devil consumed by hatred, is bound to a curse that fuels his vengeful heart. Enter Xiao Lan Hua, a pure-hearted fairy whose innocence and destiny are unknowingly tied to Qing Cang's dark past. Their fates collide in a tempest of emotions, where trust is fragile, and every choice carries irreversible consequences. A Forbidden Love Begins (EP1–10) The ancient Devil Lord Dong Fang Qing Cang, feared across realms for his ruthless domination, awakens from a 10,000-year imprisonment only to find his powers diminished and his vengeance against the heavens thwarted. His escape from the celestial prison unleashes chaos—and an absurd twist of fate. During a clash with celestial warriors, he accidentally swaps bodies with Xiao Lan Hua, a low-ranking fairy whose life revolves around nurturing flowers in the Destiny Temple. Bound by the unbreakable "Heartbond Curse," their souls become entangled: they share wounds, emotions, and even fleeting control over each other's bodies. For Qing Cang, whose strength relies on suppressing all…

Ju Jingyi (鞠婧祎), a rising star in Chinese costume dramas, has carved a niche with her delicate visuals and evolving acting range. Known for roles blending elegance and resilience, she navigates genres from sweet romances to dark fantasies, defying criticisms of repetitive styling. While her early works leaned on "beauty-driven" tropes, recent projects like Hualing Ling reveal sharper emotional layers. This article explores her standout performances across seven costume dramas, highlighting how she balances ethereal charm with character depth—a journey from idol to actress. The Legend of White Snake 新白娘子传奇 Aired: 2019 Period Background: Mythological Southern Song Dynasty Genres: Fantasy, Romance, Mythology Main Roles: Ju Jingyi (Bai Suzhen), Yu Menglong (Xu Xian) Adapted From: Classic Chinese folklore Legend of the White Snake The 2019 reboot of The Legend of White Snake reimagines the classic Chinese myth of Bai Suzhen, a millennia-old snake spirit who descends to the mortal world. Departing from the 1992 version's focus on Bai's quest to repay a past savior, this adaptation centers on her serendipitous romance with Xu Xian, a humble physician. Set in the Southern Song Dynasty, the story explores Bai's dual identity as both a benevolent immortal and devoted lover. When celestial forces, led…

Before the tears, before the bloodshed, before the gods fell—she loved him. In Immortal Samsara, Yan Dan, a lotus fairy with the power to heal, makes one irreversible decision: to shatter her soul and erase her love for the celestial war god, Ying Yuan. No one forced her. He didn’t stop her. That choice becomes the engine of the entire story. Why would someone give up the memory of a love so deep? What did he do—or what truth was she running from? The story doesn’t begin with romance. It begins with a wound so deep, she’d rather lose herself than feel it. A Love Worth Forgetting (Episodes 1–18) She fell in love with a god. He chose duty over her. So she chose to forget. The story opens in the celestial realm—a place of radiant towers and shimmering order, but also a place where love is a sin and feelings are buried beneath rules. Yan Dan and her twin sister Zhi Xi are rare lotus spirits who ascend to the immortal realm after cultivating for thousands of years. They're supposed to devote themselves to virtue, discipline, and selflessness. But Yan Dan doesn’t quite fit the mold. She’s cheerful, curious,…

Chinese sci-fi animation is quietly undergoing a revolution. No longer confined to tropes of myth or fantasy, a new wave of creators is tackling speculative futures with precision and boldness. These works don't shout for attention; they earn it through sharp world-building, unflinching themes, and a refusal to simplify humanity's relationship with technology. From crumbling post-apocalyptic cities to AI-dominated dystopias, these stories ask urgent questions: What does survival cost? Can humanity evolve without losing itself? The answers are rarely comfortable but always compelling. Below are seven essential titles that define this movement—not as "cultural milestones" but as raw, inventive narratives. They prioritize substance over spectacle, proving that Chinese sci-fi animation isn't just catching up—it's carving its own path. Ling Cage: Incarnation 灵笼 In Ling Cage: Incarnation, humanity's survival hinges on a brutal calculus: sacrifice empathy or perish. The floating fortress Lighthouse enforces a genetic hierarchy where "Uppercitizens" hoard resources while "Dust Citizens" endure dehumanizing labor and insect-based diets. This system strips away human bonds—exemplified by the Dawn Hall's emotionless breeding rituals—reducing life to a eugenicist project. Mark, a Hunter captain tasked with scavenging a monster-infested Earth, initially upholds this order until discovering the Lighthouse's darkest secret: a cult sacrificing children…

Chinese romance animations thrive on bold storytelling and character-driven intimacy. Series like Fox Spirit Matchmaker hook viewers with immortal lovers defying reincarnation cycles, while No Doubt in Us reinvents relationship dynamics through a royal couple's body-swap chaos. These stories avoid tired tropes by grounding emotions in tangible stakes: a demon hunter's loyalty tested across lifetimes in Demon List, or a mortal girl unraveling celestial secrets in Contemplation of Affection. What unites them is razor-sharp focus on how characters earn love—whether battling societal expectations or their own flaws—making every confession or sacrifice resonate with raw, earned authenticity. Fox Spirit Matchmaker 狐妖小红娘 "Fox Spirit Matchmaker" redefines fantasy romance with its inventive premise of fox spirits bridging past and present loves. At its core lies the hauntingly beautiful saga of Dongfang Yuechu, a mortal warrior, and Tu Shan Honghong, a fox spirit matchmaker bound by centuries of duty. Their story isn't a straightforward courtship but a layered unraveling of identities—she must confront her role as an emotionless facilitator of others' romances while secretly yearning for her own; he grapples with fragmented memories of lives where their love repeatedly ended in tragedy. The series weaponizes reincarnation as both plot device and emotional catalyst. Flashbacks to past lives—as star-crossed lovers in imperial courts…

When Zhou Xun dons historical costumes, audiences hold their breath—this petite woman from Jiangnan watertowns carries half of China's epic history in her bones. As the soul-devouring fox spirit in Painted Skin, she laid bare human fragility beneath ethereal beauty; in Ruyi's Royal Love, her restrained sighs as an embattled empress turned palace intrigue into visceral poetry. From her deliberate whisper-pauses to the way her eyes flicker between vulnerability and cunning, we unpack how this actress bends time itself through roles that resonate across generations. Palace of Desire 大明宫词 Aired: 2000 Period Background: Tang Dynasty (618–907 AD), focusing on imperial intrigue. Genres: Historical, Romance, Political Drama Main Roles: Zhou Xun as Young Taiping Princess, Chen Hong as Adult Taiping, Gua Lunshu as Emperor Gaozong. Adapted From: Original screenplay by Wang Anyi. Palace of Desire traces the life of Taiping Princess, portrayed by Zhou Xun in her youth. The series begins with Taiping as a sheltered yet rebellious teenager, her curiosity clashing with the rigid imperial hierarchy. Her early escapades—sneaking into bustling markets, questioning court rituals—highlight her defiance against the suffocating palace life. However, her innocence shatters as she witnesses the ruthless political maneuvers of her mother, Empress Wu Zetian, particularly…

It's been 15 years since Chinese Paladin aired. Recently, Tang Yan's new drama look was unveiled, with her donning purple attire again. Netizens exclaimed, 'Time spares no one, but beauty endures—Zi Xuan is back!' For most, Tang Yan has an exceptional affinity for purple and forehead ornaments, largely because of her unforgettable role as Zi Xuan in Chinese Paladin. In the series, the primary colors of her character were purple and magenta. She wore a forehead ornament, complemented by pink accents. The play of color shades helped shape her character's adaptable personality, making purple and forehead ornaments a must - have for many when imagining a goddess. The forehead ornament stood out due to her prominent broad forehead, which conforms to the traditional aesthetic of a square and full forehead, exuding a sense of grandeur. Adding the ornament further enhanced her classical beauty. At that time, such a broad forehead was quite rare among female celebrities. Unfortunately, apart from the successful styling of Zi Xuan, Tang Yan rarely showed her broad forehead in later roles. She often chose bangs to cover it. Her subsequent styling continuously aimed for a youthful look, which influenced the style of her later characters. For…

In the historical drama 'Si Jin,' Jing Tian's wedding headdress has sparked an online debate. Many criticized it for resembling a Qing Dynasty 'qitou.' But is it really a Song Dynasty costume paired with a qitou? The answer is no. This headdress actually comes from the Song Dynasty's 'Chuijian Guan' (Drooping Shoulder Crown), a trendy accessory during the mid - to - late Northern Song period. As recorded in 'Chen Shi,' '...the longer corners droop down to the shoulders, hence called Chuijian.' Similar crowns were known as 'Dengjian' or 'Duojian,' with widths reaching up to two or three chi. People had to turn their heads sideways to enter a carriage because of the crown's width. The character 'Duo' means 'drooping.' Based on the round crown design, this accessory got its name as its sides drooped and were often adorned with gold, silver, pearls, or jade. For instance, Wang Churan's look in 'Serenade of Peaceful Joy' referenced this crown, which reflected her bold personality in the early part of the story. This crown was extremely popular at that time, imitated by people from the imperial court to commoners. 'Dream Pool Essays' described the attire of Li Shishi, a courtesan favored by…

Is the Internet-wide imitation of Li Jingxun's Moth Hairpin misunderstood? This hair accessory has gained such popularity that it has been imitated in numerous dramas and by countless costume enthusiasts. Subsequently, some people argued that as a child, Li Jingxun was not supposed to wear a crown, among other similar claims. To set the record straight, the misunderstanding doesn't lie in whether Li Jingxun could wear a crown or not, but rather that this moth hair accessory is not a 'crown' at all; it's a hairpin! In the early days, hairpins and hair sticks were clearly distinguished. Hairpins had two or more prongs, while hair sticks had only one. However, over time, these terms became interchangeable. This moth hair accessory belongs to the 'Buyao' category. In Shen Congwen's Research on Ancient Chinese Clothing, it is referred to as 'Nao E Er Pu Hua Shoushi' (闹蛾儿扑花首饰), and the excavation report calls it a 'hair accessory' (Institute of Archaeology, Chinese Academy of Social Sciences, Tang Chang'an Chengjiao Sui Tang Mu, Cultural Relics Publishing House, 1980). Since we usually only see partial images, it might be misconstrued as a floral 'crown'. Nevertheless, a crown should have a crown body, which this hair accessory…