Questioning Ancient Hair Volume Did the ancient people have astonishing hair volume? Could they create such high buns with their own hair? Well, it's a joke! The ancient people already had the "baldness crisis" and secretly wore wigs. In fact, the hair volume of the ancient people might not be as thick as that shown in Zhou Fang's Painting of Ladies Wearing Flowers in Their Hair (《簪花仕女图》). The so - called "Yiji" (义髻) in ancient times was the predecessor of the wig buns we see today. The fashion of wearing wigs started among upper - class women, aiming to increase hair volume and create more complex bun styles, similar to today's hair pads. Materials and Styles of Ancient Wigs The common materials for Yiji were hair or alternative modeling materials like wooden pieces. This spiral - shaped Yiji was made of "false hair". Lined with linen, wrapped with palm hair and dyed, it was made into a spiral shape. You could just press it on your head to complete the makeup, showing both simplicity and ingenuity. The materials for making Yiji were diverse, not limited to real human hair. For example, thin wooden pieces were used. This lacquered wooden wig…

Nowadays, young people are into black lipstick. Their families would surely be shocked and wonder about this "weird" aesthetic. But if this trend went back over a thousand years to the Tang Dynasty, you'd be amazed at the "ahead - of - time" makeup looks. People would exclaim, "It's still our ancestors who were the trendsetters!" The "Wu Gao" (乌膏) mentioned by Xi Jun and Mrs. Ma in "The Detective Diaries 2" (唐诡2) did exist in the Tang Dynasty. It was a special kind of lip balm in the "Shishi Zhuang" (时世妆), or the fashionable makeup of the time. According to "New Book of Tang -五行志", during the Yuanhe period of Emperor Xianzong of the Tang Dynasty, women favored a makeup style of "round - bun and cone - shaped hair, no hair ornaments, no rouge or powder, only using Wu Gao to paint the lips, looking like someone who had been crying." Characteristics of the Makeup Even the spider spirit in "Black Myth: Wukong" has the same "Wu Gao - painted lips". This makeup was not just about painting the lips nearly black. It also included drawing eight - character eyebrows, adding oblique red makeup on the cheeks, and…

In the TV series A Love So Beautiful, the "Xian Dian" (仙钿) became the lifelong pursuit of many little fairies. The character played by Cheng Yi even achieved the transformation between immortal and demon identities by switching the marks between his eyebrows of different colors and shapes. Taking a closer look, isn't this "Xian Dian" just the Huadian (花钿) in traditional makeup? In most ancient - costume dramas, the classic "red dot between the eyebrows" often appears. These Huadian between the eyebrows are truly amazing. Not only women, but also more and more male characters in various popular ancient - costume TV dramas are using all kinds of Huadian. Even in many fairy - tale dramas, in order to distinguish status, derivatives such as "Xian Dian" for immortals ascending the immortal rank and "Asura marks" have emerged. In the game Black Myth: Wukong, the forehead of the spider spirit is also decorated with different Huadian. Huadian may also be an inherited mark. Different Huadian can be designed according to personal characteristics. Although the usage of Huadian in movies and TV shows is also strange, the facial makeup decorated with Huadian actually has a bit of classical charm. Where Does Huadian…

The recent trend of Shenxianfu (神仙服) has sparked enthusiasm for traditional clothing culture. But do you know the difference between Xianfu (仙服) and Shenxianfu? Defining Xianfu and Shenxianfu Here’s a clear distinction: Xianfu: Modernized Han-inspired fashion, blending traditional elements with contemporary aesthetics—think oversized sleeves, lace, and sheer fabrics to create a fairy-tale or princess vibe, often seen in fantasy dramas. Shenxianfu: Traditional Hanfu (汉服) with added accessories, rooted in historical paintings like Gu Kaizhi’s Nymph of the Luo River or Yuan Dynasty murals, featuring layered robes, feathered capes, and ornate sashes. Shenxianfu draws from ancient art, such as Tang Dynasty Eight Immortals paintings or Dunhuang frescoes, adhering to Hanfu’s foundational styles like 上衣下裳 (upper garment with skirt) and embellished with 垂髾 (flowing ribbons) or 璎珞 (beaded necklaces). Why It Matters Both styles celebrate Chinese heritage—Xianfu as a creative evolution, Shenxianfu as a historical homage. While debates persist among Hanfu enthusiasts, appreciating their distinct origins enriches cultural dialogue. What’s your take? Share your thoughts below!

Recently, the TV series The Story of Willow Boat has been a huge hit. Wang Churan (王楚然), who plays the role of Liu Miantang, presents an image of grace and elegance. The whole drama features the charm of the Song Dynasty, and Wang Churan mainly wears Song - style costumes, mainly cross - collared shirts and skirts, and outer robes (褙子). She co - stars with Zhang Wanyi (张晚意), who plays Cui Xingzhou, in a romantic drama between an amnesiac female bandit leader and a prince in charge of suppressing bandits. However, this article focuses on her costumes rather than the plot. Before this, there have been many impressive characters in the field of Song - style costumes, such as Zhao Liying (赵丽颖), Liu Yifei (刘亦菲), Jiang Shuying (江疏影), and Zhou Ye (周也). Wang Churan has experienced various style changes in the ancient - costume drama field. It was not until The Clear Peace that people really remembered her as Zhang Beihan, a bold and passionate character. Then, her image as a courtesan in Joy of Life 2 helped her quickly gain popularity in the Song - style costume arena. Note that the Song - style costumes here mainly refer…

Sometimes when we see people in TV dramas wearing clothes with large sleeves while going out, having meals, dating, fighting, or sleeping, it just seems so awkward. Were all the ancient people's clothes with large sleeves? How inconvenient would it be to go to the toilet then? We usually use the term "broad robes and large sleeves" to describe the characteristics of Hanfu. "Broad robes" means the Hanfu has a loose fit, and "large sleeves" or "wide sleeves" refer to the wide sleeves. However, it should be noted that this is not a universal feature of Hanfu but rather a characteristic of Hanfu formal wear, used to highlight the wearer's status, such as the historical large-sleeved shirts and official uniforms. Except for formal occasions, people in daily life rarely wore such large sleeves. Various Sleeve Types of Hanfu If we simply categorize the sleeve types of Hanfu, there are many, suitable for any current daily occasion. To simplify, narrow sleeves are suitable for daily labor, martial arts, etc.; hanging beard sleeves, pipa sleeves, and straight sleeves are suitable for daily occasions without labor; short sleeves are suitable for ordinary outerwear and home wear in summer. Examples of Sleeve Width For…

For those who love ancient - style makeup and hairstyles, whether you watched the show Nian Jin during the Spring Festival Gala or followed The Ballad of the Southern Kingdom before, you might be confused about why the characters always have a hanging hair strand on their foreheads. It seems a bit 'crazy' at first glance, but it's not the makeup artists' random choice. To understand this style, we have to start from the 'head'. This style can be seen in The Admonitions of the Instructress to the Court Ladies and The Illustrations of Women of Virtue and Wisdom. Its formal name is the Chui Shao (垂髾) hairstyle. Pei Yin's Collected Annotations on Records of the Grand Historian quotes Guo Pu as saying: 'Shao refers to the hair hanging from the bun.' That is, the bun is on the top of the head, some facing backward, and the hair ends are combed out from the upper part of the bun and hang down behind the earlobes. From various portraits, we can commonly see two types of this style: one is the Chui Shao at the back - of - the - head bun, and the other is the Chui Shao…

At a recent event, actress Zhou Ye (周也) stunned in a shawl draped in a way reminiscent of her character in Scent of Time (为有暗香来). This sparked a wave of admiration online: “Who knew a shawl could be worn like this? Fashion truly transcends time!” Indeed, the various ways modern shawls are styled bear a striking resemblance to the classical pibo (披帛) of ancient China. While today’s shawls come in a variety of materials and styles, their role in enhancing an outfit remains unchanged. And just like in ancient times, there’s more than one way to wear them. The Evolution of Draped Elegance The concept of draping fabric over the shoulders dates back thousands of years. As early as the Wei and Jin dynasties, terracotta figurines depicted women wearing short, wide scarves known as 帔 (pei) or 披 (pi). These early forms of pibo were not just functional but also stylish, much like modern scarves. A poetic reference from the Southern and Northern Dynasties describes a woman’s elegance: "Her step-shaking hairpin sways, and the red edges of her pei flutter." By the Tang Dynasty, the pibo had evolved into a long, narrow accessory, becoming an essential part of women’s fashion.…

Hanfu, the traditional clothing of the Han Chinese, has experienced a remarkable resurgence. What was once a niche interest among history enthusiasts and cultural purists has now blossomed into a full-blown fashion movement. By 2024, the Hanfu market is not just thriving—it’s evolving, adapting, and influencing modern fashion in ways that few could have predicted a decade ago. The Hanfu Phenomenon The Hanfu revival isn’t just about clothing; it’s a cultural statement. Rooted in over 3,000 years of history, Hanfu represents more than just aesthetics—it’s a symbol of identity and heritage. In 2024, this traditional attire has found its way into the wardrobes of a diverse audience, from young students to working professionals, and even international fashion enthusiasts. The driving force behind this resurgence? A combination of government support, cultural pride, and the rise of China-chic (国潮). Policies promoting traditional culture, such as the "14th Five-Year Plan for the Development of Chinese Traditional Culture," have played a significant role in boosting public interest. Events like China Huafu Day (中国华服日) and Huazhao Festival (花朝节) have further cemented Hanfu’s place in contemporary culture, turning it into a symbol of national pride. The Market Boom: Numbers Don’t Lie The numbers speak for themselves.…

Ancient Chinese wisdom distilled clothing choices into simple truths: light robes for summer, padded jackets for winter. But look closer, and you’ll find a nuanced system—24 solar terms (节气), 72 micro-seasons (物候), and festivals each demanding specific colors and motifs. This wasn’t just practicality; it was a silent dialogue between humans and the rhythms of nature.. Chapter 1: Lunar New Year (春节) The tradition of wearing new clothes for the Lunar New Year is widespread in Chinese culture. Regardless of social class, people are expected to wear their finest attire to usher in the new year. For officials and those of higher status, formal ceremonial clothing is a must. The colors of these garments—red, blue, yellow, white, and black—offer a range of options, but certain traditions guide their use. White is typically worn for mourning, red symbolizes celebration, and yellow was reserved for emperors after the Tang Dynasty. Red, blue, and black are more common, with red standing out as a symbol of prosperity, joy, and good fortune. Throughout the New Year festivities, red decorations such as firecrackers, lanterns, and spring couplets (春联) fill the environment, creating an atmosphere of happiness and festivity. Red has become the hallmark of wealth…

If you've ever watched a historical drama and wondered how anyone in those flowing, oversized sleeves could manage to go about their daily life—let alone eat, fight, or even use the restroom—you're not alone. The sight of characters gracefully strolling through scenes, their sleeves billowing out like sails, can seem a bit comical at times. But are these oversized sleeves a true reflection of ancient attire, or just a modern cinematic effect designed for flair? Understanding the "Big Sleeve" in Historical Fashion The term "wide sleeves" or "broad sleeves" has become almost synonymous with traditional Chinese clothing, especially in popular depictions of Hanfu in historical dramas. But here's the first thing to clarify: this feature is not a universal characteristic of all Hanfu garments. Instead, it’s a defining element of the ceremonial or formal robes, often worn by people of high social status, such as royalty or high-ranking officials. The expansive sleeves were meant to highlight the wearer’s identity, power, and elegance, signaling a person’s nobility or importance. Outside of official events or ceremonies, though, everyday clothing was designed for practicality, not drama. The oversized sleeves often seen in TV shows are a more recent trend driven by visual aesthetics,…

If you've seen the stills of costume dramas like Moyu Yunjian and For the Sake of the Hidden Fragrance, you'll notice that director Yu has a particular preference for one type of clothing style: the shirt and skirt ensemble. It's the most common style in traditional Chinese clothing and also the easiest to mass - produce and replicate. It's like wearing hundreds of different - colored shirts. Can you really not get aesthetically tired of it? Styles of Shirt and Skirt The upper part of the shirt and skirt can be in the styles of cross - collar, front - closing, or shallow cross - collar. The lower skirt is usually a split skirt or a pleated skirt. Simply put, if you change the fabric and color of the upper shirt and the lower skirt respectively, it counts as a new set of clothes. The dynasties when the shirt and skirt were most popular were the Tang and Song dynasties. The styles of the shirt and skirt in these two periods were different. In the Tang Dynasty, the skirt was tied high to the chest, showing a luxurious and noble style. In the Song Dynasty, the skirt returned to the…

On March 29, 2025, as the 'Spring Festival Elder' Luoxia Hong from Langzhong and famous lyricist Fang Wenshan jointly opened the door, the 2025 Langzhong Hanfu Festival grandly kicked off at the Chengqing Gate in Langzhong Ancient City, Sichuan. The event, themed 'Roaming in Langzhong with Hanfu, Spreading the Glory of Chinese Culture', attracted thousands of Hanfu enthusiasts from all over the country to gather in Langzhong Ancient City for the 'Dynasty Carnival'. It was a feast that allowed people to glimpse the beauty of Hanfu across thousands of years. The term 'tongpao' refers to contemporary Hanfu lovers. At 9:30 a.m., the 'Spring Festival Elder' Luoxia Hong, dressed in Hanfu and holding a celestial globe, started the event, accompanied by the dance of twenty - four flower fairies. Various phalanxes, including those representing the Han, Three Kingdoms, Tang, Song, and Ming dynasties, as well as wedding, twelve flower fairies, intangible cultural heritage peddler, Hanfu merchant, parent - child, public, and flag phalanxes, paraded in turn. More than 1,000 Hanfu enthusiasts, with delicate makeup and elegant accessories, showed the classical and elegant beauty of Hanfu to the fullest. The 'Dynasty Carnival' was based on China's excellent historical culture, with elements such…

In many ancient costume or xianxia (仙侠) dramas nowadays, the same costume stylist is often used, so it's easy to have some "dressing alike" situations. Bai Lu and Li Yitong not only wore the same clothes but also had the same hairstyle. They both had the little fox makeup and styling. Moreover, there is only a four - year age gap between Li Yitong and Bai Lu. Many people even say they look like twins and sometimes can't tell them apart. But with the same Hanfu and hairstyle this time, unexpectedly, Bai Lu looks more like Li Yitong's elder sister. Analysis of Bai Lu's Hairstyle and Appearance in Xianxia Drama First, let's look at the hairstyle. There are two frizzy ponytails on the head, highlighting the little fox's liveliness and playfulness. Double ponytails also make one look more innocent. Xianxia Hanfu usually has a slightly exaggerated beauty, creating an effect of a mountain elf. Bai Lu is just like this. From afar, she looks exactly like a little fox from the forest taking its first step into the world, lively and a bit cute. Bai Lu's face and figure are quite ordinary. With a face shape more like that of…

The cheongsam, hailed as the 'second skin' of Chinese women, owes its charm not only to its exquisite tailoring but also to the texture of its fabric. The material of a cheongsam directly determines its comfort, aesthetics, and suitability for different occasions. So, what material is the most suitable? This article combines traditional craftsmanship with fashion trends to reveal the golden rules of cheongsam material selection. I. Top List of Classic Materials: Eastern Charm from Tradition to Modernity 1. Silk: A Synonym for Luxury and Heritage Advantages: Silk cheongsams are known for their softness, skin - friendliness, breathability, and moisture absorption. The natural luster can perfectly present the drape and noble temperament of the cheongsam. Traditional silk fabrics such as double - crepe, habutai, and Hangzhou gauze are especially suitable for summer receptions or banquets, looking as light and elegant as a 'walking work of art'. Points to note: They require professional dry - cleaning and should be protected from direct sunlight and friction to avoid snagging. 2. Satin: The First Choice for High - End Cheongsams Features: Fabrics like brocade and antique satin have a natural high - end luster. When paired with intangible cultural heritage techniques such as…

The national trend has swept through the streets, and one can always catch two distinct charms in the fluttering skirts - the qipao is as graceful as an ink - colored peony, while the Hanfu unfolds like a landscape painting. This is not just a choice of clothing but a profound exploration of how Eastern aesthetics can thrive. Time - honored Codes in Stitches Qipao: A Poetic Declaration of Body Awakening In 1920, on Shanghai's Avenue Joffre, tailors used a copper ruler to measure the contours of the new era. The improved qipao tightened its wide sleeves, locked a bit of reserve with a standing collar, yet revealed a hint of allure through its side slit. The women in gossamer - silk qipaos in Eileen Chang's works walked on the Bund in high - heels, and each step echoed the call for freedom on the cobblestones. Today's silk qipaos still shine. Craftsmen at the Hangzhou Silk Museum have embedded Suzhou - embroidered peonies into the texture of acetate fiber, allowing ancient craftsmanship to blossom on modern fabrics. Hanfu: A Contemporary Narrative of a Thousand - year - old Civilization At the foot of the Xi'an City Wall, girls in cross…

When the opening theme of the anime hit 230 million views on Bilibili, this cultivation anime adapted from the novel of the same name by author Er Gen is setting off a new wave in the Chinese anime field. Different from, which tells a story of a commoner's counter - attack, the cultivation world constructed in is a philosophical maze about “Going with the flow makes one ordinary; going against it makes one a celestial being”. The animation production team, with top - notch production that burns millions per second, has pioneered a new paradigm of Eastern cultivation aesthetics in the field of 3D animation. The Dimensional Leap of Cultivation Narrative The visual translation of the original text in the anime is amazing. When Wang Lin was practicing in the Hengyue Sect, the production team used particle effects to construct the trajectory of spiritual energy flow, transforming the originally abstract text description into a visual energy map. When the protagonist uses the “Extinction Finger”, the ink - style shockwaves bloom layer by layer in the 3D space. This visual deconstruction of cultivation skills gives traditional Xianxia (仙侠) elements a cyber - punk future sense. In terms of character creation, the…

Recently, Xiamen University Tan Kah Kee College held the "Our Festival • Huachao" event on the lake - heart island in the campus. The event was bustling with people, featuring activities such as flower - viewing, arrow - throwing, riddle - guessing, and club exhibitions. The golden trumpet tree forest on the island was in full bloom, and teachers and students came together to embrace the spring. The Huachao Festival, also known as the "Flower God Festival" or commonly referred to as the "Birthday of All Flowers", was once one of the "Eight Festivals of the Year" along with the Lantern Festival, Dragon Boat Festival, Mid - Autumn Festival, and Double Ninth Festival. It is usually celebrated in the second lunar month. During the Tang Dynasty, the Huachao Festival and the Mid - Autumn Festival were collectively called "Huachao Yuexi" and were extremely popular. The Flower God Ceremony was one of the highlights of the event. Members of the Hanzhihua Zhang Hanfu Club wore the Hanfu representing the twelve "Flower Gods". Led by Zhu Yingbei, the deputy dean of the School of Humanities and Communication, they completed the offering ceremony following the procedures in Zhou Li • Chun Guan, recreating…

In the long history of the ancient Chinese land, China enjoys the great reputation of being the “Country of Elegant Attire”, the “Land of Beautiful Costumes”, and the “State of Etiquette”, all of which are closely related to Hanfu. In modern life, Hanfu is not an everyday outfit. We can often see it only in large - scale traditional celebrations, exquisite photo shoots, and ancient - costume TV dramas. So, what kind of etiquette connotations are hidden behind Hanfu, which carries thousands of years of culture? Let's explore the profound world of Hanfu culture to find the answer. Hanfu, the traditional clothing of the Han ethnic group with a millennium - long inheritance, is based on the essence of the Four Books and Five Classics and has followed the traditions in the Records of Carriages and Attire for thousands of years. The ceremonial robes have always adhered to the etiquette norms with few major changes over time. On the other hand, the daily clothing of the common people has become increasingly diverse as time goes by. As the unique traditional ethnic clothing of the Han people, Hanfu has a history of more than 4,000 years. Nourished by the wisdom and…

Chengdu, China's "Land of Abundance," is more than just the hometown of giant pandas. This 2,300-year-old city in Sichuan Province is a living museum of Han Dynasty relics, UNESCO-listed cuisine, and a gateway to Tibet's eastern foothills. For International Travelers fascinated by China's history, spirituality, and culinary arts, Chengdu offers an immersive blend of ancient traditions and cosmopolitan energy. Let's unlock your perfect trip! Visa & Entry: Stress-Free Arrival 144-Hour Visa-Free Transit Citizens from 53 countries (including the US, UK, Canada, and EU nations) can enjoy Chengdu's 144-hour visa-free policy when transiting through Chengdu Shuangliu International Airport. Requirements: Valid passport (6+ months). Onward flight ticket to a third country/region within 144 hours. Restricted travel area: Chengdu, Leshan (Giant Buddha), Ya'an (panda base), and select cities. Pro Tip: Avoid Jiuzhaigou Valley—it's outside the visa-free zone. Regular Tourist Visa (L Visa) For longer stays or broader travel plans, apply for a China Tourist Visa at your local embassy. Processing takes 4–7 days. You can apply for this at your nearest Chinese embassy or consulate. The process typically requires your passport, a completed application form, a recent photo, and proof of your travel itinerary and accommodation bookings. Some nationalities may also need to…