【Historical Artifact Reference】:

Ming Dynasty Royal Portrait:

・Portrait of Empress Xiaoduanxian (Chinese: 孝端顯皇后; 7 November 1564 – 7 May 1620) In ceremonial dress (翟衣/di yi)

・Nine Dragons and Nine Phoenix Crowns of Empress Xiaoduanxian (※This Phoenix Crowns only for important ceremonial occasion which call “礼冠/Li Guan” wear with ceremonial dress(翟衣/di yi) 

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Unearthed from Ming Dynasty royal mausoleum Ming Dingling (明定陵)  , is a mausoleum wehre Wanli Emperor, together with his two empresses Wang Xijie and Dowager Xiaojing, was buried.

In addition to this phoenix crown, the Empress has another phoenix crown for other occasions.

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Collection of the National Museum of China.

[Hanfu・漢服]Chinese Ming Dynasty Traditional Clothing Hanfu (翟衣) & Phoenix Crown (鳳冠)  Reference to Ming Dynasty Relics & Empress Portrait

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【History Note】

【 Influence to Other Country】

Korean queens started to wear the Diyi (Korean: 적의; Hanja: 翟衣) in 1370 AD under the final years of Gongmin of Goryeo,when Goryeo adopted the official ceremonial attire of the Ming dynasty. Same as the early Korea Joseon, were bestowed by the Ming Dynasty.

According to the Annals of Joseon, from 1403 to the first half of the 17th century the Ming Dynasty sent a letter, which confers the korea queen with a title along with the following items: 翟冠(Ming womens whose husband held the highest government official posts can wear this kind of crown,different from Ming Empress Phoenix Crown 鳳冠), a vest called 褙子(Beizi), and a 霞帔(Xiapei). However, the Diyi sent by the Ming dynasty did not correspond to those worn by the Ming empresses as Joseon was considered to be ranked two ranks lower than Ming.

Instead the Diyi which was bestowed corresponded to the Ming women's whose husband held the highest government official posts. In the early Ming Dynasty period, the Diyi were given to Korea Joseon By Ming, but after the Ming Dynasty reformed the clothing system, The Ming Dynasty bestow the 大衫( Dà shān) to the Korean queen instead of Diyi. The Diyi worn by the Korean queen and crown princess was originally made of red silk; it then became blue in 1897 when the Joseon king and queen were elevated to the status of emperor and empress.

it then became blue in 1897 when the Joseon king and queen were elevated to the status of emperor and empress.

After the fall of the Ming Dynasty, the system of China granting clothing to Korea was interrupted. Korea Joseon were forced to become tributary state of the Qing Dynasty. Korea Joseon carried out "nationalization" based on the costumes bestowed by the Ming Dynasty in the past.  But according <Veritable Records of the Joseon Dynasty Volume 46> "嬪宮冊禮時, 旣有翟衣, 則當有翟冠, 而我國匠人不解翟冠之制。 考諸《謄錄》, 則宣廟朝壬寅年嘉禮時, 都監啓以: ‘七翟冠之制, 非但匠人未有解知者, 各樣等物, 必須貿取於中朝, 而終難自本國製造, 何以爲之?’ 云則宣庙有: ‘冠則制造爲難。’ 之敎。 “

Although Korea Joseon has Diyi,but no craftsman know how to make 翟冠(Di Guan), and the materials needed for make 翟冠(Di Guan) need to be taken from China (which need money for that). After all, it is difficult to manufacture in Korea. Therefore, Korea Joseon has not worn 翟冠(Di Guan) since the fall of the Ming Dynasty and change it to 대수머리(大首머리)

Korea "nationalization" process↓

대수머리(大首머리)

In Japan, the features of the Tang dynasty-style huiyi was found as a textile within the formal attire of the Heian Japanese empresses.

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[Hanfu · 漢服]Chinese Tang Dynasty(618–907AD)Traditional Crown & Hanfu In Cdrama 【国色芳华/Flourished Peony】

【Historical Artifacts Reference 】:

▶The crown and hair ornaments unearthed from the tomb of Li Chui,/李倕, a fifth-generation granddaughter of Emperor Gaozu of Tang China

2.Gold necklace inlaid with pearls and gemstones, Late Sui Dynasty

Excavated in 1957 from the tomb of Li Jingxun, Xi'an, Shaanxi,China.

"Flourished Peony" (《国色芳华》) is a really cool Chinese drama that dives deep into the Tang Dynasty. It takes a close look at the fashion, makeup, and etiquette of that time. The show’s team did a ton of research, to restore Tang Dynasty artifacts to get the hanfu and makeup just right. You can really see the effort they put into making everything look authentic and true to the era.

If you're into Tang Dynasty Hanfu,Makeup , or the whole vibe of that period, I highly recommend watching this drama. It's a great way to get a glimpse of ancient Chinese culture through a really well-done romantic drama. ---------------

The crown ornaments unearthed from the tomb of Li Chui (李倕) are still a topic of debate due to the fact that the pieces were found scattered, making the exact method of wearing unclear. The version currently displayed in the museum is a reconstruction based on the collaborative efforts of Chinese and German experts. However, some scholars in China have a different view, arguing that this ornament may not necessarily be a "crown."

Fwe can refer to the perspective of the author(@左丘萌) of Chinese Beauty and Adornments: The Tang Dynasty Daughters (《中国妆束：大唐女儿行》), who offers an alternative interpretation of how this crown ornament was likely worn（If anyone are interested, you can save the picture and translate it through the translator）

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[Hanfu · 漢服]Chinese Tang Dynasty(618–907AD)Traditional Clothing Hanfu Based On Female Dancer figurines of Tang Dynasty

【Historical Artifacts Reference 】:

▶Set of China Tang Dynasty“Tang Sancai" Figurines of Musicians and Dancers<鳥歌萬歲樂>・Wuzetian Period

Shaanxi Tang Sancai Art Museum Collection

The historical records mention the bird crown worn by women during the Tang Dynasty several times. For instance, in Du You's Tongdian (Volume 6, "Music Section," regarding the "Sitting and Standing Performers"/《通典》乐六“坐立部伎), it is recorded: "The Guangsheng music(光圣乐) was created by Emperor Xuanzong. The dancers, eighty in number, wore bird crowns and multicolored painted robes. They were dressed in the style of the Upper Yuan and Shenshou festivals, to sing of the emperor's achievements." Similar records are found in Xin Tang Shu /《新唐书》(Volume 22) and Taiping Yulan by Song Li Fang: "When Emperor Zhongzong ascended the throne, he created the Longchi music/龙池乐, with twelve dancers, wearing lotus crowns and stepping on special shoes, performing with elegant music, though without bells. He also created the 'Shenshou music/《圣寿乐》,' in which the female dancers wore five-colored embroidered robes and performed.

Additionally, he created the 'Xiao Po Zhen music/《小破阵乐》,' with dancers dressed in armor. Lastly, the 'Guangsheng music/《光圣乐》' had dancers wearing bird crowns and painted robes, to sing of the emperor's accomplishments."

Taiping Yulan (Volume 568, Music Section 6) records: "Empress Wu had the 'Bird Song for Ten Thousand Years' music composed during a grand banquet in the Eastern Xiangluan Hall of the palace. At that time, birds capable of speaking were kept in the palace, and they often repeated 'Ten Thousand Years.' This music was created to symbolize this. There were three dancers, with large red sleeves, adorned with painted birds resembling the 'quail-like bird' (quyu). In present-day Lingnan, there are birds similar to the quail that, when raised for a long time, can speak, and they are called 'Jilie'/《鸡烈》."

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[Hanfu · 漢服]China Ming Dynasty (1368–1644) Chinese Traditional Clothing Hanfu & Mamian qun/Horse face skirt

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[Hanfu · 漢服]Chinese Tang Dynasty (618–907AD) Traditional Clothing Hanfu Based On Tang Dynasty Dunhuang Mural

【Historical Reference Artifacts】:

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🐍🧧WISH EVERYONE HAVE A HAPPY NEW YEAR🧧🥳

2025 is the Year of the Yi Si Snake (乙巳蛇年).

This year is also my first time trying to draw a snake after I drew a dragon for the last year. I found out that the snake's expression is more difficult to draw 😵‍💫

【Historical Artifacts Reference】

【What is Dahu/褡护】

Dahu (simplified Chinese: 褡護; traditional Chinese: 褡護; pinyin: Dāhù) was a form of robe/jacket which originated in the Ming dynasty.In Ming dynasty, the dahu was either a new type of banbi (Chinese: 半臂; lit. 'half-arm') or a sleeveless jacket, whose designs was influenced by the Mongol Yuan dynasty clothing.

In the Ming dynasty, the dahu could be worn over the tieli robe and/or could be worn under the round-collar robe.Some forms of dahu was bestowed to the Joseon Kings; for example, in 1444 under the rule of King Sejong of Joseon, the Ming dynasty bestowed him dahu, along with cheollik and gollyeongpo.

[China] Tries to restore the famous dance during the China Tang and Song Dynasties< Zhezhi Dance/柘枝舞>

< Zhezhi Dance/柘枝舞>

is a type of well-known "Jian dance/健舞"from the Tang and Song dynasties. The ancient "Yudiao" (羽调) has a piece titled "Zhezhi Qu" (柘枝曲), and the Shang Diao (商调) has "Qu Zhezhi" (屈柘枝), from which the dance takes its name. It originated from Talas (a region in modern-day Kazakhstan, once under the jurisdiction of the Tang Dynasty's Anxi Protectorate). Initially, it was a solo dance performed by women. The most popular form during the Tang Dynasty was the "Double Zhezhi Dance/《双柘枝舞》," performed by two young girls wearing red and purple silk robes, with Hu-style(胡人/Foreigner style) hats adorned with golden bells. They would dance in time with the beat of the Hu drums, their slender waists swaying in harmony with the ringing of the bells and the dance movements, creating a pleasant sound as they turned.

Zhang Xiaobiao/章孝标's poem 《Zhezhi /柘枝》includes the line "Zhezhi first appears, the drumbeat calls," and Bai Juyi/白居易's poem 《Zhezhi Ji/柘枝妓》 has the line "Three drumbeats strike, urging the painting drum." The dance features rich variations in movement, being both vigorous and lively, as well as graceful and charming. The sleeves of the dancer's costume alternately droop and lift, as described in the poem with phrases like "lifting sleeves amidst the busy drum" and "long sleeves sweeping into the embroidered train." The rapid and intricate footwork causes the golden bells worn by the dancer to produce a clear, crisp sound. Spectators are amazed by the dance's lightness and flexibility. As the dance nears its end, there is a deep bending motion of the waist.

-------- Annotation >Yudiao(羽调) & Shang Diao (商调)<

The Chinese pentatonic scale, or pentatonic mode, is a scale system commonly used in Chinese music. Ancient China named these five notes Gong, Shang, Jiao, Zheng, and Yu（宫、商、角jué、徵zhǐ、羽） in sequence, which is roughly equivalent to the singing notes in Western music notation. Noun (do), (re), (mi), (sol), (la).

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In the Song Dynasty, it evolved into a group dance, and the official music included "Zhezhi Troupe" (柘枝队). There were many variations of the dance in the past, though most of the original songs were lost by the Song period. Despite this, the dance still flourished. Since the Yuan Dynasty, the dance itself disappeared, and the name "Zhezhi Ling" (柘枝令) only survives in the lyrics and music.

Along with the Hu Xuan Dance (胡旋舞) and Hu Teng Dance (胡腾舞), Zhezhi Dance was one of the three major Western Region dance styles that were immensely popular during the Tang Dynasty, often performed to welcome foreign envoys gathering in Chang'an China.

【Historical Artifact Reference】:

< "Jian dance/健舞 & Ruan Wu/软舞>

Jianwu (健舞) is one of the categories of court music and dance in the Tang Dynasty, specifically referring to a type of martial dance. It signifies a dance style characterized by vigorous, forceful movements and a lively rhythm, in contrast to the "soft dance" (软舞).

The Tang people categorized the various small-scale entertainment dances and musical performances popular in the palace, noble households, and among the general populace based on their stylistic characteristics into "soft dance" and "martial dance" (jianwu). Originally folk dances and Hu music, these were later reorganized and adapted by the court's music and dance troupes, often performed at feasts. The music for these dances typically used elaborate wind instruments and fast string instruments. According to the "Fangfang Ji" (放坊记) and "Yuefu Zalu" (乐府杂录), soft dances included pieces like "A Liao" (阿辽), "Jianqi" (剑器), "Zhezhi" (柘枝), "Hu Xuan" (胡旋), "Hu Teng" (胡腾), "Huang Zhuang" (黄獐), "Da Weizhou" (大渭州), "Fu Lin" (拂菻), "Damo Zhi" (达摩支), and "Ling Da" (棱大).

Ruan Wu（soft dance）/软舞

Ruanwu (软舞) specifically referring to a type of graceful and elegant dance. It signifies a dance style characterized by graceful, delicate, and flowing movements, in contrast to "martial dance" (健舞).

The Tang people categorized the various small-scale entertainment dances and musical performances popular in the palace, noble households, and among the general populace based on their stylistic characteristics into "soft dance" and "martial dance" (jianwu). These dances, originally folk dances, were adapted by the court's music and dance troupes and were often performed at feasts. The movements of soft dance were light, graceful, and elegant, resembling either a startled swan or a flying swallow. According to the "Yuefu Zalu" (乐府杂录), the main soft dances included "Liangzhou" (凉州), "Lüyao" (绿腰), "Suhexiang" (苏合香), "Qu Zhezhi" (屈柘), "Tuan Yuan Xuan" (团圆璇), "Ganzhou" (甘州), "Chui Shou Luo" (垂手罗), "Hui Bo Yue" (回波乐), "Lanling Wang" (兰陵王), "Chun Ying Zhuan" (春莺啭), "Ban She Qu" (半社渠), "Jie Xi" (借席), and "Wu Ye Ti" (乌夜啼).

Next time I will make a post to share to the Tang Dynasty "soft dance/软舞" restored by Choreographer：@李诗荟

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"Taiping Yue": Ji《太平乐》· 急 (Great Peace Music: Quick), an instrumental movement in the Dashi mode (Chinese: Dashi diao, 大食调, equivalent to the Mixolydian mode on E), dating back to China's Tang Dynasty, as reconstructed by Bilibili user "männlichkeit," c. January 24, 2020. As the final movement of the suite "Taiping Yue," this piece is known by the title "Hehuan Yan" (合欢盐, Happy Together Song). According to musicologist Steven G. Nelson, this suite probably had its origins as a military dance, perhaps of the pozhen yue (破阵乐, literally "destroying the formations") type, in Tang China, which was transmitted to the Japanese court by the early 8th century, then arranged into a suite in the Japanese court of the mid-9th century.

In the context of the piece's title, the term "yan" (塩), which usually means "salt" in Chinese, refers to a particular type of poetic song popular during the Tang period (a synonym for "qu" 曲, meaning "piece"); "yïr" or "yır" means "song" in Turkic languages.

This reconstruction is based primarily on the version of this piece as found in "Sango Yōroku"『三五要録』, the most important and extensive collection of Tang-era scores for 4-string pipa; this collection was compiled by the Japanese nobleman Fujiwara no Moronaga (藤原師長, 1138-1192) shortly after 1177 (c. 1180), during the late Heian period (794-1185).

In Japan's tradition of Tōgaku (唐楽, court music of Chinese origin), this dance suite movement is called "Taiheiraku": Kyū《太平楽》· 急 (たいへいらく：きゅう), with the movement title being pronounced "Gakka-en"《合歡塩》(がっかえん). Its mode is called Taishiki-chō (大食調) in Japanese.

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[Hanfu · 漢服]China Song Dynasty (960–1279 AD) Chinese Traditional Clothing Hanfu & Hairstyle Photoshoots

Collection of photos of Song Dynasty Hanfu BY@潤熙陳 :

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