Zhang Ruying’s Notes: From《中国妆束：大唐女儿行》Makeup (Tang Dynasty: Women’s Makeup Steps)
Table of Contents
Introduction
Hi, 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.
唐朝：女性妆容步骤
Tang Dynasty: Women’s Makeup Steps
Applying Powder (傅粉 ; fù fěn)
Applying powder was the most basic step in makeup during the Tang dynasty. Women generally regarded pale white skin as the beauty standard, so they would first apply powder to their faces to further enhance their appearance.
Lead powder was one of the most commonly used basic makeup products at that time. This powder was made from lead, tin, and other minerals, which were burned into powder and mixed with fragrant substances. When mixed with fat into a paste form, it was also called “胡(糊)粉 (hú fěn)”. Lead powder had a fine texture and was white like snow, but it was toxic—long-term use would cause the skin to appear dull and bluish.
Women of the Tang dynasty were aware of this, so “英粉 (yīng fěn)” also emerged, which was primarily made from rice, processed from glutinous rice or millet. However, rice powder did not adhere to the skin as easily as lead powder, so a small amount of lead powder was often still added to the Ying Fen.
In a medical recipe manuscript from the Tang dynasty found in the Dunhuang Caves, one method of making powder was recorded as follows: burn goji berries and leaves into ash, mix them with rice water (water from rinsing rice), burn and grind the mixture repeatedly, then mix with cow’s milk, burn again, grind it into fine powder, and finally mix with honey to apply on the face.
Applying powder not only served to make the skin appear pale white but also helped to conceal wrinkles, making the face look younger. According to historical records, Wu Zetian was skilled at makeup and self-beautification; even though she was elderly, those around her did not notice any signs of aging.
During the peak of the Tang dynasty, a famous singer from the imperial music bureau named Pang Sanniang (庞三娘 ; Páng Sānniáng) was very skilled in makeup. After she grew older and her face began to wrinkle, she applied a thin cloth to her face, then mixed mica, powder, and honey to apply to her skin. After the makeup was done, her appearance resembled that of a young girl.
Flattening the Rouge (匀红 ; yún hóng)
黄金合里盛红雪，重结香罗四出花。
一一傍边书敕字，中官送与大臣家。
Inside the golden box is stored crimson rouge, wrapped in fragrant silk cloth with four-directional floral patterns.
On its sides are written imperial decrees, escorted by palace eunuchs and delivered to the homes of ministers.
—Wang Jian,《宫词》(gōng cí)
On top of the face already whitened with powder, rouge still needed to be applied to give the cheeks a rosy glow. In the early days, the red color came from the mineral cinnabar (bright red); cinnabar was ground into powder and mixed with fat to be used as facial or lip rouge.
Around the Han dynasty, a type of plant from the Western regions was introduced that could be extracted into a red dye, called “燕支 (yàn zhī)”. People compared this “Yanzhi 燕支” to the commonly known blue-dye plant in the Central Plains, “蓝草 (lán cǎo, bluegrass)”, thus calling it “红蓝 (hóng lán, red-blue)”. The red cosmetic made from the extract of the Honglan flower came to be known as “胭脂 (yān zhī, rouge)”.
By the time of the Tang dynasty, “Yanzhi 胭脂” had essentially replaced cinnabar and had become the primary source of red cosmetics.
The names for red makeup during the Tang dynasty are roughly recorded by Yuwen Shiji (宇文士及 ; Yǔwén Shìjí) in《妆台记》(zhuāng tái jì):
“The makeup of a beautiful woman, after applying powder, then mixes Yanzhi (rouge) evenly in the palm and applies it to both cheeks. If the color is deep, it is called Jiu Yun Zhuang (酒晕妆 ; jiǔ yūn zhuāng); If the color is soft, it is called Tao Hua Zhuang (桃花妆 ; táo huā zhuāng); If applied lightly and then covered again with powder, it is called Fei Xia Zhuang (飞霞妆 ; fēi xiá zhuāng).”
Drawing the Eyebrows (画眉 ; huà méi)
弯弯柳叶愁边戏，湛湛菱花照处频。
妩媚不烦螺子黛，春山画出自精神。
Curved like willow leaves, playing at the edge of sorrow,
Often seen in the reflection of a lotus-shaped mirror.
Their charm needs no conch ink to enhance their allure,
For springtime mountains are drawn directly from the soul.
—(Tang dynasty) Zhao Luanluan,《柳眉》(liǔ méi)
Eyebrows were a focal point of beauty enhancement for women during the Tang dynasty. In Eastern aesthetics, which emphasized delicate and refined facial features, a pair of well-shaped eyebrows played a crucial role in highlighting one’s spirit and adding feminine charm.
The traditional material for drawing eyebrows was “黛 (dài)”. “Dai 黛” is a natural black mineral, mainly composed of graphite. During makeup application, the solid “Dai 黛” was ground on an inkstone, water was added to form black ink, and a brush was used to paint the eyebrows.
In the book《释名》(shì míng), the term “Dai 黛” is explained as: “to replace (代 ; dài), that is, shaving the eyebrows and replacing them with drawings in the same spot.”
At the same time, a foreign coloring material called “青黛 (qīng dài)” became popular. Originating from the Western regions, it was a dark bluish-black synthetic pigment that did not require complex grinding and mixing—just dipping it in water was enough for eyebrow painting.
Among its types, the finest quality came from Persia and was called “螺子黛 (luó zǐ dài)”—pieces of Dai shaped like snail-shell cones. These were very practical to use, much like eyebrow pencils today.
According to Tang records, Emperor Yang of the Sui dynasty greatly favored a woman named Wu Jiangxian (吴绛仙 ; Wú Jiàngxiān), who was skilled in painting long, moth-like eyebrows (蛾眉 ; é méi). He especially gifted her with “Luozi Dai 螺子黛”, each piece worth ten gold coins.
“Every day, palace officials supplied five pieces of Luozi Dai (螺子黛), called 蛾绿 (é lǜ)… But after-tax revenues fell short, the dye was mixed with 铜黛 (tóng dài); only Wu Jiangxian continued to receive pure Luozi Dai (螺子黛) without interruption.”
Eyebrow painting with “Qing Dai 青黛” produced a brighter, more striking color compared to regular mineral Dai.
By the heyday of the Tang dynasty, women’s eyebrow shapes were mainly divided into two styles: thick and thin, with trends alternating over time.
It is said that when Emperor Xuanzong of Tang fled to Shu during the An Lushan Rebellion, he once ordered palace painters to draw ten styles of women’s eyebrows. The names of these eyebrow shapes roughly included:
- 鸳鸯眉 (yuān yāng méi, Mandarin Duck Brows or 八字眉 bā zì méi),
- 小山眉 (xiǎo shān méi, Small Mountain Brows or 远山眉 yuǎn shān méi),
- 五岳眉 (wǔ yuè méi, Five Peaks Brows),
- 三峰眉 (sān fēng méi, Three Peaks Brows),
- 垂珠眉 (chuí zhū méi, Hanging Pearl Brows),
- 月棱眉 (yuè léng méi, Moon Ridge Brows or 却月眉 què yuè méi),
- 分梢眉 (fēn shāo méi, Split Tip Brows),
- 涵烟眉 (hán yān méi, Mist-Soaked Brows),
- 拂云眉 (fú yún méi, Brushing Clouds Brows or 横烟眉 héng yān méi), and
- 倒晕眉 (dào yūn méi, Reversed Halo Brows).
Some of these shapes can be visually imagined from their names and further confirmed through poetry or literary records. These eyebrow shapes essentially encompassed the popular styles across various periods of the Tang dynasty—not just during Emperor Xuanzong’s reign. However, some names have no clear modern equivalents or verifiable records today.
Around the mid-to-late Tang dynasty, with the development of ink-making techniques, a new trend emerged where women began using “烟墨 (yān mò, smoke ink)” as a replacement for “Qing Dai 青黛” to paint their eyebrows. Women would select high-quality artificial ink, heat it over a flame, and then apply it to their fingertips. With their fingertips, they would draw the eyebrow shapes. It was said, “Since the time of Lady Zhaoyi (a noble title), Qingdai was no longer used to draw and shape eyebrows. Instead, high-grade ink was heated and applied with the fingers, called ‘熏墨变相’ (xūn mò biàn xiàng, smoke ink transformation).”
At that time, society favored bold and sharp eyebrow shadows. The beautiful women of the Pingkang entertainment district even took this trend to extremes. People began using the term “变相 (biàn xiàng, transformation)” to describe the diversity and extravagance of women’s eyebrow styles.
For example, a woman named Ying Jie (莹姐 ; Yíng Jiě), a courtesan from the Pingkang district, was known for her jade-like skin and flower-like face and was highly skilled at makeup. She painted her eyebrows in a different style every day. Tang Sili (唐斯立 ; Táng Sīlì) once joked with her:
“In Western Shu, there are ten eyebrow styles in paintings. If you’re so obsessed with brows, you could create a hundred. Given a few more years, you might even lead a community of brow enthusiasts and compile the History of Eyebrow Art (修眉史 ; xiū méi shǐ).”
However, some aristocratic women disliked Yingjie and mocked her as a “pasted butterfly changing form” (为胶蝶变相 ; wèi jiāo dié biàn xiàng).
Of course, some women went against fashion trends. For example, a young nun from Fengchi Convent (凤池院) in Fanyang (范阳), not yet twenty years old, had a beautiful and radiant face and was known for her charming social skills. She created a new eyebrow shape that was slim and gentle, unlike the popular bold styles of the time. As she was a Buddhist, her eyebrow style was called “浅文殊眉 (qiǎn wén shū méi, Light Manjusri Brows)”.
As for the eyebrow shapes popular in the palace during the Five Dynasties period after the Tang, they included: 开元御爱眉 (Kaiyuan Imperial Favorite Brows), 小山眉 (Small Mountain Brows), 五岳眉 (Five Peaks Brows), 垂珠眉 (Hanging Pearl Brows), 月棱眉 (Moon Ridge Brows), 分梢眉 (Split Tip Brows), 涵烟眉 (Mist-Soaked Brows), and others.
Attachment: Overview of Popular Eyebrow Shapes Among Women of the Tang Dynasty
The following eyebrow shapes were commonly favored by women during the Tang dynasty and went through several phases of popularity.
E Mei (蛾眉 ; é méi)
This was a general term used by the Tang people for women’s eyebrows, but more specifically referred to eyebrow shapes resembling insect antennae. The phrase “淡扫蛾眉” (lightly brushed moth brows) referred to a natural and soft eyebrow appearance.
Liu Ye Mei (柳叶眉 ; liǔ yè méi)
Named for its resemblance to willow leaves. This style was popular in the early, middle, and peak periods of the Tang dynasty, although its thickness varied.
Yue Leng Mei (月棱眉 ; yuè léng méi)
Also known as “却月眉 (què yuè méi, Crescent moon brows)”, its shape resembled a crescent moon, with a sharp upper line and a slightly blurred or blended lower edge. This shape was often seen in women in the early and late Tang periods.
Dao Yun Mei (倒晕眉 ; dào yūn méi)
The opposite of Yue Leng Mei. In this shape, the lower part of the eyebrow is well-defined, while the upper part appears softly blended.
Xiao Shan Mei (小山眉 ; xiǎo shān méi)
Also known as “远山眉 (yuǎn shān méi, Distant mountain brows)”, its color appeared faint like a mountain shadow behind the mist. The shape was gentle and calm, resembling the silhouette of a distant floating mountain.
Some more specific eyebrow shapes that were only popular during certain periods:
Lian Mei (连眉 ; lián méi)
A bold and striking eyebrow shape was popular during the early reign of Wu Zetian (around the year 680). Its defining feature was dark black eyebrows that nearly joined at the center.
Han Yan Mei (涵烟眉 ; hán yān méi)
Popular in the late reign of Wu Zetian (around the year 700). This style featured pointed inner brows toward the center and naturally blended outer brows. During the peak Tang era, the shape remained in use, though the color tended to be darker.
Lian Juan Mei (连娟眉 ; lián juān méi)
This trend emerged during the mid-Kaiyuan era at the heyday of the Tang dynasty (around the year 730). The shape was long, thin, and curved, with the two brows kept very close together.
Fu Yun Mei (拂云眉 ; fú yún méi)
Popular from the end of the Kaiyuan era to the early Tianbao years (around the year 740). These brows resembled sweeping flat clouds, with a broader brow line.
Chui Zhu Mei (垂珠眉 ; chuí zhū méi)
Popular during the Tianbao era at the heyday of the Tang dynasty (742–756). This eyebrow shape resembled a droplet of pearl hanging toward the middle of the brow.
Yuan Yang Mei (鸳鸯眉 ; yuān yāng méi)
This eyebrow shape resembled a sorrowful expression or furrowed brow, also known as “八字眉” (eight-character brows) or “啼眉” (crying brows). It became popular starting in the Zhenyuan period during the mid-Tang dynasty (around 785–805). Initially, the shape was slender and delicate, but over time and with dynastic changes, it evolved to become thicker and darker.
Fen Shao Mei (分梢眉 ; fēn shāo méi)
A unique eyebrow style popular during Emperor Wenzong’s reign in the Taihe era (827–835). This style required shaving off the natural brows and redrawing them with several branch-like tips at the top, resembling undulating mountains.
Applying Lip Color (注唇 ; zhù chún)
脸粉难匀蜀酒浓，口脂易印吴绫薄。
娇饶意态不胜羞，愿倚郎肩永相著。
Face powder is hard to smooth because the Shu wine is too thick, lip color easily stains the thin Wu silk.
Flirtatious gestures and shy expressions cannot be hidden, she longs to lean on her lover’s shoulder and be together forever.
—(Tang dynasty) Han Wo,《意绪》(yì xù)
Tang women generally first applied powder to the face to conceal the natural shape of the lips, then redrew the desired lip shape using lip color.
The lip color commonly used during the Tang era was made by blending coloring agents such as “紫草 (zǐ cǎo, lithospermum root)”, “朱砂 (zhū shā, cinnabar)”, and other ingredients with wax and fragrances, then cooking them until well-combined. The result was a solid balm that could be stored in small boxes. At that time, there were also lip colors placed in small tubes, and their length was even used as a unit of measurement.
In the Tang novel《会真记》(huì zhēn jì), the gift that Zhang Sheng gave to Yingying included “five inches of lip balm” (口脂五寸 ; kǒu zhī wǔ cùn). When applying lipstick, a small amount was usually taken with the fingertip, dotted onto the lips, and smoothed to shape the lip line.
By the late Tang dynasty, especially during the reigns of Emperors Xizong and Zhaozong, the women in the brothels of Chang’an competed in showcasing their lip makeup. These lip shapes and styles became beauty standards, giving rise to more than ten distinct names for different lip makeup styles. According to《清异录》(qīng yì lù) by Tao Gu (陶谷 ; Táo Gǔ) from the Song dynasty, these styles included:
- 石榴娇 (shí liú jiāo, Pomegranate Beauty),
- 大红春 (dà hóng chūn, Big Red Spring),
- 小红春 (xiǎo hóng chūn, Small Red Spring),
- 嫩吴香 (nèn wú xiāng, Tender Wu Fragrance),
- 半边娇 (bàn biān jiāo, Half Side Beauty),
- 万金红 (wàn jīn hóng, Ten Thousand Gold Red),
- 圣檀心 (shèng tán xīn, Sacred Sandalwood Heart),
- 露珠儿 (lù zhū ér, Dew Drop),
- 内家圆 (nèi jiā yuán, Inner Family Round),
- 天宫巧 (tiān gōng qiǎo, Heavenly Palace Craft),
- 洛儿殷 (luò ér yīn, Luo’er Yin),
- 淡红心 (dàn hóng xīn, Light Red Heart),
- 猩猩晕 (xīng xīng yùn, Orangutan Halo),
- 小朱龙 (xiǎo zhū lóng, Small Vermilion Dragon),
- 格双唐 (gé shuāng táng, Twin Tang Style), and
- 媚花奴 (mèi huā nú, Flower Slave).
Although the actual shapes corresponding to these names are now difficult to trace, it can be inferred from the names that the distinctions were based on lip shape, lip color, and sometimes the inclusion of fragrances, resulting in scented lips.
Attachment: Overview of Popular Lip Styles Among Tang Dynasty Women
In the early Tang dynasty, the ideal lip style was small and delicate. Over time, this trend evolved toward fuller lips—graceful like autumn and softly rounded—reaching its peak during the heyday of the Tang dynasty.
By the mid-Tang period, the favored lip shape shifted to a round and small form known as the “cherry style” (樱桃式 ; yīng táo shì), and unique lip colors also began to emerge, such as those resulting from the use of “乌膏 (wū gāo, a dark-colored lip paste)”.
In the late Tang dynasty, lip styles became increasingly diverse, with many having specific names. Among these styles, techniques emphasizing color gradients began to appear, creating lip makeup that was blended from the center of the lips outward.
Applying “Huazi” (贴花子 ; tiē huā zǐ)
腻如云母轻如粉，艳胜香黄薄胜蝉。
点绿斜蒿新叶嫩，添红石竹晚花鲜。
鸳鸯比翼人初帖，蛱蝶重飞样未传。
况复萧郎有情思，可怜春日镜台前。
Soft as mica, light as powder, more enchanting than fragrant turmeric, thinner than a dragonfly’s wing.
Its green slants are like the fresh leaves of young Artemisia, and its red resembles fresh dianthus blossoms at dusk.
Mandarin ducks pair up the first time it’s applied, and butterflies fly in doubles with unfamiliar patterns.
All the more if Young Lord Xiao is full of feeling—what beauty before the spring mirror.
—Tang dynasty, Wang Jian,《题花子》(tí huā zǐ)
Huazi (花子 ; huā zǐ) was a type of decoration worn between a woman’s eyebrows and forehead, generally divided into two types:
- Drawn directly onto the forehead using pigments to form certain patterns.
- Pasted-on decorations, called “Huadian (花钿 ; huā diàn)“, which were pre-made using materials such as silk paper, or even gold, jade, pearls, or colored gemstones. During makeup application, these decorations were affixed using “Hejiao”.
Hejiao (呵胶 ; hē jiāo), it is said, was made by boiling fish bladders (swim bladders), producing a thick adhesive. Once applied to the back of a Huadian, it would stick firmly to the skin. To remove it, simply apply a warm compress for a while, and the decoration will naturally come off.
Allegedly, this style of adornment originated from the story of Princess Shouyang, daughter of Emperor Wu of the Liu Song in the Southern Dynasties.
One day, the princess was resting beneath the eaves of the Hanzhang Palace. At that time, plum blossoms were falling from the palace garden, filling the air with fragrance. A blossom happened to fall right onto her forehead, leaving a mark resembling a blooming five-petaled flower. Although she tried to remove it, the mark didn’t fade for three days. The palace maids were enchanted by the accidental beauty that formed on her face and began imitating it by making plum blossom-shaped decorations to stick on their foreheads.
Another record suggests that the use of Huazi (花子) as facial decoration originated during the Wu Zhou dynasty, specifically from Shangguan Wan’er. Having made a mistake and been punished by Wu Zetian, Wan’er was left with a scar on her forehead. To conceal it, she began to apply Huazi (花子).
Attachment: Overview of Popular Huazi Styles Among Women of the Tang Dynasty
During the Tang dynasty, simple Huazi designs were usually in the shape of a round dot or a teardrop. However, in different historical periods, distinct and varied trends also emerged. Some styles stood out for their luxurious and intricate shapes, while others appeared subtle and elegant. For the more glamorous versions, Huazi were even made directly from gold, pearls, or gemstones, making them not only cosmetic decorations but also symbols of status and luxury.
Applying Xiehong (绘斜红 ; huì xié hóng)
重叠鱼中素，幽城手自开。
斜红余泪迹，知著脸边来。
Layered like fine fabric inside a fish pouch, soft hands in a quiet city gently reveal.
The slanted red line (Xiehong) resembles the trace of tears, one knows it was drawn along the cheek.
—(Tang dynasty) Yuan Zhen,《鱼中素》(yú zhōng sù)
It is said that the Xiehong (斜红 ; xié hóng) originated during the Three Kingdoms period.
A beautiful woman named Xue Yelai (薛夜来 ; Xuē Yèlái) first entered the Wei palace. One night, Emperor Wen of Wei (Cao Pi) was composing poetry under lamplight, surrounded by a seven-chi-tall curtain made of crystal. Unaware of the curtain’s presence, Xue Yelai approached and struck her face against its surface. The resulting bruise was a reddish-purple mark, appearing beautiful like the fading red clouds of dawn. Because of this incident, she gained the emperor’s deep affection.
From then on, palace women began imitating Xue Yelai’s facial appearance by drawing a slanted red line with blush, calling this makeup style by the poetic name “Xiao Xia Zhuang” (晓霞妆 ; xiǎo xiá zhuāng).
Attachment: Overview of Xiehong Styles Popular Among Women in the Tang Dynasty
During the Tang dynasty, Xiehong styles went through several trend shifts. Initially, the shape was simple, resembling a vertical scar. However, during Wu Zetian’s reign, the style evolved into more elaborate forms resembling clouds or flowers.
Approaching the heyday of the Tang dynasty during the Kaiyuan era, Xiehong styles returned to a more simplified form, and the trend gradually declined—though some women continued to adorn their faces with painted birds or golden ornaments (金钿 ; jīn diàn) as substitutes for Xiehong.
After the Dali era (766–779) in the mid-Tang dynasty, Xiehong disappeared for a time, but re-emerged during the Changqing period (821–824) along with the popularity of the “Xue Yun Zhuang” (血晕妆 ; xuè yùn zhuāng). At that time, it reappeared as striking facial paintings resembling wounds or bruises. Even in the later Tang period, women could still occasionally be seen with Xiehong on their faces.
Adorning Mianye (施面靥 ; shī miàn yè)
启齿呈编贝，弹丝动削葱。
醉圆双媚靥，波溢两明瞳。
She parts her lips, revealing teeth aligned like clamshells; Plucking the zither, her fingers resemble slices of garlic.
In her drunken charm, two enticing dimples appear; Captivating brilliance radiates from her clear eyes.
—Yuan Zhen,《春六十韵》(chūn liù shí yùn)
The term dimples (Mianye, 面靥) here does not refer to the natural indentations that appear when a woman smiles, but rather to artificial dimples made by painting colored dots or applying small floral ornaments on both sides of the cheeks, near the corners of the mouth.
In ancient times, these dimples were referred to as “的” (de), and originally served as a practical marker. Concubines of the emperor or high-ranking nobles were required to attend to their lord on a scheduled rotation. If they were menstruating and thus unable to serve, yet felt too embarrassed to say so directly, they would mark their faces with a small red dot. When palace attendants saw the mark, they would remove the concubine’s name from the night’s roster.
As a popular cosmetic style, Mianye (面靥 ; miàn yè) is said to have originated during the Three Kingdoms period. According to legend:
One night, Sun He (孙和 ; Sūn Hé), the crown prince of the state of Wu, was drunk and dancing with a crystal staff under the moonlight. In his carelessness, he accidentally injured the cheek of his beloved concubine, Lady Deng (邓夫人 ; Dèng fūrén). Blood stained her clothing, and the beauty cried out softly in fright. Sun He immediately summoned the imperial physician to treat her wound.
The physician prescribed a rare ointment made from white otter marrow, powdered jade, and amber dust. Because white otter marrow was so scarce, Sun He offered a reward of one hundred gold coins to anyone who could procure it.
Lady Deng’s wound eventually healed, but due to the excess amber in the remedy, a red spot resembling a small mole remained on her cheek. Strangely, the red mark enhanced the contrast with her white, jade-like skin, making her appear even more enchanting to Sun He.
From then on, palace women competed to decorate their cheeks with rouge and powder in imitation of Lady Deng’s red spot, hoping to win favor and affection as she had.
The Mianye style that became popular during the Tang dynasty later evolved into various new styles and names such as Heiye (黑靥 ; hēi yè), Cuiye (翠靥 ; cuì yè), Huaye (花靥 ; huā yè), and other forms.
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