Jing Tian

In previous features, we discussed the unsurpassable peak in Qipao cinema history—In the Mood for Love. Today, I want to focus on Qipao appearances in TV dramas, highlighting those classic moments where Qipao beauties shone. Each of these beauties has her unique charm, and the Qipao they wore were equally distinctive. In the vast ocean of Qipao styles, external beauty is secondary; the key lies in wearing the Qipao with personal flair and character. First, let's talk about a widely recognized Qipao beauty from recent years—Jing Tian in Rattan (2021). Her portrayal of a vine spirit, set in the Republican era, featured numerous Qipao styles that redefined elegance. The satin Qipao, primarily in pearl white, with its high side slit, atmospheric connected shoulder sleeves, double-round front placket paired with delicate piping and inlaid silk hard flower buttons, exuded both nobility and grace. It was not only light and smooth but also convenient for movement. Paired with Jing Tian's long hair like satin, it combined sexiness and cold beauty. The lace-embellished Qipao in pale blue highlighted her delicate features. The lace perspective showed the female's graceful figure in a hazy and implicit way. With exquisite bead embroidery printing and a small…

In the historical drama 'Si Jin,' Jing Tian's wedding headdress has sparked an online debate. Many criticized it for resembling a Qing Dynasty 'qitou.' But is it really a Song Dynasty costume paired with a qitou? The answer is no. This headdress actually comes from the Song Dynasty's 'Chuijian Guan' (Drooping Shoulder Crown), a trendy accessory during the mid - to - late Northern Song period. As recorded in 'Chen Shi,' '...the longer corners droop down to the shoulders, hence called Chuijian.' Similar crowns were known as 'Dengjian' or 'Duojian,' with widths reaching up to two or three chi. People had to turn their heads sideways to enter a carriage because of the crown's width. The character 'Duo' means 'drooping.' Based on the round crown design, this accessory got its name as its sides drooped and were often adorned with gold, silver, pearls, or jade. For instance, Wang Churan's look in 'Serenade of Peaceful Joy' referenced this crown, which reflected her bold personality in the early part of the story. This crown was extremely popular at that time, imitated by people from the imperial court to commoners. 'Dream Pool Essays' described the attire of Li Shishi, a courtesan favored by…

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…

The historical drama Si Jin has brought attention to the fascinating clothing culture of ancient China, particularly the sleeveless garments worn by actress Jing Tian. These garments, known as Beixin (背心) or Bijia (比甲), were popular during the Song, Yuan, and Ming dynasties. They were typically worn over other clothing and featured a front-opening design with slits on both sides, extending to below the knees. Archaeological findings from the Southern Song Dynasty, such as those from the Huang Sheng tomb, reveal a variety of sleeveless garments, including Beixin, long and short shirts, two-piece skirts, and more. These garments were lightweight and breathable, making them ideal for summer wear. For instance, one dark peony-patterned Beixin measured 70 cm in length, 44 cm in waist width, and weighed only 16.7 grams—lighter than half a liang (两), a traditional Chinese unit of weight. These sleeveless garments were favored by both noblewomen and commoners. They could be worn alone at home or layered with other clothing for outdoor activities. The Ming Dynasty saw variations like Gua (褂) or Bijia, which could be worn with or without an inner Moxiong (抹胸). The lightweight fabric sometimes revealed the inner garment, adding a touch of color and…