chinesehanfu

[chinesehanfu]

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

The blogger tried to restore the dance by referring to the movements in many related reliefs and murals from the Tang Dynasty to the Five Dynasties, combined with the Tang Dynasty records of the dance.

< 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】:

China Five Dynasties and Ten Kingdoms Period Brick Carving Relics from Tomb Of Feng Hui 冯晖墓

< "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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🧚🏻‍♀️Dancer & Choreographer：@李诗荟

👗Hanfu：@君子山岚

Venue Provider：@包意凡

Lighting Design：@大彤寶殿的彤寶

Music ：@männlichkeit（BiliBili）/@dbadagna（Youtube）

🔗Full Video on Xiaohongshu App：https://www.xiaohongshu.com/explore/674995190000000008005fc6?

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[chinesehanfu]

Men's Hanfu throughout history.

Often we overlook men's Hanfu but they're just as beautiful as the women's.

Src: 摄影师馒猫子 【衣冠上国，礼仪之大，故称夏，服装之美，谓之华！】 https://www.bilibili.com/video/BV1Lu4y1P77e/

(ENG subtitles by me :D)

[chinesehanfu]

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

Which one is your favorite 💖?

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

Part 1:

Part 2

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📸Photo： @潤熙陳

💄 Stylist：  @桃金娘

🧚🏻‍ Model : @抱幽石

🔗Xiaohongshu App：http://xhslink.com/a/WvukxOtlXjv2

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[chinesehanfu]

[Hanfu · 漢服]Chinese Song Dynasty (960–1279 AD)Traditional Clothing Hanfu Reference to Song Dynasty Murals

【Historical Artifacts Reference 】:

▶️China Song Dynasty Mural：

《韩城盘乐村宋代壁画墓M218/China Song Dynasty Mural Tomb M218 in Panle Village, Hancheng》

Tomb excavated in 2009, the murals contain rare contents such as medicine, drama, and Buddha's nirvana. The tomb was built with fine craftsmanship using the method of grinding bricks and joints, and the murals were directly painted on the flat brick wall. According to the content of the murals, the tomb owner may have had medical experience in his lifetime, or was a local medical officer, or the owner of a medicine workshop.

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🧚🏻‍♀️Recreation Work/Model: @闻靖

🔗Xiaohongshu App: http://xhslink.com/a/0GBTNXv6XYT1

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[chinesehanfu]

The Fengguan (凤冠) is a masterpiece of ancient Chinese jewelry that was worn by noblewomen and the empress as a ceremonial headdress. In Chinese culture, the dragon represents the emperor and the phoenix, the empress, hence the literal meaning of Fengguan: Pheonix (凤)  crown (冠).

Though there are many variations, the crown is traditionally decorated with beaded pheasants, pearls, gold, and gemstones, and most highly prized of all, kingfisher feathers. The art of making ornaments from the iridescent blue feather of kingfisher birds ( Tian-tsui ) has been mastered for over 2000 years and the creations are used as prestigious adornments for hairpins, headdresses, fans, and panels and screens. 

The number of dragons, phoenixes and pheasants that embellished the crown differ depending on the wealth and status of the wearer and the occasion. The number of pearls embellished also ranges from 3426 to 5449 and the gemstones, from 95 to 128.

[chinesehanfu]

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

▶1.China Tang Dynasty Mural painting of two women dancing in the tomb of Concubine Yan De /唐代燕德妃墓二女对舞壁画

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🧚🏻‍♀️Model：@盥薇(破防版)

👗Hanfu：@青泠谷

🔗Weibo：https://weibo.com/6969147663/5106836560415760

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[chinesehanfu]

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

【Historical Artifacts Reference 】:

▶ China Tang Dynasty Silk Painting《"Beauty under the tree"/唐 樹下美人圖 絹畫》

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📸Photo：©向晚晴Slye📷

💄Makeup: @桃天天桃子

🧚🏻‍♀️Model : @贪生boss

🔗Xiaohongshu App ：http://xhslink.com/a/T01zDKDCZ9v

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[chinesehanfu]

[China History]How were “luxury toiletries” made and created in ancient China 1,250 years ago?［Eng Sub］

This episode is set in the second year of the Tang Dynasty Tianbao era (743 AD), during the reign of Emperor Xuanzong of the Tang Dynasty. It tells the story of a maidservant of the emperor's beloved concubine, Mei Fei 梅妃 (also known as Jiang Caiping/江采萍), who created the "Dendrobium Pearl Bath Bean/石斛珍珠澡豆" that Mei Fei/梅妃 had developed. According to the "Beiji Qianjin Yaofang《备急千金要方》" (Essential Formulas Worth a Thousand in Gold for Emergencies) by Tang-dynasty physician Sun Simiao:

洗面药：猪胰（五具切细）、毕豆面（一升）、皂角（三挺）、栝蒌实、葳蕤、白茯苓、土瓜根（各五两）；上七味捣筛，将猪胰拌和，更捣令匀，每但取洗手面，白日白净如素。

【Translation】：

"Facial wash medicine: pig pancreas (cut into fine pieces), beanstalk powder (one sheng/升), Gleditsia sinensis Lam(three pieces), Trichosanthes real, flourishing, white Poria cocos, and five taels each of soil melon roots; mix the seven ingredients, grind and sift, then mix with the pig pancreas, and grind together. Use the resulting powder for washing hands and face, making them as white and smooth as porcelain during the day"

(Note: The video also incorporates a segment on the tribute pearls from Hepu, filmed with the process of "opening oysters and harvesting pearls," though the historical accuracy of the video may have some artistic liberties, so viewers should be mindful of this).

The recipe for the "Dendrobium Pearl Bath Bean/石斛珍珠澡豆" was highly sought after by the imperial concubines and princesses of the time, who affectionately referred to Mei Fei as "Hu Zhu Fu Ren/斛珠夫人" (Lady of Pearls). Not only was she skilled in traditional Chinese medicine, but Mei Fei was also a talented dancer. She was one of the eight great female talents in the Tang Dynasty, having choreographed the famous Tang court dance "Jinghong Dance/惊鸿舞" (Dance of the Scared Swan).

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🧚🏻‍Production & Model/Makeup：@曾嚼子

🔗Xiaohongshu:https://www.xiaohongshu.com/discovery/item/66c5bca4000000001f038b85?

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[chinesehanfu]

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

Challenge restore the seven ladies in the Tang Dynasty murals

【Historical Artifacts Reference 】:

China Tang Dynasty Dunhuang Mural：

《都督夫人太原王氏礼佛图/Governor Wife Mrs.Wang and her daughters and servants in Cave 130 of Mogao Grottoes in Dunhuang》

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Recreation Work：@嵛清

🧚🏻Model∶@嵛清

🔗Xiaohongshu：https://www.xiaohongshu.com/explore/64705b840000000013030c28

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[chinesehanfu]

[Hanfu・漢服]Chinese Tang Dynasty(618–907AD) Hanfu Photoshoots By 朱山尽

“身着霓裳，梦萦回，灯火不灭，长安夜”

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📸Photo：@朱山尽_

🧚🏻Model∶ Actor @郭晓婷

🔗Weibo：https://weibo.com/6448144675/5085467656061159

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[chinesehanfu]

[Hanfu · 漢服]Chinese Tang Dynasty(618–907AD)Traditional Clothing Hanfu Based On Stone Carving of Tang Dynasty

The image of girls in the early Kaiyuan reign (713-741) of the Tang Dynasty

【Historical Artifact Reference】:

China Tang Dynasty Stone carvings on the stone coffin of Xue Jing(薛儆)'s tomb

Xue Jing(薛儆):son-in-law of Emperor Ruizong of Tang China

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📸Recreation Work &🧚🏻‍ Model :@-盥薇-

👗Hanfu：@香染衣罗传统服饰 ​

🔗 Weibo:https://weibo.com/3942003133/OzQ3S2h4x?refer_flag=1001030103_

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[chinesehanfu]

[Hanfu・漢服]Chinese Eastern Han Dynasty(25–220 AD) & Hairstyls Based On Han Dynasty Murals

【Historical Artifact Reference】:

Han Dynasty Tomb Murals in Chang Village, Xingyang, Henan, China

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Recreation Work：@晓琳装束

🔗Weibo:https://www.xiaohongshu.com/explore/66ebfba700000000270

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[chinesehanfu]

©东予薏米  jade rabbits making mooncakes for mid-autumn festival

[chinesehanfu]

[Hanfu · 漢服]The past and present of "eating mooncakes during the Mid-Autumn Festival"

As the Mid-Autumn Festival/Zhong Qiu Jie 中秋节 is coming, let us learn how “mooncakes/月饼” became an iconic traditional food of the Mid-Autumn Festival

🌕🥮Mooncake/月饼🥮🏮

A mooncake (simplified Chinese: 月饼; traditional Chinese: 月餅) is a Chinese bakery product traditionally eaten during the Mid-Autumn Festival (中秋節).The festival is primarily about the harvest while a legend connects it to moon watching, and mooncakes are regarded as a delicacy. Mooncakes are offered between friends or on family gatherings while celebrating the festival. The Mid-Autumn Festival is widely regarded as one of the four most important Chinese festivals.

Mooncakes were originally used as offerings to worship the moon god.

Worshiping the moon is a very old custom in China. It is actually a worship activity for the "moon god" by the ancients. Eating mooncakes and appreciating the moon during the Mid-Autumn Festival are indispensable customs for celebrating the Mid-Autumn Festival in all parts of China. Mooncakes symbolize reunion. People regard them as festive food, use them to worship the moon, and give them to relatives and friends.

Cultural relics believed to be the predecessor of mooncakes were unearthed:

<China Tang Dynasty Baoxiang flower-patterned mooncakes/宝相花月饼>⬇️

Mooncakes, traditionally offered as a tribute to the Moon Goddess, have a long and rich history. The term "mooncake" was first recorded in the Southern Song Dynasty in Wu Zimu’s <梦梁录/Meng Liang Lu>.

Over time, mooncakes merged with various regional culinary traditions, giving rise to different styles such as Cantonese, Shanxi, Beijing, Suzhou, Chaozhou, and Yunnan mooncakes, all of which are beloved by people across China：

Mooncakes truly became associated with the Mid-Autumn Festival during the Ming Dynasty. In the writings of Liu Ruoyu 刘若愚, a eunuch during the reigns of the Wanli and Chongzhen emperors, he mentioned in his prison work Zhuozhong Zhi 《酌中志》(Vol. 20, "Brief Record of Culinary Preferences"): “八月宫中赏秋海棠、玉簪花。自初一日起，即有卖月饼者。加以西瓜、藕，互相馈送。西苑鹿藕。至十五日，家家供月饼瓜果，候月上焚香后，即大肆饮啖，多竟夜始散席者。如有剩月饼，仍整收于干燥风凉之处，至岁暮合家分用之，曰‘团圆饼’也”

Translation：

"In August, the palace having event appreciates autumn crabapple blossoms. From the first day of the month, mooncakes are sold,it accompanied by watermelons and lotus roots, and are exchanged as gifts.By the fifteenth day, every household offers mooncakes and fruits in worship, waiting for the moon to rise before burning incense and feasting lavishly, with some gatherings lasting all night. If there are leftover mooncakes, they are stored in a dry and cool place until the end of the year, when the whole family shares them, calling them 'reunion cakes.'

In the Qing Dynasty, there were books that detailed the methods of making mooncakes. For example, Zeng Yi, a female writer and female doctor in the late Qing Dynasty, recorded the "Method of Making Crisp Mooncakes" in her book "Zhongkuilu": "Use white ash flour, half of which is steamed in a steamer, and no water vapor is seen; the other half is raw, and kneaded with lard and cold water. Then, mix the steamed flour with lard. Use a ball of raw oil flour, and wrap a small ball of cooked oil flour inside; use a rolling pin to roll it into a cup-sized shape, fold it into a square; roll it into a ball again, and fold it into a square again; then wrap the filling. Use a cake stamp to stamp it, and put it on the stove to cook. For the oil-flavored filling, use cooked flour, sugar, walnuts, etc., and add a little sesame oil, so that it will not fall apart." The method is very similar to today's Suzhou-style mooncakes.

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🧚🏻‍Production & Model/Makeup：@曾嚼子

🔗Xiaohongshu:https://www.xiaohongshu.com/discovery/item/66e66ef70000000026033df2

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[chinesehanfu]

Saw these tags in a reblog of my Chinese museum posts, and thought I have to make a response just so everyone is clear on how archaeological studies are carried out in China:

^Well, the Shaanxi Archaeology Museum is a Chinese museum displaying artifacts found in China, it's not the British Museum lol.

But anyway just so everyone knows, modern Chinese archaeology has a rule, which is that unless it's absolutely necessary, an ancient tomb/mausoleum should not be disturbed. This means that many of these artifacts in the museums are found in a few main ways:

Tombs that absolutely had to be excavated because there were clear signs of grave robbing present, for example when tunnels left by grave robbers were found near a known tomb. This is called "excavating to rescue" (抢救性发掘), it's done by teams of archaeologists, the artifacts found will then be studied and eventually find a home in museums in China. In comparison, actual grave robbers would steal artifacts and sell them for money; many stolen artifacts would end up in auctions, mostly outside of mainland China. This is why there is no "general positive sense" in the phrase "grave robbing with grant money" when it comes to archaeology in China. Modern Chinese archaeology and grave robbing are simply not comparable in any way whatsoever.

Tombs that absolutely had to be excavated because new infrastructure will be built in that location. Such exacavations are also included in excavating to rescue. Examples include tombs in Xi'an city that had to be excavated because a metro was being built. Since Chinese people and Chinese culture are native to China, there are no ethical problems whatsoever, this simply a question of what matters more, the welfare of living Chinese people or the abstract afterlives of ancient Chinese people. Obviously, the welfare of living Chinese people is a more important matter. As for the argument of "but this goes against traditional culture", first, a culture is only alive if the people of that culture is alive and doing well, otherwise that culture is as good as dead; second, a major part of traditional Chinese culture IS focused on the welfare of descendants (ex: the belief that the spirits of ancestors will protect their descendants), so I'm sure our ancestors would be proud to see us doing well.

Tombs that were excavated because archaeologists were absolutely sure that artifacts discovered within would make major contributions to the study of Chinese history. This is pretty much the only exception to the rule of "excavating to rescue", and it is very rarely allowed. An example is the Xia-Shang-Zhou Chronology Project (夏商周断代工程), where the main focus is to gain a clearer picture of the timeline of ancient Chinese history, when dynasties began/ended, when major events may have happened, etc.

Artifacts that were found when arresting grave robbers. These are called "recovered artifacts" (追回文物).

Artifacts that returned to China from foreign countries, these are called "returned artifacts" (回归文物). A big portion of these artifacts ended up in foreign countries precisely because of grave robbers, and another big portion were and are still lost for the same reason as why the British Museum has so many artifacts from around the world.

Artifacts that were discovered scattered throughout China. There are three facts to consider here: 1) China has a long history and as a result, there are vast amounts of existing artifacts; 2) tombs are material things and thus are subject to the elements; 3) not everyone is an archaeologist. Combine these, and you have situations were valuable artifacts were found in places like the chicken coop of a farmer (this is how the eagle-shaped pottery ding was found).

Donations. Some artifacts were family heirlooms that were donated to museums.

[chinesehanfu]

[Hanfu · 漢服]China Early Tang Dynasty (618–907AD) Traditional Clothing Hanfu Photoshoots

Early Tang Dynasty｜Musings on the Begonia

During the Early Tang period, clothing still retained the styles of the preceding Sui Dynasty as well as the Northern and Southern Dynasties, featuring flowing sleeves that conveyed a sense of elegance and grace.

【Tang Dynasty Pipa】

Tang Dynasty Pipa in the Shosoin Repository in Japan

The pipa of the Tang Dynasty, with its curved neck and four strings, differs significantly from the modern Chinese pipa that we see today. In the Tang Dynasty, the pipa had a neck that bent 90 degrees backward, making it difficult to view the head of the instrument from the front. This feature earned it the name "curved-neck pipa." In contrast, the modern pipa, though descended from the Tang pipa, has a head that bends backward at the joint with the neck and then curves upward, making the entire head visible.

Additionally, the Tang Dynasty pipa had only four strings made of silk, while the modern pipa has been modified to include 6相24品, totaling 30 pitch positions. It uses steel and steel-wound nylon strings, resulting in a significant difference in range and timbre from the Tang Dynasty pipa.

Furthermore, the Tang pipa was traditionally played with a plectrum resembling a spatula, known as a "bozi/拨子" Although there are records of fingerpicking and some surviving scores for fingerstyle pipa, the use of the plectrum was the predominant method of playing during the Tang Dynasty. This tradition continued to influence neighboring Japan, where the shamisen, a three-stringed instrument that arrived from the Yuan Dynasty, also adopted the plectrum instead of the original finger plectra.

Due to the use of a bozi/拨子, the face of the pipa would endure more abrasion, which is why we can see from murals from the Wei, Jin, and Northern and Southern Dynasties that the pipa's face had a wide leather protective layer known as the "hanbo/捍拨 " The Tang Dynasty's luxurious aesthetic extended to this area, with pipa decorations often incorporating lavish amounts of gold, silver, precious stones, and inlaid mother-of-pearl. Today, however, since modern pipa players use their fingers to play, this decorative protective layer has become obsolete, and it is no longer seen on the belly of contemporary pipa.

We can also observe the pipa from the Tang Dynasty period in the following Tang Dynasty artworks:<唐人宫乐图/A Palace Concert>

The Tang Dynasty pipa and its performance style continued into the Song Dynasty：<The Night Revels of Han Xizai/韓熙載夜宴圖/韩熙载夜宴图>

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Photographer's creative thought process

The begonia has no fragrance, but on spring nights, it seems to carry an indescribable, pure scent—like a faint mist. After cycling past it on several nights and immersing myself in this elusive aroma, I finally brought this sensation into the studio as a scene. This resulted in the series of images you see here.

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📸Photographer：@白秋月

🔗XiaohongShu: https://www.xiaohongshu.com/discovery/item/66cee43f000000001f014696?

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[chinesehanfu]

[Hanfu · 漢服]Chinese Song Dynasty(960–1279AD)Emperor Traditional Official Hanfu

The official uniform of the Chinese Song Dynasty emperor in "Serenade of Peaceful Joy"

【Historical Reference Artifacts】:

Portrait of Emperor Taizu  (21 March 927 – 14 November 976)of Song Dynasty, kept in the National Palace Museum

Portrait of Emperor Yingzong  (16 February 1032 – 25 January 1067) of Song Dynasty, kept in the National Palace Museum

Many people may curious about why the emperors of the Song Dynasty did not wear the classic yellow, but instead wore white or red round-necked robes.

During the Han and Tang dynasties, yellow was exclusively associated with imperial authority. According to the theory of "the Wuxing (Chinese philosophy)"which is Fire, Water, Wood, Metal, and Earth, yellow represented the center and symbolized the legitimacy of imperial power. However, during the Song Dynasty, due to political changes, Emperor Taizong decided to shift this tradition and adopt red as the new symbolic color for the dynasty. The court officials supported this change and provided various justifications, such as the theory of fire's virtue and the idea of red being a color of celebration, among others.

During the Han and Tang dynasties, yellow was exclusively associated with imperial authority. According to the theory of "the Wuxing (Chinese philosophy)"which is Fire, Water, Wood, Metal, and Earth, yellow represented the center and symbolized the legitimacy of imperial power. However, during the Song Dynasty, due to political changes, Emperor Taizong decided to shift this tradition and adopt red as the new symbolic color for the dynasty. The court officials supported this change and provided various justifications, such as the theory of fire's virtue and the idea of red being a color of celebration, among others.

【Emperor Taizu of Song Dynasty<Zhao Kuangyin/赵匡胤>】

Emperor Taizu of Song (21 March 927 – 14 November 976), personal name Zhao Kuangyin, courtesy name Yuanlang, was the founding emperor of the Song dynasty of China. He reigned from 960 until his death in 976. Formerly a distinguished military general of the Later Zhou dynasty, Emperor Taizu came to power after staging a coup d'état and forcing Emperor Gong, the last Later Zhou ruler, to abdicate the throne in his favor.

During his reign, Emperor Taizu conquered the states of Southern Tang, Later Shu, Southern Han, and Jingnan, thus reunifying most of China proper. To strengthen his control, he lessened the power of military generals and relied on civilian officials in administration. He was succeeded by his younger brother, Zhao Kuangyi (Emperor Taizong).

Early life

Born in Luoyang to military commander Zhao Hongyin, Zhao Kuangyin grew up excelling in mounted archery. Once, riding an untamed horse without a bridle, he knocked his forehead on the wall above the city gate and fell off, but got right back up and chased the horse, eventually subduing it while going unharmed. In the mid-940s, he married Lady He on his father's arrangement. After wandering around for a few years, in 949 he joined the army of Guo Wei, a jiedushi (military governor) of the Later Han dynasty, and helped Guo quell Li Shouzhen's rebellion.

Career under Later Zhou（后周）

In 951, Guo Wei rebelled and created the Later Zhou dynasty. Because of his brilliant combat skills, Zhao Kuangyin was promoted to a palace guard commander. Chai Rong (Emperor Shizong of Later Zhou) frequently met Guo Wei and noticed Zhao Kuangyin's potential. Under his command, Zhao Kuangyin was made into a commander of the cavalry units. Under Chai Rong, Zhao Kuangyin's rise to power had begun.

Zhao Kuangyin's career started at the Battle of Gaoping, against the alliance of the Northern Han and Liao dynasties.

This rivalry started when Chai Rong ascended the throne and Liu Chong decided to work with the Liao dynasty. In the initial confrontation, the army's right flank, led by Fan Aineng (樊愛能) and He Hui (何徽), was defeated. Looking at the situation, Zhao Kuangyin and Zhang Yongde (張永德) led 4000 elite Palace troops to counter the Liao army. Zhao Kuangyin's exhortation for the loyalty to the emperor quickly strengthened morale. The small force held off the larger Liao army until reinforcements arrived. In the end, the successful counter repelled the Northern Han back to Taiyuan.

The victory raised Zhao Kuangyin up to the post of the grand commander of the palace guards, as well as reorganising and training them. More importantly, he developed the relations with other generals and officials related to the Chief of Palace, including Shi Shouxin, Wang Shenqi (王審琦), Yang Guangyi (楊光義), Wang Zhengzhong (王政忠), Liu Qingyi (劉慶義), Liu Shouzhong (劉守忠), Liu Yanrang (劉延讓), Mi Xin (米信), Tian Chongjin (田重進), Pan Mei, his brother Zhao Kuangyi, Shen Yilun (沈義倫), Lu Xuqing, Zhao Pu (趙普), Chu Zhaofu (楚昭輔). Within a few years, Zhao Kuangyin completely controlled the palace guards and even developed a set of officials under him with the people mentioned above.

Soon, he was promoted to a jiedushi (military governor), controlling most of the military power under Chai Rong. Nevertheless, he still had two rivals – Zhang Yongde (Guo Wei's son-in-law) and Li Chongjin (Guo Wei's nephew). In 959, after a trap[clarification needed] set by Zhao Kuangyin, Zhang Yongde was demoted. After the death of Chai Rong, the Later Zhou throne was left to his seven-year-old son Guo Zongxun, and the second rival, Li Chongjin, soon found himself lacking the political backing. As a result, Zhao Kuangyin was able to use his influence to transfer Li Chongjin to Yang Prefecture as a jiedushi.

Chenqiao Mutiny/陈桥兵变

Main article: Chenqiao Mutiny20th-century illustration of Zhao Kuangyin being proclaimed emperor by the army of the Later Zhou dynasty.

In 960, word reached the chancellor Fan Zhi that Northern Han and Liao dynasties were once again allied to invade them again. Without verifying the reliability of the hearsay, Fan Zhi sent Zhao Kuangyin to combat the alliance. After traveling 40 li, there was a clamour that a "prophet" saw two suns fighting, and that this meant the transfer of the Mandate of Heaven to Zhao Kuangyin. The story effectively spread around the army: there came discontent of the "command" of the young emperor and a shift of loyalty to Zhao Kuangyin. A few days later, when Zhao Kuangyin was drunk in his tent, all the troops had not slept the whole night; they got their weapons and started yelling. Zhao Pu and Zhang Kuangyi, who were guarding the tent, saw the situation and went into the tent to wake up Zhao Kuangyin. When Zhao Kuangyin came out, all the troops yelled, "The army is without a master, we are willing to make the general the new emperor." Allegedly, Zhao Kuangyin took the power reluctantly, only under the urging of his soldiers. The midnight mutiny of officers forcibly urged Zhao Kuangyin to the throne; but, when the officers presented him to the troops as their new commander-in-chief he refused the imperial nomination until they swore unconditional obedience to him as leader.[6] News of the rebellion soon reached the court and chaos erupted. The only person who thought about a resistance was Han Tong, but he was killed by one of Zhao Kuangyin's generals when he reached home.

Upon entering the capital to take his seat on the throne, Zhao Kuangyin made an executive order prohibiting the troops from looting the city or otherwise violating the rights of the population.

This coup would allow Zhao Kuangyin to become emperor in 960.With the gates opened for him, he became emperor with no resistance. Before the chancellor Fan Zhi could say anything, one of Zhao Kuangyin's generals pointed a sword at him and said, "We are without masters. Today, we must have an emperor." After the officials looked at each other and knew it was hopeless to resist; they all bowed down. With the court under control, Zhao Kuangyin was officially proclaimed emperor. The new dynasty's name, Song, was inspired by the army Zhao Kuangyin commanded in Song Prefecture.

After the declaration, Zhao Kuangyin sent the dethroned young emperor Guo Zongxun with his mother to the Western Capital (西京). He personally ordered the Zhao family to receive the Chai family into their family's care for generations.

As emperor

Emperor Taizu playing cuju with Zhao Pu, by the Yuan dynasty painter Qian Xuan (1235–1305)

In 960, Zhao Kuangyin helped reunite most of China proper after the fragmentation and rebellion between the fall of the Tang dynasty in 907 and the establishment of the Song dynasty. The plan set during Chai Rong's reign was to first conquer the north, then the south. During Emperor Taizu's reign, there was a change in strategy. He would conquer all the smaller states such as Later Shu, Southern Han and Southern Tang. The exception was the strong Northern Han in the north at Taiyuan supported by the Khitans of the Liao dynasty. Emperor Taizu's strategy was to win over the independent southern states[8] as the south was weaker than the north as the Liao dynasty supported Northern Han.

In 968, Emperor Taizu personally led the army against the Northern Han. At first, his forces tore through the defences and placed Taiyuan under siege, but was ultimately forced to retreat after he struck against the defences of the Northern Han with the Liao cavalry coming in to support.Portrait of Emperor Taizu, who founded the Song dynasty

Emperor Taizu established the core Song Ancestor Rules and Policy for the later Song emperors. He was remembered for his expansion of the imperial examination system such that most of the civil service were recruited through the exams (in contrast to the Tang where less than 10% of the civil servants came through exams). He also created academies that allowed a great deal of freedom of discussion and thought, which facilitated the growth of scientific advance, economic reforms as well as achievements in arts and literature.

Emperor Taizu is well known for bringing the power of the military under control, ending the era of the warlords, centralizing the state over regional commanders and so preventing anyone else rising to power as he did.[8] Upon becoming emperor, he invited the general officers to a lavish banquet, where he convinced them all to retire as military leaders or accept minor posts, in favour of enjoying extensive estates and generous retirement funds and benefits which he then offered them.At a certain point during the feast, the new emperor made a speech to the military officers assembled there, which he began by expressing his deep gratitude to each and all of them for placing him on the throne, and that now that he had the power to do so, he wished to reward them to the utmost of his ability; then he went on to say that he thought the present company would all understand that he could not feel at ease on his new throne, with them continuing in command of their various armies of troops: and, he said, that if they duly considered the ramifications of the matter, neither would they. He then sincerely promised that they and their families would live in happiness and harmony, if they accepted his offer to retire with the stated benefits: eventually, none of the generals refused his terms, and thus began a period of relative internal peace within the realm for the duration of the Song dynasty which he thus founded, also better securing the military forces for involvement with the rival surrounding empires.

Many Song and later sources record the story of the "Taizu's Oath", which forbade his successors from killing scholar-officials. However, this story might be a later construct.

Death and succession dispute

Tomb of Emperor Taizu in the Yongchang Mausoleum, Gongyi, Zhengzhou

Emperor Taizu reigned for seventeen years and died in 976 at the age of 49. Curiously, he was succeeded by his younger brother, Zhao Kuangyi (Emperor Taizong), even though he had two grown sons – Zhao Dezhao, the Prince of Yan (951–979), and Zhao Defang, the Prince of Qin (959–981). The traditional historical accounts place emphasis on the role Zhao Kuangyin's mother played in the decision which was made shortly after the Song dynasty was proclaimed (around 961). So for nearly his entire reign, it was known and accepted that Zhao Kuangyi would succeed him.

In folklore, the story known as "shadows by the candle and sounds from an axe" is very popular and suggests that Emperor Taizu was murdered by his brother, who was after the throne.After his death, Taizu was interred at the Yongchang Mausoleum, near Gongyi.

After Emperor Taizong, the line of succession passed on to his son and descendants rather than those of Emperor Taizu. However, when Emperor Gaozong (1127–1161) failed to produce an heir, he selected a descendant of Emperor Taizu to be his adopted heir to succeed him in 1161. After 1161, all the subsequent Song emperors were descended from Emperor Taizu through his two sons, Zhao Dezhao and Zhao Defang.

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