Zhang Ruying’s Notes: From《中国妆束：大唐女儿行》Accessories (Middle Tang Dynasty, Luoyang Women 洛阳女子)
Table of Contents
- Introduction
- About《中国妆束：大唐女儿行》
- Middle Tang Dynasty: Fashion in the Eastern Capital of the Tang Dynasty
- Luoyang Women (洛阳女子)
- Restoration Basis of the Image
Introduction
Hello!
I’m 张儒英 Zhang Ruying, and I have a deep passion for traditional Chinese fashion.
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》.
This is for non-commercial purposes only. All rights remain with the original copyright holders.
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.
中唐：大唐东都时尚
Middle Tang Dynasty: Fashion in the Eastern Capital of the Tang Dynasty
Luoyang Women (洛阳女子 ; luò yáng nǚ zǐ)
In 2005, an archaeological team in Luoyang excavated a tomb from the late Tang dynasty period, where a complete set of head accessories was discovered.
Among them were jewelry pieces shaped like small birds and mountain-shaped ornaments made of gold and silver, as well as several pairs of gold-plated silver hairpins. The head of the hairpins was only gilded in the center of the flowers, flying birds, bees, butterflies, and edges, creating a delicate combination of gold and silver.
Since no tomb inscription was found, the exact dating of this jewelry set can only be estimated based on similar jewelry discoveries from the same period, which are believed to date back to the mid-9th century during the reign of Emperor Tang Wenzong. In the Tang Eastern Capital, Luoyang, the city’s women’s jewelry also followed the fashion trends of Chang’an.
Restoration Basis of the Image
Since the information found is incomplete, the only way to estimate the form of women’s jewelry at that time is by referring to murals and poetry from the period. Although the jewelry set found was not entirely complete, its well-preserved condition provides an opportunity to reconstruct how it was worn.
There were three pairs of long hairpins, which were likely arranged symmetrically in the hair. One pair of hairpins featured a headpiece shaped like two intertwining flower leaves, with gold-plated edges, and at the center, an engraved image of a moth with outstretched wings.
Similar jewelry can also be found in the murals of Tang tombs in Hanjiaban, Xi’an, as previously mentioned. From this, we can understand that this type of hairpin was closely related to women’s hairstyles of the time—where the upper part of the hair was first coiled into a small, mountain-shaped bun, which was then supported by a larger bun. This bun could be secured using large flower-leaf-shaped hairpins, and this styling method was known as “挑鬟 (tiāo huán, elevate the bun).”
In Duan Chengshi’s poem《柔卿解籍戏呈飞卿》(róu qīng jiě jí xì chéng fēi qīng), he describes Wen Tingyun’s beloved, Rou Qing, with a hairstyle referred to as “挑鬟 (tiāo huán, elevate the bun) one inch high, adorned with golden birds and layered hairpins. The arrangement of hair at the sides of the head was also closely associated with head accessories.
In Duan Chengshi’s poem《戏高侍御》(xì gāo shì yù), he writes, “Hair seven feet long still combed into a triangular shape,” and “Both sides of the head are combed into two long layers,” describing how the hair on both sides was parted and arranged in a unique way to form two layers resembling a triangle. This portrays the hairstyle worn by the beauty A Zhen (阿真 ; Ā Zhēn), the beloved of Gao Shiyu (高侍御 ; Gāo Shìyù).
Hairstyles like “两重危鬓 (liǎng chóng wēi bìn, Double-Layered Towering Sideburns)” required hairpins and clips for support. Therefore, the two other pairs of long hairpins found in this tomb were highly suitable for this purpose:
- One pair of hairpins with larger heads featured four intertwining ribbons on the floral section, with petal-shaped tips, which could be placed on the sides of the hair.
- The other pair had smaller heads with forked tips, decorated on both sides with fish-scale textures, curling grass patterns, and floral leaf motifs, which could be placed at the back of the hair.
Additionally, a pair of plum blossom-shaped hair clips was also discovered in the tomb. The clip legs were divided into three branches. Their function was to provide more stability to the hairstyle and could be used to secure the bun in place.
Introduction to Jewelry: Bo Bin Zan (博鬓簪 ; bó bìn zān)
The golden age of large fan-shaped floral leaf hairpins occurred in the first half of the 9th century AD (800–850). Due to the lack of historical records, it is difficult to determine the exact name of this type of jewelry during the Tang dynasty.
Since its shape may have originally been a variation of the head accessories used in wedding ceremonies, known as Bo Bin (博鬓 bó bìn, a formal hairstyle for noblewomen 命妇 mìng fù), we temporarily refer to this type of hairpin as “Bo Bin Zan (博鬓簪 ; bó bìn zān)”.
One example preserved in the Shaanxi History Museum consists of two Bo Bin Zan combined, adorned with small movable floral decorations. The method of wearing it was initially similar to Bo Bin, where two hairpins were placed symmetrically on both sides of a high bun, as depicted by the poet Li He (李贺 ; Lǐ Hè) in his poem《十二月乐辞 · 二月》(shí èr yuè lè cí · èr yuè):
金翅峨髻愁暮云 (jīn chì é jì chóu mù yún)
The golden wings and towering hairpin sorrowfully face the evening clouds.
Without the strict constraints of ritual systems, the design of this type of hairpin began to evolve more freely.
For example, a hairpin found in Lianhu District, northwest of Xi’an, had a more refined and curved head, shaped like an open floral leaf. The central motif depicted curling plants with a phoenix soaring with outstretched wings. This hairpin design further evolved by adding two leaves or petals to the head, forming two intertwined sections. Two pairs of hairpins discovered in Tang tombs in Longkang, Luoyang, and Zhiwei Tianyuan, Xi’an, illustrate this development.
Besides the traditional method of placing hairpins in pairs on both sides of the hair, another way of wearing them involved inserting a single hairpin upright at the top of the head to “elevate the bun (挑鬟 ; tiāo huán)”. This dramatic style, similar to exaggerated hairstyles, wide sleeves, and long flowing skirts, began to fade after the government issued luxury restriction laws. As a result, later hairpin designs became narrower, as seen in a gold and silver hairpin found in the tomb of a woman from the Han family in Tang Changli, dating back to the sixth year of the Dazhong era (852) in Shaanxi. This hairpin had a hexagonal pattern with two small birds flying above it.
A hairpin discovered in a Tang tomb in Huxian, Shaanxi, had a similar design, with a more delicate and finely carved head. The outer edge featured flowing cloud motifs, while the center was decorated with scrolling plant patterns or ocean waves. One hairpin depicted a child pulling a colorful rooster, while the other showed a child pulling a lucky cloud. Over time, hairpin designs became progressively narrower, and the fan-shaped element eventually disappeared.
For instance, a pair of silver hairpins with sea goat motifs found in Xi’an demonstrated that, although the design was smaller and simpler, it still retained elements of the larger Bo Bin hairpins from earlier periods.
Introduction to Jewelry: Stacked Mountains and the Bright and Dark Light of Gold 小山重叠金明灭 (xiǎo shān chóng dié jīn míng miè)
小山重叠金明灭，鬓云欲度香腮雪。
懒起画蛾眉，弄妆梳洗迟。
照花前后镜，花面交相映。
新帖绣罗襦，双双金鹧鸪。
———（唐）温庭筠《菩萨蛮》
Stacked with small mountains and bright and dark golden light, side clouds want to pass by fragrant cheeks like snow.
Feeling shy to rise and paint butterfly-like brows, slowing down time to apply makeup and comb the hair.
Looking at oneself in the mirror, front and back filled with flowers, floral faces reflecting one another.
A brand-new set of orange silk, a pair of intertwined golden perdix birds.
— (Tang) Wen Tingyun, 《菩萨蛮》
In Wen Tingyun’s 《菩萨蛮》(pú sà mán), the first line 小山重叠金明灭 (xiǎo shān chóng dié jīn míng miè, Stacked small mountains and bright and dark golden light) has sparked much debate over the meaning of “小山 (small mountains)”, with three prevailing interpretations:
- Some suggest it refers to 屏山 (píng shān, screen mountain), a decorative partition placed at the head of the bed, painted with golden mountain and river landscapes.
- Others believe it means 山枕 (shān zhěn, mountain pillow), a pillow shaped with high and low elevations resembling mountains, adorned with gold.
- The third interpretation connects it to 眉额 (méi é, brows and forehead), where “mountain” symbolizes distant-shaped eyebrows and golden floral forehead ornaments.
However, the 屏山 (screen mountain) and 山枕 (mountain pillow) interpretations describe household furnishings, which are external objects unrelated to the following descriptions of women’s hairstyling and makeup. On the other hand, “mountain brows” aligns with the next phrase “懒起画蛾眉 (lǎn qǐ huà é méi, lazily rising to paint butterfly brows)”. Yet, all three explanations present difficulties in full justification.
Mr. Shen Congwen (沈从文 ; Shěn Cóngwén), in his book《中国古代服饰研究》(zhōng guó gǔ dài fú shì yán jiū), proposed that Tang dynasty women often placed multiple small combs in their hair buns, with the crescent-shaped backs of these combs forming a decorative element. Sometimes, they would use more than ten combs. The phrase “小山重叠金明灭 (Stacked small mountains, gold flickering bright and dim)” likely describes the overlapping golden combs shimmering in a woman’s hair.
When linked to the hairstyling and makeup trends of Tang women, this interpretation fits well. A similar image appears in the poem《西川座上听金五云唱歌》(xī chuān zuò shàng tīng jīn wǔ yún chàng gē) by Chen Tao (陈陶 ; Chén Táo), depicting the elaborate adornment of the female singer Jin Wuyun (金五云 ; Jīn Wǔyún):
低丛小鬓腻䰀鬌，碧牙镂掌山参差。
Low shrubs and small sideburns, delicately combed, with green teeth carving the mountain’s uneven ridges.
Women placed combs among their hair, with the back of the comb being the focal point of decoration. The Tang people referred to this part as “掌 (zhǎng).” In the text《杂集时用要字》(zá jí shí yòng yào zì) found in the Dunhuang Sutra Storage Cave, there is a record of Tang women’s ornaments listing three types of combs—钿掌, 月掌, and 牙梳花.
- “钿掌 diàn zhǎng” refers to a comb with a back decorated with gemstone inlays.
- “月掌 yuè zhǎng” refers to a comb with a crescent-shaped back.
- “牙梳花 yá shū huā” refers to a comb made from bone or ivory.
In the tombs of noblewomen, gold combs and bone combs decorated with gold were often found, such as those discovered in the tomb of Heruo shi (贺若氏 ; Hèruò shì), the wife of Dugu Luo (独孤罗 ; Dúgū Luó), during the transition period between the Sui and Tang dynasties.
In her tomb, a golden basket-shaped comb was found, adorned with two quails playing on a lotus flower, with the back of the comb decorated with gold embellishments. (The lower part was originally adorned with comb teeth made of carved ivory.)
In the Tang tomb at Qingtuiwan (青嘴湾 ; qīng zuǐ wān), Nanying (南营 ; nán yíng), Wuwei (武威 ; wǔ wēi), Gansu (甘肃 ; gān sù), a bone comb was discovered, fully carved, with its back decorated with gold and silver ornaments in the shape of flower branches, flying butterflies, and fruits. Its owner was Madam Wu (武氏 ; Wǔ shì), the wife of Murong Xiguang (慕容曦光 ; Mùróng Xīguāng), a member of the Tuyuhun (吐谷浑 ; Tǔyùhún) royal family, who married during the early Tang dynasty.
In Xi’an, within the gold and silver treasure hoard at Hejiacun (何家村 ; Héjiācūn), a gold comb back was found, shaped like a crescent moon and decorated with gold filigree and gold beads, forming intricate patterns of grapevines and flowers.
During the Tianbao era of the Tang dynasty, noblewomen popularized wearing wide combs tilted at the back of their heads. For example, on the stone carvings in the tomb of Emperor Rang of Tang (唐让皇帝 ; Táng Ràng Huángdì), Li Xian (李宪 ; Lǐ Xiàn), there are depictions of female officials with small pearl-adorned combs positioned at the back of their heads.
After the middle Tang period, the popular trend shifted to placing one or multiple pairs of small combs in front of the bun.
In the Tang painting titled《挥扇仕女图》(huī shàn shì nǚ tú), a woman is depicted placing a comb in front of her bun. This type of comb has also been found in archaeological discoveries, such as in the Tang tomb at Sanzhao Village (三兆村 ; Sānzhào cūn), Qujiang (曲江乡 ; Qūjiāng xiāng), Yanta District (雁塔区 ; Yàntǎ qū), Xi’an, and in the Tang tomb at Caojiabao (曹家堡 ; Cáojiābǎo), west of Xi’an. These sites contained gold combs featuring mandarin ducks playing among flowers. Based on the patterns on the comb backs, one comb was positioned upright, while the other was placed in reverse.
In the early 9th century, as high, conical buns became popular, women began arranging rows of small combs atop their buns. For example, in the murals of Zhao Yi Gong’s (赵逸公 ; Zhào Yìgōng) tomb in Anyang, Henan, dating to the third year of the Taihe era (829) under Emperor Tang Wenzong, women are depicted wearing this hairstyle.
In the Tang tomb of Tai Fu Ren from the State of Qi (齐国太夫人 ; Qíguó tàifūrén), located in Yaling, Yangyichuan, a set of comb backs made of white jade, crystal, and amber was discovered, featuring extremely delicate patterns.
The bottom of these comb backs was flat and had joints, likely meant for attaching wooden comb teeth. This tomb dates to the fourth year of the Changqing era (824) under Emperor Tang Wenzong, making this a direct example of combs used in hairstyles of that period.
Aside from attached combs, another type of ornament shaped like cloud tops or small mountains became popular in the late Tang period. These accessories likely evolved from attached combs, but they eventually eliminated the comb teeth, serving only as decorations. Their construction was lighter and thinner than combs, allowing them to be suspended in the center of a bun using hairpins (Zan/Chai 簪钗).
In the reconstructed images of this section, there is a group of ornaments from a later period compared to the combs mentioned earlier. Among them, two small mountain-shaped ornaments covered in gold and silver could be stacked at the front and back of a mountain-shaped bun—a popular style during the writing of《菩萨蛮》. The contrast between black hair and gold mountain-shaped ornaments with openwork carving created a visual effect matching the description “金明灭 (bright and dark golden light)”.
In the Tang tomb at Xingyuan (杏园 ; Xìngyuán), Yanshi (偃师 ; Yǎnshī), Henan, a silver ornament was found, crafted from extremely thin silver sheets, intricately carved, and gold-plated. Its design features a small central flower, flanked by two long, curved intertwining leaves.
A similar ornament was discovered in the Tang tomb at Huangdigang (皇帝岗 ; Huángdìgǎng), Guangzhou, but this one had scattered leaves with three blooming lilies on top.
And there you have it—
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 I’ll do my best to keep these updated for the next part. #ZhangRuying’sNotes
See you in the next notes. And thank you 谢谢!
张儒英 Zhang Ruying