Hanfu in Tang Dynasty was introduced to you before. Today, it brings you the style of Hanfu in Song Dynasty. Before introducing the Han clothes of the Song Dynasty, let's first understand the Song Dynasty. The Song Dynasty (960 - 1279) was divided into two stages, the Northern and Southern Song Dynasties. It experienced eighteen emperors and enjoyed the country for 319 years. The greatest feature of hanfu in the Song Dynasty is simple and elegant. Compared with the elegant appearance and bold colors of the Hanfu of the Tang Dynasty, the Hanfu of the Song Dynasty is simple in shape, simple in tone, and the whole temperament seems more natural and elegant. Song Dynasty civilian men's clothing, mainly to the "Ao (袄)" and "Ru (襦)". In ancient times, the poorer people wore "Duanhe (短褐; short and thick clothes)", which were designed to facilitate work. In addition, men in the Song Dynasty also liked to wear a shirt (衫). Unlike the clothes we imagined, this kind of clothes was very self-cultivating, not the kind of generous design we imagined. Compared with men's clothing, women's clothing is more abundant, in the Song Dynasty, women generally wore Ao(袄), Ru(襦), Shan(衫), Beizi(褙子), Banbi(半臂), dress…

Some time ago, I watched the hot Chinese drama Chang' a Twenty-four Hours (长安十二时辰). I was attracted by the hanfu of the Tang Dynasty in the play. So I did some research on the clothes and fittings of the Tang Dynasty. Let's see who is the most fashionable in Chang'an. Ruqun Talking about the trend of wearing and matching in the Tang Dynasty, it's natural that we can't do without ruqun. Ruqun is one of the most common and distinctive dresses in the Tang Dynasty. The main features of this dress are short clothes on the upper body and long skirts on the lower body. Some of them wear silk shoulders around their arms. Others wear half-arm outside the gown and then wear silk. "Ru (襦)" is for internal wear, sleeve length, upper and lower shorter, just to the waist. Long skirts were the clothes of women in the Tang Dynasty, most of which were made of silk. Skirt waist is high, can hide the chest, outside shoulder put on a yarn shirt, can make upper body skin half-covered, there is a kind of vague aesthetic feeling. Banbi (半臂) is a short-sleeved shirt, sleeve length to the elbow, knotted in…

Today, I will introduce you to a photographer. Her name is Dang xiaoshi (当小时). She is a Sichuan girl. She spends most of her time in Beijing. Like many people, Dang xiaoshi has been shooting some "commercial works" in order to live. However, due to a strong preference for "Chinese Style", there are occasional works of ancient style in private. At first, Dang xiaoshi just liked the costume style, but all the changes started with an invitation. A friend of hers got married and invited her to Nepal to take wedding photos. At that time, Dang xiaoshi put forward the idea of shooting with the theme of "Hanfu" to her friends. Originally, she just wanted to take a meaningful wedding photo for my friends, but when the photo came out, it got a lot of praise. Looking at the endless praise of Chinese clothes, she found that the charm of the original culture is so great. So she left beautiful pictures around the world with her Chinese clothes. Let's see what beautiful places she's been to. Hanfu in the United States When Hanfu, music and American enthusiasm are combined, there is a different spark. Hanfu in Nepal Hanfu in Japan…

Kyoto is an ancient capital of Japan. It preserves a large number of historic buildings. Many Japanese and tourists will feel Japanese culture in kimonos. However, in this ancient city, some local people often see a Chinese girl in Chinese costume walking down the street. Local Japanese all raised their thumbs: so beautiful, just like a fairy! The girl's name is Zhi Luo. She was born in 1993. She is from Beijing, China. Because her husband (Chinese) has been a photographer in Japan for many years, she came to Kyoto to work more than half a year ago. Why does Zhiluo like Hanfu? This is closely related to family education, she has often participated in activities about Chinese culture since childhood. Nowadays, Zhi luo works in Kyoto. As a result of working in photography, Zhi Luo wore Hanfu to work and became a landscape on the street. Although there were differences in the form and system of Han uniforms in different dynasties, Zhi Luo was very fond of it. She said: "Wear Tang and Song style when it's hot, Wei, Jin and Ming-style when it's cold, you can wear it all year round." Usually, Zhi Luo wears Chinese clothes to…

March is a hanfu enthusiast, She also insists on wearing Chinese clothes every day in her daily work, which affects colleagues and many people in the company. This time, she climbed the highest Chug peak in Germany in her hanfu, and the beautiful hanfu was praised by many tourists. Some photos of her trip to Germany: Some photos of daily wearing Hanfu:

Before, we introduced the way to wear a wist ruqun(one slice), and next, we will simply tell you how to wear a Qi xiong Ruqun(Chest Ruqun). Qi Xiong Ruqun is made up of front and back pieces(as the picture show). Step 1: Separate the front and back pieces and wear the back ones first. Step 2: tie up the back pieces. Step 3: tie up the front one(put white tape and red tape together). Step 4:Put an X-fork behind you, then take the tape to the front. Step 5: Make a knot. Step 6: The next step is to decorate the extra tape, wrap them in circles, just like a kind of Chinese food: Mahua (麻花, Fried Dough Twists). Step 7: Tie a knot at the end. Step 8: The red tape also needs to be wrap in circles. Finished~ Wearing Hanfu does not seem to be such a difficult thing, but it also requires repeated attempts to get the best look. If you have any questions during the wearing process, you are welcome to contact us by email, we will give you a more detailed explanation. More about how to wear Hanfu can be found here.

Many friends who have not touched Hanfu will have a lot of confusion when they wear Hanfu for the first time. How to wear it? Well, we will have a series of articles to simply tell you how to wear Hanfu. Today, let me show you how to wear a Waist Ruqun. First of all, what you have to know is that the Hanfu were without belts and buttons, all by lacing. The first one to introduce is Waist Ruqun(one slice), one slice means that the only one piece of dress. Step 1: Put the skirt over the waist, align the center of the skirt with the middle of the body, wrap the skirt around the waist and wrap the lower body. (This process is similar to a bathrobe after bathing.) Step 2: Sort out, and from the side, the place to be tied is left out. Step 3: Wrap the rope around the back (Note: cross the rope twice) Step 4: Then wrap around the front of the body. Step 5: Pass the rope through the part of the rope that has been tied to the waist Finished~ Wearing Hanfu does not seem to be such a difficult thing, but…

Today, we are talking about a magical guy, because he is very obsessed with Hanfu for 8 years, and in order to wear Hanfu, he has stayed his long hair for 4 years. What's the story of wearing Hanfu every day? Let's take a look! He is only 23 years old, wearing a Hanfu is very ancient. From the beginning of junior high school, he watched the Hanfu on TV. He thought that Hanfu is very traditional and has a feeling of traditional nationality, so he began to obsess with Hanfu from that time. Hanfu is a traditional national costume that has been inherited by the Han people for more than 4,000 years. It gives a fresh feeling to him. In order to make Hanfu more beautiful, he began to keep his hair. Opened his home wardrobe, all are Hanfu clothes, there are more than 30 sets of various styles, all kinds of colors, the habit of buying Hanfu, the love of Hanfu, is obsessed. Whether it is cold winter or hot summer, he insists on wearing Hanfu to go out. Everyone has paid a lot of attention to him, and he has become the "Starman". How do you understand…

The dust has settled on the painted wall of the Qi Ting (旗亭) wine shop. Detectives Su Wuming (苏无名) and Lu Lingfeng (卢凌风) have apprehended the phantom fire manipulator, Mo Ying Youyan (墨影幽焰). Yet, the most remarkable victory of this case remains unrecorded in any official ledger. It belongs not to the magistrates with their badges of authority, but to a man everyone underestimated. The final feast in Chang’an celebrates more than a solved mystery; it honors a quiet, profound act of integrity that redefines what it means to be a hero in a world of glittering poetry and lurking shadows. The Banquet's True Purpose As the fourth celebratory feast of this long case is laid out, the atmosphere is one of weary relief. The master of illusions, Mo Ying Youyan, who used pyrotechnic sleight-of-hand to terrorize others, is securely bound. His accomplices, the performers of the Xuanhuo Troupe (玄火班), were coerced into service and have surrendered. The ingenious pharmacist, Fei Jishi (费鸡师), reveals he had been working behind the scenes for days, neutralizing poisons in the dessert and providing the crucial clue that linked the troupe to the wanted fugitive. It appears all threads are neatly tied. However, Su…

Viewers of historical Chinese dramas often share a common thought during winter scenes: those actors must be freezing. The diaphanous gowns, often little more than a single layer of silk, seem utterly inadequate against painted backdrops of snow and ice. While a flowing cloak might be added for effect, the costumes underneath remain stubbornly, beautifully thin. This consistent aesthetic choice prompts the question: is this what people really wore, or is it purely for the camera? Historical Layering The reality of historical winter wear was fundamentally about layers, not just fabric weight. A Tang Dynasty woman, for instance, would have employed a sophisticated system of overlapping garments. This would start with close-fitting undergarments, followed by a lined jacket and skirt, and then a padded outer robe or coat. A final, large shawl or cape provided additional protection. This multi-layered approach trapped air and created insulation far superior to any single garment. For the elite, winter wear was both warm and luxurious. Mianpao (绵袍), or silk-wadded robes, were common. Here, "mian" refers to silk floss, a lightweight and highly effective insulating material akin to a natural down filling. More extravagant outfits incorporated furs from sable, fox, or rabbit for collars, cuffs,…

The finale of Strange Tales of Tang Dynasty Ⅲ: Chang'an (唐诡3) has sparked vibrant discussions, particularly around its female characters. Many viewers argue that the supporting roles outshine the lead, creating a rich tapestry where each woman possesses a distinct and compelling beauty defined by her unique styling and narrative purpose. Vitality and Ingenuity Pei Xijun (裴喜君), portrayed by Gao Siwen (郜思雯), captivates with her signature "bunny" hairstyle. This look, featuring twin buns resembling rabbit ears, falls under the broader category of Shuangji (双髻). It perfectly mirrors her clever and lively personality. Her wardrobe, dominated by Qixiong shanqun (齐胸衫裙) robes in soft yellows and pinks, enhances a youthful, delicate charm. The costume design employs a clever color strategy. While the base palette is gentle, stylists introduced subtle contrasts with muted reds and blues or yellows and greens. These accents add visual pop without overwhelming the character's sweet essence, making her outfits both period-appropriate and strikingly modern to the eye. This thoughtful styling extends to Chu Yingtao (褚樱桃), played by Sun Xuening (孙雪宁). Her character's martial prowess is reflected in modified Yuanling (圆领) robes with detachable sleeves and turned-down collars, offering a practical yet elegant silhouette. The dominant deep hues of…

When Chinese actor and singer Wang Yibo (王一博) appeared on the variety show Day Day Up (天天向上) years ago, a specific costume detail ignited online curiosity. His headpiece, resembling a sparse fishnet, led many to wonder if it was a styling error. However, this accessory was a deliberate choice, rooted in centuries of tradition. Far from a mistake, it represents the Wangjin (网巾), a functional hair net from China's Ming Dynasty. This glimpse into historical fashion, facilitated by a modern celebrity, opens a window to understanding how everyday items from the past carried significant cultural weight. The conversation it sparked highlights a common disconnect between contemporary perceptions and historical reality, urging a closer look at the artifacts that shaped daily life in ancient China. Origins and Use The Wangjin was a foundational item in the wardrobe of Ming Dynasty men. Designed as a mesh net, its primary function was to bind one's hair, or bundle the hair, containing loose strands and creating a neat base for headwear. Its adoption was not merely a fashion trend but a practical solution for managing hair, which was typically worn long. The net also provided grip, preventing hats and official headdresses from slipping during…

As the dust settles on the dazzling spectacle of the Grand Polo Tournament, the final chapter of Strange Tales of Tang Dynasty Ⅲ: Chang'an (唐朝诡事录之长安) closes not with a whisper, but with a resonant echo. The grand conspiracy is thwarted, the immediate danger passes, yet the true legacy of the series lies not in its explosive finale, but in the haunting, unresolved human stories woven throughout its eight cases. While Su Wuming (苏无名) and Lu Lingfeng (卢凌风) stand victorious, gazing upon the sprawling capital, their philosophical pondering of "What is Chang'an (长安)?" lingers. It is a question the show answers not through its heroes, but through its victims, its perpetrators, and the profound moral ambiguities left in their wake. Beyond the palace intrigue and foreign threats, the series leaves us with a deeper unease, a collection of emotional puzzles more compelling than any whodunit. Love and Vengeance: Nuo Gao Ji (诺皋记) The case of Nuo Gao Ji begins with familiar tropes: a beautiful courtesan, Hong Yao (红药), adrift in the pleasure districts of Pingkang Fang (平康坊), seemingly entangled in a loveless marriage to Meng Buyi (孟不疑). The expected tale of vanity and betrayal unravels into something far more potent. Hong…

In contemporary historical dramas set in ancient China, a puzzling visual trend often leaves viewers scratching their heads: maidservants and their mistresses appear almost identically dressed, differentiated only by slightly less elaborate accessories. This blurring of costume hierarchies challenges audience perception and raises questions about historical authenticity. What were the actual sartorial rules for servants in imperial households? How did clothing and hairstyles clearly demarcate social standing? Moving beyond modern screen interpretations, historical artifacts and paintings reveal a defined and practical aesthetic for maidservants, one that balanced functionality with visible subordination. Understanding these codes not only enriches our view of the past but also offers a lens to critique current cinematic practices. Attire and Status Servants' clothing across dynasties was fundamentally shaped by practicality and symbolism. Unlike their mistresses, who wore luxurious silks and brocades, maidservants typically donned garments made from humble Mian (棉, cotton) and Ma (麻, linen). These fabrics were affordable, durable, and suited for daily chores. After cotton's proliferation in the Ming dynasty, it became the standard material for working attire. The basic ensemble often consisted of a simple, cross-collar top worn over trousers, allowing for ease of movement during tasks like cleaning, serving, or accompanying the…

A modern celebrity steps out in full historical regalia, and the internet buzzes. When actress Chen Duling (陈都灵) recently appeared in a meticulously crafted Ming Dynasty (明朝) ensemble, the focus wasn't just on the gorgeous silks. It was the towering, intricate headdress that captivated everyone. This wasn't mere costume play. It was a portal to a world where hair was architecture, and every pin held meaning. Her look taps into a growing fascination with historical accuracy and the sophisticated beauty standards of ancient China, proving that an elaborate 500-year-old hairstyle can feel strikingly relevant today. Architecture for the Head The foundation of Chen's look is the Jiaji (鬏髻), a pivotal Ming invention. This was not just styled hair. It was a wearable structure. Artisans created a lightweight frame from wire or bamboo, then meticulously covered it with real hair or silk. Worn over the wearer's own tied-up locks, it instantly added height and volume, creating a majestic silhouette. Available in styles like the Luohan Ji (罗汉鬏) or Shuangfeiyan (双飞燕), these were purchased ready-made from shops, much like buying a statement hat or hairpiece today. The Jiaji was more than a trend; it was a necessary canvas for the stunning jewelry…

Television audiences are gravitating toward narratives where deep affection clashes with sharp conflict. A phrase like Passionate Sagas now peppers online forums, summing up this pull toward stories where bonds are tested by fierce emotions. In The Prisoner of Beauty (折腰), leads display warmth while hiding private agendas. Love & Crown (凤凰台上) shows he and she divided by a mentor's death yet drawn together. Even cinema captures this, as in The Sun Rises on Us All (日掛中天), where a street-side glance between Zeng Meiyun (曾美云) and Bao Shu (葆树) speaks volumes. This pattern, often called Anguish-Satisfaction, weaves mild anguish into rich emotional payoffs. Creators are noting how viewers embrace these layered tensions, shaping new projects to feed this appetite. 1. Love and Hate in Modern Drama In today's television landscape, a distinct narrative pattern captivates audiences by weaving together deep-seated conflict and passionate romance. This approach, often seen in series where characters grapple with opposing loyalties or historical grievances, draws viewers into a whirlwind of feelings. Stories that pit love against hatred or duty against desire have become a staple, offering a mix of heartache and hope. They tap into universal emotions, making the journey of characters who cannot easily…

An online discussion has erupted around the distinctive headwear worn by actor Xu Zhengxi (徐正溪) in the historical drama Yong'an Dream (永安梦). Instead of the typical ornate crowns, his character sports a cap with what appear to be two small, curious eyes peeking out from the top. This unique design has captivated viewers, with many joking that only he could carry off such a peculiar look. The answer to this sartorial mystery lies not in a costume designer's whim, but deep within the fashion history of ancient China. This headpiece is a gateway to understanding the practicalities and social codes of attire during a dynamic period in Chinese history. The Hat's True Identity The cap is known as a Pingjin Ze (平巾帻). A Ze was a type of informal cap worn under more formal headpieces, and its use dates back to the Han Dynasty. It became particularly popular from the Wei and Jin periods through the Sui and Tang dynasties, frequently worn by military officials. The two horizontal protrusions that resemble eyes are not decorative. They are the ends of a horizontal hairpin called a Zan Dao (簪导), which was used to secure the cap firmly to the wearer's hair.…

Have you ever noticed how characters in historical dramas often retire for the night dressed in pristine white garments, and wondered if they ever worry about stains? This common visual isn't a costume designer's oversight or a symbol for something else; it is a deliberate and historically accurate representation of a fundamental layer of traditional attire known as Zhongyi (中衣). Far from being simple sleepwear, this undergarment served as the versatile core of ancient Chinese dress, functioning as both a formal inner layer and comfortable loungewear. Its enduring presence on screen hints at a sophisticated sartorial system where every piece, even the hidden ones, played a crucial role in aesthetics, etiquette, and personal comfort. Historical Roots The concept of Zhongyi is deeply embedded in classical texts. Its name, literally meaning "middle clothing," originates from the ancient glossary Shi Ming (释名), which describes its position between the innermost undergarments, or Xieyi (亵衣), and the outer robes. This placement was not merely practical but symbolic, representing a structured approach to dressing that prioritized propriety. In the hierarchical system of traditional dress, the Zhongyi was the essential buffer, a layer of modesty and refinement that separated the private self from the public presentation.…

In the latest twists of Soul Land 2: The Peerless Tang Clan (斗罗大陆 ‖ 绝世唐门), a stunning transformation unfolds as Snow Empress awakens to her true self. After absorbing the profound energy from the ancient ice marrow, she sheds her youthful form, emerging as a powerful adult with memories of her reign over the Extreme North fully restored. This rebirth sparks a daring confrontation, where she openly warns Beast God Ditian, the mightiest known soul beast. What fuels her audacity to challenge such a formidable force, and where does her confidence stem from? This article delves into the depths of their powers, examining the origins of their strength and the factors that could tip the scales in an epic clash. Cultivation and Power Beast God Ditian boasts an impressive 890,000 years of cultivation, placing him on the brink of divinity as a near-god entity. His mastery of dual soul cores allows him to compress soul force to its limits, granting unmatched explosive power and endurance in battles. This advanced state makes him a towering figure among soul beasts, with abilities that dwarf many rivals. However, Snow Empress is no ordinary opponent. Her 700,000 years of cultivation come from a pure,…

When Wang Yuwen (王玉雯) stepped into a museum wearing a flowing Hanfu outfit on the variety show Wow the World (地球超新鲜), she did more than just turn heads—she sparked a conversation about how traditional clothing could weave itself into the fabric of modern life. Viewers flooded social media with praise, noting how natural and approachable she looked, as if this centuries-old style had never left everyday wardrobes. Her choice wasn't a costume for a period drama but a thoughtful nod to the past, blending history with contemporary ease. This moment highlights a growing curiosity about Tang Dynasty fashion and its potential revival, inviting us to imagine a world where such garments are as common as jeans and t-shirts. What made her appearance so relatable, and why does it matter today? The answers lie in the details of the attire, the craftsmanship behind it, and the cultural threads that connect then and now. The Tang Style Wang's ensemble featured a Qixiong (齐胸) style, where the skirt is tied high above the chest, a design popular during the peak of the Tang era. Unlike the elaborate updos often seen in historical depictions, she paired it with a simple, everyday hairdo, making the look…