In the historical drama 'The Glory of Tang,' a stunning peacock crown caught the audience's attention. This crown, inspired by a real artifact from the Tang Dynasty, raises the question: Did people in the Tang Dynasty really wear peacocks on their heads? The answer lies in the exquisite craftsmanship and cultural significance of the era. The design of the peacock crown is based on a painted pottery figurine of a horseback female drummer, housed in the Xi'an Museum. This figurine belonged to Jinxiang Xianzhu (金乡县主), the granddaughter of Emperor Gaozu of Tang, Li Yuan, and the third daughter of Li Yuanying, the Prince of Teng. The artifacts excavated from her tomb reveal a life of luxury and sophistication, vividly depicting the prosperity of the Tang Dynasty. Xianzhu (县主) was a title within the Zongnü (宗女) hierarchy, a system that defined the status and privileges of royal women. This hierarchy included titles such as Gongzhu (公主, princess), Junzhu (郡主, princess of the crown prince), and Xianzhu (princess of a prince), each with distinct ranks and privileges. For instance, Gongzhu held the first rank, Junzhu the second, and Xianzhu the third. As a second-rank noblewoman, Xianzhu wore elaborate attire, including a Diyi…

In Tang Dynasty China, women’s fashion followed a consistent formula: a layered ensemble of shan (衫, a short top), ru (襦, a lined jacket), ku (袴, trousers or leggings), and qun (裙, skirts), often draped with a long, flowing pei (帔, a silk stole). But like modern trends, styles evolved—shifting from slim, fitted cuts in the early Tang to voluminous, relaxed silhouettes by the late Tang. This piece traces the evolution of women’s fashion across the Sui, Tang, and Five Dynasties. Each section opens with a vignette inspired by legendary figures—like the runaway courtesan Hongfu (红拂), the politically savvy Shangguan Wan’er (上官婉儿), or the tragic beauty Yang Yuhuan (杨玉环)—paired with reconstructions of their likely outfits. Drawing from archaeological finds, paintings, and sculptures, we’ve pieced together how these women might have dressed. But first, a primer on Tang textiles. The Fabric of Tang Fashion Silk fabrics were woven from intersecting threads: jing (经, warp, the lengthwise threads) and wei (纬, weft, the crosswise threads). Variations in these threads created intricate patterns. 1. Plain Weaves: Juan & Shi Juan (绢): A basic plain-weave silk, utilitarian and widely used. Shi (絁): Similar to juan, but with uneven weft threads, creating subtle horizontal stripes.…

In 618 CE, as Sui Dynasty excesses sparked rebellion, a daring aristocrat named Li Yuan seized Chang'an, founding the Tang Dynasty (618–907 CE). Under his son, Emperor Taizong, Tang became a golden age—a cosmopolitan empire where Persian merchants, Korean scholars, and Uyghur horsemen mingled in silk-clad streets. Poetry flourished with Li Bai's verses, diplomacy stretched to Baghdad, and Buddhist pagodas pierced the skies. Yet Tang's splendor was tempered by treachery: palace coups, concubines' schemes, and the cataclysmic An Lushan Rebellion that left a million dead. The Tang's two centuries of zenith saw unmatched innovation: woodblock printing spread knowledge, imperial exams elevated commoners, and women like Empress Wu Zetian shattered ceilings, ruling as China's sole female emperor. But this was also an era of extremes. Emperor Xuanzong's passion for concubine Yang Guifei birthed both art and ruin, while the Silk Road brought riches—and bloodshed—as Tibetan and Turkic armies challenged Tang's borders. Hungry for opulence and intrigue? Step into the splendor of Chang'an's lantern-lit nights, where poets duel with brushstrokes and spies whisper in tea houses. Marvel at Wu Zetian's ruthless ascent from concubine to empress, or let your heart break with the tragic romance of Xuanzong and Yang Guifei—a love that…

The Large-sleeved shirt, known as "Da Xiu Shan" in Chinese, was a prominent aristocratic attire during the mid to late Tang Dynasty. This garment is often associated with the famous painting "Court Ladies Wearing Flowered Headdresses" by Zhou Fang, which vividly depicts noblewomen adorned in ankle-length skirts paired with sheer, large-sleeved gauze shirts that delicately cover their shoulders and arms. The artist's realistic portrayal not only captures the transparency of Tang fabrics but also the softness of the women's skin. This style persisted until the late Ming Dynasty, often paired with a ceremonial cape, and was alternatively called "Da Xiu" or "Da Shan." During the High Tang period, the influence of Hu (nomadic) clothing waned, and women's fashion gradually embraced wider sleeves. By the mid to late Tang era, sleeves often exceeded four feet in width. The attire typically included a wide-sleeved cross-collared shirt, long skirt, and a draped shawl, reserved for significant occasions like court appearances, ceremonies, and weddings. Adorned with golden hairpins and floral decorations, it was also referred to as "Floral Hairpin Large-Sleeved Shirt." Zhou Fang's painting, now housed in the Liaoning Provincial Museum, illustrates noblewomen leisurely strolling through gardens, picking flowers, and playing with butterflies. Their…

When Tang Yan (唐嫣) first stepped into the spotlight as Zixuan in Chinese Paladin 3 (仙剑奇侠传三), she became the blueprint for the "divine heroine" archetype in Chinese fantasy dramas. Now, 15 years later, she's back as Ji Tanyin in A Moment But Forever (念无双), a goddess who doesn't just love humanity—she understands it. The show's hashtags like #TangYan'sDivineMission and #JiTanyinTheUnconventionalGoddess have trended across platforms, reigniting nostalgia while proving Tang's staying power. For many fans, this role feels like a full-circle moment—a return to the genre that made her famous, yet with a fresh twist. The Divine Reimagined In A Moment But Forever, Ji Tanyin isn't your typical aloof deity. Tasked with retrieving a celestial artifact, the "God's Left Hand," from the fox tribe's high priest Yuan Zhong (Liu Xueyi), she quickly realizes the mission isn't black-and-white. Yuan, branded a tyrant by his clan, is actually a victim of manipulation—a pawn in a power game orchestrated by elders hungry for the artifact's magic. What sets Ji Tanyin apart is her refusal to blindly obey divine orders. When five celestial judges demand Yuan's execution, she debates them head-on: "Is a scholar's patriotism worth more than a farmer's love for his family? Is…

Some netizens have raised concerns: Japanese architectural elements are increasingly appearing in historical dramas. When discussing Tang Dynasty architecture in China, many recall the phrase "The true legacy of the Tang Dynasty lies in Japan." But is this really the case? The statement "The true legacy of the Tang Dynasty lies in Japan" did not originate from us but was a cultural slander by Japanese experts after the invasion of China. It wasn't until 1937 when Liang Sicheng and Lin Huiyin discovered the Tang Dynasty Foguang Temple in Shanxi that the Japanese experts' claim—that China no longer had any wooden structures predating the Tang Dynasty—was debunked. Upon closer examination of Chinese and Japanese architecture, one realizes that Japan was more like a transfer student learning Chinese architecture, often ending up with a mishmash of styles. Let's take the most commonly misused Japanese element in historical dramas as an example—Tang Po Feng (唐破风). Tang Po Feng refers to a small gable roof placed outward at the entrance of a building, extending the eave space. The term "Po Feng" (破风) actually originates from the Chinese "Bo Feng" (搏风). The side panels of a hip - and - gable roof are called "Bo…

In recent years, costume dramas featuring Tang Dynasty aesthetics have surged in popularity. From the widely acclaimed "The Curse of the Pearl Screen" and "Strange Tales of the Tang Dynasty" to upcoming productions like "National Beauty and Fragrance" starring Yang Zi and Li Xian, "Midnight Return" with Tian Xiwei and Xu Kai, Liu Shishi's "Palm of the Hand," and the adaptation of Ma Boyong's novel "Lychees of Chang'an," the Tang Dynasty has become the go - to historical backdrop for filmmakers. The Tang Dynasty (618 - 907 AD) was a golden age of Chinese civilization, renowned for its cultural confidence and sartorial splendor. As historian Sun Ji noted in "Essays on Ancient Chinese Costumes," Tang noblewomen boldly embraced low - cut dresses that accentuated their beauty. The poet Ouyang Xun famously captured this aesthetic with the line: "Snow - white chests and flower - like faces." Shen Congwen's "History of Chinese Clothing" details how Tang women pioneered fashion trends. The popular "half - sleeve" jacket, worn over narrow - sleeved blouses, featured various collar styles and was tied with delicate ribbons across the chest. The pi (披帛), a long decorative scarf often made of sheer silk with intricate patterns, became…

Zhao Lusi's latest Tang Dynasty-inspired look in 'Pearl Curtain and Jade Screen' has fans reminiscing about her iconic Le Yan (乐嫣) character from 'The Long Ballad' (长歌行). While both styles draw from the Tang Dynasty aesthetic, there are notable differences that showcase her versatility in portraying historical roles. Le Yan's Hairstyle in 'The Long Ballad' In 'The Long Ballad', Zhao's Le Yan character sported the classic 'Bunny Ear' hairstyle, known as Baiheji (百合髻) or Lily Bun. This double-bun style, often with a center part or crisscross design, was popular during Emperor Taizong's reign (627 - 649 AD). Historical records from Ma Gao's 'Notes of Past and Present China' describe it as one of the signature hairstyles of early Tang Dynasty, perfectly complementing Zhao's sweet and youthful appearance. Hairstyle in 'Pearl Curtain and Jade Screen' The 'Pearl Curtain and Jade Screen' presents a more mature interpretation of Tang fashion. Zhao's character wears a single bun hairstyle, reminiscent of the Qiu Ji (囚髻) or Prisoner's Bun popular in mid - late Tang Dynasty. The styling features thinner, more voluminous sideburns creating a 'Chan Bin' (蝉鬓) or Cicada Wing effect - a delicate framing technique that mimics the transparency of cicada wings using…

Somewhere along the way, in TV dramas, it became trendy for brides in Tang and Song Dynasty settings to wear green wedding dresses, and the trend has only grown. After revisiting historical records, it dawned on me: have we been misled? Have you also been bombarded with images of "red - clad grooms and green - clad brides"? First, let's talk about the concept of wedding attire. In ancient times, there was no strict dress code for weddings, which has led to the current confusion about wedding dress styles. However, officials and noblewomen had corresponding strict dress codes, and their use was defined according to specific scenarios in the Five Rites. Weddings and coming - of - age ceremonies were important occasions in the auspicious rites. From the Sui and Tang Dynasties to the Song and Ming Dynasties, cyan was always a high - end color for women's formal dresses. "The Book of Sui: Ceremony 7" records that the empress's Yi dress was "made of dark cyan fabric, with woven collars and cuffs, embroidered with five - colored pheasants in twelve rows." "Tang Six Codes" states that the empress's Yi dress was "made of dark cyan woven fabric..." "New Rites…

As March is almost over, the domestic drama market has reversed its downturn and become increasingly lively. The drama When Yan Returns premiered suddenly and quickly climbed to the top of the national heat list. The suspense drama The Chess Player, in which Wang Baoqiang starred after a 12 - year hiatus, also received a lot of positive feedback. These two dramas are already dark - horses, but the real highlight is yet to come. The Unparalleled Nian took the top spot on the hot list right after its premiere. Initially, people thought it was just another old - fashioned and bad (xianxia drama, a genre of Chinese fantasy drama), but after binge - watching 6 episodes, they were hooked. It seems that there's going to be a new hit in the xianxia drama genre! 1. Outstanding Plot and Stunning Visuals The Unparalleled Nian tells the story of Ji Tanyin (played by Tang Yan), the unparalleled goddess, who is entrusted by the heaven to retrieve the divine artifact "The Left Hand of God" from Yuan Zhong (played by Liu Xueyi), the great priest of the Youhu Clan. The two go from scheming against each other to falling in love and…

At 41, Tang Yan has challenged an ancient-style photo shoot for the first time. Soon, we'll also see her last ancient-costume drama. At this age, it's no longer suitable for her to play in ancient idol dramas. Tang Yan, if you're being kidnapped, just blink. She managed to break free from the label of an ancient idol drama actress and upgrade to a serious drama actress because of the drama The Longest Day in Shanghai. Acting in an ancient idol drama again will easily make her a target of ridicule. In ancient idol dramas, we look for handsome men and beautiful women. Although Tang Yan takes good care of herself, her age is still quite obvious. If she gets mocked, it'll be hard for her to recover. We hope she has good luck this time; otherwise, it'll damage her newly-established image. This is Tang Yan's first ancient-style photo shoot, and she's currently the only one among the 85-generation actresses to do so. It's full of a sense of sophistication and is different from those cheap Hanfu photo shoots, instantly raising the bar. Tang Yan's outfit is a collision between modern and ancient styles. A high-end blue feather dress paired with…

On March 4, the China National Opera & Dance Drama Theater and Suzhou Bay Grand Theatre jointly announced the launch of the dance drama Chuihong Farewell: Tang Yin (唐寅:垂虹别意). This highly anticipated production delves into the fascinating life of Tang Yin (唐寅), a celebrated Ming dynasty scholar, poet, and painter, known for his artistic brilliance and charismatic persona. Through an innovative blend of dance, music, and visual storytelling, the performance aims to breathe new life into Jiangnan's rich cultural heritage while presenting Tang Yin's personal journey of triumphs and trials. Tang Yin, often regarded as the "Most Romantic Scholar of Jiangnan," was famed for his poetic talent, calligraphic finesse, and exceptional painting skills. Yet, his life was not merely a tale of aesthetic achievement; it was also marked by dramatic twists of fate. From his early years of scholarly ambition to his fall from grace due to a scandalous examination fraud accusation, Tang Yin's story embodies the age-old themes of ambition, disillusionment, and enlightenment. Chuihong Farewell: Tang Yin is set against the picturesque backdrop of Suzhou's Wujiang District, with the iconic Chuihong Bridge serving as a symbolic anchor for the narrative. As a central government-affiliated performing arts institution, the China…

In the world of historical Chinese dramas, costumes are more than just clothing—they are a window into the past. Recently, eagle-eyed fans of actress Liu Shishi (刘诗诗) noticed something intriguing about her wardrobe in her latest period drama: a garment that looks strikingly similar to a modern-day T-shirt. This piece, known as the tanling banbi (坦领半臂), is not a contemporary addition but a fascinating example of Tang Dynasty (618–907 AD) fashion that has stood the test of time. What Is a Tanling Banbi? The tanling banbi is a traditional Chinese garment that combines a wide neckline (tanling) with short sleeves (banbi). The tanling neckline, often compared to a modern scoop or boat neck, is characterized by its deep, open cut, sometimes extending to the chest. This design, which dates back to the Tang Dynasty, was particularly popular among women for its comfort and elegance. The banbi sleeves, which end at the elbow or higher, make the garment practical for daily wear, especially in warmer weather. What sets the tanling banbi apart from modern T-shirts is its construction. Unlike a T-shirt, which is typically pulled over the head, the tanling banbi features a front opening secured by buttons or ties. This…

The recent Chinese television series Flourished Peony (国色芳华) has captivated audiences not only with its lavish production design and meticulous recreation of Tang Dynasty (618–907 AD) society but also with its unflinching exploration of women’s agency in a patriarchal world. At its core, the drama follows He Weifang (何惟芳), a merchant’s daughter trapped in a loveless marriage, as she navigates the rigid legal and social frameworks of her time to reclaim her freedom. While the plot is fictional, its portrayal of Tang-era divorce laws—and their haunting parallels to modern marital disputes—offers a compelling lens through which to examine China’s evolving legal landscape. Part I: A Woman’s Fight Against Feudal Constraints The series opens with He Weifang’s forced marriage into the influential Liu family, a union orchestrated to secure medicine for her ailing mother. However, the Liu household reveals itself as a den of cruelty: scornful of her merchant-class background, they exploit her dowry while denying her dignity. Tragedy strikes when Weifang discovers the medicine promised by her in-laws is counterfeit, leading to her mother’s preventable death. Determined to escape her gilded cage, Weifang seeks an amicable divorce (he li)—a concept formally recognized during the Tang Dynasty. Her husband, Liu Chang,…

The series Horror Stories of Tang Dynasty Ⅱ(唐朝诡事录之西行), a part of the " Horror Stories of Tang Dynasty" trilogy, takes audiences on an investigative journey steeped in the culture and lore of the Tang Dynasty. This fictional narrative features the detective duo Su Wuming (苏无名), a protégé of the legendary Di Renjie (狄仁杰), and Lu Lingfeng (卢凌风), a fictionalized son of Princess Taiping. While the historical accuracy of these characters may be debatable, the series excels at breathing life into the grand and enigmatic tapestry of Tang-era China through supernatural elements, social observations, and intricately designed mysteries. Penned by Wei Fenghua (魏风华), a writer deeply inspired by classical Chinese folklore, the series weaves ancient texts like Youyang Zazu (酉阳杂俎) and Records of Anomalies (述异记) into its narrative fabric. The result is a hybrid of detective fiction and supernatural storytelling. Mythical creatures like the Tongtian Rhinoceros (通天犀) and occult rituals populate its episodes, captivating viewers with an eerie yet enchanting rendition of historical China. Folklore, Forensics, and Tang-era Realities The genius of Horror Stories of Tang Dynasty Ⅱ lies not only in its supernatural elements but also in its commitment to historical and cultural detail. Each episode draws attention to the…

For centuries, the people living along the Qiantang River (钱塘江) in China engaged in a unique and perilous way of life: competing to catch "tide fish" at the river’s edge during the tidal surges. This practice, known as "chasing the tide," was both a means of livelihood and a dangerous game where participants faced nature's full wrath. Despite the risks, which resulted in numerous fatalities over the years, this tradition carried on until authorities eventually prohibited it, placing warning signs along the riverbank that read, “Danger: Tidal surge. Do not enter.” However, a new wave of excitement has emerged around the old tradition, propelled by social media. Videos of people chasing tide fish have gone viral, bringing modern fame to those daring enough to challenge the tides. Tire repair shops close, rideshare drivers turn off their apps, and groups of friends rush to the river to test their skills and luck. What was once a dangerous profession has transformed into a social media spectacle, where the pursuit of fish and fame intertwines. A New Breed of Tide Chasers With fishing nets in hand, today’s tide chasers stand at the edge of the river, awaiting the surge. Facing the churning, dark…

The Artistic Odyssey of Tang Wei Tang Wei (汤唯), renowned for her exceptional talent and fearless spirit, has carved a unique path in the realm of cinema beyond her breakthrough role in "Lust, Caution". Her journey through various cinematic landscapes showcases not only her versatile acting prowess but also her unwavering dedication to artistic exploration. A Versatile Artistic Journey Tang Wei's career flourished post-"Lust, Caution" with notable roles like in "Late Autumn", where her portrayal of a woman imprisoned for accidental manslaughter earned widespread acclaim. Her ability to vividly portray complex emotional landscapes underscores her deep understanding of character psychology. In "The Golden Era", Tang Wei masterfully depicted the tragic yet brilliant writer Xiao Hong from the Republican era. Her portrayal not only highlighted her versatility but also affirmed her ability to excel in diverse roles, spanning from historical dramas to contemporary narratives. International Acclaim and Artistic Integrity Beyond domestic success, Tang Wei has garnered international recognition, serving on judging panels at major film festivals and earning nominations and awards worldwide. Her films resonate not only in Asia but also in Western markets, underscoring her global appeal and the universality of her artistic expression. Tang Wei's success stems not just from…

Unraveling Mysteries in an Enchanted Tang Dynasty In the captivating world of "Tales of Tang: Journey to the West," (唐朝诡事录之西行) the second season of the critically acclaimed series, viewers are drawn into a tapestry of intrigue and supernatural wonders. Set against the backdrop of the Tang Dynasty, this series masterfully blends historical drama with fantastical elements, creating a unique detective narrative that defies traditional boundaries. The show, which premiered exclusively on iQIYI on July 18, 2022, has captivated audiences with its fresh take on the genre. With over 5.5 million pre-bookings and a score of 8.2 on Douban, surpassing its predecessor’s 7.9, "Journey to the West" has demonstrated its strong appeal. The series’ success lies in its innovative approach to storytelling, blending elements of folklore, mystery, and historical intrigue. Mystical Elements in Detective Fiction: A Tang Dynasty Revelation The magic of "Tales of Tang: Journey to the West" lies in its seamless integration of mysticism with the detective genre. In this season, the narrative is enriched with imaginative elements such as vengeful spirits, magical creatures, and arcane spells. These supernatural elements not only enhance the storytelling but also elevate the atmosphere, creating a unique blend of horror and mystery reminiscent of traditional…

In the late summer of 2022, "Strange Tales of Tang Dynasty," produced by Guo Jingyu, written by Wei Fenghua, and directed by Bai Shan with Yang Xuwen and Yang Zhigang in leading roles, burst onto the scene as a dark horse, paving a new path in historical dramas labeled as "Zhiguai" (tales of the strange). Since then, updates about its sequel have continuously captivated fans. From the promise of the original team's return to the announcement of the sequel's narrative direction towards the west in "Strange Tales of Tang Dynasty II To the West", each new development has sparked renewed interest and speculation among fans revisiting the original series, anticipating the plot of the new installment. Prior to the premiere of "Strange Tales of Tang Dynasty II To the West," nearly 6 million members had already pre-booked their spots, eagerly awaiting updates. The first six episodes, featuring the unit "The Demonic Transformation," received the most feedback in the barrage comments: "still the same." It maintains the familiar grandeur of Tang aesthetics and the eerie intrigue of zhiguai, coupled with meticulous attention to folk customs that resonate deeply. Lu Lingfeng (played by Yang Xuwen) and Su Wuming (played by Yang Zhigang),…

Rediscovering Tang Dynasty's Golden Era Through Epic Cinema In the heart of contemporary cinema, the allure of historical epics continues to captivate audiences worldwide. Among the latest entries is "Seal of the Gods: The Return of the Painting Sage," (封神：画圣归来) a mesmerizing film set against the backdrop of the illustrious Tang Dynasty. Directed by Qin Kai, produced by Shi Xiukun, and featuring a stellar cast including Gong Xiaojun (龚小钧), Huang Yilin (黄一琳), and Li Xiaoning (李肖宁), this cinematic masterpiece breathes new life into ancient legends and cultural marvels. Blending History, Fantasy, and Artistry: The Making of a Modern Epic At its core, "Seal of the Gods" weaves a tale of intrigue and heroism in the vibrant capital of Tang China, Luoyang. The storyline revolves around Pei Ming, a guardian of the Jinwu Guard, who retrieves the fabled painting "Thousand-Mile Incomplete Mountain" from the Turks. This painting, with its mystical ties to the Seal of the Gods, draws the attention of the revered painter Wu Daozi, portrayed by Gong Xiaojun, and sets in motion a chain of events that tests their mettle against dark conspiracies and supernatural forces. In recent days, the silver screen has shimmered with the release of "Seal of the Gods: The Return…