Zhang Ruying’s Notes: From《中国妆束：大唐女儿行》Makeup (Makeup Box)
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》.
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, and 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.
Makeup Box (妆奁 ; zhuāng lián)
Various types of powder and cosmetics were generally stored in small boxes shaped like circles or flowers; some also used natural seashells or small imitation shell-shaped boxes made of gold and silver as containers for storing cosmetic creams. When applying makeup, small bowls filled with water or oil were used to mix fragrant balsam.
In the sixth year of the Kaiyuan era (718), in the tomb of Lu Tui (陆娧 ; Lù Tuì), the wife of Wei Xunru (韦恂如 ; Wéi Xúnrú), a complete set of makeup tools was discovered, including a silver-backed bronze mirror, various small boxes, and two small gold-plated silver containers. The tomb’s owner, Lu Tui, was married at the age of fifteen and died young at the age of twenty, leaving behind a daughter named Yingniang (英娘 ; Yīng Niáng) who was only three years old. Wei Yingniang was raised by her grandmother from an early age, but sadly died of illness at the age of seventeen.
In the twenty-first year of the Kaiyuan era (733), a complete set of makeup tools was also discovered in Wei Yingniang’s tomb, including a gold-backed bronze mirror, various small gold-plated silver boxes, and a silver spoon engraved with floral patterns. The reflections of the mother’s and daughter’s faces during the heyday of Tang dynasty that once appeared in the mirror have long since vanished, leaving behind only this empty makeup box as a memory for people today.
In the twenty-sixth year of the Kaiyuan era (738), in the tomb of the married couple Li Jingyou (李景由 ; Lǐ Jǐngyóu) in Xingyuan, Yanshi, Henan, a square-shaped lacquered wooden makeup box made with the Pingtuo (平脱 ; píng tuō) silver technique was discovered intact. The surface of the box was decorated with densely intertwined and luxurious floral patterns made from silver leaves using the Pingtuo technique. The inside of the box was divided into two layers: the upper layer stored a wooden comb and small floral-shaped gold-pressed ornaments for the face, while the lower layer contained a round lacquered powder box, a gold-plated silver box, a small silver bowl, and a small gold-plated copper mirror.
In a slightly later period, such a set of makeup tools remained a cherished item on women’s dressing tables. For example, in the third year of the Taihe era (829), in the tomb of Mr. Gao (高府君 ; Gāo fǔ jūn) and his wife, the burial items accompanying Lady Li (李氏 ; Lǐ shì) still consisted of a complete set, including a gold-backed copper mirror, a small gold-plated silver box, a water bowl, and a small spoon.
The character “盒” (hé ; box) is also written as “合” (hé ; fit/suit, combine); thus, various small boxes containing powder and fragrant balm became tokens of affection exchanged between men and women, storing in their tiny space the boundless joys and sorrows of parting and reunion. At the end of《长恨歌》(cháng hèn gē) by Bai Juyi (白居易 ; Bái Jūyì), it is written that Yang Guifei, who had become a goddess, sent her regards through a Daoist priest from Linqiong (临邛 ; Lín qióng), returning a keepsake of past love in the form of a small box and a golden hair ornament that had been split in two, to Emperor Xuanzong of Tang.
回头下望人寰处，不见长安见尘雾。
惟将旧物表深情，钿合金钗寄将去。
钗留一股合一扇，钗擘黄金合分钿。
但教心似金钿坚，天上人间会相见。
Looking down upon the mortal world, Chang’an is no longer in sight—only a haze of dust remains.
Only with these old objects do I express deep feeling, the ornament box and the golden hairpin, which I entrust to be taken.
The hairpin is left with one joint, the box is divided on one side; the hairpin is broken from its gold, the box separated from its ornament.
As long as our hearts are as steadfast as gold and its adornment, in Heaven or on Earth, surely we shall meet again.
In the Tang dynasty legend《柳氏传》(liǔ shì zhuàn), a similar scene is also recorded:
During the Tianbao era, Han Yi (韩翊 ; Hán Yì) had a beloved concubine with the surname Liu (柳氏 ; Liǔ shì). Due to the An Lushan Rebellion, the two were separated and only reunited after the war ended. Han Yi sent a poem to Liu:
章台柳，章台柳，昔日青青今在否？纵使长条似旧垂，也应攀折他人手。
“Willow of Zhangtai, willow of Zhangtai,
Are you still as fresh and green as before?
Though your long branches still hang down as they once did,
Have they not now been plucked by another’s hand?”
Liu replied to his poem:
杨柳枝，芳菲节，所恨年年赠离别。一叶随风忽报秋，纵使君来岂堪折！
“Willow branch, when fragrant in bloom,
What I regret—each year brings only parting.
A single leaf falls, blown by the wind, suddenly announcing autumn,
Though you return, can I truly allow myself to be plucked once more?”
It turned out that Liu had been forced to become the concubine of the foreign general Shazha Li (沙吒利 ; Shāzhā Lì), so the two could no longer be together—they could only secretly vow to meet again. When Liu’s carriage passed and she saw her former lover, she took a jade box wrapped in fine silk, filled it with fragrant balm, then from within the carriage handed it over and said:
当速永诀，原置诚念。
“We shall soon part forever—may you keep this feeling sincerely.”
Then she turned the carriage, waved her hand, her sleeve fluttering lightly, the carriage carrying away love and emotion, their final glance severed by the rising dust.
She gave the jade box filled with fragrant balm to her lover as a farewell keepsake—from that moment on, they never met again, but the scent of the powder would always remain with her beloved…
Han Wo once wrote a mixed-style poem titled《玉合》(yù hé), which more deeply expresses the sorrow and longing hidden within a small powder box.
罗囊绣两凤凰，玉合雕双鸂鶒。
中有兰膏渍红豆，每回拈著长相忆。
长相忆，经几春？人怅望，香氤氲。
开缄不见新书迹，带粉犹残旧泪痕。
A pouch embroidered with two phoenixes, a jade box carved with a pair of mandarin ducks.
Inside is stored orchid balm that moistens red beans; each time I take some, old memories come to mind.
Those memories—how many springs have they passed? One can only sit in silence while the fragrance still lingers.
I unwrap it—no trace of new writing remains, yet with the powder, the marks of old tears still linger.
A keepsake such as this resembles a small green jade box discovered among the ruins of the Tang dynasty palace in Xi’an. This double-sided box was carved with motifs of peony flowers with broken stems, joined by a small gold-plated clasp, and on its lid was engraved a pair of geese. Between them was a pierced openwork hole, allowing it to be tied with a silk ribbon—just as Lady Liu once did.
Another example: a small gold-plated silver box also found in Xi’an, with its base engraved with an image of the Two Immortals of Harmony (和合二仙 ; hé hé èr xiān) and the inscription “two hearts as one” (二人同心 ; èr rén tóng xīn). The love story hidden within that box seems to come alive in the imagination.
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 words/translations or you have suggestions for improvement, please don’t hesitate to reach out to me via email.
See you in the next notes #ZhangRuying’sNotes !
张儒英 Zhang Ruying