#北京。 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #September2023 | #ForbiddenCityDairies -The Palace Museum #ForbiddenCity Collections of Chinese intangible cultural heritage.  Collection 21st August – Sixth September 2023.

On July 19th 2023 , the multilingual website of the Forbidden City Palace Museum- Beijing, China, People’s Republic of Chinawas officially released at the Digital Cultural Tourism Development Forum of the 2023 China Internet Civilization Conference! The website covers five languages: English, French, Russian, Japanese, and Spanish, and will meet the needs of audiences with different languages.

 The multilingual website of the Palace Museum is committed to establishing an international website that is concise, clear, easy to use for overseas audiences, and fits the construction of the modern civilization of the Chinese nation, including tour guides, information, panoramic tours, online exhibitions, collection appreciation, cultural topics, etc. Rich immersive content describing of the most detail collection that housed within the Forbidden city collection… . 

Let’s read the calendar together….  Guangxu of the Qing Dynasty, red silk embroidered colourful clouds, bats, gold dragon and phoenix pattern hijab. When the emperor of the Qing Dynasty got married, the queen also covered her face with a hijab just like in folk weddings. This hijab has a square shape and is made of red river silk. The word “囍” is embroidered with gold thread in the center, and patterns of bats and “卍” are embroidered on the word “囍”, which means long blessings. Golden dragon and phoenix patterns are embroidered around the word “囍”, and the word “longevity” is embroidered in gold around it. , golden “囍” character, clouds, bats, gourds, etc. Four groups of tassels in red, green, and yellow colours hang from the four corners.

去我们一起来读计划  In the Qing Dynasty, gold-plated copper with silk dots and emeralds inlaid with pearls and stones and phoenix tin. When the queens of the Qing Dynasty wore auspicious clothes, they could wear phoenix tin on their heads. Tianzi is a unique headdress for Manchu women. Its shape is high at the front and low at the back, with a dome at the top and a wide bottom. According to the number and style of decorated tin flowers, tin can be divided into half tin, full tin and phoenix tin, each of which has different usage occasions. This tin is lined with red velvet, emerald emerald dragon, phoenix, “囍”, etc., in line with the theme of the wedding…

七夕  is a festival for girls, and the ancients would hold a wealth of “begging for cleverness” activities. In addition to the well-known “threading a needle and begging for cleverness”, the custom of “worshiping the Milky Way” (also known as “worshiping double stars”) was also popular in the Ming and Qing Dynasties. A group of young women and girls make an appointment in advance at which house to worship on Qixi Festival. Most of them choose a house with a beautiful courtyard or a garden to be the host, and everyone shares the purchase of sacrifices. Everyone fasts and bathes the day before to get ready. At that time, everyone will dress up and go to the organizer’s home to take turns burning incense and worshiping. Seasonal fruits such as “flower melons” carved from watermelons and peaches are displayed on the altar. Some even put cosmetics such as rouge and fragrant powder on the altar for the Weaver Girl to enjoy. What they pray for is nothing more than to be beautiful and marry a good man; or to have a happy family and harmonious husband and wife. After the worship is over, the incense powder dedicated to Zhinu will be divided into two halves, and half will be thrown on the house for Zhinu to enjoy, and the other half will be kept for herself. They believe that they can maintain their youthful beauty by using the cosmetics shared with Zhinu.

去我们一起来读计划  Qing, Qingkuan, etc., the big wedding picture of the Queen Fengyu entering the palace. The seventh volume of Emperor Guangxu’s “Wedding Pictures”, “The Picture of Empress Fengyu Entering the Palace,” depicts the process of the wedding procession starting from the Queen’s residence to the Qianqing Palace. It includes seventeen pages of images and nine pages of illustrations. The following set of pictures are taken from this volume. . Emperors of the Qing Dynasty all married at night. During the wedding of Emperor Guangxu, Queen Fengyu “started from the eaves of the main hall of the Di Di at the third quarter of the first lunar month, arrived at East Chang’an Street at the first quarter of the first lunar month, and arrived at the East Chang’an archway at the second quarter of the first lunar month. In the second quarter of Yinchu, five minutes to Qianqing Gate, and in Yinzheng three quarters, five minutes to the eaves of Qianqing Palace.” In this picture, the Yuzhan, Longqi, Huanggai, Honglu Temple Preface, Mingzan Officer, Chief and Deputy Envoys, Ceting, and Baoting in front of the team have all passed through Duanmen and walked outside the Meridian Gate. The horses are separated Stop in front of the East and West Yanchi Towers.

Qing Dynasty, Qing Kuan, etc., the Empress Fengyu entering the palace of the big wedding picture. When Emperor Guangxu got married, the welcoming team went from the middle gates of Meridian Gate and Taihe Gate to the middle left gate, rear left gate and Qianqing gate. North Korean officials and others stopped here. According to the auspicious time predicted by Qin Tianjian, Empress Fengyu will arrive at Qianqing Gate at the second quarter of Yinchu (around 3:35 a.m.), and the eunuch of the Ministry of Internal Affairs will pick her up and carry Fengyu into Qianqing Gate. Empress Yu Yinzheng could only get out of the sedan chair at three quarters and five minutes (about 4:50 in the morning). With the help of four respectful maids, she stepped over the brazier in the Qianqing Palace, walked out from the back fan, and returned to the palace where she will live in the future to rest. , In the evening, go to Kunning Palace to perform the wedding ceremony. From the moment the queen gets off the sedan chair, these inner court etiquette cannot be understood by outsiders. Empress Dowager Cixi specially issued a decree asking painters not to paint.

Qing Dynasty, gold inlaid wooden handle and gold mention furnace. In the procession of marrying the queen, the queen Fengyu used the stove as a guide. The gold furnace held by the captain is like this. The furnace body is cylindrical, with chiseled dragon patterns on the outside, and an umbrella-shaped cover. The cover is hollowed out with gossip patterns, and a phoenix button is placed on the top. There are three animal ears with rings on the abdomen, and three elephant feet below. There are three chains on the three ears, and the chains are assembled on an eight-petal fancy board. Each petal is in the shape of a wishful cloud head, with a “囍” character inside, and a phoenix button on the top. The phoenix button is looped to connect with the hook on the handle. The handle is made of red sandalwood, with finely carved “囍” character flowers and plants, inlaid with gold chiseled phoenix head and ruyi-shaped tail.

Qing, Jin Baoping. After the queen was welcomed into the palace, she waited for the auspicious time to lay down her phoenix in front of the Qianqing Palace. The queen changed the gold Ruyi and apples she held into a gold vase, which contained two pearls, two gems, two coins, two silver coins, and gold. Two handles of Ruyi, two handles of silver, two gold ingots, two silver ingots, two sets of eight gold treasures, two sets of eight silver treasures, and a handful of gold and silver rice, symbolizing possession of all gold and silver treasures in the world. The queen embraces the golden vase and steps into the Qianqing Palace.

During the reign of Emperor Guangxu of the Qing Dynasty, the emperor and the queen wore auspicious clothes in bright yellow silk embroidered with the characters “囍”, colorful clouds, bats, golden dragon patterns and female cotton dragon robes during the wedding ceremony. Jifu is a garment worn on occasions such as royal celebrations and festivals, including Jifu robes and Jifu gowns. Jifu robes are often referred to as dragon robes. The shape of the queen’s robe is a straight robe with a round collar, a large right lapel, horse hoof sleeves (with middle sleeves), and left and right hems. This robe is bright yellow in color and decorated with nine dragons all over the body, one on the chest, one on the back and one on each shoulder, two on the front and two on the hem, and one on the front. The entire robe is decorated with coral beads the size of rice grains, and the red word “囍” is embroidered with the rice bead technique to set off the festive atmosphere of the wedding….

Qing Guangxu, stone blue satin embroidered with eight groups of happy birthday word colorful cloud dragon dragon jacket clip. This is the dragon gown worn by the Empress of the Hebei ceremony, with a round neck, double breasts, flat sleeves, and a hem that opens at the back. This gown uses two to four-color halo method to embroider the word “卍” with eight groups of colorful clouds and white dragons, sea water, river cliffs and miscellaneous treasures, etc. patterns. The gown is lined with a moon-white auspicious cloud and tuanlong woven gold satin lining with the character “Shou”, and the cuffs are inlaid with a stone blue “Swastika” woven gold satin edge. The collar is decorated with a gilt-bronze chiseled buckle, and the rest is decorated with four stone-blue gold-woven satin loops.

In the Qing Dynasty, gold-plated copper with silk dots and emeralds inlaid with pearls and stones and phoenix tin. Manchu women can wear tanzi, a kind of hat ornament, when wearing auspicious clothes. This mother-of-pearl is made of rattan pieces as a frame, and is wrapped and braided with cyan silk threads to form a mesh. The upper part is circled with dotted jade and hollowed out with an ancient money pattern on the head and face, and the lower part is lined with red velvet. The front and sides of the necklace are decorated with six golden phoenixes, the tail is decorated with five golden phoenixes, and the bottom is decorated with seven golden birds. Each of them holds various strings of jewels and stone necklaces in its mouth.

Qing, silver inlaid coral collar. The collar, also known as the collar, is used to restrain the collar around the neck, and it was a dress item for empresses and concubines in the Qing Dynasty. This collar is approximately ring-shaped and has a live opening and closing type. There are three rings in total, two of which are made of silver and gold, carved with cloud and bat patterns and the characters “囍” and “寿”. Inlaid with rubies and tourmalines. Two ribbons are tied at the living mouth, and each belt is worn with red coral….

Qing Dynasty, Dongzhu Chaozhu. Emperors and empresses of the Qing Dynasty wore court beads when they wore court clothes or auspicious clothes. Each plate of Chao beads is made of 108 round beads, and every 27 beads are added with a large round bead of different materials, called “Buddha head”. One of the Buddha’s heads is connected to a gourd-shaped “Buddha” with a “back cloud” hanging down behind it. There are three strings of 10 small beads on both sides of the chao bead, which are called “memory”. The materials of Chao Zhu are East beads, coral, beeswax, jade, agate, crystal, amber, tourmaline, lapis lazuli, turquoise, etc. They are used according to different status, grade and occasion. Dongzhu is produced from the Songhua River in Northeast China, the birthplace of the Manchu people. Dongzhu Chaozhu can only be worn by the emperor, empress dowager and empress…

It is said that old tea is rich and mellow, and the longer it gets, the more fragrant it becomes. Have you ever seen “old tea” that is thousands of years old?

Many ancient teas are on display in the Meridian Gate Exhibition Hall of the “Tea World – Tea Culture Special Exhibition” that will be introduced to you soon. From the tea remains from the tombs of the Warring States Period in Shandong more than 2,400 years ago, to the physical tea leaves of the Han and Song dynasties, to the tribute teas of the Qing Dynasty with different origins and varieties, we have witnessed the development and evolution of the theory and practice of Chinese tea culture.

The tea ceremony has lasted for thousands of years, and the Buddhist tradition has always been the Buddhist tradition. For this exhibition, we specially invited Mr. Geng Baochang, deputy chairman of the Cultural Relics Appraisal Committee of the State Administration of Cultural Heritage, a famous expert and a centenarian, to inscribe the exhibition “Tea Ceremony Shanghe”. Chinese people combine their thinking about life, family, country, nature, and the universe with their daily life practices to form the spiritual core of tea culture. Just like old tea, it is timeless and new.

Eastern Han Dynasty, lintel stone portrait. Chinese people have romantic feelings and unlimited imagination about the moon. There are countless poems, songs, myths and legends about the moon. Toads appeared in images about the moon in the Han Dynasty. Toads live longer, so the Jade Rabbit made the pills into the shape of a toad, and used the toad’s light to reach the middle of the moon. Portrait stone is a stone building material carved with images. The images mainly include real life, historical stories, myths and legends, decorative patterns, etc. This stone portrait was unearthed in Suide County, Shaanxi Province. The jade rabbit on the right side of the lower layer stands upright, holding a pestle in one hand and a mortar in the other, struggling to pound medicine.

From September 2 to November 30, “Tea·World—Tea Culture Special Exhibition” will be on display at the Meridian Gate and East and West Yanchi Tower exhibition halls of the Palace Museum. This exhibition is hosted by the Palace Museum and brings together representative collections from 30 archaeological and cultural institutions at home and abroad, with a total of 555 exhibits (groups). The exhibition is divided into four units: Tea Out of China, Tea Ceremony, Tea Road Thousands of Miles, and Tea Rhythm. With a distinctive theme and a grand scale, it three-dimensionally displays the Chinese tea civilization that crosses history, connects regions, and integrates nations. During the exhibition, a tea cultural and creative experience space was also opened in the Northeast Chonglou of Meridian Gate, allowing visitors to immerse themselves in the charm of tea culture. China Construction Bank, as the joint promoter of the exhibition, and Longfor Group, as the public welfare supporter of the exhibition, jointly assisted the exhibition activities. This exhibition is free to visit with Palace Museum tickets. Visitors must make a real-name reservation in advance through the “Forbidden City Museum” WeChat applet

Eastern Jin Dynasty, Wang Xianzhi, Mid-Autumn Festival posts. The “Mid-Autumn Tie”, which was regarded as one of the treasures of Sanxitang by Emperor Qianlong, has 22 characters in existence: “Mid-Autumn Festival will no longer be lost, and it will be returned. It is even a matter of how to win He Qing and other troops.” It is a copy of Wang Xianzhi’s chido “December Cut to Tie”, which cannot be read in sentences. Because of the word “Mid-Autumn” in the first book, it is the name of the post, and it has become a famous post related to the Mid-Autumn Festival. Some scholars believe that this post has the meaning of Mi Fu’s brushwork in Song Dynasty, and it was not written by Wang Xianzhi himself. Regardless of whether the author is Mi Fu or Wang Xianzhi, this post retains the charm of Wang Xianzhi’s original work, and the “one-stroke calligraphy” cursive technique is brought to the extreme.

Eastern Jin Dynasty, Wang Xianzhi, Ding Guanpeng of the Mid-Autumn Festival post, the autumn color equally divides the Wushao month on the picture. After Emperor Qianlong got the “Mid-Autumn Tie”, he couldn’t put it down. He not only inscribed three postscripts successively from February to August in Qianlong Bingyin (1746), but also ordered the court painter Ding Guanpeng to paint at the end of the scroll. In the picture above the moon, Wang Xianzhi is under the sycamore tree, looking up at the full moon in the Mid-Autumn Festival, as if he wants to write a book. To a certain extent, this picture reproduces the scene of Wang Xianzhi’s “Mid-Autumn Post” in the form of painting. It can be seen that Emperor Qianlong hoped to express his admiration for Wang Xianzhi and his love for “Mid-Autumn Post” by means of accompanying pictures.

Tang, a bronze moon palace pattern mirror. Chang’e Flying to the Moon is a beautiful and sad fairy tale. It is beautiful because the osmanthus trees are whirling, the moon is bright, and the fairy Chang’e is dancing gracefully, forming a romantic picture; it is sad because the Guanghan Palace is cold and lonely, which always arouses people’s laments and sentiments, “Chang’e should regret stealing.” The elixir, Bihaiqingtian, heart every night.” This moon palace pattern mirror is centered on the osmanthus tree, under the tree is a toad,

Song, bronze Changchun mirror. The outer edge of the bronze mirror is octagonal. From the outside to the inside, there are eight trigrams, seven stars, mirror inscriptions and the scene of a jade rabbit pounding medicine in front of Guanghan Palace. The Bagua is the innate Fuxi direction, and the Qian Gua is in the southeast. The seven stars and the eight trigrams are scattered and separated, and the inscription on the mirror reads: “Seven stars shine brightly through the three worlds, and a spiritual light shines for thousands of years. Changchun mirror.” Judging from the inscription and pattern on the mirror, this is a bronze mirror related to Taoism related….

Images and visuals are from – Forbidden City –Palace Museum Beijing- China –People’s Republic of China…..

#北京。 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #July2023 | #ForbiddenCityDairies -The Palace Museum #ForbiddenCity Collections of Chinese intangible cultural heritage.  Collection 20th   to 20th July 2023…

On July 19th 2023 , the multilingual website of the Forbidden City Palace Museum- Beijing, China, People’s Republic of Chinawas officially released at the Digital Cultural Tourism Development Forum of the 2023 China Internet Civilization Conference! The website covers five languages: English, French, Russian, Japanese, and Spanish, and will meet the needs of audiences with different languages.

 The multilingual website of the Palace Museum is committed to establishing an international website that is concise, clear, easy to use for overseas audiences, and fits the construction of the modern civilization of the Chinese nation, including tour guides, information, panoramic tours, online exhibitions, collection appreciation, cultural topics, etc. Rich immersive content describing of the most detail collection that housed within the Forbidden city collection… . 

In the Qing Dynasty, gold-plated copper dots emerald inlaid with jewelry and the word Tianhua; in Qing Dynasty, gold-plated jewelry with two dragon knots. Tin flowers are the main decoration on the tin, and the number of tin flowers is one of the factors that determine the grade of the tin. Tin flowers come in a variety of shapes, and depending on their location, they are called knots, face hairpins, green strips, tin tails, head faces, etc. Gold-plated copper dot emerald jewels inlaid with the word “囍” is a set of thirteen pieces, with gold-plated copper dot emerald as the base, and a bead embedded in the character “囍” made of red coral rice beads. Judging from the decorative theme, this tin is made for a big wedding. Another piece of gold inlaid jewelry is a two-dragon knot, in the shape of two dragons playing with gold silk. The center of the fire bead is inlaid with a large ruby, surrounded by green and auspicious clouds. The pendant is made of pearls threaded into eleven strings of tassels, and the corners of the pendant are red sapphires. This kind of decorative knot has the highest standard and is exclusively used by empress dowagers and empresses.

Qing Daoguang, silver-plated hairpin with gold-plated emerald dots inlaid with gemstones, and Tongzhi in Qing Dynasty, silver-plated hairpin with gold-plated gemstones and fake beads and phoenix pattern. In the jewelry of concubines, there are a large number of hairpins of various types, and although they have different themes, they all have auspicious meanings. The number of pearls and the types of gemstones on these jewelry reflect the rank and status of the jewelry owner. Three pieces of silver – plated emerald “囍” character hairpins, with pearls inlaid on the center “囍” character, “囍” character above and below…

In the Qing Dynasty, the golden chiseled word butterfly pattern is flat and square. Bianfang is a unique headdress for Manchu noblewomen in the Qing Dynasty, and it is also a bracket used for dressing up the “two heads”. It has a similar function to the long hairpin used by Han women. This flat square is made of gold, chiseled with sesame seeds as the ground, with a circle of flowers and grass patterns chiseled on the frame, six dancing butterflies and five “囍” characters chiseled inside the frame, and a bat chiseled on the head, implying the double arrival of happiness and happiness. It is a special decoration for the queen’s wedding…

Clear, silver-plated dots emerald beads tassels. Tassels usually refer to drooping tassels, threaded by silk threads, feathers or beads, used on clothes or hair ornaments, also known as step shakes. This tassel is composed of silver-plated dot emerald poles and three strings of pearls. The red coral is embellished with seven “囍” characters, and the pendant corners are three rubies. The head of the pole and the knot in the middle are dotted emerald chiseled bats and money patterns, which means “blessings come to you”. This tassel should be used for the queen’s wedding. Every auspicious festival in the palace, concubines have to wear such ornaments.

Qing Guangxu, stone blue silk embroidered with eight groups of magpies, plums, coral beads and Chinese characters, with water and auspicious clothing materials. The queen’s dowry includes all kinds of ready-made clothes and materials for the four seasons, all of which are woven by Jiangnan Sanzhi, which is prepared in advance several years before the emperor’s wedding ceremony. The pattern of the fabric has always been drawn up by the Ministry of Rites, and the artist draws a sample draft. After the emperor approves, the Ministry of Internal Affairs sends it to Sanzhizao for purchase. The wedding patterns woven for the royal family are all traditional patterns that are related to marriage customs in the palace and contain auspicious meanings, such as Fulu Bandai, Dragon and Phoenix Bringing Good Fortune, etc. The seawater river cliff pattern of this gown is embroidered with a magpie and a plum pattern on the upper part, and decorated with red coral and rice beads to form the character “囍”. The purpose is very clear.

Qing Guangxu, bright yellow silk embroidered with eight groups of magpies, plums, coral beads and 囍 characters, with Shui Jifu gowns. This gown is embroidered with bright yellow silk, with eight embroidered plum blossoms in full bloom, four magpies jumping on the branches, and red coral rice beads in the middle to form the character “囍”, with distinct layers and echoing up and down. Bright yellow is the imperial color exclusively used by the royal family. The magpie and plum blossoms imply happy brows, and the word “囍” pressed on the top implies happiness on top of happiness, highlighting the joy and peace of the emperor’s wedding. Plum blossoms have strong cold resistance, and they can brave the severe cold and bloom alone in the middle of winter when all the flowers are withered. Emperor Guangxu’s wedding coincided with the midwinter when plum blossoms were in full bloom, and such patterns added a festive atmosphere to the wedding..

Images and visuals are from – Forbidden City –Palace Museum Beijing- China –People’s Republic of China…..

#北京。 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #June2023 | #ForbiddenCityDairies the #端午节 #DragonBoatFestival….. #AGallery

Thursday, 22nd June 2023- Dragon Boat Festival 2023…. in which celebrates offering of Dragon boat racing, consumption of realgar wine and zongzi..

“also known as Tuen Ng, falls on the fifth day of the fifth lunar month. It commemorates the death of Qu Yuan, a Chinese poet and minister known for his patriotism and contributions to classical poetry and who eventually became a national hero.”

Though heartbroken to see his country being intruded, Qu Yuan never abandoned his faith and country. On May 5th(in Chinese lunar calendar), after writing down his last poem, Qu Yuan drowned himself in Miluo River(a branch of Yangtze River) as a gesture of dying along with his beloved motherland.

Why is it called Duan Wu Jie? The Dragon Boat Festival is called Duan wu Jie (端午节) in Mandarin Chinese. Duan (端) means ‘start’, while wu (午) means ‘noon’, but also ‘the fifth solar month’ in the traditional Chinese calendar (approximately June 6 – July 6), centered around the summer solstice. ‘The month of noon’ marks the middle of summer.

Where did dragon boats originate? Southern central China The use of dragon boats for racing is believed to have originated in southern central China more than 2500 years ago, in Dongting Lake and along the banks of the Chang Jiang (now called the Yangtze river).

“Crossing the waves stands out from the crowd, jumping the waves to be the first to retreat.” Dragon boat racing is a traditional folk activity of 端午节 in China. It contains the national spirit of hard work, enterprising and positive, and inherits unity and courage to move forward. national genes. The dragon boat culture has lasted for thousands of years, carrying the rich humanistic emotions of the Chinese nation, and leading us to “row” towards a better life.

How old is the Dragon Boat Festival?  2,000 years…….The Dragon Boat Festival is a traditional Chinese festival. It has a history of more than 2,000 years, and is believed to have originated during the Warring States period.

What do Dragon Boat Festival people eat during the festival? For Dragon Boat Festival the Chinese usually eat zongzi (rice dumpling) and various other foods below, depending on the region.

Zongzi — Sticky Rice Dumplings. Zongzi. …

Dagao — Glutinous Rice Cake. Dagao. …

Mianshanzi. Mianshanzi. …

Fried Cake (Jiandui) Fried Cake (Jiandui) …

Eel. …

Thin Pancakes. …

Eggs Steamed with Tea. …

Egg with Garlic.

Yunxia is unpredictable, and the Forbidden City is full of weather. During the Dragon Boat Festival holiday, enjoy the auspicious clouds and the infinite sunset together…

端午安康 “Zong” has a light-year road to explore, and it has to ride the wind and waves to reach it! Rabbit Xingxing wishes everyone a healthy Dragon Boat Festival !

Images and visuals are from – Forbidden City –Palace Museum Beijing- China –People’s Republic of China…..

#漢服 #HanFu #HanTraditionalClothing | #June2023 #正好遇见你 #HiProducer | Episode Three – Four – Five – Chinese cultural Inheritance of an intangible cultural- a multiple Generational Women’s emotional storyline weaving  told throughout #TangDynasty  #ChineseEmbroidery  Kesi embroidery…….

正好遇见你 #HiProducer  is an intangible cultural heritage urban drama directed by Gao Han , starring Guo Xiaodong , Zhang Nan , Li Xiaoran , Zhang Bo , Zheng Kai , Sun Yihan , Niu Zifan , Sheng Langxi , and Wu Qianyu  .

The series tells the story of a variety show team with literary director Yu Zazao and young cultural relics expert Tao Tang as the core, working together to launch a cultural TV program in order to show the beauty of Chinese civilization. The series covers 35 episodes in which is produce by Huanyu Film and Television in collaboration streaming with iQyi and Tencent Video ….. Majority of the Production is done in Suzhou for its modern setting among with the Chinese Cultural Traditional Heritages recreation is done at Hengdian, Subo studios…

Behind the Scenes of the production shooting process….  During the filming, the crew was allowed to enter the Suzhou Museum for on-site shooting, but in order to protect cultural relics, most of the cultural relics appearing in the play are imitation props. In the early stage of filming, the drama team found historians of relevant cultural relics, searched a large number of documents to repeatedly compare the status and details of real cultural relics, and invited professional relics masters to copy them, so as to achieve the effect of false ones. The biggest one is the filigree inlay technology, which represents the highest level of imperial crafts. When making the Jin Ou Yonggu Cup props in the filigree inlay unit, the drama crew carried out a one-to-one replica in strict accordance with historical data, which took a full two months…

Main Cast

Guo Xiao Dong as Liao Muyun

Zhang Nan as Yu Zaizao

Li Xiao Ran as Wang Xining

Jaco Zhang Bo as Tao Tang

Zheng Kai as Gu Shiyong

Annie Sun Yi Han as Yuan Jiaying

Niu Zi Fan as Xie Yao

Joy Sheng Lang Xi as Shu Rong

Karena Ng as Zhuang Yiyi

Li De Long as A Xun

Synopsis Gu Shiyong, CEO of Palace Culture Film and Television Production Company, is determined to create a new large-scale cultural variety show “Inheritance”. He strongly invites Tao Tang, a young cultural relic expert, Mu Zongyun, a well-known director, and Wang Xining, a senior host. However, just when the program was ready to start, the young female director Yu Zazao suddenly parachuted into the company and joined the program group, disrupting the overall plan of the program and being strongly rejected by everyone. Surprisingly, Yu Zazao is calm and witty, dares to break the rules, and has inexhaustible inspiration like a genius. With her help, the originally scattered production team became unprecedentedly cohesive. Everyone worked together, starting from the historical relics of the Forbidden City, devoted themselves to excavating the core memory of the nation, promoting historical and traditional culture, and solving the problem of non-genetic inheritance. In the end, “Inheritance” stood out from many homogeneous programs and became a great success. Yu Zazao also successfully healed his soul and gained a complete friendship and career..

Episode 3

On the new working day, Yuan Jiaying, a gold-medal choreographer hired by Gu Shiyong with a lot of money, made his debut. The two hadn’t started their confrontation yet, but Yu Zazao became an assistant to the choreographer, assisting Yuan’s work. Yuan Jiaying misunderstood that Yu Zazao was an ordinary assistant, and ordered her to collect basic information on Kesi, and to do errands, print and order meals. Tao Tang thought that Gu Shiyong was extremely harsh, so Gu Shiyong launched an investigation report on Yu Zazao. Yu Zazao’s mother died young, and his father who was heavily indebted and his well-off aunt Yu Wangqing fought endlessly for custody. Yu Zazao still grew up with his aunt, Gu Shiyong believed that Yu Zazao had an impure heart, Tao Tang did not agree with Gu Shiyong’s point of view. Tao Tang vaguely noticed that Yu Zazao was different from ordinary people, so he began to investigate quietly. Gu Shiyong and Yuan Jiaying have a good friendship. After receiving Gu Shiyong’s call, Yuan Jiaying dropped everything and rushed here, full of confidence in joining this time. Father Gu cared about Yu Zazao’s daily life, and invited her to have dinner with Gu Shiyong and Yu Wangqing. Gu Shiyong suggested that Yu Zazao should file a complaint with Gu’s father, or resign from the company altogether. Unexpectedly, Yu Zazao rebelled against the army, but Gu Shiyong agreed on the spot to let Yu Zazao become the director of Group B. Gu’s father misunderstood that the two got along well, and Gu Shiyong became more disgusted, and even left him on the road halfway.

Episode 4

Knowing that Yu Zaizao wanted to win, Tao Tang cleverly used Kesi works to make Lin Shangying open up the chatterbox and tell the life secrets of the five generations of women in the Lin family. Lin Shangying’s great-grandmother, Lin Zhangxiu, was born in the Guangxu period. Her “Kaixiu color-mixing method” brought Kesi works to life. Lin Zhangxiu, who never married in her life, adopted a little girl, Lin Shangying’s grandmother Lin Qifeng. Sixteen-year-old Lin Qifeng is married. However, in the era of frequent wars, the husband had to leave his wife and go to the battlefield. Lin Qifeng cuts silk day after day, pinning her thoughts on her husband on every stitch and thread. The little girl next door looked at Lin Qifeng Kesi secretly, hoping that she would become her own mother, and finally got her wish. However, it was not until Lin Qifeng died that the little girl told Lin Qifeng a secret that had been hidden for decades, that is, Lin Qifeng’s husband had come to the old site to look for her after returning from the battlefield, but the little girl told Lin Qifeng Man, Lin Qifeng remarried, and this lying little girl is Lin Shangying’s mother, Lin Xuexin. Grandma Lin Qifeng didn’t blame Lin Xuexin, but passed the loom to her, hoping that one day she would be able to complete the double-sided tapestry. And Lin Shangying is not Lin Haishan’s biological mother. When going abroad in the 1980s, Haishan’s biological mother entrusted Haishan to Lin Shangying, and Lin Shangying exhausted all her efforts to train Haishan. The stories of the five generations portray a vivid picture of the times. The persistence of several women in Kesi art is moving, and their fate is also moving.

Episode 5

After the second episode of the show was broadcast, it received a lot of praise, and the popularity soared. Everyone attended the celebration banquet together, but Yu Zazao was absent. As Yu Zazao was the director of the program, Gu Shiyong did not sign her name, which completely angered Yu Zazao. Just when she was pressing Yuan Jiaying, she was stopped by Tao Tang in time. Tao Tang decided to restrain Yu Zazao’s behavior, but sought justice for her and got the right to sign. Shu Rong has a restrained personality, is used to digesting all emotions by herself, and seldom confides her heart to those around her. The shadows of her childhood and the pressure after work surrounded Shu Rong repeatedly, making her breathless. But the ex-boyfriend who once hurt Shu Rong reappeared and entangled her. Shu Rong tried to ask for help from the people around her, but she lacked the courage and was almost cornered. Fortunately, Yu Zao saw the clue. In the middle of the night, Shu Rong stays alone in the office to work overtime, but is harassed by her ex-boyfriend again. Shu Rong is terrified but doesn’t know how to resist. Fortunately, Yu Zazao appears in time to stun the assailant and save Shu Rong.

What is Kesi embroidery?

Kesi is a traditional Chinese silk tapestry-making method. Kesi tapestry first appeared more than a thousand years ago in the Tang Dynasty (AD 618-907). It is famous for its detailed pictorial designs, lightness and clarity of double-sided pattern… Kesi– a style of Chinese silk weaving skill and one of Suzhou’s rare traditional crafts- is a kind of craftwork made of genuine silk. In today’s China, Suzhou is the only place Kesi skill is preserved. Kesi employs a weaving method called “passing warp thread and cutting weft thread”(Unlike continuous weft brocade, each color in

Kesi style is woven from a separate bobbin, making the method both technically demanding and time-consuming), in which the surface pattern of the fabric seems like having been carved by a knife, and then earns its name a “Kesi”.  Kesi is admired for its selected materials, gorgeous colors, and matchless workmanship. The tapestry is extremely detailed and exquisite, the pictorial designs of which are finely graded, taking on a three-dimensional appearance. Moreover, the pattern on Kesi fabric is identical when seen from its front and its back, making it a top art on par with Suzhou double-sided embroidery. At the same time, Kesi textile is able to withstand touch, scrape, and rub, far superior to other silk products in China. Kesi products are diversified, ranging from clothes, shoes and hats, ribbon bands and quilt covers in daily life to album of paintings and calligraphy, vertical hanging scrolls, traditional paintings hanging in the middle of the main hall, etc.

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#漢服 #HanFu #HanTraditionalClothing | #June2023 #正好遇见你 #HiProducer | Episode Two – Chinese cultural Inheritance of an intangible cultural-  daughter’s enthusiasm and dedication To Ancient Chinese filigree inlay craftwork ……

正好遇见你 #HiProducer  is an intangible cultural heritage urban drama directed by Gao Han , starring Guo Xiaodong , Zhang Nan , Li Xiaoran , Zhang Bo , Zheng Kai , Sun Yihan , Niu Zifan , Sheng Langxi , and Wu Qianyu  .

The series tells the story of a variety show team with literary director Yu Zazao and young cultural relics expert Tao Tang as the core, working together to launch a cultural TV program in order to show the beauty of Chinese civilization. The series covers 35 episodes in which is produce by Huanyu Film and Television in collaboration streaming with iQyi and Tencent Video ….. Majority of the Production is done in Suzhou for its modern setting among with the Chinese Cultural Traditional Heritages recreation is done at Hengdian, Subo studios…

Behind the Scenes of the production shooting process….  During the filming, the crew was allowed to enter the Suzhou Museum for on-site shooting, but in order to protect cultural relics, most of the cultural relics appearing in the play are imitation props. In the early stage of filming, the drama team found historians of relevant cultural relics, searched a large number of documents to repeatedly compare the status and details of real cultural relics, and invited professional relics masters to copy them, so as to achieve the effect of false ones. The biggest one is the filigree inlay technology, which represents the highest level of imperial crafts. When making the Jin Ou Yonggu Cup props in the filigree inlay unit, the drama crew carried out a one-to-one replica in strict accordance with historical data, which took a full two months…

Main Cast

Guo Xiao Dong as Liao Muyun

Zhang Nan as Yu Zaizao

Li Xiao Ran as Wang Xining

Jaco Zhang Bo as Tao Tang

Zheng Kai as Gu Shiyong

Annie Sun Yi Han as Yuan Jiaying

Niu Zi Fan as Xie Yao

Joy Sheng Lang Xi as Shu Rong

Karena Ng as Zhuang Yiyi

Li De Long as A Xun

Synopsis Gu Shiyong, CEO of Palace Culture Film and Television Production Company, is determined to create a new large-scale cultural variety show “Inheritance”. He strongly invites Tao Tang, a young cultural relic expert, Mu Zongyun, a well-known director, and Wang Xining, a senior host. However, just when the program was ready to start, the young female director Yu Zazao suddenly parachuted into the company and joined the program group, disrupting the overall plan of the program and being strongly rejected by everyone. Surprisingly, Yu Zazao is calm and witty, dares to break the rules, and has inexhaustible inspiration like a genius. With her help, the originally scattered production team became unprecedentedly cohesive. Everyone worked together, starting from the historical relics of the Forbidden City, devoted themselves to excavating the core memory of the nation, promoting historical and traditional culture, and solving the problem of non-genetic inheritance. In the end, “Inheritance” stood out from many homogeneous programs and became a great success. Yu Zazao also successfully healed his soul and gained a complete friendship and career..

Episode 2

Gu Shiyong was very satisfied with the material provided by Yu Zazao, but Tao Tang expressed strong opposition to the content about the conflict between Liu’s father and daughter, and immediately left the crew. Yu Zazao was unwilling to give up, so he chased Tao Tang to ask for an explanation. Tao Tang believed that Yu Zazao had obtained the permission to shoot, and he was not at fault from a legal point of view. Cracks are difficult to repair. Gu Shiyong was very dissatisfied with Yu Zazao’s behavior of leaving Tao Tang, and asked Yu Zazao to please return to Tao Tang, otherwise she would be let out of the show. Master Liu was furious at his daughter when he learned that his daughter Liu Jiamei asked the program group to broadcast a clip of their discord. The daughter tearfully confessed her father’s preference for her younger brother, and the two broke up unhappy. In the middle of the night, Yu Zazao and Tao Tang came to the studio and found that Master Liu was crying alone. Yu Zazao played the video of Liu Jiamei doing filigree inlay seriously to Master Liu. Master Liu saw his daughter’s enthusiasm and dedication to filigree inlay with his own eyes, and fell into deep thought. Liu Jiamei suddenly returned to the studio and bumped into her father who had not yet left. Master Liu decided to teach her daughter the technique of filigree inlay. The father and daughter finally reconciled, and Master Liu even made a bet that if his daughter can get a place in the provincial competition, he will inherit the studio to her. The program team also quietly set up recording equipment to record this warm and beautiful scene without disturbing the two.

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