Zhang Ruying’s Notes: From《中国妆束：大唐女儿行》Clothing (The Heyday of Tang Dynasty)
Table of Contents
- Introduction
- About《中国妆束：大唐女儿行》
- The Heyday of Tang Dynasty: Clouds as Clothing, Flowers as Beauty
- Early Kaiyuan Period (713-725)
- Middle Kaiyuan Period (726-735)
- Late Kaiyuan and Early Tianbao Period (736-745)
- Tianbao Period (746-756)
Introduction
Hello, I’d like to reintroduce myself,
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.
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.
Yes, we’re already on our third journey. No more words — let’s begin!
(#ZhangRuying’sNotes for the previous notes)
盛唐：云想衣裳花想容
The Heyday of Tang Dynasty: Clouds as Clothing, Flowers as Beauty
Recently, when people talk about women in the Tang dynasty, they often use the phrase “plumpness as beauty” to sum up their image.
This is a one-sided stereotype. The appearance of women in the Tang dynasty, after going through the slender style at the beginning of the dynasty and the tall, slim, and bright style during Wu Zetian’s reign, eventually entered the golden age during Emperor Xuanzong’s era with more full, round, and soft beauty.
The reason behind this needs to be understood in a broader historical context — as the era of female leadership under Wu Zetian came to an end, the women of the imperial palace shifted their focus from governance to domestic affairs.
Although they still maintained a dignified and graceful attitude, as women in government gradually disappeared, the bright and tall slender style of Wu Zetian began to fade: on one hand, to cater to men’s tastes, they increasingly displayed a softer and more graceful demeanor; on the other hand, during the era of prosperity, foreign foods from the West (胡食 ; hú shí) became extremely popular, and “they were full all day and did nothing,” which led to the bodies of noblewomen becoming plumper.
In comparison, from the time of Wu Zetian to the golden age of the Tang, the trend of women’s makeup shifted from being more open to being more reserved.
The style of women’s makeup throughout the Tang dynasty also followed the aesthetic tastes of the imperial court. However, these tastes did not change abruptly with the transition of dynasties and imperial eras but rather were part of a clear and gradual fashion evolution.
Early Kaiyuan Period (713-725)
At the beginning of Emperor Xuanzong’s reign (713-725), he implemented strict austerity policies, even at the cost of his harem. He ordered the collection of rare and precious clothing from the palace, burned them in front of the palace, and prohibited the concubines from wearing jewelry and luxurious garments.
Shortly thereafter, he instructed the entire population to dye old silk fabrics black, prohibited the creation of luxurious jewelry and clothing, and even closed the state-run silk weaving workshops (《资治通鉴·唐纪》zī zhì tōng jiàn · táng jì).
In this historical context, women’s makeup styles experienced a slight stagnation, and the previously bold and extravagant clothing trends began to fade.
During the early years of Emperor Xuanzong’s reign, the appearance of women still retained the style from the Wu Zetian era, emphasizing fair skin and a slim body. In the 13th year of Emperor Xuanzong’s reign (725), when he instructed Gao Lishi (高力士 ; Gāo Lìshì) to select a wife for Crown Prince Li Heng (李亨 ; Lǐ Hēng), the beauty standard remained “slim and fair” (《次柳氏旧闻》cì liǔ shì jiù wén).
Women’s makeup styles did not change much compared to the previous period; they still wore small round-shaped hairpins or high, bird-wing-shaped hair buns, and facial adornments such as horn-shaped flowers were further reduced in size.
Their clothing consisted of tops with curved collars that slightly revealed the chest, narrow sleeves, and long skirts or clothes with narrow pants that were sometimes visible or hidden beneath a single-color long skirt. They could also wear belts or other ornaments at the waist.
In comparison to the dyed and woven silk products from the same period, it can be observed that, in the context of the prohibition on luxurious weaving and embroidery, people began to use painting or dyeing techniques to create equally beautiful patterns on silk fabrics.
It is said that during this period, Emperor Xuanzong ordered the women in the harem to use fabric decorated with patterns drawn directly, known as “painted silk (画帛 ; huà bó)”.
Additionally, a special dyeing technique called “Jia Xie (夹缬 ; jiā xié)” was created during this time, said to have been discovered by Liu Jieyu (a concubine of Emperor Xuanzong).
This technique involved cutting the same pattern into two boards, then placing silk between the boards and dyeing it. This method allowed for layered coloring, so when the boards were removed, the pattern on the fabric appeared symmetrical with a variety of colors, not only as beautiful as the woven fabric but also lighter and thinner in texture.
The details of women’s clothing did not lose their complexity and precision in their creation, as seen in a set of women’s garments found almost intact in tomb number 188 at Astana, Turpan, Xinjiang.
According to the tomb inscription, the tomb owner was Qu Niang (麹娘 ; Qū Niáng), also known as Xianfei (仙妃 ; xiān fēi), the wife of Zhang Gong (张公 ; Zhāng Gōng), a military officer (校尉 ; xiào wèi) in the Sha Zhou Zi Ting Zhen area, who passed away in the third year of Emperor Xuanzong’s reign (715).
The clothing worn by Qu Niang, except for the top and Peizi (帔子 ; pèi zǐ) which were disordered, was mostly well-preserved: on her head, the high bun was formed using two layers of linen fabric as the base, with her hair twisted and pinned atop it; the upper body wore a white silk garment with decorations of a phoenix and goose in reddish-orange on the edges, while the lower part featured a light pink silk skirt with beautiful floral patterns; on her feet, she wore a pair of purple silk shoes decorated with bright cloud motifs.
The tombstone / inscription recording Qu Niang’s life mentions many moments — “In the morning, she swayed a colored brush, resembling a crane on green paper; in the afternoon, she played a jade bow, and goose patterns emerged from the red thread” — indicating that she was a woman skilled in the arts of painting and weaving.
The patterns on the clothes she wore were likely her designs.
In the third year of the Kaiyuan era (715) during the reign of Emperor Xuanzong, Xinjiang
Astana Tomb 188, tomb owner: Qu Xianfei (麹仙妃) makeup and clothing style
Hairstyle and makeup: These are based on the shape of a woman’s statue found in the same tomb.
Clothing: These were reconstructed from the garments found in the tomb.
- High Bun: Made from two layers of linen fabric as the base, with hair pinned on top and twisted into a bun shape.
- Damaged Top, Design Unclear: While the top was damaged, the collar design likely refers to the type of outer garment worn in the Beizi (背子 ; bēi zǐ) style.
- White Beizi with Vermillion Phoenix and Mandarin Ducks: The garment was damaged in two parts, but its basic structure was intact and could be reconstructed. The design of this Beizi was hand-painted, with each front collar featuring a pair of Mandarin ducks biting a ribbon, accompanied by various scrolls of leaves and flowers. The back of the Beizi displayed a pair of red phoenixes facing each other, although damaged. Each collar end was fitted with ties to secure the garment.
- Inner Skirt Condition Unknown: The inner skirt’s condition was not described in detail.
- Light Silk Skirt with Golden Floral Patterns: The skirt was made from six pieces of gauze fabric, which tapered at the top and flared at the bottom.
- Purple Heeled Shoes with Cloud and Phoenix Paintings: The shoes were well-preserved, and made of wood with a linen fabric covering. The surface was purple, and there were three swirling cloud patterns painted on the top of each shoe.
- Green Peizi with Gold and Silver Paintings: Since there were no records of the use of Peizi in this particular tomb, references were made to a woman’s Peizi found in the same tomb to complete the reconstruction. This Peizi was made of light green gauze fabric, smooth and tightly woven. On the surface of the robe, there were circular and diamond-shaped floral patterns painted in light purple, pink, egg yellow, and white, with the flowers outlined in gold.
Around the ninth year of the Kaiyuan era (721) during the reign of Emperor Xuanzong, Xinjiang
Astana Tomb 105, female tomb owner makeup and clothing style
Hairstyle and makeup: These are based on the makeup style that was popular in Chang’an at the time.
Clothing: Due to significant damage to the clothing, archaeologists were only able to recover partial samples. Aside from a somewhat intact skirt piece, the rest of the garments could only be inferred based on fabric fragments and stitching structures. However, the orange Peizi with interwoven floral patterns remained well-preserved.
- Damaged top, unclear design.
- Skirt with eight colors of gold weave: The skirt material is made of a combination of eight colors—light and dark green, light and dark blue, pink and dark red, yellow, and white—woven into three sets of gradation patterns, with small four-petal gold flowers appearing on top. The four skirt pieces are joined together to form the skirt, with each section at the waist folded, creating a shape that is narrow at the top and wide at the bottom.
- Green skirt with hunting pattern: The skirt piece is badly damaged, but some parts with clear stitching lines allow us to estimate the design.
- Yellow silk Peizi with overlapping color pattern: Fairly well preserved, with a design of light yellow six-petal flowers and white four-petal flowers arranged alternately.
A few years later, as palace restrictions likely loosened, the fashion of Tang women emerged with a new look.
In terms of fabric, a new weaving technique was discovered that directly produced a color gradient effect with long vertical lines, called “Yun Jian (晕纟间 ; yūn jiàn)”. This technique could be used to make pants or long skirts. It replaced the complicated process of narrow seams in previous skirts with wide stitching, creating patterns of narrow color lines—like those found in Tomb 105 in the northern area of Astana, Turpan. There, a skirt made of eight colors of silk threads layered with gold was discovered, with patterns of narrow lines made from eight colors of silk thread and decorated with small four-petaled flowers made from gold thread.
Based on documents found in the same tomb, it is estimated that the tomb dates to shortly after the ninth year of the Kaiyuan era (721). Additionally, an almost complete orange Peizi (帔子) with floral patterns was found, along with a green hunting-themed skirt.
Although incomplete, by referring to visual references from the same period, it is possible to estimate and reconstruct what the appearance would have been.
Middle Kaiyuan Period (726-735)
After years of hard work by Emperor Xuanzong, the Tang Dynasty reached its peak, known as the “Full Prosperity of the Kaiyuan Era (开元全盛世 ; kāi yuán quán shèng shì)”. During this time, Tang women’s bodies began to appear fuller, but the beauty standard still emphasized a balanced body shape, combining both plumpness and slimness.
Women’s makeup also underwent many changes: the hair on the sides of the face and temples was neatly combed and slightly elevated, while the bun was placed low on the forehead, which seemed to be a popular style at the time, known as “Wo Duo Ji (倭堕髻 ; wō duò jì)”.
Their faces were decorated with soft makeup, with a slight red tint at the corners of their eyes, likely referring to the “Peach Blossom Makeup (桃花妆 ; táo huā zhuāng)” mentioned in Tang literature. On their foreheads and the sides of their faces, there were thick red floral decorations, along with other adornments that added to their beauty.
Despite the prohibition on creating luxurious woven fabrics, women during the Kaiyuan era boldly ignored these restrictions by hiding stiff and heavy brocade garments under their outer clothes, creating a wide silhouette at the shoulders.
At this time, long gowns were often made from a single-color fabric, sewn together, with the top of the skirt slightly folded. When worn, the waistband was positioned high at the chest, creating an effect where the skirt flared in the middle and tapered at the ends.
Several silk screens discovered in Tang tombs at Astana, Turpan, Xinjiang, which are believed to have been made during the mid-reign of Emperor Xuanzong, clearly depict the fashion and makeup styles of women at that time.
Although these screens were found damaged and fragmented into several irregular pieces, they could still be reassembled to form complete story scenes.
One screen depicts a spring scene, beneath a blooming apricot tree, where a woman dressed in green and a purple skirt is assisted by a girl dressed in men’s clothing. The woman has flowers on her face and red makeup on her eyes. Her dress and skirt are decorated with various small intertwined flowers, reflecting a new pattern from the evolving yet still relatively simple “Jia Xie (夹缬)” dyeing technique. Behind her, another woman in green and red clothing holds a round fan.
Another screen portrays a scene of a woman doing her makeup. Although the figure of the woman is damaged, on the left side, a girl dressed in men’s clothing holds a mirror, while a woman in red holds a hair ornament adorned with gold.
Women’s makeup and clothing styles in the early middle period of the Kaiyuan era
All are based on images from the screen panel “Women Enjoying Entertainment (美人行乐图 ; měi rén xíng lè tú)” found in the Tang Tomb at Astana.
Hairstyle and makeup: Wo Duo Ji (倭堕髻) hairstyle, the face is decorated with Huadian, Xiehong and Peach Blossom Makeup (桃花妆).
Clothing: Wearing a red robe with a green floral pattern (with an inner layer of Beizi made of brocade), a purple skirt with a pattern of small branch flowers, wearing a green robe, and hanging a white handkerchief on the chest.
On the left side of the painting, there is an inscription in ink that reads: “Jiuniang said: ‘Fourth Sister, has just begun to learn painting. Fourth Sister, if you miss me, please look at this.’ (九娘语：四姊，儿初学画。四姊忆念儿，即看。).
From this, we know that this is a self-portrait of Jiu Niang, painted as a memento for her fourth sister. The painting reflects the beauty standards and fashion style of the time, where everything, both the intensity of the colors and the length and shortness, was fully understood by the woman herself.
Therefore, this painting provides a clear depiction of the appearance of women at that time, with a style of clothing and makeup that aligns with the beauty valued in that era.
Women’s makeup and clothing styles in the late middle period of the Kaiyuan era
All are based on images of female statues found in the Tang tombs in Xi’an.
Hairstyle and makeup: Wo Duo Ji (倭堕髻) hairstyle, decorated with Huadian on the forehead, adorned with Cuidian (翠钿 ; cuì diàn) on the cheeks, and wearing Jiu Yun makeup (酒晕妆 jiǔ yūn zhuāng, a makeup resembling redness caused by drinking).
Clothing: Wearing dark green inner clothing with a plum blossom pattern, layered with a plain Beizi, and wearing a red skirt with a flower branch pattern.
Late Kaiyuan and Early Tianbao Period (736-745)
During this time, the image of the Tang woman that we know today—”beauty based on plumpness”—began to take shape: the hair on the sides of the face was styled wide and full, while the hair at the back was left loose down to the neck and shoulders, then tied up to form a small, sharp bun; the face was round like a full moon, with thick eyebrows and striking red makeup; loose clothing adorned with patterns of flowers and leaves arranged in branches or clusters.
In archaeological excavations at the Tang Astana tombs in Turpan, Xinjiang, several clothing items from this period were discovered, including a set of clothing found in tomb number 227, which is in relatively good condition and can be used to estimate and reconstruct the appearance of the time.
The top found was a white silk gown decorated with paintings, with wide, straight tube-shaped sleeves adorned with patterns of flower branches, parrots holding grapes, and flowing clouds. The skirt found was also looser compared to the previous period and was often made by sewing full pieces of fabric to form a single garment, with pleats at the waist to create a waistband.
Although the skirt found in this tomb was quite damaged, clothing items from the same period stored in the southern warehouse of Shōsōin in Japan, which contains several pieces of skirts, can be used as a reference to complement this information.
The model of the loose skirt even inspired a romantic story of the time: when men and women in the city of Chang’an enjoyed the spring season and searched for flowers, they often used a unique way to create separate seating areas when encountering famous flowers. They would remove their long skirts and hang them on a tent pole, using them as curtains. The curtains made from several interconnected long skirts were known as “Qun Wo (裙幄 ; qún wò)”.
Women’s makeup and clothing styles in Astana 227 tomb, Xinjiang
Hairstyle and makeup: Referring to makeup styles popular in Chang’an during the same period
Clothing: Based on clothing items found in the tomb
- White silk robe with painted wide sleeves: The front and sleeves remain, the design is quite clear and can be restored. The hem of the robe is decorated with a red silk ribbon, and there is a white silk tie. There are various flowers and birds painted on the robe, and because the pattern is damaged, the restoration was carried out by referring to the pattern style of the same period.
- Egg-yellow silk Peizi with red flower pattern: Three pieces remain, with consistent width and curved cut ends, it can be estimated that this is a Peizi that was used, and a rough restoration was carried out. The design pattern is a red five-petal flower scattered randomly.
- The original skirt is damaged, no detailed records. Here, the restoration design is made by referring to the style of the skirt preserved in Shosoin Temple, Nara, Japan.
- White silk socks with painting: The foot and body of the socks are each decorated with a four-petal flower pattern. Because the socks are covered by shoes and a skirt when worn, the image is not displayed in the restoration.
In the Tang dynasty manuscript from the Dunhuang Library Cave, specifically from the《云谣集杂曲子》(yún yáo jí zá qǔ zǐ) collection, two songs titled《内家娇》(nèi jiā jiāo) are found. These are believed to have been written during the early Tianbao years. Both songs are works that praise Yang Guifei.
The first song depicts a woman wearing Taoist attire, likely referring to Yang Guifei’s embrace of Taoism, which began with Princess Shou. The second song is titled “Imperial Decree Work (御制 ; yù zhì)”, and its lyrics mention “the most beautiful woman in the world,” clearly referring to Yang Guifei, who was given this title in the fourth year of the Tianbao era.
“Dressed on time, hair styled in the capital’s fashion (及时衣着、梳头京样)” seems to reflect the modern fashion and grooming style that first appeared through Yang Guifei and her sisters.
At that time, there were 700 workers specifically dedicated to weaving and embroidering for the palace of Yang Guifei, with several hundred more involved in the making of intricate carvings. Officials from Yangzhou, Yizhou, and Lingnan would often seek out skilled artisans to create elaborate and new clothing, which were then presented to Yang Guifei in hopes of gaining promotions.
The Yang family achieved great honor, and every year in October, the five families of her siblings would accompany Emperor Xuanzong to the Huaqing Palace. During the journey, each family formed a procession, all dressed in the same uniform, as if they illuminated the streets with blooming flowers, leaving behind a trail of fragrant rain and flowers along the way.
There is also a poem by Du Fu,《丽人行》(lì rén xíng), which describes the clothing of Yang Guifei’s sisters, Madam Guo and Madam Qin, adorned with peacock and qilin embroidery made from gold and silver threads, along with various pearl and jade ornaments.
三月三日天气新，长安水边多丽人。
态浓意远淑且真，肌理细腻骨肉匀。
绣罗衣裳照暮春，蹙金孔雀银麒麟。
头上何所有？翠微盍叶垂鬓唇。
背后何所见？珠压腰衱稳称身。
就中云幕椒房亲，赐名大国虢与秦。
The third day of the third month is cool, and by the Chang’an River, many beautiful women are gathered.
Their appearance is full, their intentions profound, gentle, and natural, with smooth skin and balanced figures.
Silk clothing embroidered, at the end of spring, golden peacocks, silver qilin folded.
What is on their heads? Green leaves perched on their temples and lips.
What appears on their backs? Pearls pressing against their waists, giving the impression of a solid body.
In the middle, beneath the cloud curtains, in the room of the householder,
They are given great names, Guo and Qin.
Women’s makeup and clothing styles in the early Tianbao era during the reign of Emperor Xuanzong
Referring to murals and terracotta statues from the same period, as well as the depiction of Yang Guifei recorded in the 曲子词《内家娇》of Dunhuang
Hairstyle and makeup: Wearing a “Yi Ji (义髻 ; yì jì)” bun, with thick eyebrows drawn, decorated with Cuidian (翠钿) and Cuiye (翠靥 ; cuì yè) on the forehead and cheeks, and Jiu Yun makeup (酒晕妆, a makeup resembling redness caused by drinking).
Clothing: Wearing a pink robe with large flower patterns, a yellow skirt with large flower patterns, and wearing a black Peizi (帔子) made of thin silk.
Tianbao Period (746-756)
During the Tianbao period (746-756), fashion trends in Chang’an experienced further development. The style that was initially based on loose and voluminous clothing from the late Kaiyuan era evolved. Noble women introduced various innovations to refine the details of their clothing.
In addition to the established elegance and simplicity, subtle changes emerged from the habits of Yang Guifei, who led many of these style transformations during her favored time in the imperial palace.
In addition to her signature tall and voluminous hairstyle, there was also the “Zi 子” style, where the small bun was styled at a slant to one side.
At the beginning of the Tianbao period, women pursued thick, striking eyebrows and heavy makeup. Yang Guifei, for example, wore peach-pink powder on her face, and in the summer, sweat mixed with this oil-based powder, turning it redder, thicker, and more fragrant.
By the end of the Tianbao period, this thick makeup was gradually replaced by a softer style, with descriptions such as “lotus-like cheeks and willow-like eyebrows (芙蓉如面柳如眉 ; fú róng rú miàn liǔ rú méi)”. There was also a makeup style called “white powder and black eyebrows (白妆黑眉 ; bái zhuāng hēi méi)”. The palace concubines also created their makeup by applying loose powder to their cheeks.
At this time, although the sleeves of the garments were still loose, the cuffs became slightly narrower, and the collar of the garment was also cut shorter and tighter. The most popular colors for clothing were purple and yellow, which Yang Guifei particularly favored. Long dresses were worn with high waistbands around the chest, and the hem of the dress was lifted by wearing small shoes.
In Bai Juyi’s poem《上阳白发人》(shàng yáng bái fà rén), it is mentioned: “Small shoes and tight clothes, thin and long blue eyebrows. Outsiders who see this will surely laugh; that was the fashion of the late Tianbao era.” This indicates that these trends continued until the end of the Tianbao period.
A beautiful face and enchanting figure were often complemented by light, gauzy fabrics like mist to complete the overall appearance.
In Li Bai’s poem《清平调》(qīng píng diào), he describes Yang Guifei’s makeup with the lines:
云想衣裳花想容，春风拂槛露华浓。若非群玉山头见，会向瑶台月下逢。
“Clouds depict clothing, flowers depict beauty, the spring breeze sweeps over the fences and the heavy dew. If not seen on the peak of Mount Qunyu, one would surely meet her beneath the moon at the Yao Palace.”
Yang Guifei also wrote a poem for Zhang Yunrong (张云容 ; Zhāng Yúnróng), a dancer skilled in performing《霓裳羽衣》(ní cháng yǔ yī), describing her attire with the words:
罗袖动香香不已，红蕖袅袅秋烟里。轻云岭上乍摇风，嫩柳池边初拂水。
“Silk sleeves move, releasing an unending fragrance, red lotus flowers wave in the autumn mist. The wind blows at the peak of Mount Qingshan, soft willow leaves gently touch the surface of the pond.”
This trend continued until the An Lushan Rebellion (安史之乱 ; ān shǐ zhī luàn), which ravaged Chang’an in the flames of war.
Amidst the sorrow at Maweipo (马嵬坡 ; mǎ wéi pō), “The high bun was thrown into the river, and the yellow skirt followed the flowing water 义髻抛河里，黄裙逐水流.” The light clouds on the mountains were swept away by the wind, and the young willow leaves at the edge of the pond were picked by people.
A dazzling beauty, bringing the great glory of the Tang dynasty to the dark side.
Women’s makeup and clothing style in the middle of the Tianbao era of Emperor Xuanzong’s reign
Based on a combination of terracotta figure images from the same period.
Hairstyle and makeup: A slanted bun, with Cuidian (翠钿) on the forehead.
Clothing: Wearing a green robe with large flower patterns, a red skirt with flower branch patterns, and a plain thin silk Peizi (帔子)
And so, we come to the close of this chapter—
I hope these notes are helpful and inspire you to explore more about traditional Chinese clothing, particularly from the Tang dynasty. If you notice any incorrect word / translation, or if you have any suggestions, please don’t hesitate to reach me out 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