In the historical drama Palm Heart, Liu Shishi donned a Tang-style shirt paired with an outer vest, sparking discussions among netizens: Isn't this just a vest? And it can be worn outside? This outer garment, known as Beizi (背子), was a popular style in early Tang Dynasty. It came in various designs, including the Tanling (坦领, open-collar), Jiaoling (交领, crossed-collar), and Jixinling (鸡心领, sweetheart neckline). The Tanling design, in particular, resembles modern-day vests, typically worn over long-sleeved inner garments. Though both Beizi and Banbi (半臂, half-sleeved jacket) were outerwear, they differed in sleeve length. Beizi was sleeveless, while Banbi had half-length sleeves, hence the name. Historical records suggest Banbi predated Beizi, with Emperor Gaozu of Tang shortening the sleeves to create the latter. By the Song Dynasty, Beizi evolved into a more generalized term, Beizi (褙子), encompassing sleeveless, long-sleeved, and mid-length sleeve designs. It became a unisex garment, with men's versions featuring Panling (盘领, round collar) for military officials and Dui Jin (对襟, front-opening) or Jiaoling for scholars. Women's Beizi often had front-opening designs, as depicted in The Dream of the Capital (东京梦华录). This fusion of functionality and style made Beizi a practical choice for daily wear, much like Liu…

When observing Tang Dynasty paintings, it's hard not to notice the low-cut necklines of women's dresses, some even revealing enough to make modern viewers blush. This fashion trend was widespread throughout the Tang era. What caused this phenomenon? The answer lies in a combination of factors, including economic prosperity, increased female confidence during Empress Wu Zetian's reign, and cultural exchanges with minority groups (such as the adoption of Hu clothing styles). However, climate played an equally crucial role. Renowned meteorologist Zhu Kezhen, in his study "Preliminary Research on Climate Change in China Over the Last 5,000 Years," noted that the Tang Dynasty experienced a warm period. The capital, Chang'an (modern-day Xi'an), located at a latitude similar to present-day Nanjing, endured sweltering summers with average annual temperatures exceeding 20°C. Even emperors sought refuge in cooler northern regions, and bestowing ice upon officials became a prized reward. This climate directly influenced Tang fashion, leading to the popularity of round-neck, U-neck, and cross-collar designs, as well as short sleeves and lightweight silk fabrics. From early to high Tang periods, low-cut dresses with necklines plunging to the chest—often seen in blush-inducing murals—became fashionable. Poets like Bai Juyi (Feet scorched by steaming earth, backs burned…

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…

In the drama 'Guo Se Feng Hua,' Li Xian's character, Jiang Changyang, showcases a different outfit in almost every scene, earning the title 'Tang Dynasty version of a man's wardrobe.' Li Xian himself remarked that the costumes in this series are the most 'flamboyant' he has ever worn. The attire of Jiang Changyang, played by Li Xian, is particularly notable for its intricate patterns, such as Tuan Ke (团窠) and Lian Zhu (联珠) motifs. These designs are artistic treasures unique to the Tang Dynasty, which absorbed and refined elements from foreign cultures. The 'Ling Yang Gong Yang' Pattern One of the most iconic patterns is the 'Ling Yang Gong Yang' (陵阳公样), a term that refers to a category of Tang brocade designs. The 'designer' behind these patterns was Dou Shilun, a renowned silk weaving expert of the Tang Dynasty. Dou Shilun created over a dozen motifs, many of which featured symmetrical designs incorporating elements like phoenixes, sheep, horses, deer, and unicorns. These patterns often combined influences from Persian and Sogdian cultures, such as circular Tuan Ke motifs surrounded by Lian Zhu (联珠) borders, adorned with various flora and fauna. In recognition of his contributions, Dou Shilun was ennobled as 'Ling…

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…

In Tang Dynasty China, women’s fashion followed a consistent formula: a layered ensemble of shan (衫, a short top), ru (襦, a lined jacket), ku (袴, trousers or leggings), and qun (裙, skirts), often draped with a long, flowing pei (帔, a silk stole). But like modern trends, styles evolved—shifting from slim, fitted cuts in the early Tang to voluminous, relaxed silhouettes by the late Tang. This piece traces the evolution of women’s fashion across the Sui, Tang, and Five Dynasties. Each section opens with a vignette inspired by legendary figures—like the runaway courtesan Hongfu (红拂), the politically savvy Shangguan Wan’er (上官婉儿), or the tragic beauty Yang Yuhuan (杨玉环)—paired with reconstructions of their likely outfits. Drawing from archaeological finds, paintings, and sculptures, we’ve pieced together how these women might have dressed. But first, a primer on Tang textiles. The Fabric of Tang Fashion Silk fabrics were woven from intersecting threads: jing (经, warp, the lengthwise threads) and wei (纬, weft, the crosswise threads). Variations in these threads created intricate patterns. 1. Plain Weaves: Juan & Shi Juan (绢): A basic plain-weave silk, utilitarian and widely used. Shi (絁): Similar to juan, but with uneven weft threads, creating subtle horizontal stripes.…

In 618 CE, as Sui Dynasty excesses sparked rebellion, a daring aristocrat named Li Yuan seized Chang'an, founding the Tang Dynasty (618–907 CE). Under his son, Emperor Taizong, Tang became a golden age—a cosmopolitan empire where Persian merchants, Korean scholars, and Uyghur horsemen mingled in silk-clad streets. Poetry flourished with Li Bai's verses, diplomacy stretched to Baghdad, and Buddhist pagodas pierced the skies. Yet Tang's splendor was tempered by treachery: palace coups, concubines' schemes, and the cataclysmic An Lushan Rebellion that left a million dead. The Tang's two centuries of zenith saw unmatched innovation: woodblock printing spread knowledge, imperial exams elevated commoners, and women like Empress Wu Zetian shattered ceilings, ruling as China's sole female emperor. But this was also an era of extremes. Emperor Xuanzong's passion for concubine Yang Guifei birthed both art and ruin, while the Silk Road brought riches—and bloodshed—as Tibetan and Turkic armies challenged Tang's borders. Hungry for opulence and intrigue? Step into the splendor of Chang'an's lantern-lit nights, where poets duel with brushstrokes and spies whisper in tea houses. Marvel at Wu Zetian's ruthless ascent from concubine to empress, or let your heart break with the tragic romance of Xuanzong and Yang Guifei—a love that…

The Large-sleeved shirt, known as "Da Xiu Shan" in Chinese, was a prominent aristocratic attire during the mid to late Tang Dynasty. This garment is often associated with the famous painting "Court Ladies Wearing Flowered Headdresses" by Zhou Fang, which vividly depicts noblewomen adorned in ankle-length skirts paired with sheer, large-sleeved gauze shirts that delicately cover their shoulders and arms. The artist's realistic portrayal not only captures the transparency of Tang fabrics but also the softness of the women's skin. This style persisted until the late Ming Dynasty, often paired with a ceremonial cape, and was alternatively called "Da Xiu" or "Da Shan." During the High Tang period, the influence of Hu (nomadic) clothing waned, and women's fashion gradually embraced wider sleeves. By the mid to late Tang era, sleeves often exceeded four feet in width. The attire typically included a wide-sleeved cross-collared shirt, long skirt, and a draped shawl, reserved for significant occasions like court appearances, ceremonies, and weddings. Adorned with golden hairpins and floral decorations, it was also referred to as "Floral Hairpin Large-Sleeved Shirt." Zhou Fang's painting, now housed in the Liaoning Provincial Museum, illustrates noblewomen leisurely strolling through gardens, picking flowers, and playing with butterflies. Their…

When Tang Yan (唐嫣) first stepped into the spotlight as Zixuan in Chinese Paladin 3 (仙剑奇侠传三), she became the blueprint for the "divine heroine" archetype in Chinese fantasy dramas. Now, 15 years later, she's back as Ji Tanyin in A Moment But Forever (念无双), a goddess who doesn't just love humanity—she understands it. The show's hashtags like #TangYan'sDivineMission and #JiTanyinTheUnconventionalGoddess have trended across platforms, reigniting nostalgia while proving Tang's staying power. For many fans, this role feels like a full-circle moment—a return to the genre that made her famous, yet with a fresh twist. The Divine Reimagined In A Moment But Forever, Ji Tanyin isn't your typical aloof deity. Tasked with retrieving a celestial artifact, the "God's Left Hand," from the fox tribe's high priest Yuan Zhong (Liu Xueyi), she quickly realizes the mission isn't black-and-white. Yuan, branded a tyrant by his clan, is actually a victim of manipulation—a pawn in a power game orchestrated by elders hungry for the artifact's magic. What sets Ji Tanyin apart is her refusal to blindly obey divine orders. When five celestial judges demand Yuan's execution, she debates them head-on: "Is a scholar's patriotism worth more than a farmer's love for his family? Is…

Some netizens have raised concerns: Japanese architectural elements are increasingly appearing in historical dramas. When discussing Tang Dynasty architecture in China, many recall the phrase "The true legacy of the Tang Dynasty lies in Japan." But is this really the case? The statement "The true legacy of the Tang Dynasty lies in Japan" did not originate from us but was a cultural slander by Japanese experts after the invasion of China. It wasn't until 1937 when Liang Sicheng and Lin Huiyin discovered the Tang Dynasty Foguang Temple in Shanxi that the Japanese experts' claim—that China no longer had any wooden structures predating the Tang Dynasty—was debunked. Upon closer examination of Chinese and Japanese architecture, one realizes that Japan was more like a transfer student learning Chinese architecture, often ending up with a mishmash of styles. Let's take the most commonly misused Japanese element in historical dramas as an example—Tang Po Feng (唐破风). Tang Po Feng refers to a small gable roof placed outward at the entrance of a building, extending the eave space. The term "Po Feng" (破风) actually originates from the Chinese "Bo Feng" (搏风). The side panels of a hip - and - gable roof are called "Bo…

In recent years, costume dramas featuring Tang Dynasty aesthetics have surged in popularity. From the widely acclaimed "The Curse of the Pearl Screen" and "Strange Tales of the Tang Dynasty" to upcoming productions like "National Beauty and Fragrance" starring Yang Zi and Li Xian, "Midnight Return" with Tian Xiwei and Xu Kai, Liu Shishi's "Palm of the Hand," and the adaptation of Ma Boyong's novel "Lychees of Chang'an," the Tang Dynasty has become the go - to historical backdrop for filmmakers. The Tang Dynasty (618 - 907 AD) was a golden age of Chinese civilization, renowned for its cultural confidence and sartorial splendor. As historian Sun Ji noted in "Essays on Ancient Chinese Costumes," Tang noblewomen boldly embraced low - cut dresses that accentuated their beauty. The poet Ouyang Xun famously captured this aesthetic with the line: "Snow - white chests and flower - like faces." Shen Congwen's "History of Chinese Clothing" details how Tang women pioneered fashion trends. The popular "half - sleeve" jacket, worn over narrow - sleeved blouses, featured various collar styles and was tied with delicate ribbons across the chest. The pi (披帛), a long decorative scarf often made of sheer silk with intricate patterns, became…

Zhao Lusi's latest Tang Dynasty-inspired look in 'Pearl Curtain and Jade Screen' has fans reminiscing about her iconic Le Yan (乐嫣) character from 'The Long Ballad' (长歌行). While both styles draw from the Tang Dynasty aesthetic, there are notable differences that showcase her versatility in portraying historical roles. Le Yan's Hairstyle in 'The Long Ballad' In 'The Long Ballad', Zhao's Le Yan character sported the classic 'Bunny Ear' hairstyle, known as Baiheji (百合髻) or Lily Bun. This double-bun style, often with a center part or crisscross design, was popular during Emperor Taizong's reign (627 - 649 AD). Historical records from Ma Gao's 'Notes of Past and Present China' describe it as one of the signature hairstyles of early Tang Dynasty, perfectly complementing Zhao's sweet and youthful appearance. Hairstyle in 'Pearl Curtain and Jade Screen' The 'Pearl Curtain and Jade Screen' presents a more mature interpretation of Tang fashion. Zhao's character wears a single bun hairstyle, reminiscent of the Qiu Ji (囚髻) or Prisoner's Bun popular in mid - late Tang Dynasty. The styling features thinner, more voluminous sideburns creating a 'Chan Bin' (蝉鬓) or Cicada Wing effect - a delicate framing technique that mimics the transparency of cicada wings using…

Somewhere along the way, in TV dramas, it became trendy for brides in Tang and Song Dynasty settings to wear green wedding dresses, and the trend has only grown. After revisiting historical records, it dawned on me: have we been misled? Have you also been bombarded with images of "red - clad grooms and green - clad brides"? First, let's talk about the concept of wedding attire. In ancient times, there was no strict dress code for weddings, which has led to the current confusion about wedding dress styles. However, officials and noblewomen had corresponding strict dress codes, and their use was defined according to specific scenarios in the Five Rites. Weddings and coming - of - age ceremonies were important occasions in the auspicious rites. From the Sui and Tang Dynasties to the Song and Ming Dynasties, cyan was always a high - end color for women's formal dresses. "The Book of Sui: Ceremony 7" records that the empress's Yi dress was "made of dark cyan fabric, with woven collars and cuffs, embroidered with five - colored pheasants in twelve rows." "Tang Six Codes" states that the empress's Yi dress was "made of dark cyan woven fabric..." "New Rites…

As March is almost over, the domestic drama market has reversed its downturn and become increasingly lively. The drama When Yan Returns premiered suddenly and quickly climbed to the top of the national heat list. The suspense drama The Chess Player, in which Wang Baoqiang starred after a 12 - year hiatus, also received a lot of positive feedback. These two dramas are already dark - horses, but the real highlight is yet to come. The Unparalleled Nian took the top spot on the hot list right after its premiere. Initially, people thought it was just another old - fashioned and bad (xianxia drama, a genre of Chinese fantasy drama), but after binge - watching 6 episodes, they were hooked. It seems that there's going to be a new hit in the xianxia drama genre! 1. Outstanding Plot and Stunning Visuals The Unparalleled Nian tells the story of Ji Tanyin (played by Tang Yan), the unparalleled goddess, who is entrusted by the heaven to retrieve the divine artifact "The Left Hand of God" from Yuan Zhong (played by Liu Xueyi), the great priest of the Youhu Clan. The two go from scheming against each other to falling in love and…

At 41, Tang Yan has challenged an ancient-style photo shoot for the first time. Soon, we'll also see her last ancient-costume drama. At this age, it's no longer suitable for her to play in ancient idol dramas. Tang Yan, if you're being kidnapped, just blink. She managed to break free from the label of an ancient idol drama actress and upgrade to a serious drama actress because of the drama The Longest Day in Shanghai. Acting in an ancient idol drama again will easily make her a target of ridicule. In ancient idol dramas, we look for handsome men and beautiful women. Although Tang Yan takes good care of herself, her age is still quite obvious. If she gets mocked, it'll be hard for her to recover. We hope she has good luck this time; otherwise, it'll damage her newly-established image. This is Tang Yan's first ancient-style photo shoot, and she's currently the only one among the 85-generation actresses to do so. It's full of a sense of sophistication and is different from those cheap Hanfu photo shoots, instantly raising the bar. Tang Yan's outfit is a collision between modern and ancient styles. A high-end blue feather dress paired with…

On March 4, the China National Opera & Dance Drama Theater and Suzhou Bay Grand Theatre jointly announced the launch of the dance drama Chuihong Farewell: Tang Yin (唐寅:垂虹别意). This highly anticipated production delves into the fascinating life of Tang Yin (唐寅), a celebrated Ming dynasty scholar, poet, and painter, known for his artistic brilliance and charismatic persona. Through an innovative blend of dance, music, and visual storytelling, the performance aims to breathe new life into Jiangnan's rich cultural heritage while presenting Tang Yin's personal journey of triumphs and trials. Tang Yin, often regarded as the "Most Romantic Scholar of Jiangnan," was famed for his poetic talent, calligraphic finesse, and exceptional painting skills. Yet, his life was not merely a tale of aesthetic achievement; it was also marked by dramatic twists of fate. From his early years of scholarly ambition to his fall from grace due to a scandalous examination fraud accusation, Tang Yin's story embodies the age-old themes of ambition, disillusionment, and enlightenment. Chuihong Farewell: Tang Yin is set against the picturesque backdrop of Suzhou's Wujiang District, with the iconic Chuihong Bridge serving as a symbolic anchor for the narrative. As a central government-affiliated performing arts institution, the China…

In the world of historical Chinese dramas, costumes are more than just clothing—they are a window into the past. Recently, eagle-eyed fans of actress Liu Shishi (刘诗诗) noticed something intriguing about her wardrobe in her latest period drama: a garment that looks strikingly similar to a modern-day T-shirt. This piece, known as the tanling banbi (坦领半臂), is not a contemporary addition but a fascinating example of Tang Dynasty (618–907 AD) fashion that has stood the test of time. What Is a Tanling Banbi? The tanling banbi is a traditional Chinese garment that combines a wide neckline (tanling) with short sleeves (banbi). The tanling neckline, often compared to a modern scoop or boat neck, is characterized by its deep, open cut, sometimes extending to the chest. This design, which dates back to the Tang Dynasty, was particularly popular among women for its comfort and elegance. The banbi sleeves, which end at the elbow or higher, make the garment practical for daily wear, especially in warmer weather. What sets the tanling banbi apart from modern T-shirts is its construction. Unlike a T-shirt, which is typically pulled over the head, the tanling banbi features a front opening secured by buttons or ties. This…

The recent Chinese television series Flourished Peony (国色芳华) has captivated audiences not only with its lavish production design and meticulous recreation of Tang Dynasty (618–907 AD) society but also with its unflinching exploration of women’s agency in a patriarchal world. At its core, the drama follows He Weifang (何惟芳), a merchant’s daughter trapped in a loveless marriage, as she navigates the rigid legal and social frameworks of her time to reclaim her freedom. While the plot is fictional, its portrayal of Tang-era divorce laws—and their haunting parallels to modern marital disputes—offers a compelling lens through which to examine China’s evolving legal landscape. Part I: A Woman’s Fight Against Feudal Constraints The series opens with He Weifang’s forced marriage into the influential Liu family, a union orchestrated to secure medicine for her ailing mother. However, the Liu household reveals itself as a den of cruelty: scornful of her merchant-class background, they exploit her dowry while denying her dignity. Tragedy strikes when Weifang discovers the medicine promised by her in-laws is counterfeit, leading to her mother’s preventable death. Determined to escape her gilded cage, Weifang seeks an amicable divorce (he li)—a concept formally recognized during the Tang Dynasty. Her husband, Liu Chang,…