In the ancient - costumed drama When the Wild Goose Returns, the entrance scene of Concubine Miao is truly impressive. That bright red robe and the hair ornaments... Isn't it like a flashback to the scene of Princess Yuan's return to her natal family in A Dream of Red Mansions? Of course, it's the elegance of our country! A similar scene was also seen when Meng Ziyi got married in Purple in the Ninth Heaven, just with different patterns (kirin patterns). Who says Ming - style clothing is only low - key and luxurious? The grandeur of Ming - style formal dresses can be highly praised. First, let's conclude. What the imperial concubine wore was the "Python Robe" decorated with python patterns, a round - collared long gown style, with a standing - collared jacket inside, hairpins and hair ornaments on the head, and a horse - faced skirt below. This outfit is quite solemn and is a relatively high - level formal dress for noblewomen. No wonder some netizens said: This is not just an ordinary entrance of an imperial concubine. It seems like an "enthronement"! The "Python Robe" can be worn by both men and women. As a…

After the beginning of spring, everything comes back to life. In this season when spring sets the tone and all things harmonize, both people and beauty are blessed. That's why there are poems like 'the wind carries the fragrance of flowers, the rain washes away the dust of spring, and people thrive with the season.' As Yu Guangzhong described, 'I don’t know how spring crossed the border, why customs couldn’t stop her, only that she arrived in a lively, bright procession with colorful banners.' Shi Tiesheng also explained the essence of spring: 'The entire spring, until summer, is a season where life enjoys its own charm.' This charm is not only the calls of emerald birds after winter hibernation and the flitting of delicate butterflies but also you and me finally shedding thick clothes to step into spring in light dresses. Today, let's focus on cheongsams that embody the beauty of spring. In such a vibrant season, how can we lack colorful companions? White Cheongsam Although defined as white, this cheongsam is closer to the traditional Chinese beige, with a slight yellow tint adding warmth to the translucent white. Paired with silk crepe de chine fabric, it has a soft,…

"There is a Western writer (was it Bernard Shaw?) who once complained that most women choose their husbands far less attentively and carefully than they choose their hats. Even the most heartless woman speaks with affection when she talks about 'that brocade-lined robe from last year.'" This passage is from Eileen Chang's Record of Changing Clothes, with Ms. Chang's usual sharp and incisive writing style and unique perspective. Women's love for clothes seems to be innate. The colors, patterns, and styles of clothes are not only a source of beauty in women's lives but also reveal the diverse and rich inner worlds of their souls. For women, clothes not only enhance and reflect beauty but also relate to a person's deeper inner operating rules and aesthetic creative desires. In other words, they are the visible external features of a person's inner self. This is true for people, and even more so for a film with extremely high artistic value. For a director like Wong Kar-wai, who has an almost extreme pursuit of audio-visual language, women's clothes are the second language in his films. So, in In the Mood for Love, the cheongsam is the most direct manifestation of Su Lizhen's…

Some attentive netizens noticed: Why does Chen Duling's corset in When the Wild Geese Return have a front opening? What's the purpose of the split - like opening? Let's get to the point. In fact, front - opening corsets like this existed as early as the Ming Dynasty, known as Zhuyao (主腰). They were quite popular during the Yuan and Ming periods and were also called Hehuanjin (合欢襟). Their most distinctive feature was the front - opening, which could be fastened with ties or buttons. Some people also referred to Ming - Dynasty undergarments as Zhuyao instead of Moxiong (抹胸), just a matter of terminology. Artifacts show this style could have shoulder straps or not, and the straps could be crossed or parallel. Those without shoulder straps could still be categorized as Moxiong. Common Moxiong during the Song and Ming Dynasties were usually one - piece wraparound styles with ties, while Zhuyao had a front - opening design. This one - piece Moxiong was a long strip of cloth with ties on both sides, often gathered in the middle. It was a classic Hanfu undergarment and remained popular for a long time. In some regions, it was used as a…

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…

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,…

The period drama 'When the Wild Geese Return' (also known as 'The Noble Lady') is a hit. But what was a 'noble lady' like in ancient times? Was she just decked out in gold and silver, flashy and ostentatious? The answer is no. Ancient 'noble ladies', mostly daughters of prestigious families, were defined by their status rather than blatant displays of wealth. This was in line with the aesthetic of the time - true nobility was understated, 'noble without being showy'. Let's take the Ming Dynasty, the backdrop of the drama, as an example. Nobility in the Ming Dynasty was often reflected in unassuming yet substantial details. The 'diji' (䯼髻), developed from the 'teji' and 'guanzi' of the Song Dynasty, was the main headwear for married women. It was usually woven from silver or gold threads, horsehair, bamboo strips, or even human hair (some were made from paper or fabric) and covered with black gauze, like a cone over the hair bun. Various hair ornaments were inserted into it, including a 'fenxin' (worn at the center), a 'dian'er' (at the base), a 'tiaoxin' (at the top), a'manguan' (at the back), 'caochongzan' (insect - shaped hairpins on either side of the…

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

Finally, in historical dramas like 'Family Business,' 'National Beauty and Fragrance,' and 'Joy of Life,' the appearance of many child characters has sparked netizen discussions: 'So this is how ancient children looked!' Let's start with the conclusion. Ancient children generally went through stages of shaving, growing, and tying their hair. Their hairstyles varied, similar to how kids grow today. Parents, take note: children wearing Hanfu don't need adult hairstyles; it's not awkward at all. Did you also dream of dressing and styling like adults as a kid? But it was just a fantasy. Some historical dramas, for dramatic effect, often give children adult hairstyles and even add crowns, turning them into 'mini - adults' without childlike charm. Ancient children usually tied their hair into buns around ages 15 - 16, when boys reached 'weak crown' (coming - of - age) or girls 'hairpin' (adulthood). Before that, they mostly wrapped their hair in colorful cloth, showing their playfulness and cuteness. Let's explore further. At first, children's hair was mostly fine 'fetal hair.' They often shaved and regrew it, as seen in ancient paintings. The top hair was usually styled into an inverted triangle, called 'tiáo.' You can feel the scene of…

When gods fail to stop evil, they send a mortal woman back in time to change fate. But what if the villain she's meant to kill is the man she's destined to love? In Till the End of the Moon, fate is a battlefield—where love, betrayal, and memory collide. The heroine must enter the past, play bride to the future Demon King, and stop him before his darkness devours the world. But every step closer to his heart is one further from her mission. Because stopping the monster might mean destroying the man. The Demon in Disguise (Episodes 1–10) The world ends in fire. Five centuries ahead, the Demon God Tantai Jin, born of the cursed Evil Bone, incinerates humanity. Desperate, the gods hurl Li Susu—a cultivator forged in celestial discipline—into the body of Ye Xiwu, a noblewoman whose cruelty once scarred the exiled Sixth Prince, Tantai Jin. Her mission is clear: kill him before the Bone awakens. But the past is a mirror cracked. The boy-prince she finds is not a monster but a ghost in chains, starved and beaten, his wrists raw from shackles even his bride once tightened. Li Susu's first act as Ye Xiwu is a…

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

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

The Forbidden City's gilded cages are ruled by poison, not prayer. Forget the condensed 6-episode U.S. edit—Empress in the Palace (甄嬛传) demands its full 76-episode canvas to unravel Zhen Huan's metamorphosis from naive concubine to imperial tactician. This isn't a romance; it's a masterclass in psychological warfare. Every smile is a blade, every ally a liability, and every royal birth a gambit in a game where emperors bleed and dynasties crumble. Episodes 1–10: The Illusion of Innocence Seventeen-year-old Zhen Huan enters the Qing court not as a conqueror but a casualty, her fate sealed by a twist of cruel irony: her face mirrors that of Emperor Yongzheng's long-dead true love, Empress Chunyuan. This resemblance, a haunting inheritance, draws the emperor's gaze during the concubine selection ceremony—but Zhen, determined to avoid the lethal spotlight of imperial favor, quietly prays to fail. Yet destiny mocks her caution. When a butterfly alights on her friend An Lingrong's cheap silk flower (a trick Zhen orchestrated to help Lingrong pass the selection), the emperor's attention locks onto the trio: Zhen, Lingrong, and their poised companion Shen Meizhuang. In this moment, the series' core truth crystallizes: the harem rewards neither virtue nor vice, but the ability…

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

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

What is the name of Liu Shishi's beautiful headdress? The production team of Huai Shui Zhu Ting, in which Liu Shishi stars, recently released a video. In the footage, Liu Shishi appears wearing a pearl - studded headdress, presenting a unique blend of exotic and traditional Chinese beauty. Did such accessories truly exist in the past, and what were they called? To put it simply, similar ornaments were found in both the Central Plains and the Western Regions, belonging to the category of Yingluo (璎珞) headdresses. Their origins can be traced back to before the Warring States period, possibly due to East - West exchanges. Here, we'll focus on the Chinese names for such accessories: Luosuo (络索), Lianshu (帘梳), Zhuyingluo (珠璎珞), or Weiji (围髻). Let's take a closer look at these names. Luosuo Originally, 'Luosuo' meant 'rope,' and later it was extended to refer to hanging ornaments. According to Guangya·Shiqi, 'All connected ropes are called Luo.' Xilin Yinyi Volume 6 states that 'Suo is another name for rope.' Huang Geng of the Song Dynasty wrote in Gui Qing Xiao Xiang Lian Ti, 'The golden Luosuo with coral pendants, standing alone in the spring breeze admiring peonies.' The Southern Song engraved…

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

Netizens are raising questions: Is Chen Duling's costume in Noble Lady too conservative? New stills from Noble Lady have emerged, once again presenting the high - collar, vertical - front Hanfu. Some netizens have commented that Ming - style Hanfu seems overly conservative, as it almost entirely covers the body. Looking back at the history of Chinese clothing, during the mid - to - late Ming Dynasty, high collars became a popular choice among the nobility. Some netizens have noted that Ming - style high collars can make the neck appear shorter, the face rounder, and add an aged look. As a result, many people tend to prefer the more widely flattering Tang - style Hanfu. However, this actually shows a misunderstanding of traditional Ming - style Hanfu. After all, delicate beauty is one form of aesthetics, while elegance and dignity are another. The development of high collars in the Ming Dynasty was not simply about 'conservatism'. At that time, China was experiencing the Little Ice Age, which led to a sudden drop in temperature. Consequently, the clothing culture changed to adapt to the weather. Ming - style high collars evolved from the cross - collar and parallel - front…

In many historical dramas, intricate half-face masks have become a popular accessory. A common question arises: how are these masks secured to the face without slipping? The answer lies in their design. These masks, often referred to as Mianju (面具), are fastened with ties at the back of the head and feature a nasal groove to prevent sliding. While some associate such masks with Western culture, ancient Chinese hollow masks, particularly those from the Shang and Zhou dynasties, showcase remarkable craftsmanship. The Shang-Zhou period produced two primary types of masks: human-faced (Renmian) and beast-faced (Shoumian). The former, like those unearthed at Sanxingdui (三星堆) and Jinsha (金沙), feature exaggerated eyes and ears. The latter blend multiple animal traits into abstract designs. Contrary to popular belief, many ritual masks weren’t worn on faces—their rough, unfinished backs suggest they adorned pillars for ceremonial purposes. However, wooden masks were likely wearable, as hinted by their refined construction. By the Northern Wei dynasty, masks evolved toward openwork designs with sophisticated motifs like Taotie (饕餮) patterns, showcasing a shift from symbolic abstraction to three-dimensional realism. Tang Dynasty masks reached new heights of lifelikeness, as seen in Hufeng (胡风) masks with eye cutouts for wearability. Archaeological finds…

In the TV series Si Jin, Jing Tian appears with this hairstyle so frequently that it seems to be her signature look. The only variations are the accessories, leading netizens to joke: Is this hairstyle welded onto her head? The hairstyle in question is called Shuang Huan Wang Xian Ji (双鬟望仙髻), an evolved version of the traditional Shuang Huan Ji (双环髻). Originally a youthful hairstyle, its ethereal beauty made it a favorite in classical depictions of celestial beings and noblewomen, as seen in masterpieces like Nymph of the Luo River and Eighty-Seven Immortals. Lin Yun also sported this look in How Can She Be So Charming, albeit with a more exaggerated flair. The difference lies in the evolution of the hairstyle: from the rounded, voluminous buns of the Wei-Jin and early Tang dynasties to the wavier, more dynamic forms of the mid-to-late Tang period. By the Song dynasty, it became a mainstream trend, simplified for daily wear with added pearl embellishments—akin to Jing Tian’s interpretation. Despite its celestial moniker (Wang Xian Ji translates to immortal-aspiring bun), this hairstyle is actually a wig. Crafted with wooden or rattan frames and wrapped in hair, it allowed for versatile styling without the daily…