
‘Pure' China student goes viral for striking resemblance to late actress Barbie Hsu
The 24-year-old said she admired and respected Hsu and never intentionally imitated her, earning praise from netizens for her purity.
Known online as Yigubigu, the student attends Chongqing Medical University.
Recently, Yigubigu shared stunning photos from a trip she made to Qinghai in Western China, which quickly racked up over 150,000 likes.
In the pictures, she is seen running through lush grasslands, smiling for selfies and relaxing by a lake with flowers in her hair.
Yigubigu posted stunning photographs she took of herself during a trip to Western China. Photo: thepaper.cn
Many netizens commented on her striking resemblance to the late Taiwanese actress Barbie Hsu, also known by her stage name 'Big S'.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


South China Morning Post
2 hours ago
- South China Morning Post
Chinese artist Fan Zeng, 87, ‘taken away' by new wife, valuable works missing: daughter
Prominent Chinese artist Fan Zeng has been 'taken away' by his new wife and most of his valuable possessions have also 'gone missing', his daughter has alleged. 'Rumours have circulated online recently claiming my father, Fan Zeng, was forcibly removed from his home and has since gone missing,' Fan Xiaohui said in a social media post on Saturday. 'As his daughter, I want to first thank everyone for their concern, but I am deeply anxious about his health and safety.' Fan Zeng, 87, announced his marriage to Xu Meng, who is reportedly 50 years his junior, last year. He has been married a few times, and his previous wife died several years ago. Xu is 37 and a TV presenter for state media, according to Chinese media reports. Fan's daughter said she lost track of him after they last met in early July. She had been overseas since but was shocked to find his Beijing house sealed and empty upon her recent return, according to her post.


South China Morning Post
8 hours ago
- South China Morning Post
China hosts exhibition emphasising ‘Russianness' of realist painter Ilya Repin
An exhibition of works by Ilya Repin – the realist painter at the centre of a culture war between Moscow and Kyiv – has opened in Beijing as part of an exchange series between China and Russia. A collection of 48 oil paintings and 44 sketches by Repin (1844-1930), one of the most renowned 19th-century artists in the Russian Empire, is on show at the National Museum of China. The exhibition – titled 'Ilya Repin: Encyclopedia of Russian Life' – will run until mid-January as part of the 2024-25 Russian-Chinese Years of Culture as the neighbouring countries mark 75 years of diplomatic ties. The exhibition – titled 'Ilya Repin: Encyclopedia of Russian Life ' – opened last month. Photo: Xinhua Tatyana Yudenkova, deputy director of the State Tretyakov Gallery in Moscow, said the exhibition would emphasise Repin's 'Russianness' through important periods of his life, from his early years at the Imperial Academy of Arts in St Petersburg to his later years on the Gulf of Finland in the early 1900s. 'The colour scheme of the [Beijing museum] halls is blue, green, dark beige. The classical columns, pediments and other elements of the order architecture of classicism will remind us of the academic period of study in St Petersburg,' Yudenkova told Russian newspaper Rossiyskaya Gazeta last month. The exhibition comes as Ukraine, a former member of the Soviet Union, is trying to reclaim its cultural identity from perceived Russian appropriation amid a protracted war . There is contention over everything from language to churches and celebrated artists like Ukrainian-born Repin, whose national identity is claimed by both Russia and Ukraine. In January, the Ministry of Culture and Strategic Communications in Kyiv said the works of Repin – known as Illia Riepin or Ripyn in Ukraine – were part of its national cultural heritage.


South China Morning Post
16 hours ago
- South China Morning Post
How the legacy of beloved Hong Kong comic strip Old Master Q lives on
Beloved by children, parents, aunties and grandparents alike, this tall, thin, bespectacled and mustachioed gentleman clad in traditional Chinese attire seems to have emerged straight out of the Qing dynasty to observe, under his furrowed brow, the boomtown Hong Kong has become. Old Master Q (老夫子) is too honest, too trusting, too kind for the city's dog-eat-dog ways, but one who always gets up and dusts himself off. After first appearing in February 1962, the manhua art , or Chinese-language comics, of Alfonso Wong Kar-hei was ubiquitous over the decades that would see him produce more than 18,000 individual comic strips. Old Master Q comic strips on display at an exhibition at Comix Home Base, in Wan Chai, Hong Kong, in 2017. Photo: Robert Ng Attending a Sotheby's Hong Kong exhibition of his work in 2014 , Wong said: 'I firmly believe that drawing comics is not to laugh at other people who fall, but to make my readers laugh by falling, like a clown who makes fun of himself to entertain the audience.' By most accounts, Wong, who died in 2017 , would have turned 100 this year (his birth date being debatable to within a year or two, depending on the source) and fans have recently celebrated the 60th anniversary of Old Master Q's serialisation in Hong Kong magazines, daily newspapers and comic-book reissues, all reflecting social changes over those turbulent decades. By the character's side are: Big Potato (大番薯), a portly Master Q mini-me; the bookish and reliable Mr Chin (秦先生); the gold-digging Miss Chan (陳小姐), adored by Old Master Q but who ditches him for the first rich guy that comes along; and the wealthy but petty Old Chiu (老趙), who is constantly pranking our hero. A comic strip introduces a Hong Kong Arts Centre exhibition of Old Master Q works at Comix Home Base in 2016. Photo: Handout Wong's array of characters could be harsh judges, cruel even, reflecting what many saw as a rise in selfishness and money worship. Crime, scams, the widening gap between rich and poor, and barriers between Cantonese and English speakers were regular themes, and pop music, modern art and high fashion all came in for mockery in the decades after the booming colony saw its population hit 3 million, while across the border mainland China increasingly closed itself off to the outside world. These were Hong Kong's boom years and Wong captured it all in his cartoons and never shied away from anything prickly, including the city's transfer of sovereignty from Britain to China in 1997.