When observing Tang Dynasty paintings, it's hard not to notice the low-cut necklines of women's dresses, some even revealing enough to make modern viewers blush. This fashion trend was widespread throughout the Tang era. What caused this phenomenon? The answer lies in a combination of factors, including economic prosperity, increased female confidence during Empress Wu Zetian's reign, and cultural exchanges with minority groups (such as the adoption of Hu clothing styles). However, climate played an equally crucial role. Renowned meteorologist Zhu Kezhen, in his study "Preliminary Research on Climate Change in China Over the Last 5,000 Years," noted that the Tang Dynasty experienced a warm period. The capital, Chang'an (modern-day Xi'an), located at a latitude similar to present-day Nanjing, endured sweltering summers with average annual temperatures exceeding 20°C. Even emperors sought refuge in cooler northern regions, and bestowing ice upon officials became a prized reward. This climate directly influenced Tang fashion, leading to the popularity of round-neck, U-neck, and cross-collar designs, as well as short sleeves and lightweight silk fabrics. From early to high Tang periods, low-cut dresses with necklines plunging to the chest—often seen in blush-inducing murals—became fashionable. Poets like Bai Juyi (Feet scorched by steaming earth, backs burned…

Recently, netizens noticed something special about Liu Shishi's costume in her new drama. It looked surprisingly like a modern short-sleeved T-shirt. However, this is actually a traditional Tang Dynasty garment known as Tanling Banbi (坦领半臂). Let's break down the name. Tanling refers to the neckline style, while Banbi  indicates the sleeve length. Combined, they describe a specific type of clothing popular during the Tang Dynasty. The Tanling Neckline The Tanling neckline resembles modern pullover shirts. This style dates back to the Shang and Zhou dynasties, though its exact structure remains unclear. It became particularly fashionable in the early Tang Dynasty. Compared to the round neckline, Tanling features a wider opening, often extending to the chest. Some designs even include a pointed center, earning it the nickname "chicken heart neckline". The resemblance to T-shirts comes from this broad neckline, similar to today's fashion pullovers. However, unlike modern T-shirts, Tanling garments usually have buttons or ties at the front or side for fastening. This design allowed wearers to change clothes without disturbing their elaborate hairstyles. The Banbi Sleeves The Banbi sleeves, often seen in period dramas, are typically associated with maids due to their practicality. However, they were not exclusive to any social…

In recent costume dramas like "Da Feng Da Geng Ren," it's noticeable that many female characters wear the same style of necklace. Is this a trend from a specific historical period? And don't they mind wearing identical pieces? The answer lies in the term "Yingluo." Derived from the words "Ying" and "Luo," which originally referred to beautiful jade, Yingluo now signifies a multi - gemstone ornament. It's not just limited to necklaces but can also adorn armbands and shawls. In Buddhism, Yingluo symbolizes worldly treasures and is known as "infinite light," often appearing in U or V - shaped necklaces with multiple layers. Historical texts like "The Dream of the Red Chamber" and "Jin Men Yang Shi" mention Yingluo made from gold, silver, pearls, and other precious materials. During the Sui Dynasty, Yingluo was long and simple, but by the Tang Dynasty, it became shorter, more intricate, and highly popular among noblewomen. The trend influenced fashion, with materials ranging from jade to amber. Poets like Liu Yuxi and Yuan Zhen documented its popularity, and by the Ming Dynasty, Yingluo evolved into necklaces with pendants like longevity locks. Even today, Yingluo - inspired designs add a touch of classical elegance to…

When we think about ancient Chinese clothing, a curious misunderstanding often arises—many believe that the clothing of specific dynasties was determined by the seasons. For instance, people sometimes think of Tang Dynasty garments as summer wear, and Ming Dynasty attire as winter clothing. The idea seems odd at first, as we know that every era experienced all four seasons, so why would the clothing of one dynasty be associated with just one temperature? It turns out that this perception stems from a combination of misinterpretations and misconceptions about the nature of ancient Chinese garments. Let’s break down why this understanding doesn’t quite hold water. The Tang Dynasty: More Than Just Summer Fashion The Tang Dynasty is often associated with light, airy, and flowing garments, especially the famous "Qixiong Ruqun", which has become iconic in many representations of ancient Chinese fashion. This lightweight attire—made from silk and other fine materials—gives the impression of being suited for hot weather. But the truth is, Tang fashion wasn’t just about comfort during the heat. A deeper look reveals that many Tang garments, although appearing simple, actually consisted of several layers, which weren’t always visible on the surface. The illusion of "light" clothing in modern…

Have you ever noticed the distinctive headband worn by Lan Wangji in 'The Untamed'? This traditional accessory, known as Mo'e (抹额), has recently made a comeback in popular TV dramas like 'The Dream of Splendor'. But what exactly is its purpose? Functions of Mo'e in Ancient Chinese Society Mo'e served two primary functions in ancient Chinese society. First, it acted as a ceremonial identifier, particularly in military and official settings. Historical records from the Qin to Song dynasties mention 'Junrong Mo'e' (军容抹额) - special headbands worn by soldiers and honor guards as uniform insignia. The 'Song Shi' documents imperial guards wearing purple embroidered robes with Mo'e and silver belts during grand ceremonies. Secondly, Mo'e had practical applications in daily life. Yuan dynasty women from scholar and commoner families adopted Mo'e to secure their hairstyles during work. By the Ming and Qing dynasties, Mo'e transcended social classes to become a universal fashion statement. Even Tang dynasty women wearing male attire would complement their outfits with Mo'e. Etymology of Mo'e Etymologically, the character 'Mo' (抹) implies binding or tightening. Han dynasty texts reveal early terms like 'Mo' (陌) and 'Pa' (帕) referred to similar hair-binding functions. The 'Shi Ming' describes it as…

Once confined to historical reenactments and museum displays, the horse-face skirt has galloped into global streetwear. Today’s Mamianqun renaissance blends reverence for tradition with bold reinvention, transforming this Ming-era icon into a symbol of cultural fluidity. From Tokyo’s Harajuku district to New York Fashion Week, the skirt’s four-panel silhouette is rewriting the rules of cross-cultural style. The Mamianqun’s journey to modernity began with subtle adaptations. Designers first softened its structure for daily wear: Lighter Fabrics: Replacing heavy brocades with linen blends for summer-friendly versions. Adjustable Waistbands: Incorporating hidden elastic or drawstrings to accommodate diverse body types. Modular Design: Detachable outer panels allow wearers to switch between minimalist and ornate looks. Shanghai-based label Ming 2.0 sparked a trend with their “Commuter Mamianqun,” featuring water-repellent silk and pockets discreetly hidden in pleats. Its viral TikTok campaign (#MamianqunInMotion) showcased cyclists weaving through Beijing’s hutongs, skirts fluttering like ink paintings come to life. The horse-face skirt’s architectural lines have inspired unexpected crossovers: Punk Rebellion: Tokyo designer Yuri Takahashi pairs black leather Mamianqun with metallic chain belts, slashing outer panels to reveal neon underskirts. Bohemian Rhapsody: Los Angeles brand East Meets Dress layers lace-trimmed horse-face skirts over denim, accessorized with Navajo turquoise jewelry. Techwear Integration: Seoul’s Hanbok Futurism collective embeds LED…

Why didn't the high-waisted hanfu skirts (齐胸裙) worn by people in the Tang Dynasty fall down? This kind of skirt didn't have elastic bands or other similar measures. Did it rely on large breasts to stay up? Could it really stay in place without falling? The Principle of Skirt Fixation As we all know, in the Sui and Tang Dynasties of China's clothing history, the waistline of skirts became popular to move up. The current popular way of wearing it is called "high-waisted". As the name suggests, since it is worn on the chest and the high-waisted skirts we often see don't have shoulder straps, the force can only go downward. Then the chest must bear the necessary pressure. Let's think in a more straightforward way. We know that a skirt won't fall when tied around the waist because the waist is like a mortise and tenon structure. As long as it is tied tightly enough to prevent the waistline from slipping, you rarely see a wrapped skirt falling off unless it isn't tied properly. Similarly, for high-waisted skirts, as long as the tying part is tightened, you can jump around without the skirt falling. Fabric and Design Considerations Of…

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…

On February 17th local time, under the auspices of the China Cultural Center in Malta, a wonderful Hanfu show was staged on the streets of Valletta, an ancient Mediterranean city. Along the main street, Hanfu enthusiasts wearing Hanfu attracted the attention of local people and tourists. The young ladies in Hanfu walked forward gracefully in an orderly queue. What was eye - catching was that, besides Chinese faces, there were many foreigners in the team. They also held round fans and wore hairpins, combining Western features with the charm of Eastern beauties. In recent years, with the promotion of some Chinese students studying abroad and overseas Chinese, Hanfu has been loved by more and more people around the world. Nowadays, not only do Chinese people wear Hanfu abroad, but also many foreigners have joined similar Hanfu activities and appear on the streets of major cities around the world. However, some netizens believe that Westerners can never wear out the beauty of Hanfu. Some even bluntly said, "You wear it well, but don't wear it next time." Here, A Luo believes that more foreigners liking and wearing Hanfu is a sign of the successful spread of Chinese culture. In this cultural…

At 34, Li Yitong (李一桐) wears a Guanyin veil and Dunhuang-style Hanfu, looking like a dancing elf in the wind. With such good looks, she is truly cut out for ancient idol dramas! Li Yitong became well - known for her role in My Half - Fairy Princess. Her beauty combines sweetness with a touch of innocent allure, different from the typical delicate - flower appearance. Many people say she has an under - the - radar star quality, as none of her works have achieved huge popularity. However, everyone knows her, and she has a good rapport with the audience. Although she is in her 30s, her face still looks young, like a little girl, which doesn't seem out of place in her roles. Her recent ancient costumes have really taken people by surprise. Compared with her peers, Li Yitong takes good care of her face. Her eyes are full of sparkle, so she has no problem playing young girls. However, she was criticized for her performance in The Knockout, indicating that she may not be suitable for mature and intellectual roles. The Guanyin veil is a commonly seen headpiece in recent ancient dramas. Usually, we see short or…

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

Chen Duling (陈都灵) is an actress with a rare ancient charm. In the past, she outshone Bai Lu (白鹿) in every aspect. Ancient costumes are very demanding on body conditions. Especially for tall and slender women, they look very charming, fully embodying the temperament of the ancients. However, they are not friendly to those with a poor body - proportion and a five - five split figure. Although they can cover up their body flaws, the difference is obvious when standing together. This is why Chen Duling outshone Bai Lu in Long Moon Embracing the Star, and Bai Lu was even labeled as an ordinary - looking woman. This time, Chen Duling is stunningly beautiful in Qin - Han Hanfu. She suits these figure - flattering and fate - filled costumes, including some Song - style and Wei - Jin - style Hanfu. The Qin - Han hairstyles are quite simple. Most of them are loose hair with wisps of hair left at the temples, making the person look delicate and vulnerable. Coupled with willow - leaf eyebrows, the image of a gentle and helpless beauty emerges. However, Chen Duling's eyes are sharp. Although she looks like an innocent little…

Who says ancient - style beauties can only be gentle and delicate? Chen Xiaoyun's Chinese - style look is simply cool and beautiful. Her blue - and - gold Hanfu look at the Sohu Video Chinese Style Gala really amazed the whole audience! Previously, people always thought Hanfu should be in delicate pink colors. However, Chen Xiaoyun's look completely overturned this traditional impression. A Hanfu interwoven with dark blue and gold is both noble and grand. Paired with an exquisite updo, every gesture of hers fully shows the charm of Eastern aesthetics. Honestly, this look has fully released her aura! Remember, she always gave people a cool feeling in "Sisters Who Make Waves 3". This time, wearing Hanfu, she added a bit of classical beauty. Especially in the shot where she was strolling among the pavilions, with her calm expression, there was really a kind of heroism of "Who says women are inferior to men". Have you noticed? Her makeup this time was also very particular. It was neither overly gaudy nor simply pursuing a light look, perfectly matching the overall style of the Hanfu. The details of the eye makeup were especially amazing, having both the charm of ancient…

A Fortuitous Spotlight When Henan TV released its Chinese New Year Gala teaser on January 15th, a particular moment sparked excitement across social media. Internet sensation Li Ziqi (李子柒) appeared in a dazzling red modified Hanfu, holding a lion lantern, exuding an ethereal beauty. Astute fans soon connected her stunning outfit to a popular design sold on an e-commerce platform—a creation by Hu Bugui (胡不归), a rising star in Hanfu design. Hu, both the shop owner and designer, hadn’t anticipated this moment of fame. “It was a complete surprise,” she admitted in an interview. “We never collaborated with Li Ziqi, but seeing her wear my design felt surreal.” Within hours, her store was inundated with inquiries, with buyers scrambling to own what was now dubbed the "Li Ziqi Hanfu." The Story Behind the Design The Hanfu in question, a three-piece modified Ming-style ensemble named Yu Nian (余年), has been one of Hu’s bestsellers. Priced at around 1,400 RMB, it features a red jacket inspired by palace walls, a high-necked blouse, and a horse-face skirt embroidered with golden characters reading “岁岁长安皆有所盼” (Hopes for everlasting peace and prosperity). Hu designed it three years ago with the theme of New Year festivities in…

Hanfu, the traditional attire of the Han people, is more than just clothing. It embodies over 4,000 years of history, reflecting Chinese etiquette, philosophy, and aesthetic values. Recently, the Hanfu revival movement has flourished, reconnecting the present with the past. From digital platforms to offline gatherings, Hanfu enthusiasts are bringing this cultural treasure back to modern life. In the historic city of Suzhou, a group of young Hanfu enthusiasts stands out. Predominantly from the post-80s and 90s generation, these professionals and students have found a common passion in wearing Hanfu. Their mission? To integrate Hanfu into everyday life and revive its presence. “We believe that restoring Hanfu is a step toward reconnecting with our cultural roots,” says Wang Zhen (王震), founder of the Gusu (姑苏) Hanfu Society. Blending Hanfu with Modern Living Suzhou, a city renowned for its 2,500 years of history, offers the perfect backdrop for Hanfu's resurgence. Members of the Gusu Hanfu Society incorporate Hanfu into their daily routines, from shopping at the local market to attending cultural events. One member, Lan Xiaoli, embraces this lifestyle wholeheartedly. She often shops for ingredients at the local market while wearing Hanfu, drawing curiosity and admiration from vendors and shoppers alike.…

The qipao, with its rich history and timeless appeal, embodies a unique blend of cultural heritage and modern sophistication. This iconic garment has transcended centuries, evolving from traditional Chinese attire into a global symbol of elegance. However, not every woman feels equally comfortable or confident in a qipao. It takes a certain grace and demeanor to carry off this garment with poise and style. Understanding the Characteristics of an Ideal Qipao Wearer The allure of a qipao lies not only in its design but also in how it complements the wearer's physique and demeanor. Here are some characteristics that typically define an ideal qipao wearer: Graceful and Curvaceous Physique One of the defining features of a woman who suits a qipao is a gracefully curvaceous physique. The qipao is known for its form-fitting silhouette that accentuates the curves of the body, particularly the waist, hips, and legs. A woman with a slightly fuller figure, often described as having a "plump" or "curvy" appearance, can beautifully fill out the qipao's lines and curves, enhancing its elegance and charm. Full and Well-Defined Curves An ideal qipao wearer typically has well-defined curves in areas such as the face, waist, hips, and legs. These…

Clothing, food, shelter and transportation, the word clothing is the first. Throughout history, the Chinese have consistently showcased their pursuit of clothing. From the exquisite attire donned by emperors in ancient palaces to the fashionable ensembles spotted in bustling city streets, people appear to consistently have a wealth of commentary regarding fashion trends. Today, a documentary that was specifically created to delve into the rich Chinese clothing culture would be recommended - "Wearing China on the Body". It tells the story of Chinese etiquette, clothing expression, folk art inheritance, and human relationships through vivid clothing, and skillfully reflects the changes in people's aesthetic preferences in the era. The Chinese documentary "Wearing China on the Body" is composed of six episodes, including Sang Ma, Bu Yi, Ni Shang, Jin Xiu, Zi Jin, and Jiang Xin. This documentary interprets Chinese culture through the perspective of clothing, arousing the audience's profound longing for clothing aesthetics from various perspectives such as fashion, elegance, intricacy, culture, humanity, and emotion. Enable them to comprehend the China within which we reside from the dreamlike clothing realm.   Episode 1: Sang Ma This episode will trace the origin of magnificent Chinese costumes, choose the life course of different…

Mamian skirt, Qixiong dress, and the hundred-pleat skirt; wearing traditional Hanfu has become a new trend in public attire in recent years, whether it be for sightseeing, wedding ceremonies, shopping, friend gatherings, and various other occasions. The "Hanfu craze" continues to rise, blending tradition with modernity, activating cultural resources, igniting the consumer market, and driving industrial development. In recent years, Hanfu has gradually gained popularity among the younger generation, with their youthful expression and fashionable presentation bringing Chinese traditional culture into daily life in a tangible and palpable form. The long-standing Chinese traditional clothing culture embodies a blend of Chinese aesthetic interests, reflecting not only a consumer choice but also the Chinese people's love for outstanding traditional culture.   Demand exceeds supply During the Spring Festival and Lantern Festival of the Year of the Dragon, the activity of "wearing Chinese costumes for free to visit the Confucian Temples" in Qufu City, Jining, Shandong, has been well received. Wang Chunling, a visitor from Liaoning, traveled a long distance with friends to play here, attracted by the lively atmosphere of night tours in the ancient city of Qufu and folk performances, and dressed in Hanfu to join the parade. This year, garments…

Summer is here, and what better way to celebrate the season than by brightening up your wardrobe with a stunning pomegranate red Hanfu dress. HAN TIME will use the combination of pomegranate color and hanfu as the starting point to recommend a series of suggestions for wearing red hanfu dress in summer. Pomegranate color refers to a slightly deeper shade of red, resembling the color of pomegranate fruit or bright orange-red like the color of pomegranate flowers. As summer approaches and greenery abounds, the blooming of pomegranate flowers marks the season's arrival. It is an ideal time to wear a flowing long skirt in a vibrant shade of pomegranate while standing under these blossoms with a radiant smile. When it comes to pomegranate skirts, people tend to lean towards the latter meaning as this hue is more charming and unique compared to other shades such as vermilion and pink. Have you ever heard of "kneeling under the pomegranate skirt"? The phrase has been passed down through generations related to Yang Guifei who had an affinity for both Pomegranates and dresses in that same rich hue. Emperor Xuanzong ordered widespread planting of Pomegranates within palace just for her love for them.…

The lapel, as an essential component of the cheongsam dress, serves as a critical dividing line in the layout of its style, possessing both functional and ornamental purposes. It complements the collar, buttons, or overlapping pieces in a harmonious manner, thus showcasing the overall beauty of the Qipao. The lapel (Jin, 襟), also known as the opening of the garment, is the unfastening of the Qipao's garment. Changes in the lapel are one of the primary way in which the Qipao's style evolves. Today, let us appreciate the modern styles of Qipao's lapels and savor the charm of Eastern women.   Without Lapel One of the most concise ways of opening a cheongsam is the "Without lapel, 无襟, Wu Jin" style. This kind of lapel style is directly derived from traditional Chinese clothing, appearing dignified and traditional.   Pleated & Without Lapel "Pleated without lapel, 褶皱无襟, Zhezhou & Wu Jin" style adds decorative pleats to the front chest, simple yet sophisticated, enhancing the sense of fashion.   Round Lapel "Round lapel, 圆襟, Yuan Jin" is the most common style of modern cheongsam lapel, with smooth lines from the neckline to the armpits. Depending on the size of the arc, it can…