Zhang Ruying’s Notes: From《中国妆束：大唐女儿行》Clothing (Wu Zetian Era)

Table of Contents

• Introduction
• About《中国妆束：大唐女儿行》
• Wu Zetian Era: Wearing Bright Red Pink Attire (Gorgeous Clothes), Bowed The Crown
• The Reign of Emperor Gaozong of Tang (649–663)
• The Reign of the “Two Saints” (664–683)
• Wu Zetian’s Reign (684–705)
• The Period of Women’s Involvement in Government (706 – 712)

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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 along the way to help deepen my understanding.

And I’m excited to share these notes with you! I hope they help deepen our understanding of traditional Chinese clothing, which is so rich in history and beauty. The information in this note 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.

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Previously, for better understanding, just like a story that has a beginning, you may read part 1 (Clothing, Sui Dynasty — Early Tang Dynasty) first.

And if you have read it, let’s begin with this part!

武则天时代：红粉衣冠拜冕旒

Wu Zetian Era: Wearing Bright Red Pink Attire (Gorgeous Clothes), Bowed The Crown

Looking back at history, for a long time, women have borne the demands of men, whether in the form of “moral teachings (载道 ; zài dào)” or “romantic tales (言情 ; yán qíng)”. Their clothing and makeup were often merely the elegant and soft noise of a harem, with a lack of a strong voice in the silence of their own stories.

However, the era in which Wu Zetian lived was an anomaly — women’s participation in politics was highly stimulating and pushed forward the development of cosmetics and fashion.

Women became more self-aware, gradually shifting away from the softness and grace once valued in the old worldview, which emphasized “women dress to please others (女为悦己者容)”, toward a posture that was taller, healthier, and bolder, embodying the style of “women dress for their happiness (女为己悦者容)”.

This period can be referred to as the “Wu Zetian Era.”

It includes the time when Wu Zetian officially declared herself emperor, renamed the country to the Zhou dynasty (also known as Wu Zhou), and the period of “women leading the government.” It also covers the earlier period when Wu Zetian served as empress and empress dowager, as well as the time after her abdication when women like Princess Taiping, Shangguan Wan’er, and Empress Wei continued to participate in governance.

This period lasted for about half a century. The fashion styles of this era can also be divided into four major periods of evolution based on the historical backdrop.

The Reign of Emperor Gaozong of Tang (649–663)

In the early years of Emperor Gaozong’s reign, the fashion and makeup styles for women continued the trends that had developed during the late Zhenguan (贞观 ; zhēn guàn) period of the early Tang dynasty, with a slim figure and attire featuring short sleeves and long skirts that rose high over the chest, covering the curves of the woman’s body in long dresses.

However, facial makeup began to change, departing from the subtle style characteristic of the early Tang dynasty. During this time, the cheeks and areas around the eyes were heavily powdered with bright red, without the soft gradient that had previously been popular, making it more conspicuous and somewhat harsh.

Perhaps due to his dislike for this rigid and striking makeup style, Emperor Gaozong, in the first year of his reign (650), during a visit to the Ganye Temple to pray, met Wu Zetian again. By then, she had become a nun and no longer wore makeup, which rekindled his old feelings for her.

(Wu Zetian (武则天 ; Wǔ Zétiān) entered the palace at the age of 14 and became a concubine (才人 ; cái rén) to Emperor Taizong of the Tang dynasty (Li Shimin), with the title “Wu Mei” (武媚 ; wǔ mèi).

After Li Shimin’s death, Wu Zetian entered the Ganye Temple as a nun. Later, after Li Zhi ascended the throne, Wu Zetian re-entered the palace and became Zhaoyi (昭仪 ; zhāo yí).

In the second year of the Yonghui reign (651), when Wu Zetian returned to the palace as a concubine of Emperor Gaozong, and in the sixth year of the Yonghui reign (655), when she was formally made empress, the fashion and makeup styles for women in the palace underwent subtle changes.

Women’s makeup became more graceful and delicate again, with long, thin eyebrows and a light application of powder. The underskirts worn became thinner, but not overly so.

In addition, a new fashion emerged for long skirts made from a single-colored fabric sewn into six or eight pieces, referred to as “mixed-color skirts (浑色裙 ; hún sè qún)” in Tang historical records.

These skirts were most commonly made in the very popular color of pomegranate red.

While Wu Zetian was still a nun at the Ganye Temple, she wrote a romantic poem titled《如意娘》(Rú Yì Niáng) which she sent to Emperor Gaozong:

看朱成碧思纷纷，
憔悴支离为忆君。
不信比来长下泪，
开箱验取石榴裙。

Seeing the red turn to green, my mind is in turmoil,
Pale and tired, my body is drooping just to miss you.
If you do not believe the tears that endlessly fall,
Open the coffin and see the pomegranate skirt I keep.

During archaeological excavations of Tang Tomb No. 214 in Astana, a nearly perfectly preserved set of women’s clothing from this period was discovered. Compared to clay figurines whose colors had faded or wall paintings whose lines had blurred, this find was far more vivid, giving us a chance to revive the appearance of women from that time.

According to the inscription on the tomb, the tomb’s owner was Qu Sheng (麹胜 ; Qū Shèng), the wife of Zhang Jun (张君 ; Zhāng Jūn), a high-ranking Tang official from Xizhou, who died in the second year of the Linde reign under Emperor Gaozong (665) at the young age of 18.

Although her life was short, the clothing and style she wore have been restored, allowing people today to see what she may have looked like, offering a glimpse of her enchanting appearance.

The clothing worn by Qu Sheng displays extraordinary elegance:

On her head, she wore a tall hairpin fashioned from hemp cloth wrapped into her hair, decorated with cloud patterns and cut paper ornaments. She wore a silk garment with a light brown motif of grapes and flowers, and a red skirt featuring grape and pomegranate designs tied at the waist, which seems to have been inspired by the “pomegranate red skirt” mentioned in Wu Zetian’s poem, which was said to have captured Emperor Gaozong’s attention.

Over this, she wore a long skirt made of light pink gauze, with the fabric cut thin and sewn together, gently wrapping above the red skirt.

The very light and thin gauze fabric created a mesmerizing effect, where the bright red color of the skirt appeared soft and elegant, giving off an air of grace and charm.

Tomb No. 214 in Astana, Turpan, Xinjiang, 2nd year of Emperor Gaozong of Tang Dynasty (665) / Image of the female tomb owner Qu Sheng in her makeup

Hairstyle and makeup: Drawn with reference to the image of the female figurines unearthed from the same tomb

Clothing: Composed of the actual clothing unearthed

The Reign of the “Two Saints” (664–683)

Because Emperor Gaozong of Tang suffered from wind illness and often experienced dizziness and difficulty managing state affairs, the governance power gradually shifted into the hands of Wu Zetian, who was then serving as empress.

From the first year of the Linde (664), when Emperor Gaozong still performed court rituals, Wu Zetian would sit behind the screen, accompanying him, and the two of them were collectively known as the “Two Saints (二圣 ; èr shèng)”.

In the first year of the Shangyuan (674), Emperor Gaozong and Wu Zetian changed their titles to “Tian Huang (天皇, Heavenly Emperor)” and “Tian Hou (天后, Heavenly Empress)”, officially establishing the system of “Two Saints Governing the Government (二圣临朝 ; èr shèng lín cháo)”.

During this period, women’s fashion underwent significant changes.

Hairstyles at this time not only increased the height of the previously popular hair buns but also adopted the graceful and soft influences from the Southern Dynasties’ fashion, with hair styled into two large buns on top of the head.

Makeup became more refined, with thin powder and additional small adornments like Huadian (花钿, decorative forehead ornaments) and Mianye (面靥, cheek decorations).

Women’s bodies during this era began to appear more upright and fuller, with collars often cut in curved or bow-shaped patterns. When worn, the collars would form a circle around the chest or, at times, a ω shape at the front.

The waistband of the skirt gradually lowered, eventually developing into a position under the bust. The fabric was still elegantly draped over both shoulders, maintaining the early Tang dynasty style.

In an archaeological excavation in the Sogdiana region, specifically in the ancient city of Samarkand, a mural was found on the walls of a large room in the palace. The mural depicts Wu Zetian during her reign as empress, riding a dragon boat on a lotus-filled lake alongside her concubines and other women of the palace.

A document discovered in Tomb 29 in the Astana cemetery, dating from the third year of Emperor Gaozong’s reign (672), titled《新妇为阿公录在生功德疏》(xīn fù wèi ā gōng lù zài shēng gōng dé shū), details the items of two complete sets of women’s clothing donated by a “new bride” as part of a charitable offering. This list can serve as a reference for reconstructing these outfits.

In the document, there is a term called Mofu (陌腹/袹複 ; mò fù), referring to a new type of garment that emerged during this period. It is also known by other names such as Wadu (袜肚 ; wà dù, belly stockings), Yaojin (腰巾 ; yāo jīn, waistband), Yaocai (腰彩 ; yāo cǎi, waist ornament), etc.

For example, in the wall painting from the tomb of Princess Xincheng, a woman is depicted wearing a long skirt with an additional waistband in the form of a short skirt worn over it. The Mofu (陌腹/袹複 ; mò fù) garment even has variations with different color patterns.

This new style of clothing, with its layered and decorative elements, reflects the evolving fashion trends of the period and the growing sophistication of women’s attire during the Tang dynasty. The Mofu could be seen as part of the larger trend of complex layering and ornamentation that marked this era.

In murals from the same period, the inner skirts were often made from forty to fifty strips of thin fabric sewn together, a process that was quite intricate and time-consuming.

At the time, there were terms like Qi Po Jian Qun (七破间裙 ; qī pò jiān qún, seven-piece skirt) or Shi Er Po Jian Qun (十二破间裙 ; shí èr pò jiān qún, twelve-piece skirt), which were similar to how we use terms like A4 or A3 for paper sizes today.

With a fixed width of fabric for the skirt, the more pieces it was cut into, the narrower the strips of fabric for the skirt would become.

For example, Qi Po (七破 ; qī pò, seven pieces) meant that one piece of fabric was cut into seven long strips. If we consider a typical skirt from the Tang dynasty, which was made of six pieces of fabric, then a Qi Po Jian Qun (七破间裙) would consist of forty-two strips of fabric sewn together.

The extravagant lifestyle that developed during this period eventually drew the attention of the government.

In the second year of the Yonglong (681), Emperor Gaozong issued an edict specifically criticizing the use of materials and designs for women’s clothing. In this edict, he wrote:

“朕思还淳返朴，示天下以质素。如闻游手堕业，此类极多。时稍不丰，便致饥馑。其异色绫锦，并花间裙衣等，靡费既广，俱害女工。天后，我之匹敌，常著七破间裙，岂不知更有靡丽服饰，务遵节俭也。”

“I am thinking of returning to simplicity, showing the world sincerity and purity. Listen, so many have become indulgent and lost their way, often chasing after pleasure. When the results do not overflow, they instead cause hunger and shortage. Various kinds of colored silks, floral skirts, and other luxurious garments—such great waste, harming the women workers. The empress, who is equal to me, often wears a seven-piece skirt. Does she not know that there are even more beautiful clothes, but it is better to stick to simplicity and frugality?”

This edict reflects the emperor’s concern about the excessive extravagance and wastefulness in women’s clothing during the period. He believed it not only harmed the economy but also led to the waste of female labor in the textile industry. Emperor Gaozong ordered a return to simplicity and frugality, advising against excessively elaborate clothing.

A depiction of a woman wearing makeup in the third year of Xianheng of Emperor Gaozong of the Tang dynasty (672)

Hair and makeup: Drawn reference to wooden sculptures from the same period

Clothing: Combining footage of《新妇为阿公录在生功德疏》and images from murals from the same period

1. Wearing a dress with a curved collar, a dark green silk skirt, a Mofu with purple and yellow silk, a pink Peizi on the shoulder, and shoes embroidered in five colors.
2. Wearing a flesh-colored silk top, a purple silk skirt, and a green Peizi on the shoulder.

A luxurious Jianqun skirt (间裙 ; jiān qún) like this can be seen on an artifact found in tomb No. 213 in Astana, Xinjiang, which is a Jianqun skirt sewn with two colors of silk, purple and yellow.

Meanwhile, from ancient textile fragments from the Nara period discovered at the Shosoin Temple in Japan, there are two pieces of an inner skirt sewn with colorful fabric ribbons, which might have been called “flower skirts (花间裙 ; huā jiān qún)” by people of the Tang dynasty.

Among these, the relatively well-preserved waist area is lined with red silk, and the surface is made of thin three-colored silk in green, purple, and red wax. The skirt’s waistband is made of red silk fabric.

Additionally, the more incomplete waist part has a double-sided design. One side is made of alternating red and yellow bent valerian silk, and the other side is made of purple silk and bent green valerian silk, with the skirt’s waistband made of green silk fabric.

During the Nara period in Japan, the nobility actively emulated the Tang dynasty’s system, and the formal clothing of noblewomen also referenced the Tang women’s fashion style. Even within the clothing system at the time, there were names like “苏方深浅紫绿缬裙 (sū fāng shēn qiǎn zǐ lǜ xié qún)” and “苏方浅紫深浅绿缬裙 (sū fāng qiǎn zǐ shēn qiǎn lǜ xié qún)” as part of the clothing system. (《养老律令·令第七·衣服令》yǎng lǎo lǜ lìng · lìng dì qī · yī fú lìng)

On more formal occasions, usually also worn outerwear in the form of short-sleeved or sleeveless shirts called “Beizi (背子 ; bèi zǐ)”.

Legend has it that this style of dress began during the Sui dynasty, as recorded in Ma Gao’s《中华古今注》(zhōng huá gǔ jīn zhù): “At the end of the Sui dynasty, Emperor Yang gave 绯罗蹙金飞凤背子 (fēi luó cù jīn fēi fèng bēi zǐ ; red silk Beizi with gold decorations and flying phoenixes) to palace concubines and the wives and mothers of officials, to be worn as formal attire for ceremonies or receiving guests, as well as for daily wear when meeting uncles and aunts.”

Since the reign of Emperor Gaozong of the Tang dynasty, the Beizi (背子) became increasingly common. The Beizi could be worn inside a skirt with a top or left hanging outside.

An example found in tomb No. 232 in Astana, Turpan, Xinjiang, is a Beizi made from white silk, created by folding wide white silk in half and then cutting it to make the collar and sleeves, which were then sewn into a garment.

Wu Zetian’s Reign (684–705)

After the death of Emperor Gaozong, Wu Zetian became the Empress Dowager, overthrowing Emperor Ruizong and Emperor Zhongzong, and de facto seized power. Under the leadership of a woman as ruler, fashion and makeup trends for women during this time developed in a bolder direction.

The tomb of the Turkic noble Pugu Yitu (仆固乙突 ; Pú Gù Yǐ Tū), excavated in Mongolia (who was buried in the third year of Yifeng (678), during the reign of Emperor Gaozong of the Tang dynasty), as well as the tombs of the couple Qu Shi and her husband Zhang Xiong, located in Astana, Xinjiang, buried in the first year of Yongchang during Emperor Ruizong’s reign (689), and the tomb of Murong Zhi (慕容智 ; Mùróng Zhì), discovered in Wuwei, Gansu, buried in the second year of Wu Zhou Tianshou (691), statues were created in Chang’an using techniques involving human figurines made from clay and wood, dressed in miniature silk clothing.

Based on the statues found in the tomb of Lady Qu (麹氏夫人 ; Qū shì fūrén), we can imagine the popular makeup and fashion styles among women in Chang’an during Wu Zetian’s time as Empress Dowager.

These women wore tall hairdos resembling the wings of flying birds, with faces thickly powdered with red powder, eyebrows drawn thick and black, lips painted red with two small black dimples on the cheeks, floral decorations on their foreheads, and bold red lines around their faces, creating a striking appearance.

As for their clothing, the ends of garments were often tucked into collars or belts, while the other side hung loosely from the sleeves. Long, solid-colored skirts with wide cuts were still in trend, and narrow under-skirts made of thin fabric were also still popular.

Some statues even show women wearing outer skirts made from thin, blue-green fabric worn over inner skirts in red and yellow. This indicates that at the time, there was still a tendency to wear a thin outer skirt over a thicker inner skirt.

These dressed statues have arms made of waste paper that were cut into strips and twisted into the shape of arms.

As the trend for luxurious clothing continued to develop, the Beizi garment also underwent significant changes. Initially, the Beizi was occasionally decorated with expensive brocade edging, but over time, it began to be made entirely from brocade.

This trend spread widely both East and West. For example, in the wall paintings at the Ruins of Rushtam Hall in Sogdiana, Central Asia, which depict women wearing Tang-style clothing, the women can be seen wearing Beizi made of brocade.

Additionally, a note from《杨氏汉语抄》(yáng shì hàn yǔ chāo), a dictionary used by Japanese scholars during the Nara period (717–724) studying the Chinese language, also mentions that during that time, the Nara nobility described the Beizi as “women’s outerwear, made from brocade.” This demonstrates the widespread influence of Tang women’s fashion.

In the tomb of Lady Qu (麹氏夫人), the clothing worn by the statue of the woman buried with her, although sewn roughly, clearly shows how the 锦背子 (jǐn bēi zǐ ; brocade Beizi) was made.

The clothes were created by folding the whole brocade fabric without a center seam, leaving room for armholes, and cutting the fabric to form the silhouette of the body. The collar was cut in different shapes, such as a straight or curved collar, and so on.

Women’s Makeup and Clothing Styles in the Wu Zetian Era

Referring to depictions of women in wall paintings from the same period and the imagery of women recorded in the poem《游仙窟》(yóu xiān kū):

Hair and makeup style: Hair tied up with two headbands, forming a bun Shuang Huan Wang Xian Ji (双鬟望仙髻 ; shuāng huán wàng xiān jì), face decorated with Huadian, Xiehong, and Mianye.

Clothing: Top in the form of a green 袜 (wà) and red shirt made of silk cloth decorated with kirin motifs, lower skirt embroidered with parrots with a ruby-red skirt waist, and Peizi draped over the shoulder.

Women’s Makeup and Clothing in the First Year of Yongchang (689) during the Reign of Emperor Ruizong of the Tang Dynasty

Based on the female figurines found in the tomb of Zhang Xiong and Qu Shi in Astana:

Makeup and Hairstyle:

Hairstyles vary, including the Jiaoxin (交心 ; jiāo xīn) bun, Qihuan (漆鬟 ; qī huán) bun, and Jinghu (惊鹄 ; jīng hú, surprised swan-shaped) bun. The face is decorated with various types of Huadian, Xiehong, and Mianye.

Clothing:

1. The top is a green shirt with pearl patterns, a brocade Beizi with linked beads, the lower skirt consists of a skirt with a combination of red and yellow, and a blue-green silk skirt, plus a green Peizi on the shoulder.
2. The top is a green shirt with a curved collar, combined with a red and yellow skirt, and a bright red Peizi on the shoulder.
3. The top is a yellow shirt with a V-shaped collar, combined with a red skirt, and a green silk Peizi on the shoulder.

Several examples of Beizi preserved in the Shōsōin Collection in Nara, Japan, provide a more detailed picture of how these garments were made:

After the body of the garment was completed, a collar, short sleeves, and decorative edges could also be added.

One such garment is a sleeveless Beizi made from red brocade fabric on the outside, yellow fabric on the inside, and adorned with purple brocade trim. On the front of this garment, there is an inscription in ink reading “东大寺、前吴女、六年,” indicating that this garment was worn by a woman playing the role of the “Wu Woman 吴女” during the ceremonial unveiling of the Great Buddha statue in the Tianping era.

The design of this garment is similar to the Beizi worn by women during the reign of Wu Zetian. In addition, there are several short garments made from brocade with short sleeves but without any trim at the lower edges (such as at the waist or the bottom of the skirt), or with only short trims. These are likely also types of Beizi or similar garments.

In the first year of the Zai Chu era (689), after Wu Zetian replaced the Tang dynasty with the Zhou dynasty (also known as Wu Zhou 武周 ; wǔ zhōu) and officially proclaimed herself emperor, the styles of women’s makeup and clothing became increasingly confident and graceful.

Although official rules regarding palace clothing had been established during the later years of Emperor Gaozong’s reign, and despite Wu Zetian herself often wearing simple clothing as a model of modesty, the desire among noble women to appear beautiful and compete in terms of fashion was still strong.

As a result, in depictions of women from this period, we can see how they wore garments that partially concealed their wealth: they wrapped their chests in wide silk, hid their luxurious brocade Beizi, and even wore long plain skirts over their inner skirts to cover or add layers, almost as if attempting to disguise the richness and opulence of their attire with a more modest appearance.

What needs to be particularly noted is that the type of long skirt used as an outer layer or cover during this period differs from the single-piece long skirt worn in earlier times.

During this period, the skirt typically had side slits and was a style that could be worn like a dress. When worn around the waist, the skirt was tied at both sides with strings, often revealing a small portion of the narrow inner skirt.

The lower part of this wide skirt opened like trousers, resembling Qun Ku (裙袴 ; qún kù), a trouser-style garment.

The Period of Women’s Involvement in Government (706 – 712)

With the abdication of Wu Zetian in the first year of Shenlong (705) and the return of Emperor Zhongzong of the Tang dynasty to the throne, the official era of female governance came to an end.

However, after experiencing the influence of the (Wu) Zhou dynasty, aristocratic women still maintained a high interest and enthusiasm for playing a role in politics.

Noble women who were actively involved in government affairs, such as Empress Wei, Princess Taiping, and Shangguan Wan’er, represented a group of aristocratic women who continued to play an important role in court politics.

They were not only involved in political policies but also continued to influence the fashion and clothing styles of women at that time.

Among them, Empress Wei, the daughter-in-law of Wu Zetian and the empress of Emperor Zhongzong, actively emulated the policies and styles of the Wu Zhou era. She even boldly incorporated elements of male attire into women’s fashion, including elements typically worn by male officials in the court or during large religious ceremonies.

For example, at the Han-Tang Stone Carving Museum in Shaanxi, there is a stone tablet inscribed with the image “大唐皇帝皇后供养 (dà táng huáng dì huáng hòu gòng yǎng ; Emperor and Empress of the Tang Dynasty Offering Worship)”, which, after research, is believed to depict Emperor Zhongzong and Empress Wei.

In the image, Empress Wei is adorned with accessories resembling an imperial crown, including hanging ornaments that resemble the emperor’s crown. Her clothing is decorated with patterns such as the sun, moon, and flying dragons—motifs typically found in royal or imperial attire. This fusion of royal and masculine elements in her clothing demonstrates her assertive influence in both the political and cultural spheres of the time.

In addition, in the tombs of Empress Wei’s family, such as the tomb of her beloved son, Prince Yide, and her two younger sisters, the “Thirteenth Princess” and the “Seventeenth Princess,” engravings on the stone coffins depict headpieces similar to those worn by male officials in the government, including Jinxian Guan (进贤冠 ; jìn xián guān, civil official crown), He Guan (鹖冠 ; hé guān, military official crown), and Jinde Guan (进德冠 ; jìn dé guān, high-rank official crown).

The style of makeup and clothing worn by women during this period was even bolder compared to the Wu Zhou era.

The tops worn by women often featured very low collars, either in the form of wide-open curves or standing collars with two-layered cuts. The women’s chests were often only partially covered by a sash from the skirt, and sometimes the tops were not tucked into the skirts but instead left to hang freely in front, exposing a semi-open chest silhouette. This departure from traditional modesty indicates the increasing boldness and confidence in women’s fashion during this time.

While the skirt pants (Qun Ku 裙袴) remained popular, a resurgence of women’s clothing featuring skirts with contrasting colors emerged, often adorned with embroidery of flowers and birds along the hemline.

One of the most beautiful and luxurious two-waisted skirts in history was recorded when Princess Anle, the daughter of Emperor Zhongzong of the Tang dynasty, married Wu Yianxiu, the grandson of Wu Zetian, the Sichuan region once presented a “Blue Cage One-Waist Skirt 单丝碧罗笼裙 (dān sī bì luó lóng qún)” embroidered with flowers and birds.

The birds on this skirt “were the size of wheat grains, with their eyes, beaks, mouths, and claws visible. Only those with sharp vision could see them.”

Princess Anle even ordered the creation of the “Hundred Birds Feather Skirt (百鸟毛裙 ; bǎi niǎo máo qún)”, made from the feathers of one hundred birds. The weaving was so meticulous that “seen from the front it was one color, from the side it was another color, in the daytime it was one color, in the shadow it was another color, and the shape of a hundred birds could be seen throughout the skirt”. (《旧唐书·五行志》jiù táng shū · wǔ háng zhì)

Following these trends, women competed to imitate such fashion, searching for rare and special materials to create luxurious and beautiful garments. Some even went so far as to “search the mountains and forests for strange birds and beasts, sweeping through every corner and leaving nothing behind 山林奇禽异兽，搜山荡谷，扫地无遗”. (《朝野佥载》cháo yě qiān zài)

However, just like flowers that bloom and wither, such trends did not last long, the glorious wave of fashion for women began to fade after figures like Empress Wei, Shangguan Wan’er, and Princess Taiping tried and executed.

Once the roots were lost, and the red autumn leaves fell to the ground, silence returned, and all the luxury gradually sank into quietude.

In the second year of Kaiyuan (714), Emperor Xuanzong of the Tang dynasty issued an edict to gather all the beautifully embroidered garments from the previous generation in the palace and burn them in front of the imperial palace.

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And yes, we have completed this 2nd journey, which is the (clothing) Wu Zetian Era—

I hope these notes are helpful and inspire you to explore more about traditional Chinese clothing, especially from the Tang dynasty. If there is an incorrect word / translation, or if you have any suggestions, please feel free 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