Tang Yan: The Life Story Behind China's Sweet Star
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Tang Yan has been a familiar face on Chinese screens for more than twenty years, and familiarity is the right word for her. She is not the kind of star who appears suddenly and disappears just as fast. She is the kind who stays, year after year, playing heroines that viewers invite into their homes like old friends. Her smile is famous. Her voice is soft. Her characters are often kind, loyal, and brave in a quiet way. But behind that sweetness there is a long working life, full of early mornings, long shoots, and choices that were not always easy. She was born in Shanghai, studied at one of China’s best acting schools, and built her career step by step, from small parts to leading roles, from fantasy dramas to a serious film by one of China’s most respected directors.
She first became widely known through Chinese Paladin 3, where she played a gentle spirit named Zixuan, a character whose love lasts across lifetimes. That role gave her a place in the hearts of young viewers, and it also gave her a label. For years, people thought of her as the sweet girl of fantasy dramas, the one who cries beautifully and loves faithfully. She played that kind of role well, and she played it many times, in dramas that were loved across China. But a label, even a kind one, can become a wall. Tang Yan spent much of her later career trying to show that she could be more than sweet, that she could be sharp, funny, tired, and grown up, and that a woman in her forties can still surprise an audience.
Her most recent triumph came late, and that is part of what makes it satisfying. In Blossoms Shanghai, a drama directed by Wong Kar-wai, she played Wang Mingzhu, a woman of the 1990s in Shanghai, a city changing fast, full of money, hope, and risk. The role was different from anything she had done before. It asked for a Shanghai accent, a new way of speaking, and a character who is both strong and vulnerable, a woman who builds a business and loses love along the way. Viewers and critics praised her, and the drama became one of the most talked-about Chinese series of recent years. For Tang Yan, it was proof that a long career can still have a new beginning.
Growing Up in Shanghai
Tang Yan was born on 6 December 1983 in Shanghai, a city on the east coast of China, known for its tall buildings, its river, and its long history as a place where East and West meet. Shanghai is a city that moves fast, and growing up there means learning to move fast too. Tang Yan grew up in that energy, in a city where people work hard, dress well, and talk quickly. Her family was not part of the film world, but Shanghai itself is a kind of school for anyone who wants to perform. The streets are full of stories, the shops are full of colour, and the people are full of opinions. A child who grows up there learns to watch, to listen, and to speak clearly.
As a young woman, she decided to study acting, and she entered the Central Academy of Drama in Beijing, one of the most respected acting schools in China. The school is known for its strict training, and its students learn voice, movement, history, and the craft of building a character from the inside. Tang Yan was a serious student, and she learned the basics well. She learned how to project her voice, how to stand on a stage, how to listen to another actor, and how to find the truth in a scene. Those lessons sound simple, but they are the foundation of a long career, and they stay with an actor long after the school years are over.
Beijing was a different world from Shanghai, colder in winter, more formal in its ways, and full of students from across China who had all come to learn the same craft. Tang Yan lived among them, studied with them, and began to understand that acting is not only about talent. It is about work, about showing up, about taking direction, and about learning from failure. A student who fails a scene in class learns more than a student who succeeds easily, because failure shows where the work is needed. Tang Yan took those lessons to heart, and she carried them into her first jobs.
Her early years after school were not a sudden rise. She took roles in television and film, learned how a set works, and built her name slowly. Shanghai had given her confidence. Beijing had given her training. The combination would serve her well, but it would take time for the industry to see what she could do. She was patient, and patience, in her case, was not waiting. It was working, role after role, until the right part arrived.
Early Roles and the Long Climb
Tang Yan’s first steps on screen came in the early 2000s, when she appeared in television dramas and films that gave her a chance to learn the job. These early roles were not famous, and many viewers today would not remember them. But they mattered, because they taught her how to act in front of a camera, which is different from acting on a stage. A camera sees everything, including the small movements that a stage audience would never notice. An actor must learn to be still, to let the eyes speak, and to trust that a small change is enough. Tang Yan learned that lesson slowly, and she learned it well.
She also learned how to handle the long hours of television work. A drama shoot can last for months, with early calls, late nights, and scenes filmed out of order. An actor must be ready to cry in the morning and laugh in the afternoon, even if the story moves in the opposite direction. Tang Yan became known as a reliable worker, a person who arrived prepared and who did not complain. That reputation is not glamorous, but it is valuable. Directors remember the actors who make their days easier, and they call them back. Tang Yan was called back, again and again.
During these years, she played a range of characters, from modern young women to historical figures, and she began to find the kind of role that suited her best. She was good at playing kind and loyal women, women who love deeply and who stand by the people they care about. That strength became her signature, and it also became a challenge, because once an audience loves you in one kind of role, they want to see you in that role again and again. Tang Yan accepted that love, and she also knew that she would one day need to show a different side.
The turning point was not far away. A fantasy drama based on a popular video game was about to give her the role that would make her a star, and it would also give her a label that she would carry for many years. She was ready for it, even if she did not yet know how long the label would last.
Chinese Paladin 3 and the Sweet Heroine
In 2009, Tang Yan appeared in Chinese Paladin 3, a fantasy drama that became a major success, and she played Zixuan, a descendant of the goddess Nüwa, a woman whose love spans three lifetimes. The role was romantic, sad, and beautiful, and it asked the actress to show a love that does not fade, even when the world changes around it. Tang Yan played Zixuan with a softness that viewers loved, and the drama became one of the most popular of its year. Her scenes with the other actors were talked about, her costumes were admired, and her name became known to millions of young viewers.
Chinese Paladin 3 was important for another reason. It placed Tang Yan in a group of young stars who would dominate Chinese television for the next decade, and it gave her a place in a story that fans still remember. Fantasy dramas are often dismissed as light entertainment, but they ask a lot from actors. They must believe in magic, in spirits, in love that lasts for centuries, and they must make the audience believe it too. Tang Yan believed it, and the audience believed her. That belief is the reason the drama is still discussed today, and the reason Zixuan remains one of her best-known roles.
After Chinese Paladin 3, Tang Yan became a leading actress, and she took the title role in many dramas. She played heroines in modern love stories, in historical epics, and in fantasy worlds, and she became known as one of the sweet stars of her generation. Her smile, her gentle voice, and her kind characters made her a favourite with viewers who wanted a heroine they could love without doubt. She was good at that, and she knew it, and she played those roles with care.
But sweetness, repeated too often, can become a trap. Viewers began to expect the same character in every drama, and critics began to ask whether she could play anything else. Tang Yan heard those questions, and she did not ignore them. She took roles that asked for more, including modern dramas where her character had to be strong, independent, and sometimes angry. Those roles were not always as popular as her fantasy work, but they showed that she was trying to grow, and growth, even when it is not perfect, is worth more than standing still.
A Decade of Leading Roles
The years after Chinese Paladin 3 were busy ones for Tang Yan. She became one of the most in-demand actresses in Chinese television, and she worked almost without pause. She starred in dramas such as My Daughter, where she played a young woman trying to find her place in a changing world, and in The Princess Weiyoung, a historical drama in which she played a princess who survives betrayal and builds a new life. She also appeared in modern dramas, including Diamond Lover, where she played a woman who changes her life after a difficult love, and in films that tried to bring her television fame to the big screen.
The Princess Weiyoung, from 2016, was one of her biggest successes in this period. She played Li Weiyoung, a princess who loses her family, hides her identity, and fights her way back to power. The role was long and demanding, and it asked for a heroine who could be gentle and ruthless at the same time. Tang Yan played it with a seriousness that surprised some viewers who had only seen her as sweet. The drama was a hit, and it showed that she could carry a long historical story on her own, without relying on fantasy or magic. It also showed that her audience was willing to follow her into darker stories, as long as the character remained true.
During this busy decade, she also became a familiar face in fashion and advertising, and her image was used to sell many products. That kind of fame is a double-edged thing. It brings money and attention, but it also means that the actress is seen everywhere, and seeing a face everywhere can make it feel ordinary. Tang Yan handled that fame with a calm that many people noticed. She did not seek controversy. She did not make loud statements. She worked, she smiled, and she went home. That calm became part of her public image, and it helped her to last when other stars burned out.
The work was not without its costs. Long shoots, little sleep, and the pressure to stay at the top are hard on any person. Tang Yan kept going, but she also began to think about what she wanted from the next part of her life. She was no longer a young student. She was a woman in her thirties, with a long career behind her, and she wanted a life that included more than work. That wish would soon lead to a marriage, a family, and a pause that would change her career in a good way.
Marriage, Motherhood, and a Pause
Tang Yan married the actor Luo Jin in 2018, and the wedding was a major event in Chinese entertainment. Luo Jin had been her co-star in several dramas, including The Princess Weiyoung, and their working relationship had grown into a real one over time. The wedding was held in Vienna, Austria, a city known for its music and its old beauty, and the pictures from the day were shared widely. For viewers who had watched them play lovers on screen, the real wedding felt like a happy ending to a long story. For Tang Yan, it was the beginning of a new chapter, one that was not about a role, but about a life.
Her daughter was born in 2020, and Tang Yan stepped back from work for a time. She did not announce a long retirement. She simply took the time she needed to be a mother, to rest, and to think about what she wanted to do next. That pause was important, because it gave her a distance from the constant cycle of new dramas. When a person works without pause for many years, it is easy to lose track of what matters. A pause can bring clarity, and for Tang Yan, it brought a new sense of purpose. She wanted to return, but she wanted to return with a role that mattered, not simply with another similar heroine.
The pause also meant that she missed some of the changes in the industry. New stars rose while she was away, and new kinds of dramas became popular. Some actresses might have worried that they would be forgotten. Tang Yan did not seem to worry in that way. She trusted that her earlier work had given her a place in the audience’s memory, and that a good role would bring her back. That trust was not misplaced. When she returned, she returned with a project that would become one of the most important of her whole career.
Her marriage to Luo Jin has remained a steady part of her public life. They are rarely involved in public arguments, and they speak about each other with respect. That steadiness is rare in an industry where relationships are often short and loud. It suggests that Tang Yan values a quiet home life, and that she has built a life that can support a long career, rather than a career that consumes a life.
Blossoms Shanghai and a New Beginning
In 2023 and 2024, Tang Yan returned to the centre of Chinese television with Blossoms Shanghai, a drama directed by Wong Kar-wai, one of the most respected directors in Chinese cinema. She played Wang Mingzhu, known as Miss Wang, a woman working in Shanghai in the 1990s, a time when the city was changing fast, when new businesses were opening, when money was moving, and when people were trying to build a better life. The role was a challenge in every way. It asked her to speak in the Shanghai dialect, to play a woman who is both ambitious and emotional, and to work with a director known for his slow, careful, and demanding style.
Wong Kar-wai is famous for taking a long time to make his work, for filming many takes, and for asking actors to find the truth in small moments. For Tang Yan, who had spent years working quickly on television dramas, that style was new. She had to slow down, to listen, to let a scene breathe. The result was a performance that many critics called the best of her career. Miss Wang is not a sweet girl. She is a working woman, a woman who fights for her job, who loves a man who does not always love her back, and who learns to stand on her own. Tang Yan played her with a mix of strength and sadness that viewers had not seen from her before.
Blossoms Shanghai became a major success, and it changed how people talked about Tang Yan. Critics who had once dismissed her as only a sweet heroine now praised her as a serious actress. Viewers who had grown up with her fantasy dramas saw a grown woman playing a grown woman, and they loved her for it. The drama also won awards and attention, and it gave Tang Yan a new kind of fame, one based on respect rather than only on affection. That is a valuable kind of fame, because it lasts longer.
The role also mattered because it was set in Shanghai, her home city. Playing a Shanghai woman in the 1990s, speaking the language of her childhood, must have felt personal in a way that other roles did not. She was not only playing a character. She was playing a version of the city that made her, and the audience could feel that connection. It was a homecoming, not only to television, but to Shanghai itself.
What Twenty Years on Screen Teaches
Tang Yan’s career now spans more than twenty years, and that length is itself an achievement. Many actresses have a bright few years and then fade. She has stayed, through changes in taste, through new stars, through marriage and motherhood, and through a long pause. She has stayed because she works hard, because she is reliable, and because audiences trust her. Trust is a slow thing to build, and it is a fast thing to lose. She has kept it by choosing work carefully, by treating people well, and by not chasing every loud trend.
Her story also shows that a label can be outgrown, but only if the actress is willing to wait for the right chance to outgrow it. Tang Yan waited for Blossoms Shanghai, and the wait was worth it. She could have taken many other roles in the years before it, and she did take some, but none of them changed the conversation about her in the way that Miss Wang did. That teaches a lesson about patience. Sometimes the best move is not to work more, but to work better, and to wait for a director, a script, and a character that fit the person you have become.
She is still working, and she is still choosing. Her recent success has given her new options, and it will be interesting to see what she does with them. Will she play more serious roles? Will she return to fantasy? Will she try film again? No one knows, and that uncertainty is part of what makes her story alive. She is not finished. She is in a new chapter, and the chapter is still being written. She is still working, and she is still choosing. Her recent success has given her new options, and it will be interesting to see what she does with them. Will she play more serious roles? Will she return to fantasy? Will she try film again? No one knows, and that uncertainty is part of what makes her story alive. She is not finished. She is in a new chapter, and the chapter is still being written. What is often missed is how much Shanghai itself lives in her work. A Shanghai woman speaks quickly, thinks quickly, and knows how to survive in a city that changes every year. Tang Yan grew up with that speed, and she brings it to Miss Wang, a woman who must think fast in a business world that does not wait. The Shanghai dialect she learned for the role is not only a sound. It is a memory of home, of streets, of shops, of a city that taught her to be sharp, and that sharpness, joined to her famous sweetness, is what makes Miss Wang feel real.
My Take:
I have a soft spot for Tang Yan, and I want to be honest about why. I like her because she stayed. In an industry where stars rise fast and fall fast, staying is a rare skill. She did not have one huge year and then disappear. She worked for twenty years, through good dramas and ordinary ones, through fame and through quiet times, and she is still here. That staying power matters to me, because it shows a kind of strength that is easy to miss. It is not the strength of a single great performance. It is the strength of showing up, again and again, even when the role is not perfect, even when the hours are long, even when the audience is distracted by someone newer.
I think about her early label, the sweet star, and I feel both sympathy and admiration. Sweetness is a lovely quality, but it can become a cage. If people only see you as sweet, they forget that you can also be angry, tired, funny, or sharp. Tang Yan played sweet heroines for many years, and she played them well, but I wonder how often she wanted to play someone else. I wonder if she sat in a dressing room after a long day and thought, I am more than this smile. I do not know, because she rarely says such things in public. But her later work tells me that she was thinking about it. Miss Wang is not sweet in the old way. She is strong, she is hurt, she is ambitious, and she is real. That role feels like an answer to a question she had been asking for years.
What moves me most is Blossoms Shanghai. I love the idea of a woman returning to her home city, speaking the language of her childhood, and playing a woman who is trying to build a life in a city that is changing fast. Shanghai in the 1990s was a place of hope and risk, and Miss Wang is a woman of hope and risk. Tang Yan was born in Shanghai, and she knows that city in her bones. When she plays Miss Wang, she is not only acting. She is remembering. I think the audience can feel that, even if they do not know why. A performance becomes stronger when the actress has a personal connection to the story, and this one clearly had that connection.
I also admire her marriage and her pause. She married Luo Jin, she became a mother, and she stepped back. That is a brave choice in a world that tells women to keep working without rest. I think many working women will understand that choice. You cannot do everything at once, and you should not try. You work, you rest, you love, you return. Tang Yan did that, and her return was stronger because of the rest. I wish more stars would do the same, instead of burning out in a rush to stay visible every single year.
I want to be fair about the parts of her career that were less strong. Some of her dramas in the busy decade were similar to each other, and some of them felt as if she was playing the same woman with a different name. That is not entirely her fault. The industry offered her those roles, and she took them, because that is how a career works. But I think she knows, as I do, that those dramas are not the ones people will remember. They will remember Zixuan, they will remember Miss Wang, and they will remember the long line between those two roles. The middle years were work, and work is necessary, but the memorable roles are the ones where she was allowed to be more than sweet.
What can a reader learn from her? I think the first lesson is endurance. A career is not a sprint. It is a long walk, and the people who finish it are the ones who pace themselves. The second lesson is that home matters. She returned to Shanghai, to her own language, to a story set in her own city, and that return gave her the best role of her life. Sometimes the way forward is to go back to where you began, with new eyes. The third lesson is that a label is not a life sentence. People may call you sweet, but you can still play a strong, complicated woman. You only need to wait for the right role, and to be ready when it comes.
I also think about young actresses who watch her and dream of a long career. I would tell them to learn from her patience. Do not chase every role. Learn your craft. Be reliable. Treat people well. Take time for your life, because a life makes an actress better, not worse. A woman who has loved, married, and become a mother brings a depth to her work that a girl who has only worked cannot bring. Tang Yan’s recent work proves that. Her best performance came after she had lived more life, not before.
In the end, I see Tang Yan as a woman who grew up in Shanghai, learned her craft in Beijing, became famous as a sweet heroine, lived a real life, and then came home to play a real woman. That arc is satisfying, because it feels complete. She did not stay a girl forever. She grew up, and she let her audience grow up with her. I hope she keeps choosing roles that let her show that growth, roles that are sharp, funny, tired, and true. She has earned the right to play women who are as complicated as she is, and I will be watching to see what she does next, not because she is sweet, but because she is still becoming, and becoming is the most interesting thing a person can do.
I keep thinking about the long middle years of her career, the years when she played many similar heroines, when the dramas came one after another, when she was busy, famous, and, I suspect, a little tired of playing the same woman with a different name. Those years are easy to dismiss, but they are the years that paid for her life, that kept her name alive, that taught her how to work on a long shoot, how to handle fame, how to be reliable. A career is not only its best roles. It is also its ordinary roles, the ones that pay the bills, that teach the craft, that keep the actor working. Tang Yan worked those ordinary years with a professionalism that I respect, and I think that professionalism is what made Blossoms Shanghai possible. She was ready, because she had worked, even when the work was not perfect.
Blossoms Shanghai deserves more thought, because Wong Kar-wai is a director who works slowly, who films many takes, who asks an actor to find the truth in a small moment, in a look, in a pause. For an actress who had spent years working quickly on television, that slowness must have been a shock, and also a gift. It forced her to slow down, to listen, to breathe, to let a scene live. I think that slowness changed her acting, and I think it will stay with her in her next roles. A fast actress can learn to be slow, but a slow actress cannot always learn to be fast. Tang Yan learned to be slow, and that learning made her better. I hope she keeps that slowness, that attention to small moments, because it is what makes Miss Wang feel like a real person, not only a character in a script.
I also think about her wedding in Vienna, a city of music, of old beauty, of waltzes, and I think about how fitting that choice was. A woman from Shanghai, marrying in a European city known for romance, in a ceremony that was both public and private, both grand and simple. That wedding was not only a celebration. It was a statement that her life was her own, that she could choose where and how to marry, and that she did not have to follow the usual rules of the industry. I like that choice, because it shows independence, and independence is a quality I admire in any person, especially in a star who is often expected to follow the crowd.
Her daughter, born in 2020, changed her life in a way that no role could, and I think that change is visible in her recent work. A mother plays a role differently from a girl who has not yet become a mother. She knows what it means to care for a small person, to worry, to love without conditions, to be tired and to keep going. Miss Wang is not a mother in the drama, but she is a woman who cares for others, who protects her business, who fights for her place, and that fighting spirit, that protective instinct, feels like it comes from a woman who has learned to protect in real life. I do not know her as a mother, and I will not pretend to, but I can see a new depth in her work, and I think motherhood is part of that depth.
One more lesson stays with me, about home. Tang Yan left Shanghai to study in Beijing, she worked across China, she married in Vienna, and then she came home to Shanghai to play Miss Wang. That homecoming matters, because home is not only a place, but a language, a sound, a way of speaking. When she speaks in the Shanghai dialect, she is not only acting. She is remembering, and the audience can feel that memory, even if they do not know why. I think many people who have left home will understand that feeling. You can live anywhere, you can work anywhere, but home stays in your voice, in your habits, in your heart, and when you return to it, you find a part of yourself that you had forgotten. Tang Yan found that part, and she played it, and that is why Blossoms Shanghai feels so true. One more thought stays with me, about the way she handles being called sweet. Sweetness is a lovely quality, but it can become a cage, and Tang Yan lived in that cage for many years, playing kind heroines who cry beautifully and love faithfully. She did not fight the cage loudly. She waited, she worked, she became a mother, she rested, and then she played Miss Wang, a woman who is sharp, ambitious, and real. That waiting is a lesson. If people put you in a box, you do not have to break the box with a shout. You can wait for the right moment, the right role, the right director, and then step out of the box, quietly, and show them who you really are. Tang Yan did that, and Blossoms Shanghai was her stepping out, a performance that said, I am more than sweet, I am strong, I am tired, I am funny, I am a woman with a past, and I am proud of it.
There is also a lesson in the way she speaks the Shanghai dialect for Miss Wang. A dialect is not only a sound. It is a memory of home, of streets, of shops, of a mother calling you in for dinner, of a city that taught you to think fast. When she speaks that dialect, she is not only acting. She is remembering, and the audience can feel that memory, even if they do not know why. I think many people who have left home will understand that feeling. You can live anywhere, you can work anywhere, but home stays in your voice, and when you return to it, you find a part of yourself that you had forgotten. Tang Yan found that part, and she played it, and that is why Miss Wang feels so true, so alive, so much like a real woman from Shanghai in the 1990s, a woman who is trying to build a life in a city that is changing fast, and who is not afraid to fight for her place in it.
I keep thinking about Blossoms Shanghai, because it feels like the reward for all those years of staying. Wong Kar-wai is a director who is known for taking his time, for shooting slowly, for asking actors to wait, and for caring about small details that most people would miss. Tang Yan worked with him, and she played Miss Wang, a woman who works in a busy trading office in Shanghai in the nineteen nineties, a woman who is sharp, funny, proud, and hurt all at once. She speaks Shanghainese in the drama, and that matters, because it is her own city and her own voice, and you can feel that she is at home in it. After years of playing sweet heroines, she finally got to play a grown woman with a job, with ambition, with a temper, and with a heart that had been bruised. I think that role showed people what she could do when the writing was strong enough.
What moves me about Miss Wang is that she does not win everything. She is good at her work, she fights for her place, and still life does not give her a simple happy ending. That is honest, and it is closer to real life than most drama endings. Tang Yan plays that disappointment without shouting, without big tears, just with a quiet change in her face, a tired smile, a decision to keep going. I think many women who work in offices, who fight for respect, who love someone who does not choose them, will see themselves in her. She took a character who could have been only a pretty face in a period drama and made her feel like a real person with a real job.
I also think about My Sunshine, the modern romance that made her a household name for a younger audience. She played Zhao Mosheng, a cheerful woman who comes back into the life of the man she loved in university, and the drama was watched by millions of people. It was a sweet story, and some people might say it was a simple story, but I think it is hard to play sweetness without making it silly. Tang Yan made her character feel warm and honest, and that warmth is a skill. A star who can make millions of people feel comforted by a love story is doing something real, even if critics do not always respect romance dramas.
Then there is the pause, and I respect the pause. She married Luo Jin, her co-star from several dramas, and she became a mother, and she stepped back from the screen for a while. In an industry that punishes women for disappearing, even for a short time, that was a brave choice. She did not rush back with any small role. She waited, she chose Blossoms Shanghai, and she came back stronger than before. I think that is a lesson for working mothers everywhere. A pause is not an ending. A career can wait for a family, and a family can wait for a career, and a woman does not have to choose one and throw the other away.
In the end, what I take from Tang Yan is the value of belonging to a place and staying true to it. She is a Shanghai woman, she speaks the language of her city, she carries its style and its speed, and she built a twenty-year career without leaving that identity behind. She did not try to become someone else. She became more herself, year after year, drama after drama. For a young reader, that is a good lesson. You do not have to run away from home to succeed. Sometimes the best thing you can do is to know where you come from, to work hard, to wait for the right role, and to come back, when the time is right, with your head held high.
Frequently Asked Questions
When was Tang Yan born and where is she from?
Tang Yan was born on 6 December 1983 in Shanghai, China. She later studied acting at the Central Academy of Drama in Beijing.
What was Tang Yan’s breakthrough role?
Her breakthrough came as Zixuan in Chinese Paladin 3 in 2009, a fantasy drama about a love that lasts across three lifetimes. The role made her widely known among young viewers.
Who did Tang Yan marry and when?
She married actor Luo Jin in 2018, after they had worked together in several dramas including The Princess Weiyoung. Their daughter was born in 2020.
What is Blossoms Shanghai and why is it important for Tang Yan?
Blossoms Shanghai is a drama directed by Wong Kar-wai, set in Shanghai in the 1990s. Tang Yan plays Wang Mingzhu, a working woman building her career, and the role is widely seen as the best performance of her career so far.
Did Tang Yan take a break from acting?
Yes, she worked much less after her daughter was born in 2020, taking time for her family. She later returned with Blossoms Shanghai, which brought her back to the centre of Chinese television.
What other famous drama did Tang Yan star in?
She starred as Li Weiyoung in The Princess Weiyoung in 2016, a historical drama about a princess who survives betrayal and fights her way back to power.
