The styles of women's hair bun in Sui and Tang Dynasties are diverse and colorful. According to Duan Ji, Yu Wen Ji of Dressing Table and other documents, as well as painting and archaeological discoveries, there are as many as forty or fifty kinds of female hair, among which the most distinctive ones are high hair, flower hair, vertebral hair, double hair, falling horse hair, disturbing makeup hair and double hair. On top of the bun, it is decorated with all kinds of gold and jade pins, rhinoceros combs and so on. , so it is also called "Baoji".
Women wear makeup to pursue fashion, and many popular steamed buns are mostly initiated by aristocratic women. In the early years of the Tang Dynasty, on the basis of the flat-topped bun in the Sui Dynasty, the bun was slightly raised, and there were two styles: "half-turned bun" and "reversed bun", among which the most distinctive "half-turned bun" was handed down from the court during Tang Gaozu's reign. After the Tianbao period, it was popular for ladies to wear fake steamed buns, which were called "real steamed buns" at that time. "Ming Taizu Miscellaneous Notes" records: "Yang Guifei tried on a yellow skirt and used fake buns as jewelry. At the end of "Tianbao", there is a nursery rhyme saying,' Yi Ji is thrown into the river, and the yellow skirt drives the water'. " Yang Guifei's kindness to Geisha promoted the popularity of Geisha in society. In Tang Xizong, imperial secretary's hair is tight and tall. After the Huang Chao Uprising Army occupied Chang 'an, it fled to Chengdu, Sichuan, and at the same time introduced the tight-rooted bun into Sichuan. "All women in Shu are effective" is called "prison bun".
The style of bun varies with people's age, marriage and occupation. At this time, unmarried women have to tie a double bun. Double bun, also known as "double helix bun", combs the hair on both sides of the head, so it is also called "bun", "girl" and "servant girl", which has become synonymous with unmarried women. At the same time, most handmaiden wear double bun on their heads, which can be proved from Dunhuang murals. In the Tang dynasty, only married women changed to comb their hair bun. Gaoji is the most popular hairstyle in the Tang Dynasty. Dressed in a high bun, The Cornus Girl written at the beginning of the year is a woman from Cornus officinalis, "with a high bun with newspaper clippings on her head and a long skirt with knots". On festivals, a golden hairpin is inserted into a tall bun, which becomes a "treasure bun". Judging from the existing data, this kind of high bun is the most popular among prostitutes, so the biography of Li Wa in Yuan Dynasty said, "The bun is one foot high and can be seen in front of the door." Write * * * recruiting high bun.
At the end of the Tang Dynasty, the most popular bun styles in society were vertebral bun and tossed bun. The feature of vertebral bun is that it is shaped like a vertebra, without ornaments or makeup. "New Tang Book Five Elements" says: "Women in the Yuan Dynasty and the late Tang Dynasty wore round temples and spines, no temples and no vermicelli, and smeared ointment on their lips, which looked like people crying." This style of bun and makeup is Bai Juyi's Contemporary Makeup. "Five Elements" also records: "At the end of the Tang Dynasty, Kyoto women combed their hair and held their faces with their temples, which was like a vertebral bun, which was called a home bun." This face-to-temple hairstyle is the most distinctive hairstyle in the late Tang Dynasty. In addition, there is a "cosmetic bag" at the end of the Tang Dynasty. Bai Xingjian's "Three Dreams" says: "There are buns in the palace at the end of the Tang Dynasty, which sweep the makeup bun, and the shape is like a face, and the wind scatters the temples." This hairstyle is popular in the palace, which is similar to emitting, making sparks, and like a storm rising from the bottom up. It is very unique and should be a variant of vertebral bun.
The makeup of women's faces in Sui and Tang Dynasties also has strong characteristics of the times. The first is the widespread popularity of cosmetics rouge and Diane. Rouge, also known as "Yan Zhi", originated at the foot of Yan Zhishan in the Western Regions and was extracted from a flower named "Red and Blue". In the Tang Dynasty, it was popular for women to use rouge as red makeup. That's the reflection in the Tang poetry, Li Bai's Midnight Wu Ge, with her white hand stretched out through the green branches, and her rosy robe was dyed red in the golden sunshine. Du Fu's "Wedding Farewell", "Luo Juan quit and washed his red makeup." There are also some sentences in Dunhuang Quzi Ci, such as "Red makeup weeping for He Jun", "Red makeup following Lop, green temples chasing duckweed". This red makeup is made of rouge. In the Tang Dynasty, rouge was called "red powder" and poets sang it again and again. Meng Haoran's Poem of Love in Spring contains "powder in front of the mirror", while Du Mu's "Ministry of War Seats" contains "an encounter with wild words shocked the house, and two lines of red powder returned at one time". It has also been sung many times in Dunhuang Quzi Ci. There is a line in "Broken Array" that says "burning incense and praying for the spirit should be Xiaoxiang red powder" to write about women's love. In Bamboo Branch, there is also a saying that "I hate Xiao Lang for wandering around for many years, not using red powder in front of the mirror, but burning incense to pray for blessings". It can be seen that when women in the Tang Dynasty are sad, they will not dress up as red makeup with red powder. Women in Sui and Tang Dynasties paid great attention to the modification of eyebrows. Thrush is mainly worn. The so-called "Dai" is a blue-black pigment, which was specially used to supply female thrush in ancient times. Generally speaking, it is painted with blue-black pigment illuminated by cyan branches. Therefore, there is a phrase "Liu Cui painted eyebrows" in Dunhuang music. There are many styles of eyebrow ornaments, and different styles are popular in different periods. Long eyebrows were very popular in Sui Dynasty, such as Wu Jiangxian, a maid-in-waiting in Yang Di, who was good at drawing long eyebrows. In the early Tang Dynasty, the eyebrows were still thick, and there were such sentences as "lightly combing the temples and sweeping the eyebrows" and "scribbling the eyebrows". To kaiyuan and tianbao years, thin eyebrows and long eyebrows became popular again. Liu was a poet in the last years of Tianbao. He wrote a poem "Zhao Jingmei", which described the popularity of slender eyebrows in Chang 'an. There is a poem that says, "New works are like flying moths and eyebrows, who will be with the moon?" . "After a few days of visits, the effect spread all over the city. "Historically, Tang Xuanzong had an eyebrow fetish and was very enthusiastic about women's thrushes. He ordered the painter to draw ten eyebrows, including Yuanyang eyebrow, Hill eyebrow, Wuyue eyebrow, Sanfeng eyebrow, Pearl eyebrow, Moon eyebrow, Split eyebrow, Smoke eyebrow, Fluttering eyebrow and Inverted eyebrow. It can be seen that there were various styles of eyebrow ornaments at that time.
In addition to red makeup, there are yellow makeup, flower shape, oblique red, curled face, hooked lips and so on. Yellow makeup is to decorate the forehead with a yellow dye, so it is also called "forehead yellow" and "crow yellow". Zhu Jiao's poem says, "Yellow forehead invades my hair", and Lu's poem also says, "The crow is yellow in the first month". The flower bud is cut into birds, insects, flowers, leaves and other patterns with various materials in the brow of the forehead and pasted on the forehead. Oblique red is a crescent-shaped painting on the cheek and temple, which looks like a wound. Face roller, also known as "flower roller", uses painters and cinnabar to point out various images on both sides of women's cheeks. Or the shape of the moon or money, while others stick gold foil and jade with many patterns. This kind of rolling pin was popular in the late Tang and Five Dynasties, and some of them covered their faces with all kinds of patterns cut out. Lip ornaments mainly refer to lips. In the early Tang Dynasty, women liked red lips. There are some sentences in Dunhuang Quzi Ci, such as "Zhu contains broken jade" and "Tan color is lightly applied to the lips". In the later years of Xian Zongyuan and Xian Zongyuan, women used strange makeup. Instead of rubbing red powder on their faces, they drew vermicelli on their lips. According to Yuan Jianyin's Record of Dressing Table, there are many kinds of women's lips in Tang Dynasty, such as pomegranate jiao, scarlet spring, scarlet spring, tender spiced, Banbianqiao, Wanjinhong, Tan Zhixin, dewdrop, Neijiayuan, Tiangong Bridge, Luoeryin, red heart, fishy faint, little Zhu Long, double Tang Mei, flower slave appearance and so on. In short, petite is the most important thing, and the most beautiful thing is the cherry mouth.
Jewelry During the Sui, Tang and Five Dynasties, life was colorful and people had a high aesthetic taste, which created a splendid and unique jewelry culture.
There are all kinds of jewelry in this period, including hair accessories: hairpin, hairpin, stepping, winning, comb, grate, gold cymbals, pearl flowers, hairpin flowers and so on. Necklace ornaments: necklaces, collars, rosaries, tassels, etc. Earrings: earrings, earrings; Jewelry: rings, bracelets, armbands, etc. Belt accessories: hooks, buckles, belts, etc. Waist ornaments: fish, sachets and incense sticks are C, and the hair style changes with the prevalence of high bun. In addition to inheriting the popular style in the Jin, Southern and Northern Dynasties (the tip of the hairpin turned outwards to make a hook to prevent the hairpin from falling), the hook on the hairpin was gradually removed, or the hairpin with a shorter body was made. In addition, hairpins made of two or more materials are another feature of hairpins in this period. A hairpin unearthed from Sui Tomb in Changsha, Hunan Province, made of jade and silver. It is also a characteristic of hairpin to make flowers of various shapes, especially after the middle and late Tang Dynasty. The shape of a hairpin is usually designed according to its purpose. Generally speaking, it's easier to put your hair in a bun. Hairpins used for decoration are beautifully made and actually play the role of sideburns. This kind of hairpin has long hair, and the hairpin head is made into various delicate flowers. A "honeysuckle-plated hairpin" was unearthed from the Tang tomb in Changxing, Zhejiang, and a large "silver-inlaid amber butterfly hairpin" was also unearthed from the tombs of the Five Dynasties in the western suburbs of Hefei, Anhui. Exquisite workmanship and beautiful shape reflect the characteristics of this period.
During the Sui, Tang and Five Dynasties, the production technology of jewelry reached a very high level, and many novel and exquisite jewelry shapes appeared. For example, the most exquisite Hosta appeared in the Tang Dynasty. Cui Yu hairpin is a kind of hairpin decorated with bird feathers. Yu Haoran's poem "Tingju" says: "The red Luo with bone spurs is stuck by incense." That's it. The process of making this hairpin is very complicated: first, the hairpin frame is made of gold and silver, and then feathers are stuck on the hairpin frame, which is usually emerald green. In addition to the emerald color, some hair clips are decorated with a circle of "Phnom Penh" or inlaid with gems, which will make them have a gorgeous decorative effect. In the female jewelry of the Tang Dynasty, the use of step-rocking is very common. There are many kinds, such as golden step, jade step and crystal step. "Biography of Yang Taizhen" records that on the day of Yang Guifei's membership, Emperor Xuanzong of Tang Dynasty "took the purple library in Lishui Town as a stepping stone, put on a makeup pavilion and kissed his temples." Bai Juyi's "Song of Eternal Sorrow" says: "The clouds bloom and the golden steps shake." Li He's "Song of the Old Lady Picking Jade" describes a kind of walking in picking jade. As the saying goes, "Picking jade is beautiful, but walking is lewd." Judging from the unearthed stepping stones, there are various styles, such as "stepping stones with gold inlaid jade" and "stepping stones with four butterflies and silver". The former has a pair of wings on the upper end of the golden hairpin, inlaid with jade pieces, and inlaid with pendulous jade spikes, which will shake when it moves slightly; In the latter, four butterflies spread their wings and danced on the silver hairpin, and there were pearls and jade pendants under them, which shook at every move.
During this period, the custom of women wearing jewelry has many new features. First, the wind of combing is extremely prosperous. According to documents, women in the Tang Dynasty liked to insert combs. Combs are made with great care and rich materials, including gold. Xue's "The Female Crown" says: "The Cui comb is exhausted"; There is also Yin, Mrs. Hua Rui's "Gong Ci": "Oblique silver grates slowly wrap their heads"; There is a jade system, and Yuan Zhen's poem "Six Years of Spring" says: "Jade combs fragrant soil"; There are also rhinoceros horns and white horns. At that time, women inserted combs horizontally, reversely and inserted several small combs. The woman in Zhang Xuan's Picture of Tao Ren wears several combs on her head at the same time, which reminds people of Yuan Zhen's poem "The head is full of small combs and the surface is covered with cymbals". After the middle Tang Dynasty, women like to insert two big combs with their teeth facing up and down. This can be seen from Zhou P's "The Picture of a Lady Shake a Fan" and Dunhuang Mogao Grottoes murals. Second, Zanhua is popular. The image of women wearing Zanhua in the Tang Dynasty can be seen from the famous "Zanhua Ladies Picture". At that time, the hairpin flowers were golden and emerald, which was very precious. The production technology of hairpin flowers in Tang Dynasty was superb. Japan's Yamato Mandarin Pavilion has flower pins of the Tang Dynasty. Around a sunflower-shaped stamen, eight three-dimensional petals were made with gold thread, which looked like a blooming chrysanthemum, exquisite and unique. In addition to gold, there were "Cui" and "Bao" popular at that time. The former is made of green bird feathers. The latter is inlaid with precious stones on gold cymbals, or directly made into flowers with precious stones. Third, wear armbands.
At first, armbands were worn on the arms. During the Sui and Tang Dynasties, the position of the armband gradually moved down, and finally fell on the wrist, becoming a wrist ornament. In Bai Juyi's poem "The Salt Merchant's Wife", the woman "has a rich wrist strap and a narrow silver hairpin", which shows that the woman's silver hairpin was already worn on her wrist at that time. On the women's pottery figurines unearthed from the Sui tomb in Wuchang, Hubei Province, there are several lines on the wrist, that is, the image of armbands. The images of women wearing armbands on their wrists can also be seen in the Walking Map and the Flower-wearing Ladies Map. Fourth, you seldom wear earrings or earrings. According to documents and archaeological excavations, earrings and earrings were not popular among women in Sui and Tang Dynasties, mainly because there were no ear holes in this period. Only among minority singers and dancers and minority women, earrings and earrings are rarely worn. Fifth, Central Asian jewelry was introduced into China. 1In August, 957, a necklace was unearthed from the tomb of Xi Sui Li Jingxun. The chain of the necklace consists of 28 gold beads inlaid with jewels, with buttons at the top and beautifully made pendants at the bottom, all inlaid with lapis lazuli, which are exquisitely made and strangely shaped. The whole necklace is the same as that of Central Asia, and lapis lazuli is also produced in northeast Afghanistan. Therefore, most academic circles believe that this necklace was made in Central Asia and introduced to China.