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…

When gods fail to stop evil, they send a mortal woman back in time to change fate. But what if the villain she's meant to kill is the man she's destined to love? In Till the End of the Moon, fate is a battlefield—where love, betrayal, and memory collide. The heroine must enter the past, play bride to the future Demon King, and stop him before his darkness devours the world. But every step closer to his heart is one further from her mission. Because stopping the monster might mean destroying the man. The Demon in Disguise (Episodes 1–10) The world ends in fire. Five centuries ahead, the Demon God Tantai Jin, born of the cursed Evil Bone, incinerates humanity. Desperate, the gods hurl Li Susu—a cultivator forged in celestial discipline—into the body of Ye Xiwu, a noblewoman whose cruelty once scarred the exiled Sixth Prince, Tantai Jin. Her mission is clear: kill him before the Bone awakens. But the past is a mirror cracked. The boy-prince she finds is not a monster but a ghost in chains, starved and beaten, his wrists raw from shackles even his bride once tightened. Li Susu's first act as Ye Xiwu is a…

Ju Jingyi (鞠婧祎), a rising star in Chinese costume dramas, has carved a niche with her delicate visuals and evolving acting range. Known for roles blending elegance and resilience, she navigates genres from sweet romances to dark fantasies, defying criticisms of repetitive styling. While her early works leaned on "beauty-driven" tropes, recent projects like Hualing Ling reveal sharper emotional layers. This article explores her standout performances across seven costume dramas, highlighting how she balances ethereal charm with character depth—a journey from idol to actress. The Legend of White Snake 新白娘子传奇 Aired: 2019 Period Background: Mythological Southern Song Dynasty Genres: Fantasy, Romance, Mythology Main Roles: Ju Jingyi (Bai Suzhen), Yu Menglong (Xu Xian) Adapted From: Classic Chinese folklore Legend of the White Snake The 2019 reboot of The Legend of White Snake reimagines the classic Chinese myth of Bai Suzhen, a millennia-old snake spirit who descends to the mortal world. Departing from the 1992 version's focus on Bai's quest to repay a past savior, this adaptation centers on her serendipitous romance with Xu Xian, a humble physician. Set in the Southern Song Dynasty, the story explores Bai's dual identity as both a benevolent immortal and devoted lover. When celestial forces, led…

The Forbidden City's gilded cages are ruled by poison, not prayer. Forget the condensed 6-episode U.S. edit—Empress in the Palace (甄嬛传) demands its full 76-episode canvas to unravel Zhen Huan's metamorphosis from naive concubine to imperial tactician. This isn't a romance; it's a masterclass in psychological warfare. Every smile is a blade, every ally a liability, and every royal birth a gambit in a game where emperors bleed and dynasties crumble. Episodes 1–10: The Illusion of Innocence Seventeen-year-old Zhen Huan enters the Qing court not as a conqueror but a casualty, her fate sealed by a twist of cruel irony: her face mirrors that of Emperor Yongzheng's long-dead true love, Empress Chunyuan. This resemblance, a haunting inheritance, draws the emperor's gaze during the concubine selection ceremony—but Zhen, determined to avoid the lethal spotlight of imperial favor, quietly prays to fail. Yet destiny mocks her caution. When a butterfly alights on her friend An Lingrong's cheap silk flower (a trick Zhen orchestrated to help Lingrong pass the selection), the emperor's attention locks onto the trio: Zhen, Lingrong, and their poised companion Shen Meizhuang. In this moment, the series' core truth crystallizes: the harem rewards neither virtue nor vice, but the ability…

Chinese sci-fi animation is quietly undergoing a revolution. No longer confined to tropes of myth or fantasy, a new wave of creators is tackling speculative futures with precision and boldness. These works don't shout for attention; they earn it through sharp world-building, unflinching themes, and a refusal to simplify humanity's relationship with technology. From crumbling post-apocalyptic cities to AI-dominated dystopias, these stories ask urgent questions: What does survival cost? Can humanity evolve without losing itself? The answers are rarely comfortable but always compelling. Below are seven essential titles that define this movement—not as "cultural milestones" but as raw, inventive narratives. They prioritize substance over spectacle, proving that Chinese sci-fi animation isn't just catching up—it's carving its own path. Ling Cage: Incarnation 灵笼 In Ling Cage: Incarnation, humanity's survival hinges on a brutal calculus: sacrifice empathy or perish. The floating fortress Lighthouse enforces a genetic hierarchy where "Uppercitizens" hoard resources while "Dust Citizens" endure dehumanizing labor and insect-based diets. This system strips away human bonds—exemplified by the Dawn Hall's emotionless breeding rituals—reducing life to a eugenicist project. Mark, a Hunter captain tasked with scavenging a monster-infested Earth, initially upholds this order until discovering the Lighthouse's darkest secret: a cult sacrificing children…

Chinese romance animations thrive on bold storytelling and character-driven intimacy. Series like Fox Spirit Matchmaker hook viewers with immortal lovers defying reincarnation cycles, while No Doubt in Us reinvents relationship dynamics through a royal couple's body-swap chaos. These stories avoid tired tropes by grounding emotions in tangible stakes: a demon hunter's loyalty tested across lifetimes in Demon List, or a mortal girl unraveling celestial secrets in Contemplation of Affection. What unites them is razor-sharp focus on how characters earn love—whether battling societal expectations or their own flaws—making every confession or sacrifice resonate with raw, earned authenticity. Fox Spirit Matchmaker 狐妖小红娘 "Fox Spirit Matchmaker" redefines fantasy romance with its inventive premise of fox spirits bridging past and present loves. At its core lies the hauntingly beautiful saga of Dongfang Yuechu, a mortal warrior, and Tu Shan Honghong, a fox spirit matchmaker bound by centuries of duty. Their story isn't a straightforward courtship but a layered unraveling of identities—she must confront her role as an emotionless facilitator of others' romances while secretly yearning for her own; he grapples with fragmented memories of lives where their love repeatedly ended in tragedy. The series weaponizes reincarnation as both plot device and emotional catalyst. Flashbacks to past lives—as star-crossed lovers in imperial courts…

When Zhou Xun dons historical costumes, audiences hold their breath—this petite woman from Jiangnan watertowns carries half of China's epic history in her bones. As the soul-devouring fox spirit in Painted Skin, she laid bare human fragility beneath ethereal beauty; in Ruyi's Royal Love, her restrained sighs as an embattled empress turned palace intrigue into visceral poetry. From her deliberate whisper-pauses to the way her eyes flicker between vulnerability and cunning, we unpack how this actress bends time itself through roles that resonate across generations. Palace of Desire 大明宫词 Aired: 2000 Period Background: Tang Dynasty (618–907 AD), focusing on imperial intrigue. Genres: Historical, Romance, Political Drama Main Roles: Zhou Xun as Young Taiping Princess, Chen Hong as Adult Taiping, Gua Lunshu as Emperor Gaozong. Adapted From: Original screenplay by Wang Anyi. Palace of Desire traces the life of Taiping Princess, portrayed by Zhou Xun in her youth. The series begins with Taiping as a sheltered yet rebellious teenager, her curiosity clashing with the rigid imperial hierarchy. Her early escapades—sneaking into bustling markets, questioning court rituals—highlight her defiance against the suffocating palace life. However, her innocence shatters as she witnesses the ruthless political maneuvers of her mother, Empress Wu Zetian, particularly…

It's been 15 years since Chinese Paladin aired. Recently, Tang Yan's new drama look was unveiled, with her donning purple attire again. Netizens exclaimed, 'Time spares no one, but beauty endures—Zi Xuan is back!' For most, Tang Yan has an exceptional affinity for purple and forehead ornaments, largely because of her unforgettable role as Zi Xuan in Chinese Paladin. In the series, the primary colors of her character were purple and magenta. She wore a forehead ornament, complemented by pink accents. The play of color shades helped shape her character's adaptable personality, making purple and forehead ornaments a must - have for many when imagining a goddess. The forehead ornament stood out due to her prominent broad forehead, which conforms to the traditional aesthetic of a square and full forehead, exuding a sense of grandeur. Adding the ornament further enhanced her classical beauty. At that time, such a broad forehead was quite rare among female celebrities. Unfortunately, apart from the successful styling of Zi Xuan, Tang Yan rarely showed her broad forehead in later roles. She often chose bangs to cover it. Her subsequent styling continuously aimed for a youthful look, which influenced the style of her later characters. For…

In the historical cdrama, actors Chen Jin and Xu Jiao portray characters with distinctive eyebrow styles that exude an undeniable aura of authority. Unlike conventional female characters whose eyebrows taper downward or remain straight, their eyebrow tails sweep dramatically upward. This unique style, known as Hanyan Mei (涵烟眉) or Fuyun Mei (拂云眉), was particularly popular during the early Tang Dynasty through the Wu Zhou period. Characterized by sharp inner corners and finely separated hairs at the tails, this eyebrow style sometimes featured a narrower, more arched peak, also referred to as Yuanshan Mei (远山眉). Ancient Chinese literature, such as the Fengguang Ci by a Tang Dynasty poetess, describes these eyebrows as ethereal as mist or drifting clouds. Their upward sweep not only added a touch of independence and confidence but also became a defining feature in murals and paintings from that era. Compared to the softer Juan Yan Mei (罥烟眉), Hanyan Mei was bolder and more vibrant, leaving a lasting impression. Modern adaptations in film and television have softened its intensity, blending strength with elegance. Modern Applications and Tips This eyebrow style, often seen in strong female roles like those in Zhang Xin, enhances facial structure by filling the temple…

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…

Do you think ancient Chinese people didn't carry bags just because you rarely see them in TV dramas? Historical records clearly show that carrying bags has been a long-standing practice in China. In Liu Shishi's new period drama Kill My Sins, her character sports various bags with each outfit. Some netizens even counted one bag per costume! Where do you think ancient people kept their money? Did they really not carry bags? Don't get too obsessed with Liu Shishi's large and small bags in the show. In fact, we've had our own bags since ancient times, and many would be considered trendy even today. Archaeological discoveries repeatedly prove that fashion's ultimate inspiration comes from Huaxia (华夏) culture. A leather bag unearthed from Niya in Xinjiang, dating back to the Han-Jin period, stunned the world when it was revealed. It looked exactly like a modern saddle bag from a luxury brand - proving that this fashion trend existed over 1,600 years ago. This isn't an isolated case. Ancient Chinese had all kinds of bags: saddle bags, handbags, crossbody bags, waist bags, box evening bags, backpacks, net bags, underarm bags... These discoveries show remarkable similarities between ancient and modern fashion across a…

In the TV series Kill My Sins, Chen Jin portrays a sage inspired by Wu Zetian, but with minimal makeup and no elaborate hairstyles. Netizens have commented: So even emperors had no appearance anxiety! Traditionally, Wu Zetian has been depicted as a glamorous and noble figure in films and TV shows. Actresses like Liu Xiaoqing, Gui Yalei, Lü Zhong, Liu Jialing, and Fan Bingbing have all played her, either with towering hairdos adorned with ornate hairpins or, like Chen Jin, in simple round-collared robes and futou hats, exuding authority without effort. The Historical Appearance of Wu Zetian Wu Zetian was known for her beauty, but historical records describe her as having a square forehead and broad cheeks (fang e guang yi). According to the New Book of Tang, her daughter Princess Taiping shared these features, leading Wu Zetian to remark that her daughter resembled her. This look, sometimes exaggerated with sharp-angled sideburns, resembles what we now call a square-round face. Her image remains enigmatic. Most later depictions show her in cross-collared or round-collared robes, typical of the Tang Dynasty, paired with a fangxin quling neckpiece and a diguang crown. However, these portrayals often mix contemporary fashion elements, making them unreliable.…

Yang Zi's headband in the latest drama The Mo has sparked heated discussions among netizens. This seemingly modern accessory actually has ancient roots as a Pazi (帕子), a square cloth used by women to wrap their hair, keeping it neat and tidy. This practice of head wrapping was common across various dynasties, particularly among the common folk, as it could be made from leftover fabric. Before the Wei and Jin dynasties, both men and women used Pazi, with men using it more frequently. One style, known as Zizuo (缁撮), resembled the bun-like wrap often seen on scholars in historical dramas. During the Qin and Han periods, the military also adopted this practice, using deep red cloth to create headscarves called Jiang Patou (绛帕头). In the Han Dynasty, it was often paired with Ze (帻), a type of headgear, becoming a popular fashion trend. Evolution of Head Wrapping Styles By the Wei and Jin dynasties, head wrapping became more prevalent among women. During the Sui and Tang dynasties, it was fashionable to wrap the entire head, and by the Song Dynasty, it evolved into a widespread hairstyle known as Baoji (包髻). The Pazi was not only used for wrapping hair but…

The Evolution of Shuang Huan Wangxian Ji The hairstyle, known as Shuang Huan Wangxian Ji (双鬟望仙髻), has been hailed as the most iconic and popular fairy-like hairstyle, transcending age and time. Originating from the Shuang Huan Ji (双环髻), this hairstyle was initially designed for young girls. However, its ethereal beauty made it a frequent feature in divine paintings, such as the renowned Luoshen Fu Tu (洛神赋图) and the Eighty-Seven Immortals Scroll (八十七神仙卷). Over time, it evolved into a cultural phenomenon. During the Wei, Jin, and Southern and Northern Dynasties (魏晋南北朝), the high bun with double rings was prevalent. By the early Tang Dynasty (初唐), the Shuang Huan Wangxian Ji began to take shape, characterized by its round and full appearance. The hairstyle ranged from modest daily buns to exaggeratedly large ones, sometimes even matching the length of a face. By the mid-to-late Tang Dynasty (中晚唐), the contours of the hairstyle became wavy, adding a dynamic charm to its otherwise simple form. Popularity Across Dynasties In the Song Dynasty (宋代), this hairstyle became a fashion trend among commoners. Women adorned it with pearl accessories and simplified its originally exaggerated height, making it more wearable for daily life. However, by the Ming…

The Court Ladies Adorning Their Hair with Flowers painting has inspired numerous costume dramas, including Dream of Splendor, National Beauty and Fragrance, and Peaceful Year. But how accurate are these adaptations? Let's delve into the authentic portrayal of court ladies from the Five Dynasties period. The Iconic Hairstyle and Its Origins The hairstyle seen in these dramas is inspired by the noblewomen depicted in Zhou Fang's (disputed authorship) Court Ladies Adorning Their Hair with Flowers. Characterized by towering buns adorned with hairpins and floral decorations, it exudes elegance. However, the clothing patterns and styles suggest a late Tang or Five Dynasties origin rather than the Tang Dynasty. Floral Patterns: Tang vs. Five Dynasties There's a noticeable difference between the floral patterns of the High Tang and late Tang/Five Dynasties. High Tang designs feature clustered, cohesive flowers, while late Tang/Five Dynasties styles are more scattered with paired flowers and leaves. This distinction helps date the painting to the late Tang or later. The Hairpin Flower Controversy Shen Congwen speculated that the prominent hairpin flowers might have been added by Song Dynasty artists. The painting shows women with loose, cloud - like hair adorned with golden hairpins, making the addition of large…

In the dramas The Palm and National Beauty and Fragrance, Zhang Yuxi's hairstyle stands out as distinctly different from others. Is this truly a Tang Dynasty style? The answer is yes. This hairstyle is called Fanwan Ji (反绾髻), a popular hairdo during the early Tang Dynasty. Its most notable feature is the strand of hair that curves around the forehead, formed by pulling hair from the back of the head to the front, hence the name Fanwan Ji. This hairstyle is also known as Leyou Fanwan Ji (乐游反绾髻). Leyou refers to Leyou Yuan (乐游原), a scenic spot in Chang'an, the capital of the Tang Dynasty. Located in the southern part of the city, it was a favorite destination for nobles and literati due to its breathtaking views and elevated terrain. The hairstyle's name reflects its free - spirited and elegant nature, making it a popular choice for women during outings. As described in Gu Kuang's poem Song of the Acrobat, "The girl from Wanling splits the air with her hands, the long pole stands horizontally as she moves up and down... her Fanwan Ji swirls like the wind." This highlights the hairstyle's beauty and practicality. Unlike other elaborate Tang Dynasty…

In modern times, people often think of bangs as the only way to decorate the forehead. However, in ancient China, there were various methods such as sticking Huadian (花钿), wearing forehead scarves, headbands, or applying forehead decorations. Today, let's talk about Yunbin (云鬓), a hairstyle made directly from one's own hair to cover the hairline. Yunbin, commonly seen in the Song Dynasty, is also known as Yun Jian Qiao E (云尖巧额). It involves curling a few strands of hair on the forehead or temples to create a layered, cloud-like effect. This not only helps to cover the hairline and temples but also adds a touch of elegance and grace to a woman's appearance. As described in The Ballad of Mulan: "She combs her cloud-like hair by the window and adorns her forehead with yellow flowers." According to Feng Chuang Xiao Bu from the Song Dynasty, "During the Chongning period, people preferred large bangs and square foreheads. By the Zhenghe and Xuanhe eras, tight buns hanging to the shoulders were in vogue. After the Xuanhe period, Yun Jian Qiao E and golden phoenix hairpins became popular." This shows how ancient Chinese used their own hair to create various styles, including Yunbin,…

Did ancient Chinese brides really wear red for marrying down and green for marrying up? The short answer is no. This widespread myth, often perpetuated by historical dramas, has little basis in actual Song Dynasty customs or broader ancient Chinese traditions. Let's debunk these misconceptions and explore what people truly wore for weddings in imperial China. Official Attire Dictated Wedding Outfits During the Song Dynasty (960 - 1279 AD), wedding attire followed strict sumptuary laws rather than arbitrary color rules. Officials wore their rank - appropriate court robes - with green representing the lowest rank for men. The Yan Yi Yi Mou Lu historical records confirm newly appointed jinshi (进士, scholars who passed imperial exams) received green robes. Women of nobility wore qing (青, dark blue - green) ceremonial dresses, considered more prestigious than ordinary green. The Prestige of Qing (Dark Blue - Green) Contrary to modern confusion, qing and lü (绿, ordinary green) were distinct colors in ancient China. As documented in the Wen Xian Tong Kao historical text, the Tang and Song courts used purple, crimson, green, and qing to denote official ranks. Noble women's wedding garments like the ju yi (鞠衣), hua dian li yi (花钿礼衣), and…

The recent release of 'Nezha: The Devil Boy's Havoc' (Nezha 2) has reignited discussions about the iconic bun hairstyle that seems to define Nezha's appearance across various adaptations. Is it a coincidence or a stereotype? Netizens joke: 'Nezha can change his fate, but not his hairstyle.' The origin of the 'bun hairstyle' can be traced back to ancient China, where it was one of the many hairstyles popular among women. Its roots lie in the 'double bun' style, which was highly fashionable during that era. Excavated pottery figurines vividly depict the societal admiration for delicate feminine beauty. This trend even influenced ancient Japanese fashion, particularly during the Nara period. Historical dramas like NHK's 'The Great Buddha Opening Eyes,' set in Nara, showcase characters adorned with Tang Dynasty - inspired double - bun hairstyles. In Chinese history, children's double - bun hairstyles were referred to as 'Zongjiao.' Ancient texts emphasize the importance of preserving one's hair as a sign of filial piety. From around eight or nine years old, Han children, regardless of gender, would part their hair into two small buns resembling horns, hence the name 'Zongjiao.' Girls' buns were often styled like branching twigs, known as 'Yaji,' which led…

Did you know that ear muffs existed in ancient times? Recent historical dramas like "Tian Geng Ji" and "Jin Nang Miao Lu" have showcased these fluffy ear coverings, which bear a striking resemblance to the ones we use today. The answer is simple: ancient people naturally didn’t want their ears to freeze in winter, so they invented these accessories—though they were primarily used by wealthier families. Names in Ancient China In ancient China, these ear-warming accessories had various names, such as Er Nuan (耳暖), Er Yi (耳衣), and Hu Er (护耳). During the Tang Dynasty, they were called Er Yi (耳衣), specifically designed to protect ears from winter’s harsh cold. The poet Li Kuo once wrote: "The golden belt is heavy, the iron-sewn Er Yi is cold." The word "iron" here was later annotated as "brocade," suggesting that these ear covers might have been made of luxurious brocade or fur. While their exact design remains unknown, murals and figurines hint at two styles: one with long fur strips hanging from the ears and another with fabric covers tied at the sides. Evolution in the Ming Dynasty By the Ming Dynasty, a new iteration called Nuan Er (暖耳) emerged and was…