NEWHANFU

A new television experience is captivating audiences. It’s not just about following the plot twists of a period piece, but about embarking on a treasure hunt within the frame. As viewers watch the popular series Swords into Plowshares (太平年) on CCTV-1, a fascinating secondary activity has emerged: spotting the real historical artifacts meticulously recreated by the production team. From a merchant’s stringed instrument to the intricate design on a wine warmer, each detail is a deliberate nod to a tangible piece of history, waiting to be discovered in museums across China. Fans are thrilled, feeling they’ve been treated to a refined cultural feast, and are taking to social media to compare screenshots with photos of ancient relics. 1. Guqin (古琴) - A Melody in Wood The merchant Cheng Zhaoyue’s (程昭悦) entrances in the drama’s first episode are accompanied by the quiet presence of a Guqin. This isn't just any prop. Its distinct shape closely mirrors classical designs preserved for centuries. The Guqin, a seven-stringed zither, is one of China's oldest plucked instruments. Its basic form was largely standardized by the end of the Han Dynasty, yet it evolved into numerous styles, each with its own name and character. Viewers with…...

For thirty-five years, a statue has stood in the warm mists of Huaqing Pond (华清池) in Xi'an (西安). It depicts Yang Yuhuan (杨玉环), one of the famed Four Beauties of ancient China, caught in a moment often translated as "The Imperial Concubine Alights from the Bath." Its semi-nude form has fueled an enduring public debate. Is it a faithful artistic representation of the famously open Tang Dynasty, or is it a distasteful spectacle? However, this persistent controversy over nudity and decency misses the fundamental point. The core of the disagreement is not about exposure itself, but about a profound departure from a central tenet of traditional Chinese aesthetics: the power of subtlety and implication. The statue imposes a Western logic of direct physical display onto an Eastern historical symbol whose beauty was traditionally conveyed through artistry and artistic conception. The Core Debate The defenders of the statue often point to the Tang Dynasty's reputation for cultural openness and physicality. They cite semi-nude murals in the Mogao Caves (莫高窟) or figurines with exposed flesh as historical precedent. Yet, this argument conflates openness with explicitness. Tang art, even at its most sensual, practiced restraint. The flying Apsaras in murals or the court…...

When we picture historical adornment, the image is often feminine. Yet across China's long history, a man's accessories were far from an afterthought. They were a deliberate language, speaking volumes about his identity, virtue, and place in the world. These objects—worn at the waist, on the head, or in hand—served as keys to understanding the wearer. More than mere decoration, they were embodiments of cultural values, evolving with each dynasty to reflect shifting ideals of masculinity, power, and taste. From the resonant chime of Jade to the functional elegance of a belt, these items composed a silent visual code. This exploration moves beyond simple cataloguing to listen to the stories these objects tell about the men who wore them and the eras they defined. The Language of Jade The deep connection between Chinese gentlemanly ideals and jade began early. The saying "a gentleman never parts with his jade without reason" underscores its role. During the Qin and Han dynasties, jade was the paramount material for male adornment, symbolizing moral integrity. A nobleman's ensemble often featured a Zu Yu Pei (组玉佩), a set of jade plaques suspended from the waist. Their gentle, rhythmic clinking was intentional; it was meant to regulate…...

For thousands of years, the sun dictated the rhythm of life. People worked at its rise and rested at its set. Today, our time is sliced into precise digits by phones and watches. But in the vast stretches between day and night, how did ancient civilizations measure passing hours without modern tools? Their ingenious solutions reveal a deep desire to comprehend and master time's invisible flow, leading to inventions that were both scientifically profound and elegantly simple. 1. Gui Biao (圭表) - The Sun's Shadow Rule The most fundamental timekeeper was the Gui Biao, the empire’s celestial ruler. This instrument, essentially a vertical pole and a horizontal scale, measured the sun’s shadow. Its purpose was grand and agricultural: defining the solar year and the 24 solar terms. By marking the longest and shortest noon shadows, officials could pinpoint the Winter Solstice and Summer Solstice. The entire agricultural calendar and imperial rituals hinged on its readings. While it could indicate noon, the Gui Biao was not for hourly use. Its data set the framework. Think of it as the empire’s annual planner, calibrated by sunlight. The precision of the Chinese calendar, which allowed farmers to sow and harvest with remarkable accuracy…...

Today's ski resorts and ice rinks represent a globalized winter culture. Yet, centuries before modern arenas, the frozen waterways of imperial China hosted a world of vibrant and sophisticated winter sports. Far from a modern invention, organized ice activities were a dynamic part of life, evolving from military drills to grand state ceremonies. This is not a story of simple recreation, but of a deep-seated cultural ingenuity that transformed barren, frozen landscapes into stages for athleticism, artistry, and imperial power. 1. Qiang Deng (抢等) Imagine the crack of a signal cannon echoing across a frozen imperial lake. This was the start of Qiang Deng, a fierce speed skating contest that served as the precursor to modern short-track racing. Originally a military exercise for the Eight Banners armies to maintain winter readiness, it became a highlight of the annual Bingxi (冰嬉) ceremony. Emperor Qianlong (乾隆) elevated these ice games to a "national custom," with grand reviews held on the frozen waters of Beihai (北海) and Zhonghai (中海) in Beijing. Competitors, selected from elite "Ice Shoe Battalions," wore early iron-bladed skates. Bending forward for aerodynamics, they propelled themselves across the ice with poles, striving to be the first to cross the distant…...

We walk on them every day, rarely considering their names. Today, it is simply a road, a street, or an avenue. In ancient China, however, the ground beneath one’s feet told a richer story. Each type of path had its own distinct name, a linguistic signpost revealing its purpose, status, and the very texture of the life it supported. This wasn't mere classification; it was a way of seeing the world, embedding hierarchy, daily routine, and philosophical concept into the landscape. From the emperor’s grand highway to the farmer’s field track, the vocabulary of travel wove a complex map of society itself. Hierarchy Underfoot The most important concept was Dao (道). This term represented the highest standard of road, often imperial in nature. After unifying the country, Qin Shihuang (秦始皇) constructed vast "Chidao" (驰道), or "galloping roads," which functioned as ancient expressways for military and imperial use. Yet “Dao” meant far more than pavement. It was the same character used for "the way" or "the principle," linking physical travel to moral and cosmic order. A slightly less grand but still major thoroughfare was a Lu (路), a wide way designed for chariots and carts. Within the walls of a capital…...

The image is iconic: a stern, formidable figure stalking palace corridors or shadowy alleyways, clad in brilliant crimson robes embroidered with mythical creatures, a sleek, curved blade at his side. This is the Jinyiwei (锦衣卫), or Embroidered Uniform Guard, as popular culture has cemented him in our minds. From television dramas to video games, this visual shorthand for Ming Dynasty secret police and imperial power is unmistakable. But what if this widespread portrayal is more fantasy than fact? The glamorous Feiyu uniform was not standard issue. For the vast majority of the men who served in this complex institution, such opulence was a distant dream, a privileged symbol reserved for a select few at the very top. The Privilege of the Robe Contrary to the on-screen legions of red-clad agents, the Feiyufu (飞鱼服) was not a uniform in the common sense. It was a "Cifu" (赐服), a bestowed garment, one of the highest honors the Ming emperor could grant. Ranking just below the imperial dragon robe, it was awarded individually for merit or faithful service. The right to wear it was a legal privilege, and unauthorized use was strictly forbidden. Its name comes from the "Feiyu" pattern: a legendary creature…...

When a television program can make historical clothing feel as immediate as today's fashion headlines, something special is happening. A recent broadcast by China Central Television (CCTV) has captivated audiences not with futuristic designs, but with a deep, respectful look into the past. The focus was the intricate beauty and profound symbolism of Hanfu, the traditional attire of the Han Chinese. By examining specific garments, particularly from the Ming Dynasty, the program connected threads of fabric to threads of cultural memory, prompting viewers to see ancient robes as more than museum relics. They are presented as active testaments to a worldview, where aesthetics and social order were seamlessly woven together. More Than Fabric: The Language of Ceremonial Dress The CCTV program, titled Etiquette China (礼仪中国), serves as a guide to this philosophy. It operates on a powerful premise: to understand a civilization's ideals, study the clothes it wore for its most important moments. The series approaches Hanfu not merely as costume, but as a visual language of Li (礼), a concept encompassing ritual, propriety, and the very framework of traditional social harmony. The most formal garments, known as ceremonial dress, carried the heaviest symbolic weight. These robes were canvases for…...

The messages we exchange as a new year dawns today are warm and direct. But centuries ago in China, New Year's greetings were crafted with a subtle, poetic artistry. They conveyed hopes, affection, and well-wishes not through straightforward statements, but through elegant allusions and imagery drawn from nature and the seasons. This tradition reveals a uniquely Chinese form of lyrical expression, where the act of blessing someone became an art form in itself. The Poetry of Time Instead of modern phrases, scholars of old used classical references to mark the year's turn. A common opening for a seasonal letter was “the year is in Guichou (癸丑), at the end of spring.” This practice, seen in masterpieces like Wang Xizhi’s (王羲之) Preface to the Poems Composed at the Orchid Pavilion (兰亭集序), framed time within a lyrical context. Another phrase, “Sui Yu Yun Mu, Xin Yuan Zhao Qi (岁在癸丑，暮春之初)” poetically captures the moment as “the year draws to its close, a new beginning dawns.” These were not mere dates; they were acknowledgments of time’s graceful, inevitable passage. The great Song dynasty statesman and poet Wang Anshi never explicitly said “happy new year” in his famous verse. Yet, his lines about firecrackers banishing…...

The announcement of a new film adaptation of the classic time-travel series Back to the Past (寻秦记), reuniting the original cast after 25 years, has sent waves of nostalgia through its fanbase. While audiences eagerly await the return of Louis Koo and Raymond Lam to their iconic roles, a seemingly minor detail from the promotional material has ignited a surprisingly passionate online discussion: the distinct, slightly off-center topknot, or Ji (髻), worn by Lam’s character. This quirky hairstyle, far from being a costuming error, is a deliberate nod to a fascinating and authentic historical practice from the Qin era. The film’s attention to this detail opens a window into the highly structured and symbolic world of ancient Chinese military life, where even a hairstyle could speak volumes about a person’s rank and origin. More Than a Hairstyle To the modern eye, a tilted bun might appear casual or even charmingly disheveled. In the context of the Qin dynasty (221-206 BCE), however, it was a standard and meaningful feature. The most definitive evidence comes from the silent army of the Terracotta Warriors. A close examination of the thousands of life-sized figures reveals a striking variety in their topknots. A significant portion…...