For the creation of Du Fu's work, we abandoned traditional silk and instead used a fabric similar to paper. It is very light, making the ladies wearing it look extremely beautiful; however, this lightness also makes them appear delicate and fragile, fitting the historical context of Du Fu's poem “The Beauty Parade”. When he wrote this poem, it was on the eve of the An Shi Rebellion. Although the poem depicts a beautiful scene of a group of beauties playing by the river, what he actually wanted to evoke was people's reflection on the phrase “the rich feast while the poor freeze to death”.
209 dynamic dance comes with “The Beauty Parade” complete version, the ancient costumes worn by the sisters are so evocative. Watch the full video online on iQiyi. The 209 dynamic dance “The Beauty Parade” complete version, where the sisters' ancient costumes are so evocative, is a high-definition video that premiered on May 8th, 209. The main content of the video is the 209 dynamic dance “The Beauty Parade” complete version, where the sisters' ancient costumes are so evocative. The classical dance “The Beauty Parade”, showcasing the extraordinary dance moves of the little princess of the Tang Dynasty, performs the style of the Tang Dynasty. _ Tencent Video Classical Dance “The Beauty Parade”, the little princess of the Tang Dynasty performs the style of the Tang Dynasty with her extraordinary dance moves. Recommended for you automatic continuous play 0:02 Take advantage of the tide using fresh liver as bait, deep pit unexpectedly attracts giant Wang Baochuan ridiculed for her tattered clothes at her birthday, Xue Pinggui returns in glory after eight years.
At the performance site, the opening show “Outstanding China” showcased the unique charm and beauty of Hanfu through the rhythmic steps of Hanfu models, presenting itself before the audience. The ancient style dance “The Beauty Parade”, Guzheng “Preface to the Orchid Pavilion”, and recitation “Encounter with the Tea House” and other performances constructed a unique aesthetic atmosphere of the Tang Dynasty on stage with a quiet and elegant classical aesthetic tone, conveying the charm and blankness of poetry and painting in the natural flow of Chinese paintings and the graceful demeanor of the performers. At the performance site, the performers' sleeves fluttered and flowers bloomed everywhere, and the audience applauded enthusiastically.
At 7 PM, the opening music “Elephant King's Walk” kicked off the performance, combining traditional Chinese musical instruments with drumming to shock the entire venue. Classical traditions have lasted for thousands of years, and the resounding beauty parade. The long sleeves of the ancient style dance floated gracefully, displaying the prosperity of the Tang Dynasty. Holding fans and wearing jade pendants, the performers in Hanfu came with fluttering long sleeves, fully embodying the classical, reserved, and ethereal beauty of Hanfu. Phoenixes flying high circled above the stage for a long time, symbolizing national peace and prosperity, wealth, and good fortune, and people took out their phones to capture this wonderful moment.
Click on social media platforms, and you will often see Hanfu enthusiasts applying flower makeup, drawing green eyebrows, wearing robes and skirts, and dancing with the rise of the “national trend,” Hanfu has frequently broken out of its niche. In the past three years, sales of Hanfu categories on the Tmall platform alone have increased more than sixfold; searching for Hanfu topics on Douyin, related content has been viewed a cumulative total of approximately 56.6 billion times and continues to grow; on Bilibili, a platform popular among young people, related videos have been viewed a cumulative total of over 700 million times; and the topic of Hanfu on Weibo has accumulated over 6 billion views. Brush screen-level ancient style dances such as “Tang Palace Night Banquet,” “Luo Shen Water Offering,” and “The Beauty Parade” have attracted many fans to Hanfu.
Xi'an News Network reported that on April 3rd, the first day of the Qingming holiday and also the traditional Shangsi Festival, citizens were taken “through a thousand years” to experience traditional Chinese culture. On that day, the “Chang'an Beauty Parade” activity of the “Chang'an Hanfu Flower Festival” was held at Ou Xiangxie in Qujiang Pool, Xi'an. At the event, Hanfu enthusiasts strolled along the banks of Qujiang Pool, recreating the scene of “many beauties by the Chang'an water,” and also bringing a romantic and poetic atmosphere to the spring of the ancient city.
To inherit the historical genes of Tianfu Jincheng “men and women dressed up beautifully” and fully demonstrate the artistic charm of “city in the landscape, people walking in the picture,” from April 4th to 5th, as part of the series of activities of the “Creative City · First Chengdu International Women's Art Season,” the “Jinguan Beauty Parade” Hanfu cultural performance event was hosted by the Women's Federation of Chengdu and the People's Government of Jinniu District of Chengdu, including a Hanfu creative market, a Han culture garden party, Hanfu cultural experience photography, and a Hanfu flash mob show. The events took place in new scenes and landmarks of the park city of Chengdu, such as New Jinniu Park, Chishangjin Hanfu Industry Street, Tianfu Art Park, and Fuhe Photography Park, attracting extensive participation and love from many Hanfu enthusiasts and various outstanding women representatives and families. Hanfu Creative Market
Du Fu's poem, titled “The Beauty Parade,” was created in the spring of the tenth year of the Tianbao period of the Tang Dynasty, which is the spring of AD 753. The whole poem is divided into several sections; according to the explanation in Qiu Zhaobao's “Detailed Notes on Du's Poems,” the first section “Tai Nong” describes the beauty of the ladies' appearance and attire; the second section “Jiu Zhong” talks about the extravagance of the banquet; the third section “Hou Lai” discusses Yang Guozhong's arrogance. Therefore, Pu Qilong, another scholar from the Qing dynasty, in his “Reading Du's Heart,” sighed that “The Beauty Parade,” “without any direct criticism, every word is a criticism; without any sighs, every point is a sigh.”
To inherit the historical genes of Tianfu Jincheng “men and women dressed up beautifully” and fully demonstrate the artistic charm of “city in the landscape, people walking in the picture,” from April 4th to 5th, as part of the series of activities of the “Creative City · First Chengdu International Women's Art Season,” the “Jinguan Beauty Parade” Hanfu cultural performance event was hosted by the Women's Federation of Chengdu and the People's Government of Jinniu District of Chengdu, including a Hanfu creative market, a Han culture garden party, Hanfu cultural experience photography, and a Hanfu flash mob show. The events took place in new scenes and landmarks of the park city of Chengdu, such as New Jinniu Park, Chishangjin Hanfu Industry Street, Tianfu Art Park, and Fuhe Photography Park, attracting extensive participation and love from many Hanfu enthusiasts and various outstanding women representatives and families. Hanfu Creative Market
In a tomb dating back to the Yongchun period, red brocade strips with edges woven from silk threads in colors like fruit green, dark green, yellow, brown, and white, decorated with white pearl buttons and yellow-colored gauze in between, were discovered. The splendor of women's clothing in the Tang Dynasty is amply demonstrated in many paintings. For example, Zhou Fang's “Lady Painting” from the Tang Dynasty, Huizong's imitation of Zhang Xuan's “Embroidering Picture” from the Tang Dynasty, Li Gonglin's imitation of Zhang Xuan's “The Beauty Parade,” and the “Madame Le Tingxiang Incense Offering Picture” in Dunhuang murals can all attest to the colorful and diverse clothing styles of women during this era. In these paintings, red dresses are the most common among noblewomen, such as the Guoguo Lady in “The Beauty Parade,” who wears a pale narrow-sleeved blouse, draped with a white shawl, and a gold-patterned red skirt. While the maids and servants mostly wear dark or light colors, there are also bright red ones, because during this era, “luxury prevailed, regardless of regulations, silk and embroidery were worn according to personal preferences. From the imperial harem down to the commoners, everyone imitated each other, with no distinction between the noble and the humble.”