Zhang Ruying’s Notes: From《中国妆束：大唐女儿行》Hairstyles (Sui, Tang, and Five Dynasties: Overview of Typical Women’s Hairstyles)
Table of Contents
Introduction
Hello,
I’m 张儒英 Zhang Ruying, and I am a traditional Chinese clothing enthusiast.
Recently, I had the opportunity to read a book about traditional Chinese attire, especially for the Tang dynasty (618-907), written in Chinese, titled《中国妆束：大唐女儿行》by 左丘萌 and 末春. I thoroughly enjoyed reading this book, and to better understand parts of it, I translated sections that I found challenging. I also made notes (written in English) along the way to help deepen my understanding.
Now, I’m thrilled to share these notes with you! I aim to help us all gain a deeper appreciation for the elegance and historical significance of traditional Chinese attire, which is so rich in history and beauty.
All the information in these notes comes from the book 《中国妆束：大唐女儿行》.
About《中国妆束：大唐女儿行》
《中国妆束：大唐女儿行》(Zhōng Guó Zhuāng Shù: Dà Táng Nǚ’ér Xíng) by 左丘萌 (Zuǒ Qiūméng) and 末春 (Mò Chūn) attempts to reinterpret the true fashion of women’s makeup and attire during the Tang dynasty, based on archaeological findings of Tang artifacts.
It contrasts these findings with historical records and unearthed documents to reframe how the Tang people themselves might have viewed fashion in their time.
The book covers from the Sui dynasty to the Five Dynasties, and is divided into four sections: Qi Luo 绮罗 (clothing), Lin Lang 琳琅 (accessories), Fen Dai 粉黛 (makeup), and Ji Huan 髻鬟 (hairstyles).
Each section carefully examines and details the names, styles, and combinations of different makeup and attire from that period.
The book selects well-known historical figures, such as Yang Guifei, Wu Zetian, Shangguan Wan’er, Nie Yinniang, Princess Tongchang, and others, based on existing archaeological findings, makes informed speculations to restore the possible makeup and attire of these figures. The book reconstructs their clothing, accessories, hairstyles, makeup, and scenes, all supported by historical sources.
隋唐五代：女子典型发式一览
Sui, Tang, and Five Dynasties: Overview of Typical Women’s Hairstyles
Sui Dynasty and Early Tang Dynasty
During the Sui dynasty, women’s hairstyles were generally low and flat, with strands of hair wrapped and stacked on top of the head. This was likely related to Emperor Wen of Sui, who upheld simplicity. However, during the reign of Emperor Yang of Sui, various new styles and hair buns began to emerge, reflecting a desire for change.
In the early Tang dynasty, hair bun styles mostly still followed those of the Sui dynasty. But soon after, higher buns began to appear. During the reign of Emperor Taizong of Tang, the trend of high buns spread from the palace to the common people. At that time, a court official named Huangfu De (皇甫德 ; Huángfǔ Dé) submitted a memorial, stating that “The custom of wearing high buns originated from the palace,” which angered Emperor Taizong of Tang, who responded: “The palace women have no hair; that’s why they style their buns like that!”
Fan He Ji (翻荷髻 ; fān hé jì) — Reign of Emperor Yang of Sui
Long hair is gathered into a single strand, then coiled to form a flat, rounded bun that leans toward the forehead. After that, the same strand is wrapped horizontally around the forehead from beneath the bun. On one side of the front of the head, the strand is rolled upward, and the remaining part is tucked into a hair pouch. The overall shape resembles a young lotus leaf just starting to curl and not yet fully bloomed.
Zuo Chou Ji (坐愁髻 ; zuò chóu jì) — Reign of Emperor Yang of Sui
The phrase “发薄难梳，愁多易结 — thin hair is hard to comb, much sorrow tangles easily” metaphorically and somewhat symbolically refers to “结发 jié fà — coiled hair.” This bun style is supposed to consist of two buns placed side by side and aligned on top of the head.
Chao Yun Jin Xiang Ji (朝云近香髻 ; cháo yún jìn xiāng jì) — Reign of Emperor Yang of Sui
The combing method is similar to the “Fan He Ji 翻荷髻.” A strand of hair is wrapped horizontally around the forehead on top of the head, with the curve of the roll being rounder and softer, resembling clouds.
Ban Fan Ji (半翻髻 ; bàn fān jì) — Reign of Emperor Gaozu of Tang
The term “半翻 bàn fān — half turned” refers to a style similar to the “Fan He Ji 翻荷髻,” but the bun is tighter and smaller, essentially a miniaturized version of the “Fan He” style.
Le You Fan Wan Ji (乐游反绾髻 ; lè yóu fǎn wǎn jì) — Reign of Emperor Taizong of Tang
This is a high bun style that gradually spread from the imperial palace. “Le You 乐游 (lè yóu)” was the name of a highland area in the city of Chang’an at the time, indicating that this hairstyle was significantly higher than earlier styles, consistent with the meaning of “Le You 乐游.” The hair strand is coiled multiple times on top of the head, and when gathered into the main bun, it is positioned at the upper back of the head—opposite the placement of the “Fan He Ji 翻荷髻.”
Wu Zetian Era
As the social status of noblewomen rose, they no longer spent excessive time coiling their hair into buns. In daily life, natural hairstyles tended to become smaller and more practical. For formal occasions, they often used pre-shaped false buns. Since forming the bun no longer required a large amount of natural hair, the remaining hair could be styled to give a fuller look at the temples—no longer combed flat against the skin, but puffed out like a cocoon.
At the time, this shape was referred to as “cicada-shaped sideburns (蝉鬓 ; chán bìn)”, as seen in Lu Zhaolin’s (卢照邻 ; Lú Zhàolín) poem《长安古意》(cháng’ān gǔ yì): “片片行云着蝉鬓” – “Drifting clouds gently touch the cicada-shaped sideburns“, and in Zhang Wencheng’s (张文成 ; Zhāng Wénchéng)《游仙窟》(yóu xiān kū): “髮欺蝉髮非成鬓” – “Hair surpasses the cicada’s, not merely forming sideburns”
Dan Ji / Shuang Ji (单髻 ; dān jì) / (双髻 ; shuāng jì) — Reign of Emperor Gaozong of Tang
These were women’s everyday hairstyles—small and simple in shape, allowing for the addition of hair accessories or other false hairpieces.
Shuang Huan Wang Xian Ji / Qi Huan Ji (双鬟望仙髻 ; shuāng huán wàng xiān jì) / (漆鬟髻 ; qī huán jì) — Reign of Emperor Gaozong of Tang
A popular hairstyle originating from the Jiangnan region, this style was a more elaborate evolution of the “撷子髻 xié zǐ jì” from the Wei, Jin, and Northern and Southern Dynasties. Initially, it was shaped with natural hair and supported with metal hairpins, but it later developed into painted wooden hair buns that could be worn directly, known as “漆髮髻 qī fà jì”.
Jiao Xin Ji / Tong Xin Ji (交心髻 ; jiāo xīn jì) / (同心髻 ; tóng xīn jì) — Wu Zhou to the Reign of Emperor Zhongzong of Tang
An everyday women’s hairstyle that evolved from the single or double small buns during the reign of Emperor Gaozong, becoming fuller in appearance.
- Jiao Xin Ji 交心髻 consists of two buns, each with a strand of hair from the center twisted and crossed to form a pattern.
- Tong Xin Ji 同心髻 is made with a single bun, with a strand from the center repeatedly wrapped to form a centralized pattern.
Yi Ji / Jing Hong Ji (义髻 ; yì jì) / (惊鸿髻 ; jīng hóng jì) — Wu Zhou to the Reign of Emperor Zhongzong of Tang
Evolving from the high bun style popular since the time of Emperor Taizong of Tang, this style became wider and taller, resembling one or two flapping swan wings. The styling method also evolved—from being entirely made of natural hair to using pre-made false buns mounted on top of simple single or double base buns.
Heyday of the Tang Dynasty
During the reign of Emperor Xuanzong of Tang (Kaiyuan era), women experimented widely with hairstyles. By the end of the Kaiyuan era, the forms of hairstyles began to reach a stable pattern. This was the period of the most elegant and luxurious women’s hairstyles.
Wo Duo Ji (倭堕髻 ; wō duò jì) — Reign of Emperor Xuanzong of Tang, Kaiyuan Era
A popular hairstyle among women during Emperor Xuanzong’s reign, featuring one or two small buns hanging over the upper forehead. In Xu Jingxian’s (许景先 ; Xǔ Jǐngxiān) poem《折柳篇》(zhé liǔ piān) it is written: “宝钗新梳倭堕髻” – “A golden hairpin adorns the Wo Duo Ji,” referring to this style. Over time, the bun became smaller, temple hair was brushed outward in a puffed and striking style, and some even used ready-made false buns.
Chou Lai Ji (愁来髻 ; chóu lái jì) — Emperor Xuanzong of Tang, Late Kaiyuan to Early Tianbao
Said to have been styled by Yang Guifei, though it was a popular style among women from late Kaiyuan to early Tianbao. Hair at the temples was brushed outward in a puffed style, the back hair was left hanging loosely to the shoulders and then folded back up. A small pointed bun was styled to jut forward. The whole look appeared hastily done, as if in sorrow, with few adornments.
Yi Ji / Hui Hu Ji (义髻 ; yì jì) / (回鹘髻 ; huí hú jì) — Emperor Xuanzong of Tang, Late Kaiyuan to Tianbao
During the Tang dynasty’s golden age, Yi Ji 义髻 became popular again due to Yang Guifei’s favor. There were two main types: one pointed and upright, and another broad, curved, and round, slightly leaning forward. Both evolved from the Jing Hong Ji 惊鸿髻 style that had been popular since Wu Zetian’s reign.
Pian Shu Duo Zi (偏梳
子 ; piān shū duǒ zǐ) — Emperor Xuanzong of Tang, Tianbao Era
This hairstyle was said to have been invented by Yang Guifei, with the bun slanted to one side. “Duo Zi 
子” was the common Tang term for a hair bun.
Dan Ji / Shuang Ji (单髻 ; dān jì) / (双髻 ; shuāng jì) — Late Kaiyuan to Tianbao
A daily hairstyle for women, widely used by maids in noble families. Hair was combed upward to form a sharp edge, and the bun was made on top of the head. The bun could be either fully rounded or small and pointed.
Middle Tang Dynasty
After the An Shi Rebellion, changes in women’s hairstyle trends mainly concentrated on the arrangement of side hair. During the heyday of the Tang dynasty, especially the Tianbao era, aristocratic women’s hairstyles with voluminous temple hair and loosely tied-back hair that gave an elegant impression were no longer popular, instead changing to more formal hairstyles by ceremonial rules. A hairstyle that was once considered simple and commonly worn by servants of low social status began to become a widespread trend. This hairstyle emphasized the temple hair as the main ornament, with the temple hair combed outward to form thin and upright wings like beetle wings.
During the mid-Tang dynasty, this style was still called “cicada-shaped sideburns (蝉鬓)”, as in the poems of Wang Jian (王建 ; Wáng Jiàn)《宫词》(gōng cí): “雪鬓新梳薄似蝉” (Her freshly combed snow-white hair are as delicate and thin as cicada wings), Bai Juyi (白居易 ; Bái Jūyì)《长相思》(cháng xiāng sī): “蝉鬓鬅鬙云满衣” (Her cicada-shaped sideburns disheveled, like clouds spilling over her robes), and《任氏行》(rèn shì xíng): “蝉鬓尚随云势动，素衣犹带月光来” (Her cicada-shaped sideburns still sways with the drifting clouds; her plain robe seems to carry the moonlight with it).
This style gradually developed into something more exaggerated and luxurious. The “cicada-shaped sideburns (蝉鬓)” styles in the mid-Tang dynasty after the second half of the 8th century did not change much, still dominated by the old styles from the heyday of the Tang dynasty.
Until the early 9th century, aristocratic women created various new bun models characterized by strange and unique shapes. Although scholars at the time regarded them as strange fashions and often criticized them, and even emperors repeatedly banned these styles because they were seen as luxury and bad habits, women’s passion for fashion could not be stopped.
Old styles from the golden age of the Tang dynasty (盛唐旧样髻式) — Mid-Tang dynasty period
Although the hairstyle at the temples changed, many bun styles popular during the heyday of the Tang dynasty were still used, such as the Wo Duo Ji 倭堕髻, Pian Shu Ji 偏梳髻, Yong Lai Ji 慵来髻, and others.
The Hui Hu Ji 回鹘髻 style which used an artificial bun (Yi Ji 义髻) popular in the heyday of Tang, is now combed from natural hair with a very small volume.
Cong Ji (丛髻 ; cóng jì) — After the An Shi Rebellion until the Zhenyuan Era of Emperor Dezong of Tang
The top of the head was combed to form many small clustered buns, called “娥丛小鬟 é cóng xiǎo huán” and “翠髻高丛绿鬓虚 cuì jì gāo cóng lǜ bìn xū”. Although there were variations in the number, the most well-known were “Bai Ye Ji (百叶髻 ; bǎi yè jì)” and “Bai He Ji (百合髻 ; bǎi hé jì)”.
Duo Ma Ji (堕马髻 ; duò mǎ jì) — Emperor Dezong of Tang, Zhenyuan Era
In Bai Juyi’s poem, it is mentioned as “风流夸堕髻 Charming in her proud display of a fallen coiffure.” Poetry note: “At the end of Zhenyuan, in the city, Duo Ma Ji and Ti Mei Zhuang makeup became popular again.” This hairstyle originally was a small bun with natural hair combed sideways to one side. Later, the back bun grew bigger.
Gui Shun Ji (归顺髻 ; guī shùn jì) — Emperor Dezong of Tang, Late Zhenyuan Era until Emperor Xianzong of Tang, Early Yuanhe Era
This is an exaggerated development of the Duo Ma Ji style, shaped as a large and wide bun tilted to one side. People at the time associated this hairstyle with the political situation when the regional military governors (节度使 ; jié dù shǐ) surrendered and the local warlords (藩镇 ; fān zhèn) successively capitulated, hence it was named “Gui Shun Ji 归顺髻”.
Pan Ya / Nao Sao Ji (盘鸦 ; pán yā) / (闹扫髻 ; nào sǎo jì) — Emperor Dezong of Tang, Late Zhenyuan Era until Emperor Xianzong of Tang, Early Yuanhe Era
The poem by Zhang Shinv (张氏女 ; Zhāng Shìnǚ) in《梦王尚书口授吟》(mèng wáng shàng shū kǒu shòu yín) says: “鬟梳闹扫学宫妆 With her lively coiled hair and swept brows, she mimics the makeup of palace ladies,” this is a popular hairstyle in the palace, very layered and complicated. People then described it as a bun blown by a strong wind, making it tilt on the head.
Zhui Ji (椎髻 ; zhuī jì) — Emperor Xianzong of Tang, Late Yuanhe Era
At the end of the Yuanhe era, this popular hairstyle in Chang’an city featured temple hair hanging down like horns, the front hair lifted and combed high forming a long pointed bun. Behind this bun were formed round buns or several small layered buns.
Gao Huan Wei Bin (高鬟危鬓 ; gāo huán wēi bìn) — Emperor Wenzong of Tang, Taihe Era
A tall bun with hairpin ornaments (簪钗 ; zān chāi) jutting straight up at the top of the head, the temple hair divided into two layers and supported by long hairpins on the side of the face.
In poems from the same period, praise for this popular hairstyle is often found, such as:
- Yuan Zhen (元稹): “髻鬟峨峨高一尺，门前立地看春风” (Her towering coiffure rises a foot high; she stands at the gate, greeting the spring breeze);
- Lu Guimeng (陆龟蒙) in《古态》(gǔ tài): “城中皆一尺，非妾髻鬟高” (In the whole city, all coiffures stand a foot tall—but none are higher than mine);
- Duan Chengshi (段成式) in《戏高侍御》(xì gāo shì yù): “两重危鬓尽钗长” (Double-layered lofty temples, entirely adorned with long hairpins) “四枝鬟上插通犀” (Four buns pinned with polished rhino horn), 《柔卿解籍戏呈飞卿》(róu qīng jiě jí xì chéng fēi qīng): “出意挑鬟一尺长，金为钿鸟簇钗梁” (With deliberate flair, she lifts a foot-long lock; golden inlays form a bird-shaped cluster at the base of her pin);
- Li He (李贺) in《杂曲歌》(zá qū gē): “金翅峨髻愁暮云” (A lofty coiffure like golden wings, sorrowful as the evening clouds).
This excessive hairstyle was restrained after palace bans.
Late Tang Dynasty and Five Dynasties
Frequent wars made light and complicated hairstyles like “蜂装 fēng zhuāng” unsuitable for the historical conditions that required constant relocation and travel. Therefore, a new hairstyle emerged that circled the face with hair hanging down on both temples.
Yun Ji (云髻 ; yún jì) — Mid and Late Tang Dynasty
A hairstyle popular for quite a long time at the end of the Tang dynasty, a wide bun like a cloud, making it easy to attach various decorations such as hairpins and combs.
Pao Jia Ji (拋家髻 ; pāo jiā jì) — Reign of Emperor Xizong of Tang
A hairstyle popular in Chang’an city before the late Tang wars, with a pointed bun at the front of the head becoming flatter, while the large bun at the back seemed to lean backward.
People later associated this style as a sign of leaving home during wartime.
In《新唐书·五行志》it is mentioned: “At the end of the Tang dynasty, women in the capital combed their hair with both temples circling the face, shaped like a pointed bun, then called Pao Jia Ji (唐末京都妇人梳发，以两鬓抱面，状如椎髻，时谓之抛家髻).”
Qiu Ji (囚髻 ; qiú jì) — Reign of Emperor Xizong of Tang
A hairstyle that appeared due to the wars at the end of the Tang dynasty. Palace maids who fled had no time to tidy complicated buns, resulting in dense and practical buns.
In《新唐书·五行志》it is mentioned: “During Emperor Xizong’s reign, women in the palace tied their hair very quickly, and when in Chengdu, Shu (Sichuan) women imitated this style, then called Qiu Ji (僖宗时，内人束发极急，及在成都，蜀妇人效之，时谓为囚髻).”
Yong Lai Ji (慵来髻 ; yōng lái jì) — Reign of Emperor Zhaozong of Tang to Five Dynasties
A hairstyle popular in the central plains region of China from the late Tang dynasty to the Five Dynasties period. The temple hair appeared voluminous and light, with a lazy and simple impression.
In the poem by Luo Hong (罗虹 ; Luó Hóng)《比红儿诗》(bǐ hóng er shī) it is mentioned: “Hair combed lightly, small bun called Yong Lai Ji (轻梳小髻号慵来).”
Ba Cong Ji (拔丛髻 ; bá cóng jì) — Reign of Emperor Zhaozong of Tang to Five Dynasties
A hairstyle popular in the central plains region of China from the late Tang dynasty to the Five Dynasties. Its shape was roughly like loose, hanging hair.
In《唐语林》(táng yǔ lín) by Wang Tang (王傥 ; Wáng Tǎng) of the Song dynasty it is mentioned: “At the end of the Tang dynasty, women combed bun called Ba Cong Ji; using messy hair as a base, hanging to cover the eyes (唐末妇人梳髻，谓技丛；以乱发为胎，垂障于目).”
Chao Tian Ji (朝天髻 ; cháo tiān jì) — Five Dynasties
A very popular tall bun style in the southern region during the Five Dynasties, especially in the Later Shu area (后蜀 ; Hòu Shǔ), known as “Chao Tian Ji 朝天髻.”
In《宋史·五行志三、木》it is mentioned: “At the beginning of the Jianlong era, at the end of Meng Chang’s rule in Shu, women competed to style their hair into a tall bun called Chao Tian Ji.”
Attachment: Hairstyles of Girls and Young Women
During the Sui, Tang, and Five Dynasties periods, the hairstyles of girls and young women who had not yet reached adulthood and had not undergone the coming-of-age ceremony (及笄 ; jí jī) did not change much.
Generally, the hair was worn loose or in a bun hanging near the ears. The following styles included: Guan Fa (丱发 ; guàn fā), Shuang Huan (双鬟 ; shuāng huán), San Jiao (三角 ; sān jiǎo), and Duo Huan (多鬟 ; duō huán).
And that’s a wrap—
I hope these notes have been insightful and encourage you to dive deeper into the world of traditional Chinese fashion, particularly from the Tang dynasty. If you come across any incorrect word / translation, or you have suggestions for improvement, please don’t hesitate to reach out to me via email.
Thank you so much for your time, and see you in the next notes #ZhangRuying’sNotes !
张儒英 Zhang Ruying