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…

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…