NEWHANFU

In various Chinese historical dramas such as Jiuchong Zi, Jinnang Miaolu, Futu Yuan, and Canghai Zhuan, actors like Xiao Zhan, Li Yunrui, Wang Hedi, and Zhai Zilu are often seen wearing what appears to be stockings or fishnets on their heads. However, these are not stockings but a traditional headgear known as Wangjin (网巾), a net-like accessory used by adult men in the Ming Dynasty to tie and gather loose hair. Practical Uses of Wangjin Wangjin was primarily used to keep hair in place and prevent hats from slipping. It was a practical accessory for daily life, especially among commoners who wore it without additional head coverings. For those of higher social status, Wangjin was often worn under formal hats during important occasions. The popularity of Wangjin can be traced back to Emperor Zhu Yuanzhang of the Ming Dynasty. According to historical records, Zhu Yuanzhang once visited a Taoist temple in casual attire and observed a priest weaving Wangjin under lamplight. Intrigued, he inquired about its purpose and later issued a decree mandating its use across the empire, regardless of social status. Wangjin typically featured a top drawstring called Wangdai (网带), tied at the crown, and small strings at the…...

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 the drama 'Guose Fenghua', Li Xian's portrayal of Jiang Changyang features an ever-changing wardrobe, earning the title 'Tang Dynasty version of a man's closet'. Even Li Xian himself admitted that the costumes in this series are the most 'flamboyant' he has ever worn. One of the standout elements of Jiang Changyang's attire is the prominent use of Tuan Ke (团窠) and Lianzhu (联珠纹) patterns. These artistic treasures were uniquely developed during the Tang Dynasty by assimilating the essence of foreign cultures. The Persian-style Lianzhu Tuan Ke motifs, introduced to Central China via the Silk Road during the Northern Dynasties, were later infused with distinct Chinese characteristics by the Tang era. A key term to understand here is 'Lingyang Gong Yang' (陵阳公样), a category of Tang brocade patterns that dominated the textile art of the period. The 'designer' behind these patterns was Dou Shilun, a renowned Tang Dynasty silk weaving expert who created over a dozen motifs in his lifetime. According to Zhang Yanyuan's 'Records of Famous Paintings Through the Ages', Dou Shilun served as the Grand Administrator of Yizhou and was responsible for designing auspicious brocades and palace silks. His intricate and colorful designs earned him the noble title…...

Have you ever wondered why women in Tang Dynasty-themed films and TV shows often appear 'top-heavy'? It's not an illusion! In classical makeup and styling, the hairstyles of the mid to late Tang Dynasty are famously referred to as 'big heads.' But why? Just take a look at the number of hair buns atop their heads. The trend of 'big heads' actually began to emerge as early as the late Eastern Han Dynasty, when noblewomen started favoring high buns, considering them a mark of beauty. The Tang Dynasty took this trend to its peak, leading to the creation of various types of artificial hairpieces (Yiji) specifically for high buns. What did women do if they wanted to achieve this look but lacked enough hair? They simply wore artificial hairpieces. Common materials for Yiji included real hair or wooden substitutes. For example, this spiral-shaped Yiji was made from 'fake hair,' lined with hemp cloth, wrapped with palm fibers, and dyed to create a spiral shape. It could be easily pressed onto the head, showcasing both antiquity and craftsmanship. The materials for Yiji were diverse, not limited to real hair. Thin wooden pieces were also used. One such example is the lacquered…...

In the historical drama 'The Glory of Tang,' a stunning peacock crown caught the audience's attention. This crown, inspired by a real artifact from the Tang Dynasty, raises the question: Did people in the Tang Dynasty really wear peacocks on their heads? The answer lies in the exquisite craftsmanship and cultural significance of the era. The design of the peacock crown is based on a painted pottery figurine of a horseback female drummer, housed in the Xi'an Museum. This figurine belonged to Jinxiang Xianzhu (金乡县主), the granddaughter of Emperor Gaozu of Tang, Li Yuan, and the third daughter of Li Yuanying, the Prince of Teng. The artifacts excavated from her tomb reveal a life of luxury and sophistication, vividly depicting the prosperity of the Tang Dynasty. Xianzhu (县主) was a title within the Zongnü (宗女) hierarchy, a system that defined the status and privileges of royal women. This hierarchy included titles such as Gongzhu (公主, princess), Junzhu (郡主, princess of the crown prince), and Xianzhu (princess of a prince), each with distinct ranks and privileges. For instance, Gongzhu held the first rank, Junzhu the second, and Xianzhu the third. As a second-rank noblewoman, Xianzhu wore elaborate attire, including a Diyi…...

Have you ever wondered why some classical Chinese portraits depict women with strikingly red cheeks that almost look like bruises? This distinctive look is actually an intentional and celebrated makeup style from ancient China called Jiuyun Zhuang (酒晕妆), or "Drunk Blush Makeup." This bold cosmetic trend originated during the prosperous Tang Dynasty (618 - 907 AD), particularly popular during Empress Wu Zetian's reign. The style involved applying vibrant red pigment across large portions of the face - not just the cheeks, but often extending to the eyelids, jawline, and even ears. Historical records from the Zhuangtai Ji (妆台记), an ancient Chinese cosmetic manual, describe three intensity levels of this look: the most dramatic Jiuyun Zhuang (Drunk Blush), the softer Taohua Zhuang (Peach Blossom Makeup), and the subtle Feixia Zhuang (Flying Sunset Makeup). Beauty Standard of the Time What modern eyes might perceive as excessive was actually a sophisticated beauty standard of its time. The warm Wozhe (渥赭) hue - a traditional pigment made from cinnabar and ink - served multiple purposes: enhancing healthy complexion, creating facial dimension, and projecting an image of vitality. During mid - Tang period, women often paired this look with bold eyebrows for an even more…...

In many historical dramas, the veiled hat, known as Weimao (帷帽), is an indispensable element. A classic scene often features the heroine making her first appearance, with the wind lifting the delicate veil to reveal her breathtaking beauty. This accessory has earned the playful nickname "beautiful yet useless" among netizens, highlighting its aesthetic appeal over practicality. Origin and Features The Weimao originated as a decorative item in Hu (胡) attire. Before its emergence, another style called Mili (羃篱), made of bamboo, was prevalent. Typically crafted from cloth or gauze, the Weimao features a wide brim with hanging silk nets or thin silk panels that extend to the neck, serving as a face cover. During the Sui and Tang dynasties, the hanging nets were shortened, earning it the name "Qianlu" (浅露). Unlike the Mili, which covered the entire body, the Weimao's veil only concealed the upper body. Early Usage Historical records, such as those in the "Book of Jin," note that both men and women initially wore the Mili to shield themselves from wind and sand. Over time, it became predominantly a women's accessory, used to obscure their faces from public view during outings. Some humorously suggest that introverts might have…...

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…...

If you’ve ever wandered into the comments section of a Chinese historical drama, there’s a good chance you’ve seen someone ranting about whether the actors are wearing their robes “correctly.” And by “correctly,” they often mean one of two things: first, is the hair tied up or left loose? And second, is the robe crossing left-over-right (zuo ren, 左衽) or right-over-left (you ren, 右衽)? This second one—zuo ren—is where things get weirdly intense. What Does “Zuo Ren” Actually Mean? So what’s the big deal with zuo ren? Technically, it refers to the way a garment crosses over the body. If the left side overlaps the right, that’s zuo ren. Right over left? That’s "you ren", which is traditionally considered “correct” in Han Chinese dress. Confucius (孔子) even name-dropped zuo ren in the Analects (论语) , saying that if not for the statesman Guan Zhong (管仲) , “we’d all be wearing our hair down and robes crossed the wrong way”—basically, we’d be living like barbarians. Which sounds dramatic. But here’s the thing: even in Confucius’s time, not everyone outside the Central Plains actually wore zuo ren. For example, the people of Chu (楚国) —a powerful southern state considered “semi-barbaric” at the…...

It’s funny how we throw around the word “Dunhuang” like it’s a single, well-defined thing. For most people, it’s synonymous with the Mogao Caves—those dusty, majestic Buddhist grottos in the far-flung desert of northwestern China. But Dunhuang (敦煌) is less of a place and more of a time capsule layered with over a thousand years of belief, brushstrokes, and guesswork. It isn’t just one cave, one dynasty, or one style. It's an ecosystem of art, faith, and faded colors—held together by sand and memory. Let’s clear one thing up first: Dunhuang isn’t just the Mogao Caves. It includes the Yulin Caves (榆林窟), the Western Thousand Buddha Caves (西千佛洞), and even more obscure clusters like the Five Temple Caves (五个庙石窟). It's more accurate to call it the Dunhuang Grotto Complex—a network of spiritual and artistic experimentation that unfolded across centuries. Not Just Tang Dynasty Grandeur We love to associate Dunhuang with the Tang Dynasty (唐朝)—maybe because the Tang's cultural glamor fits so neatly with the image of heavenly bodhisattvas strumming pipa mid-air. But that's a postcard version of Dunhuang. In truth, the site saw activity from the 4th to the 14th century, spanning dynasties like the Northern Wei (北魏), Sui (隋),…...