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…

In the Tang Dynasty, it was considered outdated for women not to wear large flowers in their hair. Today, who would dare to wear such big, red flowers? The Tang people's preference for peony hairpins was inseparable from their love for peonies. Because peonies were sufficiently luxurious and gorgeous, and some rare varieties were even more precious, it was necessary to wear a whole flower to display one's status. Moreover, after wearing a peony, other flowers could not be worn, hence the popular custom of wearing a single large flower on the head. Additionally, the Tang Dynasty's "big head" hairstyle left some blank space, making a large flower appear less "flashy." The most famous example is the "Court Ladies Wearing Flowers" painting, which perfectly illustrates this adornment. This custom of wearing flowers reached its fashion peak during the High Tang period. However, as peonies were not easy to obtain, women also adorned their hair with lotus flowers, crabapple flowers, gardenias, and peonies as symbols of wealth and status. Not only women but also men wore flowers, often on their turbans. Some opted for modest small flowers, while others flaunted large blooms. How much did the Tang people love peonies? Every…

Tencent Video and Tencent Animation have become hubs for China's animation gems, blending ancient myths, futuristic sagas, and everything in between. Here are 10 must-watch Chinese anime series that redefine what Donghua can be. Battle Through the Heavens 斗破苍穹 At first glance, Battle Through the Heavens fits squarely into the classic cultivation formula: a fallen genius named Xiao Yan sets out to regain his status and surpass his former self. But unlike many shows where power-ups come too easily, BTTH is unusually committed to making every stage of Xiao Yan's progress feel earned—and hard-won. The early loss of his talent isn't just a narrative hook; it forces him to rely on intellect and resourcefulness rather than sheer force. When he gains a mysterious old mentor, Yao Lao, their relationship doesn't just serve as a shortcut for instant power. Yao Lao is more like a chessmaster, constantly reminding Xiao Yan that in this world, raw power alone won't keep you alive—reputation, alliance, and careful timing matter just as much. One of the most distinctive features of this show is its emphasis on alchemy. In many xianxia stories, alchemy is just background dressing—here, it becomes a central tool of conflict and control.…

Bilibili has become a hub for high-quality Chinese animation, offering diverse genres and fresh storytelling. This list highlights standout titles that resonate with both casual viewers and anime enthusiasts, prioritizing engaging plots and unique styles over abstract praise. The Outcast 一人之下 The Outcast (2016-present) is a Chinese animated series blending urban fantasy, dark comedy, and martial arts. With 5 seasons so far, it follows Zhang Chulan, a college student dragged into the hidden world of "Heteromorphs"—people with supernatural abilities—after his estranged grandfather’s death. Teaming up with the enigmatic, deadpan Feng Baby (who wields kitchen knives and an immortal past), he uncovers family secrets while dodging rival factions seeking ancient power. The show stands out for balancing gritty action with quirky humor. Fight scenes mix traditional Chinese martial arts (like Baguazhang) with creative superpowers—a villain manipulates chess pieces as weapons; another controls paper. The animation, while not ultra-polished, delivers kinetic choreography and distinct character designs, especially in later seasons. Character dynamics drive the story. Zhang Chulan evolves from a cynical slacker to a cunning strategist, using wit rather than brute strength. Feng Baby’s emotionless demeanor hides tragic depth, and villains like the scheming Wang Ye feel layered—driven by ambition, not pure…

Sixteen years. A mysterious return. A flute that summons the dead. The Untamed isn't just another xianxia drama—it's a layered story of loyalty, injustice, and love in a world where righteousness is often just a mask. If you're new to the series, or just trying to figure out why everyone online is crying about rabbits and swords, here's your complete guide through the twists and turns of The Untamed. Chapter 1: Bright Beginnings (Ep 1–5) Setting the stage: a world of cultivation, clans, and quiet bonds in bloom. At first glance, The Untamed opens like many fantasy dramas—a beautiful, intricate world of magic, sects, and sword-wielding disciples in flowing robes. But behind the lush aesthetics is a tightly-woven story of friendship, fate, and the beginning of something much deeper. The first five episodes introduce us to Wei Wuxian, the charismatic, mischievous adopted son of the Jiang clan. He's skilled, clever, and always smiling—the kind of guy who laughs off danger and breaks rules with charm. But there's more to him than the prankster image. He's loyal, kind-hearted, and deeply protective of those he loves. His journey begins with a visit to the Cloud Recesses, the strict and serene home of…

A dead man returns, not with a sword—but with a plan. Nirvana in Fire isn't just about revenge. It's about truth, loyalty, and rewriting fate in a world where justice has long been buried. Chapter 1: The Phoenix Rises in Disguise (Episodes 1–12) The first chapter of Nirvana in Fire introduces us to one of the most intriguing characters in the drama, Mei Changsu. A man who seems ordinary at first glance—refined, composed, and unassuming—but his eyes tell a different story. Mei Changsu is no ordinary strategist; he is Lin Shu, a young man who once led the mighty Chiyan Army, thought to be dead after a brutal massacre. Sixteen years ago, Lin Shu's family and soldiers were slaughtered under the orders of the corrupt Emperor and his factions. Lin Shu himself was gravely injured and left for dead, but through sheer determination, he survived—albeit with a body that now barely holds together. His body may have been broken, but his mind, his resolve, and his thirst for justice have only grown stronger. Under the guise of Mei Changsu, he enters the capital with one clear goal: revenge. In the opening episodes, Mei Changsu's true identity is hidden, and he…

Before Michelle Yeoh—Michelle Yeoh (杨紫琼)—became a global icon, she was already a standout presence in Chinese-language costume films. While most international fans know her from films like Crouching Tiger, Hidden Dragon, her roles in historical TV films are just as revealing. These films show a different side of Yeoh: not just a martial artist, but a storyteller navigating dynastic intrigue, loyalty, and sacrifice. Her work in costume films isn't extensive, but it's meaningful. Each project—whether based on classic wuxia novels or original scripts—places her in morally complex roles shaped by tradition, power, and personal duty. She's played warriors, nobles, and strategists, all grounded in different periods of Chinese history. This article highlights some of her most notable films—both mainstream and lesser-known—where history meets performance with striking results. Crouching Tiger, Hidden Dragon 卧虎藏龙 Released: 2000 Period Background: Set during the Qing Dynasty, but in a fictionalized jianghu world Genres: Wuxia, Historical Fantasy, Action, film Main Roles: Michelle Yeoh as Yu Shu Lien; Chow Yun-fat as Li Mu Bai; Zhang Ziyi as Jen Yu Adapted From: The fourth novel in the Crane-Iron pentalogy by Wang Dulu The film tells the story of Li Mu Bai, a legendary swordsman who plans to retire…

Yu Shuxin's (虞书欣) costume dramas redefine charm and grit in historical fantasy. With a career spanning quirky heroines, cunning spies, and soul-stirring immortals, she crafts characters that linger long after the credits roll. What sets her apart? A rare blend of authenticity and versatility. Whether navigating slapstick comedy or tragic love, Yu avoids overacting traps, grounding even the most fantastical roles in relatable humanity. This isn't accidental. Trained at Huace Film Academy, Yu meticulously dissects character motivations. For Love Between Fairy and Devil, she studied orchid symbolism to embody Xiao Lanhua's purity; in The Ingenious One, she trained in martial micro-expressions to portray a spy's calculated restraint. Yet she never loses her signature spark—the wit and warmth that make her heroines feel like friends. Love Between Fairy and Devil 苍兰诀 Aired: 2022 Period Background: A mythical realm divided between celestial beings, demons, and mortals. Genres: Xianxia, Romance, Adventure Main Roles: Yu Shuxin as Xiao Lanhua, Wang Hedi as Dongfang Qingcang Adapted From: The novel Cang Lan Jue by Jiu Lu Fei Xiang. The fantasy drama centers on Xiao Lanhua (Yu Shuxin), a low-ranking fairy tasked with repairing fate records in the celestial realm. Her life takes a dramatic turn when…

Fan Bingbing (范冰冰) , known for her magnetic presence in historical dramas, Fan doesn't just act—she resurrects legends. Take The Legend of Wu Mei Niang, where she transforms into Wu Zetian, the Tang Dynasty's ruthless empress. In one scene, Fan's character coldly outmaneuvers a rival, her gaze sharp as the ceremonial dagger she wields. Moments like these—raw, tense, and steeped in history—define her roles. From mischievous maids to cunning monarchs, Fan's performances bridge centuries, offering viewers not just entertainment but a visceral connection to China's dynastic sagas. The Legend of Wu Mei Niang 武媚娘传奇 Aired: 2014–2015 Period Background: Tang Dynasty (618–907 CE) Genres: Historical, Political Drama Main Roles: Fan Bingbing as Wu Zetian (武则天), Zhang Fengyi as Emperor Taizong Adapted From: Historical accounts of China's only female emperor Spanning 80 episodes, the series chronicles Wu's ascent from a curious palace maid to China's only female emperor, a journey Fan embodies with striking nuance. Her performance captures both the vulnerability of young Wu Ruyi, who defies court norms by refusing to kneel during her first encounter with Emperor Taizong, and the calculated ruthlessness of the ruler who later dismantles political rivals. A standout moment occurs when Fan's Wu, wielding a ceremonial…

Jackson Yee (易烊千玺) isn't just a pop idol turned actor—he's a master at breathing life into historical roles. From strategists to poets, his costume dramas blend sharp storytelling with meticulous period details, making history feel urgent and relatable. Take The Longest Day in Chang'an, where he plays Li Bi, a Tang Dynasty genius racing against a 12-hour terrorist plot. The series doesn't just showcase palace politics; it thrusts viewers into dusty market alleys and smoke-filled war rooms, with Yi's calm intensity anchoring every scene. Or consider Hot Blooded Youth, where his character A Yi evolves from a revenge-driven orphan to a revolutionary hero, mirroring China's turbulent shift from dynasty to republic. These roles aren't pageantry—they're about flawed, thinking characters navigating crises that still echo today: corruption, identity, and sacrifice. Here are 3 Historical Series with Jackson Yee that you'll love watching over and over again. The Longest Day in Chang'an 长安十二时辰 Aired: 2019 Period Background: Tang Dynasty, during the Tianbao era under Emperor Xuanzong's reign, a golden age marked by cultural prosperity and political intrigue. Genres: Costume suspense, political thriller, action Main Roles: Lei Jiayin as Zhang Xiaojing, a disgraced detective-turned-prisoner; Jackson Yee as Li Bi, a prodigious young strategist.…

Under the Moonlight (锦囊妙录) offers a refreshing take for viewers tired of over-the-top fantasy romances in historical dramas. This Ming Dynasty-set mystery series combines crime-solving with a grounded, emotionally complex love triangle—a rare feat in a genre often dominated by clichés. With no flashy special effects or exaggerated power dynamics, the show focuses on relatable characters navigating personal growth, moral dilemmas, and realistic relationships. Breaking Stereotypes The story follows Luo Shu (Hu Bingqing), a former music courtesan turned detective, as she works to clear her name and gain freedom from her "low-status" identity. Her partners in crime-solving are Qi Menglin (Zhai Zilu), the impulsive yet well-meaning son of a high-ranking official, and Han Muzhi (played by an understated but compelling actor), a pragmatic county magistrate. What sets the love triangle apart is its avoidance of typical tropes: No "Chosen One" Nonsense: Luo Shu isn't a flawless genius. Her strength lies in sharp observation and emotional intelligence, particularly when interacting with female victims. Realistic Conflicts: Han Muzhi, engaged to a governor's daughter, initially prioritizes career over love. When he falls for Luo Shu, their relationship faces tangible barriers—class differences and existing obligations—not mythical curses. Growth Over Grand Gestures: Qi Menglin evolves…

Mystery dramas often serve as the biggest breeding ground for innovation among all TV genres. After all, a plot twist can only surprise the audience once—there's no selling the same mystery twice. But in recent years, even Chinese mystery dramas have started falling into a pattern. Traditional puzzle-solving has taken a backseat, while social realism has taken the wheel. In this style of storytelling, the "how" of the crime matters less than the "why." And in most Chinese series, those motives boil down to just three familiar categories: money, revenge, or the moral decay brought on by changing times. It's starting to feel like we've hit a ceiling. So what's the workaround? Instead of digging deeper into motives, newer Chinese mystery shows have started experimenting with world-building—new settings, new character dynamics, and more diverse perspectives. More and more series are moving beyond cookie-cutter cityscapes and male-centric narratives, embracing fresh geography and underrepresented voices. In 2025, we're likely to see this trend continue. Expect more mysteries set outside the usual suspects of big cities, more women-led storylines, and more genre-defying, format-bending experiments. With this expansion in scope might just come the kind of depth that the genre has been missing. Rethinking…

iQiyi's latest historical drama When the Clouds Rise has quickly become a standout in the crowded landscape of period epics. Adapted from the beloved Japanese anime The Story of Saiunkoku, the series reimagines its source material with a focus on political scheming, nuanced character arcs, and a female protagonist whose grit overshadows romantic tropes. While the star-studded cast initially drew attention, it's the unexpected depth of its storytelling and performances that have audiences hooked. Li Yitong Steals the Spotlight At the heart of the drama is Li Yitong's portrayal of Fan Yun, a role that defies expectations. The 33-year-old actress, often praised for her ethereal beauty, delivers her most compelling performance yet. Fan Yun begins as a humble village teacher, her wardrobe of faded blues and greys reflecting her modest life. But when recruited to mentor the seemingly apathetic Emperor Zi Liu Hui (played by Zeng Xuxi), her journey transforms into one of quiet revolution. Li masterfully navigates her character's evolution—from a woman cautiously navigating palace politics to a reformist challenging gender norms. A standout moment occurs in Episode 12, where Fan Yun debates court officials on allowing women to sit for imperial exams. Her delivery—firm yet devoid of theatricality—turns…

On April 18, the fantasy drama Ode to Ancient Melodies (古乐风华录), starring Li Yitong and Chen Xinhai, officially announced its full cast. This Chinese xianxia series blends traditional music with mythology, offering a fresh take on the genre. But can it avoid the pitfall of many xianxia dramas—visually rich yet narratively hollow? Destiny Between Musician and Spirit The story follows Yue Yangyang (Li Yitong), an ordinary musician, and Shao Yi (Chen Xinhai), a mysterious spirit born from an ancient instrument who awakens with no memories. Together, they journey to resolve the inner conflicts of twelve musical spirits and restore the divine music compendium, Ode to Ancient Melodies. What begins as a partnership of convenience evolves into mutual understanding, as they use the power of music to bring peace to their world. And yes, the male lead is literally the spirit of a guqin. Personifying Ancient Instruments with a National Aesthetic 1. "Instruments with Souls" – A Fantastical Premise The drama features twelve traditional Chinese instruments—guqin, pipa, xiao, etc.—each embodied by a character known as a "musical spirit." Musicians must train in harmony with these spirits, drawing power only when their hearts align. This personification breathes life into ancient objects, making…