NEWHANFU

Did the ancients not worry about things falling out of their sleeves? In the historical drama Lotus Tower, the character Li Lianhua is nicknamed 'Lotus Pockets' by netizens. His role is like Doraemon, pulling out items such as secret letters, tokens, rings, water bottles, swords, and small objects from his sleeves. Could ancient people really stuff so many items of different sizes into their sleeves? Li Lianhua's sleeves seem incredibly capacious! Here's the conclusion: most sleeves that could hold items had cuffs. Unlike the wide - open sleeves used for ceremonial purposes, which generally couldn't hold things directly, and attendants often carried bags for them. Besides sleeves, ancient people also used handbags and backpacks. So, when you see characters easily taking out porcelain bottles or silver from their sleeves or belts, you might wonder—doesn't it hurt? More importantly, wouldn't things fall out? Sleeves with cuffs generally had two features: some were naturally gathered, like pipa sleeves or chuihu sleeves, forming a pouch - like shape. Others had hidden stitching inside wide sleeves to prevent slipping and hold lightweight items. However, carrying heavy or large items in sleeves would be noticeable. So, ancient people often carried small bags, either hidden in…...

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…...

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…...

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…...

One of the joys of wearing hanfu is discovering how effortlessly it can be adapted to different lifestyles, beliefs, and personal preferences. As a hijabi, one of my biggest considerations when choosing clothing is modesty. Thankfully, many hanfu styles already cater to this ideal with their long, flowing silhouettes, layered structures, and elegant designs. In fact, I’ve found hanfu to be one of the easiest traditional outfits to wear while staying true to both my modesty and aesthetic preferences. Although some hanfu styles are more fitted around the waist or involve shorter sleeves or lower necklines, there are many that work beautifully for hijabis without needing any extra modifications. Personally, I’m especially drawn to Ming dynasty style hanfu. These often feature a mamianqun skirt paired with either a shorter shirt (duijin shan) or a longer robe-style shirt (aoqun or dachang), both of which are generously cut and non-revealing. The fabrics drape naturally, the overall silhouette is loose, and the layering makes it feel effortlessly modest. The added bonus? Mamianqun prints are just stunning. The way the pleats open and close as you walk, revealing flashes of the pattern, creates a sense of movement and beauty that makes me feel elegant…...

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…...

The debate over the origins of the Futou (幅巾), a headwear often seen in Korean dramas, has resurfaced as it appears on Korean banknotes. While many assume it to be a Korean cultural element due to its frequent portrayal in K-dramas, the Futou is, in fact, a traditional Chinese accessory with a history dating back centuries. Its design has remained largely unchanged, yet it is rarely featured in Chinese period dramas set in the Ming Dynasty, sparking curiosity and debate. Historical Roots of Futou The earliest mention of Futou is found in the Houhanshu (后汉书), specifically in the biography of Zheng Xuan (郑玄), who chose to wear Futou instead of official court attire when receiving guests. Initially, Futou resembled a simple headwrap, similar to a scarf. However, by the Song and Ming Dynasties, it evolved into a popular headwear style, typically made from a square piece of silk measuring three chi (尺) in length and width. The Futou was worn by wrapping it around the forehead and tying it at the back, with the ends hanging down to the shoulders or even the back. During the Song and Ming Dynasties, Futou became deeply associated with Confucian culture, often worn during…...