Every year, during the Dragon Boat Festival (端午节), you'll see families across China hanging bundles of mugwort (艾草) on their doors, wearing fragrant sachets close to their bodies, and tying colorful threads on children's wrists. In places like Henan and Zhejiang, pots are filled with garlic and eggs. These time-honored traditions, passed down for thousands of years, form a complete "protective system" against evil spirits. But the Dragon Boat Festival isn't just a day to remember the poet Qu Yuan. Its long-standing folk practices signify a celebration of life, a prayer for the living, and a struggle against the uncertainty of life. Traditional Food Rituals as Protection During Festivals A saying goes, "If you don't wear mugwort on Dragon Boat Festival, you'll turn into a ghost after death." Mugwort and calamus, often placed at the thresholds of homes, act like plant-based charms, creating a symbolic barrier to safeguard both family and body. Food, which enters the body directly, forms an even closer connection with people and is given the special power to ward off evil spirits. For example, the red beans, salted egg yolks, and salted meats wrapped inside zongzi (粽子, traditional sticky rice dumplings) are considered "yang objects" (阳物),…

If you're still haunted by the twists and emotional gut-punches of The Legend of Zang Hai (藏海传), you're not alone. Whether it's the tangled web of loyalty between Zang Hai and his mentor Zhao Bingwen, or the eerie suspense surrounding the elusive "third man," social media remains ablaze with fan theories and character dissections. And here's the kicker—unlike your typical revenge fantasy where the protagonist rises through sheer plot armor, The Legend of Zang Hai gives us a tragic, deeply psychological hero. Zang Hai's arc has become a spiritual sinkhole fans can't stop falling into. Viewers don't just watch him—they breathe with him. What made this slow-burn success possible? According to the show's general director Zheng Xiaolong, much of the credit goes to a fresh face behind the camera: young director Cao Yiwen, whose approach breathed new life into the genre. His unique directorial style has fostered a whole ecosystem of fan-made scripts and alternative readings—what Chinese netizens call "wild screenwriters" (meaning audiences passionately creating their own interpretations and continuations of the plot). Tracing Cao's Creative Footprint Rewind to 2020, and you'll find Cao's name on another unconventional title: To Love (最初的相遇,最后的别离). It wasn't just another noir-tinged romance—it brought a…

The Prisoner of Beauty (折腰), which had been quietly in the works for two years, exploded onto Tencent Video with remarkable speed. Its overnight success wasn't just a lucky break. What exactly makes it stand out in a fiercely competitive market full of period dramas? Starring Song Zuer and Liu Yuning, The Prisoner of Beauty is adapted from a beloved novel by Peng Laike, a top-tier author on Jinjiang Literature City, one of China's largest online fiction platforms. Adapting such a well-known IP (intellectual property) is always a high-stakes gamble, especially when it comes to Chinese historical romances with huge fanbases. On one hand, you have to honor the emotional core of the original. On the other, you must reshape it to fit the structure and logic of screen storytelling. How do you stay true to the source material without alienating fans—or turning off new viewers unfamiliar with it? It's a delicate balancing act. In fact, many major IP dramas have flopped due to what fans call mogai (魔改)—"demonic revisions" that deviate too far from the original plot or tone. So how did The Prisoner of Beauty manage to pull off a successful adaptation? Turning Conflict into Narrative Power-Ups According…

Angela Yang Ying (杨颖), better known by her stage name Angelababy. She has carved a unique niche in Chinese historical dramas, blending ethereal beauty with roles that challenge traditional gender archetypes. From cunning strategists to cross-dressing merchants, her performances thrive on duality—soft yet fierce, vulnerable yet unyielding. While her acting has faced scrutiny, her on-screen charisma and evolution in period pieces remain undeniable. This article spotlights four of her most iconic historical dramas, dissecting how she transforms into characters that defy expectations. General and I 孤芳不自赏 Aired: 2017 Period Background: Fictional Warring States era Genres: Historical romance, political intrigue, wartime strategy Main Roles: Yang Ying as Bai Pingting, Wallace Chung as Chu Beijie Adapted From: General and I by Feng Nong Set against the backdrop of warring states vying for supremacy, Female Zhuge Liang centers on Bai Pingting, a prodigious tactician whose strategic genius earns her comparisons to the legendary Zhuge Liang, the architect of the Three Kingdoms' balance of power. Her brilliance becomes both her weapon and her curse when she crosses paths with Chu Beijie, a rival general whose military acumen matches her own. Their initial encounters are marked by psychological warfare: Bai devises traps to destabilize his…

Yu Zheng may not have the best reputation, but his aesthetic sense is truly remarkable. The currently airing drama, The Song of River Reeds (临江仙), is a visual feast. Just the looks of the male and female leads are enough to make people enjoy the sweetness of this "divorced" couple. The supporting characters are even more stunning. Zhao Zhaoyi is sweet and elegant. When she makes an appearance, she exudes the charm of an ancient beauty. Even without a white dress to highlight her etherealness, her whole demeanor is lively, making her a perfect fit for a xianxia drama. Zhou Jieqiong, in a purple dress, has a pure face and a somewhat stubborn look in her eyes. She is a beauty who is both clear - cut and impactful. He Ruixian, whom Yu Zheng has tried to promote several times, has big, gentle and bright eyes. Even with a simple hairstyle, she has a transcendent beauty. Yu Zheng selects supporting characters with such high - level looks, even for those marginalized characters with only a dozen - minute appearance. Their appearances stun everyone, and this is the kind of beauty a leading actress in a costume drama should have. Huang Riying's…

Have you ever seen a neckerchief in a costume drama for the first time? In the costume drama Unburdened Ferry, Duan Banxia, played by Song Zuer, often appears wearing a short shawl. It looks like a pibo (披帛), but the way of tying a knot in front of the chest is so similar to our modern neckerchief. Could this also be a kind of "time - traveling" fashion? Let's answer first. It's called a "neckerchief". Similar ways of wearing it were seen in the Northern and Southern Dynasties, and it became even more popular during the late Tang, Five Dynasties, and the Northern Song. It should be an extended style of the pibo or peizi (帔子), but actually shorter and wider than the pibo. It's mainly used to wrap the neck, keep out the cold, and match clothes. In the painting The Picture of Proofreading Books in the Northern Qi Dynasty, we can see the tying style of the neckerchief of ladies in the Northern and Southern Dynasties. At this time, peizi already existed and was once commonly in a "short and wide" style, which is very similar to the neckerchief we see later. After the Wu Zhou period, something…

Yang Zi's new makeup look in the ancient costume drama "Jia Ye" (The Family Business) is truly eye - catching. With a white veil on her head, netizens exclaimed, "Do I seem to see the Goddess of Mercy?" First, Yang Zi's veil style is somewhat similar to the "gaitou" (盖头) in Song Dynasty paintings and also resembles the fujin popular among women in the late Ming Dynasty, but it doesn't cover the forehead. The gaitou refers to a "square purple silk cloth" that can cover half of the body. It's just a square piece of cloth. One can go out directly by draping it over the head. As Mr. Shen Congwen verified, "the 'gaitou' was indeed a popular head - wear among women in the Song Dynasty." The relationship between the Ming Dynasty fujin and the Song Dynasty gaitou remains inconclusive. In the drama "Jin Nang Miao Lu" (The Wonderful Record in the Pouch) with a Ming - style setting, the "gaitou" also appeared. It can be seen that the gaitou is more like a square scarf for draping. Working women may tie it up locally for convenience. The fujin popular in the Ming Dynasty is actually a headscarf with…

"If I had a ferry ticket, would you come with me? If there was another one, would you take me along?" Whenever I hear this line, the classic melody by Shigeru Umebayashi plays in my ear, and the scene unfolds before my eyes: Su Lizhen (played by Zhang Manyu) in a cheongsam, carrying a thermos and buying a bowl of wonton noodles on the street in the dimly lit alley at night, then meeting Chow Mo-wan (Tony Leung) who's also caught in the rain on her way back... The ambiguous tension brews quietly, with a foreseeable ending. This is Wong Kar-wai's artistic expression of love, and this line has become the most regrettable confession in Chinese film history. If there's a movie that can fully showcase the beauty of cheongsams, it must be "In the Mood for Love". Even 23 years after its release, Su Lizhen played by Zhang Manyu still lives in the hearts of countless audiences. Few can wear cheongsams as impressively as she did. Her tall and slender figure, graceful posture, and every step exude charm. The grace of the cheongsam and the reserved charm of Oriental women blend perfectly, presenting a multi - dimensional view of…

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

New year, new look, countless fresh things are coming towards us. Now, what we can do is to seize the joy and creativity they bring. So today, we will start a new chapter based on the annual color trend and introduce the new styles and trends for next year, not for you to follow blindly, but to offer better and more inspiring beauty for our new year. Pantone's 2025 Color of the Year: Soft Peach The most authoritative color institution in the world, Pantone, announces the "Color of the Year" at the end of each year. The 2025 Color of the Year is "Soft Peach", a gentle hue between pink and orange, exuding an ambiguous, warm and romantic atmosphere. Laurie Pressman, vice - president of the Pantone Color Institute, said: "We've seen the growing importance of community. People around the world are re - evaluating what kind of lifestyle they want and what's most important. We want to convey the power of care, accompany our loved ones closely, regain a sense of comfort and security, or unite people and enrich each other's souls." Soft Peach represents a warm vision of love, with a bright, soft and light charm. It also…

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

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

In cdramas, such as The Gorgeous Princess, The Demon Exorcist, and Wind Blows in Luoyang, during the Tang - style wedding ceremonies, the newlyweds bow to a mirror instead of their parents. What's the story behind this? First, let's get to the conclusion. 'Bowing to the mirror' was an old wedding custom in the Tang and Song dynasties, used to ward off evil spirits, pray for blessings, and encourage self - reflection. Since the Han Dynasty, mirrors have been one of the betrothal gifts and marriage tokens. At that time, mirrors were also called 'yang sui'. They could get fire from the sun, symbolizing brightness and beauty, and might be the prototype of early wedding mirrors. Newlyweds used bronze mirrors to ward off disasters and evil, reflect on themselves, recognize each other's true feelings, and pray for a smoother, brighter, and more beautiful married life. In the Tang Dynasty, the name 'yang sui' was reused. As Du You of the Tang Dynasty wrote in Tongdian: 'There are a total of thirty kinds of gifts for the betrothal ceremony', among which there was yang sui, with the meaning of 'yang sui brings light and peace'. The patterns on bronze mirrors also…

In the structure of a cheongsam, there are two crucial elements. One is the collar, which is like the prologue, and the other is the placket, our topic today. The placket is like a door to the cheongsam, with different ways of opening. Some are gracefully winding, some are simply delicate, some are straightforward, and some hold hidden mysteries. As an important part of the cheongsam, it serves as both a dividing line for the overall layout and an unignorable decorative aesthetic in cheongsam design. We often see that it complements and continues the collar, piping, and buttons. It exquisitely showcases the sophistication and uniqueness of traditional clothing culture and plays an important role. Today, let's explore the various types of cheongsam plackets, their characteristics, shapes, and the suitable wearers, so that we can more accurately choose a cheongsam that can be worn for a lifetime in the future. Placket Culture The concept of "placket" in traditional Chinese clothing culture dates back to the Shang and Zhou dynasties. Since then, daily robes have commonly used the open - placket style, mostly with a right - lapel design. In the concept of "respecting etiquette and forming clothing" in Chinese civilization, the…

Recently, the new drama A Good Match for Chen and Jin starring Ren Min and Ci Sha started filming. Netizens directly called out the costumes they wore, saying, "These clothes are so bad. Change them quickly!" Why did netizens say so? The costume style of this drama is in the Ming Dynasty style. In Ming-style costumes, the most important aspects are the clothing pattern, texture, and the allowance. The pattern can only be seen when the clothes are laid flat, so the most obvious thing recognizable to the naked eye is the allowance issue, which directly affects the clothing pattern. The allowance here refers to the "total sleeve length". Some formal wear patterns pay attention to "the sleeve should reach beyond the wrist when the arm is bent back". That is, when cutting, there should be enough room for the arm to bend, so that the sleeve length won't be affected when the arm is bent. When the wearer bends their arm, this kind of sleeve will present a beautiful streamline. Previously, the costumes in The Ninth Purple were criticized by netizens. The clothes basically had no allowance, making the person look big-headed and small-bodied, with completely uncoordinated proportions. The…

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

Today, I want to talk about the patterns and prints of Qipao. Prints are the soul of a Qipao, a distinct marker that lights up the dress, sets its style, and reflects the wearer's artistic charm. In traditional Chinese culture, they're not just decoration; they carry auspicious meanings, adding cultural depth to the Qipao. The exquisite craftsmanship subtly conveys style and beauty, a method linked to aristocratic aesthetics. Indeed, Qipao has always symbolized noble beauty, a blend of status and refined taste. From centuries - old silk traditions to meticulous hand - crafting, every detail makes Qipao a rare work of art. Among these elements, prints play a crucial role. Today, let's explore the beauty and types of common Qipao prints. Floral Prints Floral prints are the most widespread in Qipao designs. From spring orchids to autumn chrysanthemums, and various plants, they serve as the main focus, accents, or borders. These designs draw on plant characteristics and symbolism, with auspicious meanings and people's aspirations for beauty. The plum blossom, or 'Five Blessings Flower,' symbolizes longevity, success, peace, happiness, and luck due to its five petals. As the first spring flower, it's the 'Queen of Flowers' and a top 'Four Gentlemen'…

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

The trailer of the ancient - costumed TV drama "Zanghai Zhuan (藏海传)" has been released, and Xiao Zhan's looks in different periods are eye - catching. Netizens said, "This is what the costumes of Ming Dynasty scholars should look like!" First, the clothing Xiao Zhan wears in "Zanghai Zhuan" is a round - collar lanshan (襕衫). The round - collar refers to the collar style. Lanshan was particularly popular in the Song and Ming dynasties. Wearing a Confucian cap, it became the iconic clothing for the scholar - official class, Confucian scholars, and students at that time. Also, it was widely used in the Confucius worship ceremonies in local rural schools as the exclusive clothing for the dancers in the six - column dance. The lanshan in the Song and Ming dynasties had differences, but both had a horizontal hem. According to "History of the Song Dynasty: Records of Ritual Paraphernalia", "The lanshan is made of fine white cloth, with a round collar and large sleeves. A horizontal hem is added at the bottom as a skirt, and there are pleats around the waist. It is worn by Jinshi (successful candidates in the highest imperial examinations), students of the Imperial…

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