Zhang Ruying’s Notes: From《中国妆束：大唐女儿行》Clothing (Middle Tang Dynasty)
Table of Contents
- Introduction
- About《中国妆束：大唐女儿行》
- Middle Tang Dynasty: Clothing Changes To A New Style In Yuanhe
- Emperor Tang Daizong, Dali Period (757–779)
- Emperor Tang Dezong, Zhenyuan Period (785–805)
- Emperor Tang Xianzong, Yuanhe Period (806–820)
- Emperor Tang Muzong, Changqing period (821-824)
- Emperor Tang Wenzong, Taihe Period (827-835)
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.
It’s unbelievable that we’re already on the 4th journey. Let’s move forward!
(#ZhangRuying’sNotes for the previous notes)
中唐：衣到元和体变新
Middle Tang Dynasty: Clothing Changes To A New Style In Yuanhe
Internally, there was a fragmentation of power by local rulers, domination by eunuchs, and frequent uprisings by both the common people and the military.
Due to the growing anti-Hu sentiment among the Tang people, society gradually became more conservative. Women’s makeup and fashion styles slowly shifted from bold and spirited, with the narrow and tight “Northern” or “Hu” style, to a more graceful, loose, and elegant style influenced by the “Southern” or “Han” style.
大抵天宝之风尚党，大历之风尚浮，贞元之风尚荡，元和之风尚怪也。
Most of the time, Tianbao fashion was festive, Dali fashion was frivolous, Zhenyuan fashion was turbulent, and Yuanhe fashion was strange.
This is how Li Zhao (李肇 ; Lǐ Zhào), a contemporary of the time, described the literary circle of the past dynasties since the prosperous Tang dynasty, using it to illustrate the evolution of women’s makeup styles.
After decades of war turmoil, finally, since the late Zhenyuan period during Emperor Tang Dezong, women’s fashion began to develop with extremely luxurious colors and styles, even more prominent than the glory days of the Tang dynasty itself.
During this period, women’s fashion trends could be described using the term “Yuanhe style”, referring to the era when many famous poets emerged, and Tang poetry reached its peak of glory.
However, this style was not limited to the reign of Emperor Xianzong during the Yuanhe period; it began as early as the late Zhenyuan period during Emperor Dezong’s reign, continued through the Yuanhe period under Emperor Xianzong, and lasted into the Changqing period of Emperor Muzong, spanning several decades. The Yuanhe period under Emperor Xianzong was considered the peak of this trend.
The strange “Yuanhe style” that is regarded as unique in literary history has been extensively studied, but because of the earlier opulence of the Tang dynasty’s glory, it is often overlooked by fashion historians. In reality, women who embraced the Yuanhe style, seeking something new, were not trapped in the captivating image of the Tang dynasty’s golden age but instead created various new fashion and makeup styles.
Emperor Tang Daizong, Dali Period (757–779)
In the first few decades of the mid-Tang dynasty, changes in women’s fashion were still not very pronounced. However, the tradition of Southern luxury and elegance began to quietly re-emerge during the reign of Emperor Daizong.
Fashion began to change in its details: since the peak of the Tang dynasty during the Tianbao era, women began to lengthen their side hair by tidying it up at the sides of the head and tying it up, creating various hairstyles. This practice became more extravagant during the mid-Tang period, with side hair extending and curving along the face, while makeup incorporated realistic floral and plant motifs, replacing abstract patterns.
Through archaeological findings, although images and statues from this period are more widely scattered, based on these materials, it is estimated that some of the surviving Tang paintings of women (or their original versions) date back to this period.
These include the painting 《捣练图》(dǎo liàn tú) said to be by the painter Zhang Xuan (张萱 ; Zhāng Xuān), who was active during the Tang dynasty’s glory years of Kaiyuan and Tianbao, as well as the painting 《内人双陆图》(nèi rén shuāng lù tú) by the artist Zhou Fang (周昉 ; Zhōu Fǎng), who was active during the mid-Tang period under Emperors Daizong and Dezong (762–805).
One well-known example is the “side” hairstyle (偏梳髮子 ; piān shū fà zǐ), which is said to have been created by Yang Guifei. This style became a trend during the Tianbao period, featuring voluminous and lifted side hair, while the back hair was rolled up at the neck. After the Anshi Rebellion, this style evolved, with the side hair taking on a more prominent sheet-like appearance, and the back hair neatly styled and combined with a tighter form.
At that time, women’s fashion also differed from the trends at the end of the Tianbao period, which were famous for “small shoes and narrow clothes (小头鞋履窄衣裳 ; xiǎo tóu xié lǚ zhǎi yī shang)”, and began to show a tendency toward looser styles.
Women’s Fashion and Makeup During the Reign of Emperor Tang Daizong (Dali Period)
Based on a combination of clay sculpture images from the same period:
Hairstyle and makeup: Feng-style combed hair (头梳蜂 ; tóu shū fēng), hairstyle with raised slanting sides at the hips (偏梳臀 ; piān shū tún)
Clothing: The upper part wears a pink garment or sash (similar to a shawl), with a green lower skirt, and the shoulders are covered with a folded, yellowish-red floral patterned Peizi.
Emperor Tang Dezong, Zhenyuan Period (785–805)
Since the mid-Tang period under Emperor Daizong, women’s hairstyles began to grow increasingly complex. One notable style involved creating buns (or knots) arranged in clusters atop the head, and the clothing worn also became wider and looser. In an epitaph written by Shen Yazhi (沈亚之 ; Shěn Yàzhī) for his concubine, Lu Jinlan (卢金兰 ; Lú Jīnlán), there is a description of Lu Jinlan’s appearance when she studied dance in Chang’an during the Zhenyuan period:
岁余，为《绿腰》《玉树》之舞，故衣制大快长据，作新眉慧噸，顶鬓为娥丛小鬟。
“After a year, she danced the Luyao and Yushu dances, and the clothes she wore were large with long sleeves, along with a new, very thick eyebrow makeup. Her side hair was styled into several small clusters.”
She created an outfit with wide sleeves and a long skirt, with eyebrows drawn in a manner resembling sadness or tears, and her side hair was arranged into several small knots.
Meanwhile, in the poem《梦游春七十韵》(mèng yóu chūn qī shí yùn) by Yuan Zhen (元稹 ; Yuán Zhěn), which reminisces about his lover, Cui Shuangwen (崔双文 ; Cuī Shuāngwén), he describes:
丛梳百叶髻(时势头)，金蹙重台暴(踏殿样)。纰软钿头裙(瑟瑟色)，玲珑合欢椅(夹缬名)。
“The hair was styled into a bun (resembling tightly packed leaves) fashionably, adorned with heavy gold ornaments that appeared magnificent. She wore a dress with a soft, bluish-green fabric for both the bodice and the skirt, creating an impression of delicacy and elegance.”
玉蝉金雀三层插，翠髻高丛绿鬓虚。舞处春风吹落地，归来别赐一头梳。
“Jade crickets and golden birds were inserted in three layers, A tall green bun clustered together, with green at the temples. As she danced, the spring wind blew them to the ground, And once again, a comb was gifted to her head.”
At the end of Emperor Dezong’s reign during the Zhenyuan period, a new fashion style began to gain popularity in the city of Chang’an: the “fallen horse bun (堕马髻 ; duò mǎ jì)” and “crying eyebrow makeup (啼眉妆 ; tí méi zhuāng)”. Women wore light makeup with a bright powder on their faces, their eyebrows drawn thin and curved in an eight-like shape, mimicking the expression of a pout or as if about to cry. The hairstyle, once styled in a round bun on top of the head, now became looser and more natural, with hair flowing freely and falling softly.
With the discovery of artistic objects and artifacts from the same era, we can also infer that famous paintings such as《虢国夫人游春图》(guó guó fū rén yóu chūn tú) by Zhang Xuan (张萱) and《宫乐图》(gōng lè tú) by an anonymous artist were likely created during the same period.
In《虢国夫人游春图》, the style of the skirt worn by the woman in the painting shows a strong similarity to a physical object found in the Tang Astana tombs in Xinjiang: a silk skirt with pleats at the front, forming a “skirt gate,” with folds spreading to the left and right. At the top of the skirt, there is a prominent bow-shaped stitch on the chest area, which also serves as a breast support.
Bai Juyi wrote “Memories of the Zhenyuan Years (忆在贞元岁 ; yì zài zhēn yuán suì)” in《代书诗一百韵寄微之》(dài shū shī yī bǎi yùn jì wēi zhī):
粉黛凝春态，金钿耀水嬉。风流夸堕髻，时世斗啼眉。
“Powder and makeup form the attitude of spring,
Golden adornments in the hair shine, playing in the water.
The hairstyle is flowing loose, the trending style is the fallen bun,
At this time, the eyebrows are drawn as if about to cry.”
In his poem《和梦游春诗一百韵》(hé mèng yóu chūn shī yī bǎi yùn), written in Chang’an, Bai Juyi intricately describes the fashion worn during this period:
风流薄梳洗，时世宽妆束。袖软异文绫，裾轻单丝毅，裙腰银线压，梳掌金筐蹙。带杨紫蒲萄，袴花红石竹。凝情都未语，付意微相嘱。眉敛远山青，鬟低片云绿。
“Delicate makeup with thin combs,
At this time, fashion becomes looser and wider.
Soft sleeves made of patterned silk,
A light skirt crafted from thin silk,
The waist of the skirt was adorned with silver thread,
The hair bun was neatly arranged with a golden basket.
The belt is made of purple grapes from the willow tree,
Red trousers are patterned like bamboo stones.
A gaze full of emotion but unspoken,
Attending to one another without words.
The neatly drawn eyebrows resemble distant blue mountains,
The hair styled softly like green clouds unraveling.”
Women’s Fashion and Makeup During the Reign of Emperor Tang Dezong (Zhenyuan period)
Drawing from the depiction of female donors in murals at Dunhuang from the same period:
Hairstyle and makeup: Hair with cicadas at the temples, buns, and Huadian makeup
Clothing: Wearing a flesh-colored flowered shirt, a green wave-patterned skirt, and a plain gauze Peizi draped over the shoulders.
Women’s Fashion and Makeup in the Late Zhenyuan Period of Emperor Tang Dezong
Based on references from clay sculptures, paintings, and literary records from the same period, here is a description of women’s fashion and makeup during this time:
Hairstyle and makeup: 蝉鬓 (chán bìn, which translates to cicada hair) hairstyle, fallen horse bun (堕马髻 ; duò mǎ jì)
Clothing: The upper part is wearing bright red clothes, the lower part is a green skirt, purple Peizi on the shoulder
Emperor Tang Xianzong, Yuanhe Period (806–820)
During the Zhenyuan period, the light, flowing hairstyles evolved into high, overlapping false buns that covered the top of the head during the Yuanhe period. This style, which was roughly referred to as Nao Sao (闹扫 ; nào sǎo), became fashionable at the time. According to the line “鬟梳闹扫学宫妆 (huán shū nào sǎo xué gōng zhuāng)” in the poem《梦王尚书口授吟》(mèng wáng shàng shū kǒu shòu yín) by Zhang Shinv (张氏女 ; Zhāng Shìnǚ), it is believed that this style began to gain popularity within the imperial palace.
In his poem《江南喜逢萧九彻,因话长安旧游》(jiāng nán xǐ féng xiāo jiǔ chè, yīn huà cháng’ān jiù yóu), Bai Juyi reminisces about the appearance of the women in Pingkang Fang during the Yuanhe period:
时世高梳髻，风流澹作妆。戴花红石竹，帔晕紫槟榔。鬓动悬蝉翼，钗垂小凤行。拂胸轻粉絮，暖手小香囊。
“At that time, the hair was styled high, with makeup done lightly and elegantly. Flowers and red stones were worn, and the robe was adorned with patterns of purple betel nut. The hair on the sides of the head moved like grasshopper wings, with hairpins shaped like small phoenixes. A light touch of powder on the chest, and a small fragrant pouch held in the hand.”
Women of this period wore simple makeup on their faces, but it was paired with high, striking hairdos and brightly colored, expansive clothing designs.
This “strange beauty” style did not conform to traditional aesthetic standards. Feeling influenced by the trends of the time, Yuan Zhen (元稹) wrote in《叙诗寄乐天书》(xù shī jì lè tiān shū) in the seventh year of the Yuanhe period (812):
近世妇人，晕淡眉目，绾约头髮，衣服修广之度，及匹配色泽，尤剧怪艳，因为艳诗百余首。
“Today’s women shape their eyebrows and eyes faintly,
The hair is styled simply,
Clothing is tailored to both narrow and wide proportions,
With colors and styles that are extremely striking and strange,
To the point that more than a hundred poems about beauty have been written.”
However, despite the “strange” styling that Yuan Zhen found so peculiar, it remained popular, and he eventually wrote the poem《有所教》(yǒu suǒ jiào), attempting to offer guidance to women on how to dress and style themselves:
莫画长眉画短眉，斜红伤竖莫伤垂。人人总解争时势，都大须看各自宜。
“Do not draw eyebrows too long or too short,
Do not apply rouge in the wrong places.
Everyone must know how to follow the times,
But most importantly, one must choose what suits oneself.”
Although many people rush to follow trends, it remains essential to pay attention to what is truly suitable for oneself.
Women’s Hairstyle and Fashion During the Yuanhe Period of Emperor Tang Xianzong
Referring to the depictions of women from the same period, as recorded in poems and texts:
Hairstyle and makeup: Hair tied into a round bun, no red powder, eyebrows drawn in a curved shape, and using black oil to tidy up the hair
Clothing: Wearing a green dress with wide sleeves, a long skirt with floral patterns, and a purple Peizi decorated with betel nut patterns on the shoulders
In the late Yuanhe period, women’s hairstyles and makeup became increasingly extravagant and flashy.
As described by Bai Juyi (白居易 ; Bái Jūyì) in his poem《时世妆》(shí shì zhuāng), which he wrote for “亻敬戎也”:
“Trends of the times, trends of the times,
Starting in the city, and spreading everywhere.
This trend becomes popular without distance,
No rouge on the cheeks, the face without powder,
The lips are coated with black oil, looking like clay,
The eyebrows were drawn low, resembling the number eight.
Beauty and imperfection, black and white,
Everything loses its original form,
The makeup makes the face appear as if holding back tears.
The hair is styled in a round, loose bun,
With uneven red tones on a face that seems dark.
I once heard stories of loose hair in Yichuan,
And when Xin You saw it, he knew it was a soldier’s style.
Remember the hairstyle and makeup of the Yuanhe period,
The round bun and dark face were not an elegant trend.”
To support his poetic reflection with historical evidence, a similar account is found in《新唐书·五行志》(xīn táng shū · wǔ háng zhì):
“At the end of the Yuanhe period, women wore round buns and sharp buns, without jewelry in their hair, no rouge on their faces, only black oil on the lips, making their faces appear as if holding back tears. The round buns were not naturally made, and the face, which seemed to be crying, depicted deep sorrow.”
The women of this period did not use rouge on their faces at all, with no makeup except for black oil on their lips. Their eyebrows were drawn low in a shape resembling the number eight, with hair at the sides of the head loosely falling in a way that resembled horns. There were no ornaments, and the hair on top of the head was styled into a high and sharp bun, which was then gathered into a round bun at the back.
Emperor Tang Muzong, Changqing period (821-824)
In the Changqing period of Emperor Tang Muzong, the wind of luxury grew stronger.
Women’s hairstyles became prominent again with the use of small combs tucked in and various kinds of head jewelry.
In《唐语林·补遗二》(táng yǔ lín · bǔ yí èr), a record from the Song dynasty, Wang Shuo (王说 ; Wáng Shuō) noted this excessive trend:
“In the Changqing period, women in the capital wore jewelry made of gold, gems, and precious stones, with hairpins, combs, and moving ornaments. All were complete and beautiful, referred to as ‘Bai Bu Zhi (百不知 ; bǎi bù zhī)’.”
During this time, the fashion in Chang’an involved adorning hairpins, combs, and moving ornaments with various precious gems such as gold, jade, and pearls. The style known as “Bai Bu Zhi” became an iconic trend, representing an elaborate and ostentatious approach to beauty.
This style is also found in the tomb of Lady Qi (齐国太夫人 ; qí guó tài fū rén) of the Wang Chengzong family, Wu Shi (吴氏 ; Wú shì), located in Longqing, Yichuan, Luoyang, dating to the fourth year of the Changqing period (824). In the tomb, various “Buyao (步摇 ; bù yáo)” ornaments with golden frames decorated with precious stones were discovered.
A similar occurrence can be found overseas—an ornate comb from the Silla Kingdom of Korea, dating roughly to the same time as the Tang dynasty, was made of gold and adorned with a jade plate shaped like a turtle shell, also featuring “Buyao (步摇)” on the back of the comb.
The “Buyao” on the Silla comb closely resembles those found in the tomb of Lady Qi, which suggests that the jewelry worn by women in Silla was very similar to the Tang dynasty’s style, further illustrating the widespread popularity of the “Bai Bu Zhi” trend during this period.
At the same time, the style of women’s makeup became increasingly bizarre. In《唐语林》(táng yǔ lín) it is recorded:
“Women removed their eyebrows, then drew three or four horizontal lines in red and purple above and below their eyes, known as ‘Xie Yun Zhuang (血晕妆 ; xiě yùn zhuāng)’.”
This means that women shaved off their eyebrows and drew several long, red, and purple streaks above and below their eyes, resembling dried blood or bruises, which gave the appearance of halted bleeding.
This makeup style can be observed in the wall paintings of the tomb of Zhao Yigong (赵逸公 ; Zhào Yìgōng) in Anyang, Henan, dating to the third year of the Taihe period (829). In the painting, women are depicted with their hair styled in a high, sharp bun known as 椎髻 (zhuī jì), with their hair cascading down the back. Small combs are inserted in tiers atop the bun. Below and above their eyes, two to three long lines in red and purple are drawn, representing the “Xie Yun Zhuang” makeup style.
The Makeup and Clothing Style of Women during the Changqing Period of Emperor Muzong of the Tang Dynasty
Referring to murals from the same period and images of Róuqīng in the poem《嘲飞卿七首》(cháo fēi qīng qī shǒu) by Duan Chengshi (段成式 ; Duàn Chéngshì)
Hairstyle and makeup: Hair tied up in a 椎髻 (zhuī jì ; sharp bun), hair loose in a 丛鬟 (cóng huán ; layered bun), adorned with “Bai Bu Zhi 百不知” jewelry, eyebrows drawn in a low arch like a figure eight, forehead decorated with 蝶钿 (dié diàn ; butterfly-shaped ornament), using Xie Yun Zhuang 血晕妆 makeup, and lips painted with black oil.
Clothing: Wearing a dark red shirt with fish patterns, a purple skirt, and a colorful Peizi with beautiful embroidery on the shoulders.
Emperor Tang Wenzong, Taihe Period (827-835)
At the beginning of Emperor Tang Wenzong’s reign, he became deeply disillusioned with the excessive and extravagant trends in vehicle and clothing styles that were spreading across the country. As a result, he decided to implement a comprehensive policy of austerity, from the top down.
The first system related to this was applied within the royal family.
In the second year of the Taihe period (828), in the 5th month, Emperor Wenzong issued an order that read:
“All regions are requested to donate goods to the imperial treasury, including gold and silver decorations for the celebration of the four seasons and births, as well as items such as robes, woven fabrics, and other goods, which will be used to purchase silver and silk fabrics. After five years, this policy will be reviewed.”
At the same time, the emperor observed the simple clothing and lifestyle of his aunt, Princess Hanyang (汉阳公主 ; Hàn Yáng Gōngzhǔ), who had married during the Zhenyuan period (785) and continued to maintain that simple style of dress throughout his reign.
The style of the Zhenyuan period greatly impressed Wenzong. Therefore, in the same year, on the Ding Si day (丁巳 ; dīng sì), Wenzong issued an order to the royal princesses, instructing them to emulate the simple and modest style of Princess Hanyang’s clothing from the Zhenyuan period.
On one hand, Wenzong restricted the use of excessive jewelry: “From now on, at every event, no more than a few hairpins and combs should be used.” On the other hand, he also allowed some leniency so that the princesses were not required to be as austere as Princess Hanyang: “There is no need to wear clothes that are too short or tight.”
The system was then expanded to include officials and noble relatives:
“(Third year of Taihe, ninth month) Xin Si, an order was issued to both armies, various institutions, and palace officials to refrain from wearing clothing such as thick silk and other satin fabrics.”
“(Eleventh month, Jia Shen) Throughout the country, items made of new patterns should not be sent as tributes, such as fine threads, floral fabrics, and satin. All of these must be prohibited. This order will be in effect until the first month, and all threads should be burned.”
In the sixth year of Taihe (832), in the sixth month, on the Wu Yin day, Emperor Wenzong ordered Wang Ya (王涯 ; Wáng Yá), who was then serving as the Left Minister (尚书左仆射 ; shàng shū zuǒ pū shè), to regulate the clothing system. In the draft of the regulations, Wang Ya even specifically issued several provisions concerning women’s makeup—at that time, women’s clothing had become even more extravagant and striking compared to before.
As for the face, there was the practice of “removing the eyebrows and exposing the forehead,” meaning the natural eyebrows were shaved off, and the hair at the front of the forehead was also shaved to shift the hairline, making the forehead appear wider.
The “blood-red makeup (血晕妆)” style, which had been popular during the Changqing period, was now outdated. In this period, the focus of makeup shifted to drawing thick, eight-shaped eyebrows on the wide forehead.
As mentioned in《宫中曲》(gōng zhōng qū) by Xu Ning (徐凝 ; Xú Níng), a woman of great beauty discarded her old makeup, which gave her face a twilight glow when attending a banquet in the palace. Instead, she drew thick black eyebrows, a style that was then followed by all the women in the palace:
披香侍宴插山花，厌著龙绡著越纱。恃赖倾城人不及，檀妆唯约数条霞。身轻入宠尽恩私，腰细偏能舞柘枝。一日新妆抛旧样，六宫争画黑烟眉。
“Combing her fragrant hair at the banquet and planting mountain flowers, tired of the dragon silk cloth, nothing could match her beauty. Her sandalwood makeup only had a few traces of the twilight glow. Her body was light, deeply cherished, with a slender waist that moved with grace. One day, she replaced her old makeup with a new one, and all the women of the palace scrambled to draw thick black eyebrows.”
The concubines and wives of nobles wore very loose clothing, with sleeves as wide as three or four feet, and long dresses that trailed on the ground, over four feet in length.
They often wore silk and satin as fabric for their clothing, with patterns decorated through weaving techniques.
To make it easier to walk with their long, trailing dresses, many of them wore high, woven grass sandals made in the Jiangnan region.
Women’s Makeup and Clothing Style during the Taihe Period of Emperor Tang Wenzong
Referring to mural images from the same period and depictions of women found in Duan Chengshi’s poems《柔卿解籍戏呈飞卿》and《戏高侍御》.
Hairstyle and makeup: Hair in a high bun, two layers of curled side hair, with many pins and combs (the jewelry used is larger, referring to the jewelry found in the murals and jewelry objects found in the tomb); eyebrows are drawn with thick black shapes, and lips are smeared with black ointment.
Clothing: Wearing a light green spring silk dress with dragonfly patterns, and a saffron-colored satin skirt with graceful flower patterns, coupled with a light green silk Peizi.
In response to the excessive, strange, and extravagant fashion of women, Emperor Wenzong accepted the regulations drafted by Wang Ya and issued an order to enforce them throughout the country:
“Women’s clothing should be made with a width not exceeding five finger widths, the length of the dress that drags on the ground should not be more than three inches, and sleeves like orange sleeves should not be wider than one and a half feet.
Women’s hairstyles that are high and excessive makeup, such as removing the eyebrows and exposing the forehead, follow the trend and disrupt the usual etiquette; excessive expenditure on gold and silver jewelry is also requested to be prohibited.
Makeup and accessories such as hairpins, combs, and others, are requested to follow the old rules of the Zhenyuan period. After the order is issued, all institutions and local governments are requested to announce this, with a one-month deadline for improvements.
Furthermore, in the Wu and Yue regions, the making of high-headed grass footwear woven like thick silk, which did not exist in previous times, consumes a lot of time, harms labor, and is very luxurious and complicated, is requested to be stopped.
It is requested that each local official immediately supervise and prohibit this on the same day. For multi-colored footwear or high-headed footwear, as well as small grass footwear with flowers, they should still follow the old rules, while the rest should be regulated according to existing provisions.”
With the implementation of this system, expressions started to emerge from the people saying that ‘customs have changed’ and ‘there are no longer great customs, which are gradually diminishing.’
However, Emperor Wenzong realized that even though there were regulations, people still secretly violated them, and the royal family and nobility still lived luxuriously.
Therefore, he only ‘reduced the excess,’ that is, eliminated the overly conspicuous luxury, ‘to change it with simplicity.’
On the fifteenth night of the first lunar month in the fourth year of the Kaicheng reign (839), Emperor Wenzong watched the Lantern Festival at the Xiantai Hall, attended by the empresses and princesses.
When he saw that Princess Yan’an’s dress was too wide and loose, he immediately scolded her and expelled her, saying that the princess’s clothing exceeded the rules, and ordered her husband (Dòu Huàn 窦澣), to be fined for two months’ worth of salary as punishment.
Perhaps because he saw that the Emperor strictly imposed punishment just because the princess’s clothes were too wide, this truly demonstrated his determination to uphold simplicity. Therefore, in 2nd month of the same year, Li Deyu (李德裕 ; Lǐ Déyù), the Governor of Huainan, specifically reported to Emperor Wenzong that women’s clothing in the region was too wide, which did not support a frugal lifestyle, and he ordered restrictions:
“Regarding women’s clothing, long dresses with large sleeves, the court system has not yet been applied, as a small servant, I, by the will of heaven, among the villagers, their sleeves are four feet wide, now I order them to be limited to one and a half feet; dresses that drag four feet, now I order them to drag only five inches. This is related to the reform, and I do not dare not report it.”
However, what the leader of the country suggested could not suppress the shared passion of society at that time.
After Emperor Wenzong’s reign, the trend of luxury in the Yuanhe style revived.
In the late Tang dynasty mural paintings, there are many images of women with their hair adorned with many pins and combs, wearing dresses with large and long sleeves.
Even during the Five Dynasties period, this trend persisted—an intellectual named Chen Tao (陈陶 ; Chén Táo), who traveled to Western Shu (西蜀 ; xī shǔ), heard a woman named Jin Wuyun (金五云 ; Jīn Wǔyún) singing at a banquet hosted by the King of Shu. Wuyun said that she had once been a concubine in the Tang palace, but due to war, she was stranded among the common people and eventually arrived in Western Shu.
Her makeup, in the eyes of Chen Tao, still looked like the Yuanhe style: ‘Old makeup with pins and combs, light clothing, and Yuanhe makeup with dark blue eyebrows. The hair is slightly loose, a slim body, with teeth as beautiful as ivory and fingers holding mountain ginseng.’
And here we are, at the end of this 4th journey—
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