Tang Dynasty Crown System of Sui and Tang Dynasty Jewelry and Accessories

1. False bun

Sui-Tang and Fifth Dynasties women prevalent high buns, not only to supplement the wig, but also like the Han Dynasty women made it easy to take off and put on the false bun, known as the "Yi bun. The women wore hairpins with narrow belt sleeves." Yang Guifei often used fake buns as jewelry, and good clothing yellow skirt, people said: "Yi bun drag river, yellow skirt by water flow." In Xinjiang Tulufan Astana Tang Zhang Xiong husband and wife tomb unearthed a wooden tire outside the black lacquer bun, the bottom of the small hole left the rust of the metal hairpin, the tomb unearthed female figurines with the same bun on the head, painted with delicate patterns. The Tang tomb unearthed a paper tire lacquer flower headdress, and E bun similar to the Nanjing South Tang two mausoleum figurines also wear such headdress, but there is no elaborate pattern, when unearthed known as the paper crown, may be a kind of Yi bun. In addition back to migratory bird bun is also a fake bun, scarf is lined with hair.

2. hairpin

Sui-era hairpin for the double stranded shape, some of a long strand of a short, in order to facilitate the insertion of wear, Changsha, Hunan Province, Sui Tomb has unearthed a silver hairpin inlaid with jade hairpin, hairpin for the head of the flower-shaped, called the hairpin do. After the late Tang Dynasty, the hairpin inserted into the bun hairpin hairpin hairpin head flower decoration is simple, and there is a special hairpin for decorative purposes, hairpin head flower decoration close to the sideburns. Late Tang to adapt to the high bun of the practical appearance of up to 30 cm to 40 cm long hairpin, only Jiangsu Dantu has unearthed more than 700 pieces, Xi'an, Shaanxi, Zhejiang Changxing and other places have been found. The gilt-silver hairpin with double phoenix motifs unearthed from a tomb in Huijia Village in the southern suburb of Xi'an in the second year of the Tang Dazhong era (848 AD) is 37 cm long, with openwork double phoenixes and scrolling grass motifs on the head of the hairpin. Another openwork hairpin with a chrysanthemum motif, with a beautiful image. Guangzhou Emperor Gang Tang Dynasty wooden coffin tomb unearthed gold and silver jewelry in the bird hairpin, flower spikes hairpin, tangled branches hairpin, cone hairpin, etc., made of molding, carving, cutting and chiseling process, each hairpin are a style of two pieces, the same pattern and the direction of the opposite direction, it can be seen that it is the left and right insertion of the split.

3. hairpin

Five Dynasties with fine gold silk flowers, in 1956, Hefei, Anhui, the western suburbs of a number of gold jewelry unearthed during the years of the Southern Tang Dynasty BaoDa, there is a double butterfly flower inlay hairpin, with the gold silk disk into two opposite fluttering butterflies, two wings full of yellow amber.

4. Hairpin with a rocking step

The noblewomen in Tang Dynasty had hairpin with a rocking step, and the mural paintings of Desmond Wei's tomb in Xi'an, Shaanxi Province, and the stone carvings of Li Chongrun's tomb in Qianxian, Shaanxi Province, all have the images of the characters who inserted the hairpin with a rocking step. According to "The Extradition of Concubine Yang", Emperor Xuanzong of Tang Dynasty asked someone to take the best gold from Lishui and cut it into a hairpin for Concubine Yang to put on her temples. The description of Yang Guifei in the Tang poets is "Cloud sideburns and flowery face with golden strut". In the western suburbs of Hefei, Anhui Province, the South Tang Dynasty, during the years of Bao Dai tomb unearthed a 28 cm long gold and jade shaker, the upper end of the wings like a spread, set with finely crafted jade flowers, the lower part of the pendant beads and jade strings decorated. Another 18 centimeters long, the top of the four butterflies flying, under the pendant beads and jade strings of silver shaking, the production are very delicate.

5. Comb and hairpin

Since the Wei and Jin dynasties in the women's head popular in the style of inserting comb, to the Tang even more prevalent, this comb commonly used in gold, silver, jade, rhinoceros and other noble materials. Inserted wear method, in the Tang Dynasty paintings such as Zhang Xuan "pounding practice figure", Zhou Fang "fan ladies" and Dunhuang Mogao Caves in the Tang Dynasty feeder murals can be seen. The method of inserting combs as depicted in the painting of "Pounding Practice" includes single insertion in the forehead, single insertion in the back of the chignon, and insertion in the left and right sides of the top of the head. The Lady of the Fans" has a single comb inserted at the top of the forehead, two combs inserted above and below the top of the forehead, and three combs inserted in pairs, among other forms. Dunhuang Mogao Caves Cave 103 Sheng Tang feeder Mrs. Le Tinggui flower comb inserted in the right forehead, the side of the phoenix rocking hairpin, the top of the head rocking wind crown. To the late Tang Dynasty, the Five Dynasties, head inserted comb more and more, there are more than ten to the. Yulin Grottoes five generations of female feeder mural Cao Zhijin family members are inserted on the head of six comb, gold and silver flower hairpin, gold tin flowers and jade necklace. Yuan Zhen's "Hate Makeup": "A full head of small combs, when the face of a round dimple". Wang Jian "Palace Lyrics": "Returning to a head of comb." It is illustrated that this kind of comb fashion. Han Dynasty comb more horseshoe-shaped, the Tang Dynasty stretched into a crescent shape, after the Five Dynasties, comb back into a flattened trapezoid, Song Renzong, bun height of up to three feet, the white horn comb length of one foot two inches. Sui, Tang and Five Dynasties as a headdress comb commonly used gold, silver, copper production, decorated with fine patterns, Hunan Changsha South Gate paper garden Chong Tang tomb unearthed copper comb has been residual, the back of the clear pattern, as a pair of birds hovering and flying. Jiangsu Yangzhou Sanyuan Road Tang tomb unearthed gold burin pectin, 12.5 cm high, back semi-circular, the central engraved and openwork curly grass flowers and leaves and a pair of flying sky, one of them blowing the sheng, one holding a clapboard, four around to link the bead pattern, openwork fishscale and twining twigs of plum blossoms and butterflies between, extremely gorgeous. Sui, Tang and Five Dynasties period due to the progress of fine goldsmithing technology, gold and silver jewelry production unprecedentedly sophisticated. Sui Daye four years (608 AD) Zhou Empress Dowager's granddaughter Li Jingxun died at the age of nine, buried in Xi'an, outside the Yuxiangmen, buried with a gold necklace, chain system with 28 inlaid with various colors of gold beads strung together, the necklace on the upper part of the gold clasp, buckle inlaid with engraved deer blue stones, the lower part of the pendant for the pendants, pendants are divided into two layers, the upper layer of the two inlaid with blue gemstone quadrangle-shaped ornaments next to the round gold inlaid with mussel beads surrounding The upper layer consists of two quadrangular pieces of sapphire set against a round gold and mussel bead encircling a ruby flower as a pendant base, and the lower layer is a sapphire in the form of a dewdrop suspended below the pendant base.

Tang Dynasty neck ornaments from the Dunhuang Mogao Caves paintings and colorful statues of the Buddha, more than the Department of the collar and celluloid combination, more luxurious and opulent. Dunhuang Mogao Caves 61 caves five generations of frescoes feeder Hodan Wang Wang Princess wearing a number of jade necklaces, and the tall Yi bun gold phoenix crown and gold step with, very elegant and luxurious. 1.bracelet

Sui-Tang-Five Dynasties bracelet production is expensive and exquisite, Xi'an, Shaanxi Hejia soap Tang Dynasty cellar unearthed white jade with gold jade bracelet, jade is divided into three segments, each segment of the two heads of the gold flowers stranded chain linked, can be opened, gorgeous and incomparable. With Shen Kuo "dream brochures" recorded from the six dynasty tombs unearthed "two head Shi turn off, can be flexed and stretched, and make the round, for the nine dragons around the" jade arm hairpin is the same. Sui and Tang dynasties general bracelet, bracelet surface for the middle of the wide, narrow at both ends, wide surface pressure pattern, the two ends of the collection of fine as silk, outward winding a number of ways, leaving openings can be worn according to the wrist thickness adjustment, wear off convenient. This kind of bracelet has gold, there are also gold and silver silk embedded gemstone. Anhui Hefei western suburbs of the South Tang tomb unearthed silver inlaid material beads bracelet, to two silver for the outer edge of the bracelet body, wide surface left empty slits, empty slits between the folder with a silver wire, dressed in a row of different colors of the material beads, style is extremely new and clever. A chiseled gold bracelet was excavated from a Liao tomb of the Fifth Dynasty in Tuchengzi, Helinger, Inner Mongolia, and was decorated with two patterns of equal width, making it appear that the two bracelets were combined into a single one.

In 1944, a silver bracelet was found in a Late Tang tomb at the site of the former Sichuan University, not far from the bank of the Jinjiang River in Chengdu, Sichuan Province, with a hollow ring and a semicircular cross-section containing a very thin printed copy of a Buddhist sutra and mantra (see Cultural Relics Reference Materials, No. 5, 1957), bearing a six-armed bodhisattva seated in a lotus lotus lotus seat, the mantra in Sanskrit, and the name and address of the seller of the mantra in Chinese characters. Stein stole a similar Song dynasty mantra printed in the Cave of Sutras in the Mogao Caves in Dunhuang, which reads, "If anyone holds this mantra, he will be victorious in his place, and if he is able to write and carry it on his head, or on his arm, he will be able to accomplish all the good deeds, be the best and purest of all, and will be embraced by all the dragons and kings of the heavens and will be recalled by all the Buddhas and Bodhisattvas.... ...". From this, we know that in the Tang and Song dynasties, there is also in the bracelet hidden with the mantra to protect the body of the custom, the later generations that wear bracelets can ward off evil spirits, longevity, it is the traditional concepts left behind by the ancient religious thought.

2. arm bracelet

Arm bracelet, also known as jumping off, strips off, is made of flat gold and silver coiled and rotated into a spring-like set of bracelets, as few as three circles, more than five, eight, dozen or so circles. According to the thickness of the arm to the wrist, the ring from large to small connected to the two ends of the gold and silver wire winding fixed, and adjust the tightness. The armlets of the Sui and Tang dynasties can be seen in terracotta figurines and figure paintings, such as the terracotta figurines unearthed from the Zhoujiayawan Sui Tomb in Wuchang, Hubei in 1956, and the nine courtesans carrying the emperor's carriage in Yan Lipeng's "Steps in the Emperor's Carriage" and the noblewoman in Zhou Fang's "Flower-Pinning Ladies' Painting," which featured a gold armlet that ran from the arm to the wrist. During the Sui and Tang dynasties, the 〓 belt, a small band on a leather belt for hanging objects, was already common in men's everyday wear, as described in the previous chapter. The minorities who led a nomadic and mobile life, living in no fixed place, needed to carry bows, swords, sharpening stones, fire scythes, handkerchiefs (handkerchiefs), syringes, counting capsules and other living instruments, the more complete they were, the more convenient they were to use them. Han people live a sedentary life, too many things hanging on the waist, but feel cumbersome. At the end of the Northern Dynasty and the beginning of the Sui and Tang dynasties, the material and number of bands on the belt indicated the status of the person taking the belt, and the highest level of leather belt was equipped with thirteen bands, which was used by the emperor and high-ranking ministers. The shape of the sash varied, and the thirteen-ringed jade sash given by Emperor Taizong of the Tang Dynasty to the meritorious minister Li Jing had a shape of seven squares and six circles. Tang Wei Duanfu in the "Wei Gong old things record" said he saw the thirteen ring belt, quail shape of the square of seven, frustrated the two, the corner of the six. Each of the thirteen rings is accompanied by a ring, a pen, a fire mirror, a large bodkin and a small bodkin, a bodkin bag, a coconut bowl, and five other things have been lost. The Tang dynasty later specified that the son of heaven should wear a nine-ringed belt, as stated in the volume of the later Tang Ma Onyx (马缟). Among the ten jade belts unearthed in Hejiacun, Xi'an, is a white jade nine-ringed belt with three triangular pointed arches and a flat perforated hole at the bottom for the 鞢〓 pouch. Another example, from the tomb of Sui Jiwei in Guojiatan, Xi'an, Shaanxi Province, has only seven rings, making it an incomplete belt. The same set is preserved in the Mizuru Art Museum in Japan. In the Tang Dynasty, military officials of the fifth rank and above were required to wear a jade sash with seven rings, but in early Tang paintings, such as the Portrait of the Ministers of Merit in the Lingyan Pavilion and the Emperor's Bicycle, the officials wear only incense pouches and fish pouches. In the tomb of Tang Wei Jiong in Xi'an, the figures in the inner and outer coffins of the tomb wear swords on their leather belts, but there are not many ♀ hanging from the belts. On the other hand, in the tomb of Princess Yongtai of the Tang Dynasty in Xi'an, there are a few more ♀ hanging from the inlay belts of the male courtesans. Among the male courtesans, there is a woman with her head in a bun, wearing a narrow-sleeved, round-necked shirt, a hakama with a small neckline, a flat head and flowery shoes, and holding a square box in both hands; the picture only shows the front and the left side of her body, but we can see that there are eight ♀ belts hanging from her waistband, which, if added to the number of ♀ belts hanging from her unseen right side, would amount to thirteen. In addition to the small silver bells sometimes hung on her waist, she generally did not hang anything on her qingdao, which was only a fashionable decoration

And in the Dunhuang mural paintings of the nobles who entered the incense, but they had the image of wearing qingdao, which can be seen as a difference between the customs of the Hu and the Han people.

After the Sheng Tang Dynasty, the Han Chinese leather belt with 鞢〓 was less and less, and in the Late Tang Dynasty, the leather belt was almost not tied with 鞢〓, and only the belt with 銙〓 was preserved as a decoration.

The belts were made of jade, gold, silver, copper, iron and other different textures, with jade being the most expensive, and in the Tang Dynasty, there were jade belts with plain surfaces, and some were carved with animal and human figures. Xi'an Hejiacun excavated white jade quail divided into square and round two styles, carved on the lion pattern, quail under the attached ring. Liaoyang, Liaoning, has unearthed relief carving holding a bottle child jade quail. The flat hole that can be directly hung on the 〓 belt is called the ancient eye. This is a later form, which was popular from the Sheng Tang to the early Liao dynasty. Zhang Hu's poem: "The red fomentation shirt wrapped around the wrists, the blue rows of square crotches coming from the back and waist," suggests that the jade quill is exposed on the back. Jade quail tight rows on the leather belt is called "row square", rows of sparse not tight, called "thin square".

The end of the leather belt is equipped with a 〓 tail (also known as tart tail, otter tail, fish tail), the end of the belt was originally inserted from the top downwards, Tang Emperor Gaozong decreed that the 〓 tail was inserted downwards into the head. The New Book of Tang, the Book of the Car and the Garment, says, "The belt, sticking the head down, is called the 〓 tail, taking the meaning of the downward movement." In the Tang Dynasty, inscriptions on gold belts were engraved on the 〓 tail, and jade belts unearthed from the tomb of Wang Jian in the former Shu were also engraved with inscriptions on the 〓 tail. From the Middle Tang Dynasty onwards, in addition to the single-buckle and single-quotient-tail style, there appeared a double-buckle and double-quotient-tail style with a buckle and a quotient-tail on each side of the left and right waist, which was tied tightly and the double-quotient-tail hung down on one side for symmetrical decorative effect. The fan-holder in Gu Ma-zhong's Han Xizai Night Banquet of the Fifth Generation is in a dorsal position, which makes it possible to see clearly the effect of its decoration. This leather belt, the front belly and back part can be loaded, unlike the single〓 tail belt through the grommet after a section will be covered by the belt, so to the Song and Jin dynasties have gradually become popular.