"The Hairpin Lady" was originally a single silk painting, which was spliced afterwards (the dotted line in the figure is the seam)
a lady with a butterfly
the evolution of the eyebrows of women in the Tang Dynasty
Sketch of the makeup order of women in the Tang Dynasty
Tang Schematic diagram of the makeup of Korean women
Schematic diagram of the hair styles of women in the Tang Dynasty
Plump ladies
The core reminder
They have high buns, flowers and rich makeup, their light gauze is graceful, and their bodies are plump... For the past few days, they represent the highest level of Chinese meticulous portrait painting. "A Picture of a Hairpin Lady" is being exhibited at Liaoning Museum, and it has attracted the attention of many viewers. Through this work full of realistic painting style, we can understand the details of life of aristocratic women in the Tang Dynasty, such as the clothes, hair styles, and beauty makeup, and can deeply feel the open atmosphere of social life in the Tang Dynasty. The custom of dressing up has been influential to this day.
"Hairpin Lady": the beginning of Chinese realism figure painting
The "Hairpin Lady" collected by the Liaoning Provincial Museum, 46 cm in length and 180 cm in width, was painted by Zhou Fang, a famous painter in the Mid-Tang Dynasty.
Because of the strong national power in the Tang Dynasty, "the public and private warehouses are abundant" (Du Fu's "Recalling the Past"), people generally began to admire the image of healthy and plump women. Therefore, the women in the Tang Dynasty mostly regarded fat and rich as their beauty. Therefore, the ladies in Zhou Fang's writings are all rich in makeup and plump body. His paintings "the clothes are simple and strong, the colors are soft and beautiful, and the richness is the body", which was highly regarded by the court and scholar-officials at that time and was regarded as the best.
Dong Baohou, one of the curators of the "Meeting the Tang Dynasty" Calligraphy and Calligraphy Cultural Relics Exhibition and Director of the Academic Research Department of the Provincial Museum, introduced to reporters that the "Picture of Hairpin Lady" adopts a tiled drawing method, depicting several beautifully dressed aristocratic women. The scene of flower appreciation in the garden at the turn of summer. The painting depicts 6 women, including 5 hairpin ladies and 1 fan waitress, showing the pictures of funny dogs, flowers, cranes, and butterflies. In the middle of the characters, there are two puppies and one white crane. The two puppies were Pugs, or Pugs. They were introduced to China from the Fushi Kingdom (called Daqin in ancient times, or Eastern Roman Empire) during the Tang Dynasty and were court pets. Although they live a leisurely life, making fun of white cranes, puppies, and butterflies, and there are maids holding fans, but through their appearance, they can find that their spiritual life is not without a sense of loneliness and emptiness.
This picture does not have the background of a garden courtyard. The six women with high updos, faint eyebrows, exposed breasts and voluminous bodies reflect the characteristics of the times of the image of ladies in the Mid-Tang Dynasty. The ladies are similar at first glance, but in fact they have their own characteristics, with different clothes, postures, eyebrows, and facial expressions. The first person from the right is wearing a red dress with a blooming peony flower in his head and holding a whisk in his left hand to tease the puppy. The lady standing on the opposite side wore light-colored gauze, and the red dress was decorated with flowers. She lifted the collar of the gauze skirt with her right hand, seemingly sultry.
The third is the maid holding a fan. In contrast, her dress and hair style are not outstanding, but her expression is serene and deep, which is in sharp contrast with other frolicking people. Next is an aristocratic woman with a lotus in a bun, holding a red flower in her right hand, watching it intently. The fifth woman is small and seems to be coming from a distance, wearing a rare collar around her neck. The last lady has peony flowers in her bun. Holding the butterfly that she had just caught in her right hand, she showed a graceful and graceful posture in the abundance and fitness. The ladies at the front and the end of the volume all make the gesture of looking back and looking forward to the pets, and gather the characters and activities of the entire volume into a complete picture. Looking closely at the depiction of the characters in the painting, the hairspring is the main method, the strokes are light, soft and charming, and the force is even and peaceful. Under the rendering of colors, it successfully shows the texture of leno and skin.
"The content of paintings before the Tang Dynasty were mostly historical stories, folklore, emperors, generals, and religious figures. The themes were mostly'Ming admonishment, advancing and sinking', that is, persuading people to cut off evil and do good, see the virtuous. Improving spiritual cultivation, such as "Picture of Female History Admonishment" and "Book of Filial Piety", etc." Dong Baohou introduced that by the beginning of the Tang Dynasty, the painter had already pointed his brushwork at the gentry and real life, regardless of whether it contained moral meaning. For example, "Picture of Hairpin Lady", which describes the daily life of aristocratic women in the Tang Dynasty; such as "Practice Picture", which describes the working women of the lower class. These paintings can represent the realism style of the Tang Dynasty, like a mirror. Let us understand the social life in the Tang Dynasty, as well as the popular fashion in the Tang Dynasty. Therefore, this period was the beginning of the expression style of Chinese realist figure paintings, indicating that the Tang Dynasty was relatively open-minded in society and politics, and only works that reflected real life could be handed down. "Hairpin Lady Picture" also became a classic Tang Dynasty.Beauty painting specimen type works.
long scroll: originally composed of several screen paintings.
"Hairpin Lady Picture Scroll" untitled postscript. In the lower left corner of the painting center, the seal is covered with the "Shaoxing" Chronicles and Pearls, which proves that this painting was once in Tibet and Zhao Gou, Gaozong of the Southern Song Dynasty Inner House. There is Jia Sidao's "Yuesheng" gourd seal on the back of the painting, which proves that it was owned by Jia Sidao (named Yuesheng), the prime minister of the Southern Song Dynasty and the collector of calligraphy and painting. However, the delivery status of this scroll before the Northern Song Dynasty is unknown, and the collection status between Yuan and Ming Dynasties is not recorded and cannot be verified. Judging from the appreciating mark on the painting, it was collected by collectors Liang Qingbiao and An Qi in the early Qing Dynasty, and later collected in the Qing Dynasty. It was later transported to Changchun Puppet Palace via Tianjin along with other paintings and calligraphy in the name of the last emperor Pu Yi. After the Japanese invaders surrendered in 1945, these paintings and calligraphy were intercepted by the People's Army and returned to the Northeast Museum, now the Liaoning Provincial Museum.
In 1972, this painting was re-mounted in the Palace Museum in Beijing. When it was unmounted, a shocking secret was discovered: the painting was originally not a whole piece, but a piece of straight silk spliced together. Based on this, some scholars speculate that this picture was originally a painting of a separate screen from the Tang Dynasty.
In the Tang Dynasty, influenced by the foreign Hu Feng, there was a habit of using Hu beds. A circle of screens were often placed behind the Hu beds for decoration and shielding. The difference between clutch screens and ordinary screens is that they can be painted separately, and different screens can be spliced together. Combine them together to form another visual effect. This clutch screen painting was removed from the screen before the Northern Song Dynasty, and the vertical painting was spliced and cut into a horizontal scroll, and there were supplementary paintings and pens, but it is still a rare Tang painting boutique in existence.
Regarding the creation era of "The Picture of Hairpin Lady", ancient calligraphy and calligraphy connoisseur Yang Renkai has conducted many years of research. He discussed the changes in costumes during the Zhenyuan period of the Tang Dynasty, the shapes of "short eyebrows", "moth eyebrows" and "eight-character eyebrows". During the Zhenyuan period of the Tang Dynasty, women like to use "red makeup" as high buns, hairpins and swaying ornaments, Xiyu Zizi ( The breeding of pugs, the planting and popularization of peony flowers in Chang'an area, and the production of silk fabrics in Jianghuai area prove that the characteristics of the times reflected in the "Picture of Hairpin Lady" are exactly the social ethos in the first year of Dezongzhen in the Tang Dynasty. At the same time, Yang Renkai also confirmed his views from the aspects of the painting technique, pattern drawing, and flower painting. There is also Xu Bangda, a calligraphy and painting connoisseur who holds the views of the Tang Dynasty. He believes that "this drawing is clumsy and simple, and the silky texture is also ancient, and it is indeed not a thing after the Song Dynasty." From the perspective of the image of the woman and the dress, the picture of "hairpin" (that is, "the picture of a lady with hairpin" ) Should belong to the works of people in the middle and late Tang Dynasty. The painting method is natural and vivid. It should be a creation, not a copy. That is beyond doubt." According to Dong Baohou, in recent years, the study of "The Picture of a Hairpin Lady" has been a hot spot in the academic circle, and there is basically a consensus that the work is a work of the Tang Dynasty.
In addition, the theme depicted in "The Picture of Hairpin Lady" is generally regarded as the content of ladies going out in the bath and enjoying the coolness and enjoying the flowers in the garden. Some scholars also believe that this painting represents the unique customs of court ladies in the court of the Tang Dynasty. The butterfly chooses whom to fall on, proving who is the most beautiful. The first lady on the left in the painting, holding a butterfly in her hand, looks like the most beautiful winner. But the butterfly and the flower are metaphors fortunately to follow the butterfly in Emperor Xuanzong of the Tang Dynasty.
Costumes: Women's clothing in the Mid-Tang Dynasty popular gauze dresses, long skirts and silks. The delicate fabric was developed. "Hairpin Lady" shows the most popular women's style at the time-a topless long skirt with a large-sleeved gauze jacket, which makes women more slim, wealthy and dignified.
is detailed and detailed. The five ladies in the picture have the same styles of clothing. They all wear topless long skirts. The skirts are as high as the chest and are tied with a large belt. It can be described as a "slow tie skirt with half chest" (Zhou Li in the Tang Dynasty) "The Neighbor Girl"); and the light and transparent gauze jacket is as thin as a cicada's wings, with loose large sleeves and no ties around the waist. ·Half a day of falling cats and remnants"). Using leno as the clothing material for women's clothing was a characteristic of Tang Dynasty clothing. This kind of clothing without underwear and only covered by light gauze was closely related to the freedom and openness of society at that time. According to the research of the reporter, this topless style is unique in the history of ancient costumes. From the Song Dynasty onwards, women's clothing gradually became more conservative and simple. In the Ming and Qing Dynasties, most of them were high-necked neck guards. The maid holding a fan in the picture is wearing a cross-collared blouse with a wide belt around her waist. This is a common way of dressing court maids.
Women’s skirts in the Tang Dynasty were of various colors, and red skirts were particularly fashionable because of the pigments dyed in red skirts.It is mainly extracted from pomegranate flowers, so the red skirt is also called "pomegranate skirt". In "A Picture of Hairpin Ladies", three women wear pomegranate dresses. "Red skirt jealous to kill pomegranate flower" and "Pattered Luo skirt red like a fire" in Tang poems all describe the phenomenon of women wearing red skirts at that time.
In the Tang Dynasty, in addition to skirts and shirts, women's clothing was also a basic element, which was widely popular. The silk is a long scarf worn by a woman in the Tang Dynasty on her shoulders and arms. The fabric is made of soft fine gauze. It is similar to today's scarves, except that it is longer than the scarf, usually more than two meters. There are various paintings and silver on it. It is decorated with pictures and other patterns. When using it, you can put it on your shoulders and wrap it between your arms. It dances with the wind when you walk, light and charming, just like a fairy. Some scholars believe that Phibo may originate from Persia, and this fashion was introduced to China through the Silk Road.
Ma Zhen of the late Tang Dynasty explained in "Chinese Ancient and Modern Notes: Women Pisi": "There is no rule in ancient times. In Kaiyuan, the edict ordered the twenty-seventh wife and the prince of Baolin to attend the ordinary banquets, and ordered the paintings. Phi silk, so far.” This sentence says that during the Kaiyuan year, Tang Xuanzong issued an edict: The twenty-seventh woman in the palace, Baolin, the maiden, and the beloved were all attending the harem banquet. Must wear embroidered drapes with patterns. From then on, "Go up from the palace, go down to Pishu, and imitate each other, no distinction is made between the noble and the poor" ("Old Tang Book·Yufu Zhi").
headwear: wig supporting a luxurious tall bun
As the culture of the Tang Dynasty entered a great development and integration, the clothing culture also showed a prosperous scene. The reporter consulted historical materials and found that the commonly used hair buns in the Tang Dynasty included high bun, flower bun, wavy bun, and horse bun. Almost all the popular hair styles since the Wei and Jin Dynasties have been creatively inherited. The style is also obviously influenced by surrounding ethnic minorities, such as Uighur bun and Wuman bun.
There are two types of women's hair styles in "Hairpin Lady". One is a tall bun combed by 5 women. The method of dressing is to comb the long hair backwards and twist them upwards. The long hair on the front of the forehead is turned into a wall shape on the top of the head. The long hair on the left and right sides are attached to the two sides of the front hair. The hair on the back is also turned upwards, and will be on the top of the head with other long hairs. In this way, it became a lofty updo with a majestic form, almost more than twice the face. Another type of bun in the picture of
is the bun of the maid holding a fan. Her bun is combed back into two cross-shaped buns, with hairpin inserted in the bun, and a vermilion ribbon in the middle, making two The buns are tightly put together to form a towering petal-style bun. This combing method is different from the double frizz-style bun commonly used by maids in the Tang Dynasty, and it is the popular style of this period.
Dong Baohou introduced that although there were many different hair styles for women in the Tang Dynasty, they had basically the same characteristics, that is, they admired the tall and majestic hair bun on the top of the head. In the Tang Dynasty, Yuan Zhen had a poem that said: "The bun and 鬟 E E is one foot high, and the spring breeze is seen standing in front of the door." This is a portrayal of this type of bun and 鬟. Li He, a poet of the Tang Dynasty, also had a poem "Golden Alice E's bun, melancholy cloud", describing the height of the bun at that time.
Of course, ordinary women’s hair can’t reach this height, so wigs were commonly used at that time. In addition to braided hair into wigs, wig pads made of wood or paper were also added to the hair to raise the bun. It is a bun. Wood and paper wigs were unearthed from the Tang Tomb in Turpan, Xinjiang. Therefore, experts generally believe that the tall bun of the woman in "The Picture of Hairpin Lady" must have used this kind of righteous bun.
In addition, on the towering clouds of the ladies in the "Picture of Hairpin Ladies", from the right, there are peony, hydrangea, lotus, begonia and peony flowers in turn. Because the Tang people value peony and think it is the king of flowers, the flower of wealth, so rich girls like to wear peony flower hairpins on their hair buns to show their charm and beauty. In Li Bai's "Gongzhong Xing Yue Ci", there is a sentence of "mountain flowers in a bun". The hair accessories depicted in the "Hairpin Lady" also reflected the flashy and extravagant aesthetic fashion of court women at that time.
Historical Records
SHIJI
Women in the Tang Dynasty are prevalent in shaving their eyebrows
Today, women's makeup follows the "international trend", focusing on eye shadow and eyebrow tattoos. In ancient China, women never worked hard around their eyes. People value the pair of eyebrows above the eyes. According to Dong Baohou, in traditional concepts, the sexiest part of a woman’s face is not the lips or the eyes, but the carefully drawn eyebrows. Therefore, “eyebrows” in ancient texts often refer to beautiful women and express love with eyebrows. Freehand brushwork has also become an important means of lyricism.
In the Tang Dynasty, the worship of eyebrows reached its peak, and the shape of eyebrows was changeable. According to historical records, Emperor Xuanzong of Tang Dynasty was infected with "eyebrow addiction" and was very enthusiastic about women's eyebrows. Zeng LinghuagonghuaTen eyebrow pictures popular in the palace: Mandarin duck eyebrows (eight-shaped eyebrows), small mountain eyebrows (distant mountain eyebrows), Wuyue eyebrows, Sanfeng eyebrows, vertical pearl eyebrows, moon-ridged eyebrows (but moon eyebrows), split point eyebrows, Hanyan Eyebrows, Fuyun eyebrows (Huanyan eyebrows), and faint eyebrows. All kinds of eyebrow shapes are shaved off the original eyebrows, and then dipped in cyan paint with a brush, to freely draw out your favorite eyebrow shape, called "thrush". These strange thrush styles are also reflected in the unearthed pottery figurines, murals and paintings handed down from the Tang Dynasty. The poet Du Mu of the Tang Dynasty wrote in the poem "Boudoir Love": "Juanjuan but moonbrow, new bun learns to fly". There was also a poem by Su Dongpo in the Song Dynasty: "Chengdu painters open their ten eyebrows, but the smoke is overwhelmingly contending for novelty."
After the Tang Dynasty, the style of thrush became more popular, even some little girls, following the appearance of adults, painted their eyebrows. For example, the poet Li Shangyin of the Tang Dynasty "Untitled" poem: "Eight-year-old steals a mirror and can draw long eyebrows." As for court ladies, thrushes are even more important, as evidenced by Zhang Hu in the Tang Dynasty: "Guo Guo The wife accepted the Lord’s favor and rode into the palace gate. But she was disgusted with the color of the powder, so she swept her eyebrows toward the supreme.” Although Mrs. Guo Guo relied on her country’s beauty and no powder, she still had to paint her eyebrows. This tradition has been retained to this day.
"As a popular culture, the eyebrow makeup styles of the Tang Dynasty showed the rule of thin eyebrows-broad eyebrows-thin eyebrows." Dong Baohou said, in "The Picture of Hairpin Ladies", the eyebrows of ladies are extremely short and wide, and the ends are raised. The sturdy and thick short and broad eyebrows are representative of the style, which matches the characteristics of the rich body and generous face of the women in the Tang Dynasty, and it is popular for a while. This broad and heavy pursuit of eyebrow makeup is unique in the history of eyebrow makeup in China, and it has deeply affected neighboring countries with the cultural exchanges between China and foreign countries. For example, the Japanese geisha eyebrow makeup that has been retained until now is the short and broad eyebrow makeup of the Tang Dynasty. The continuation.
(picture provided by Liaobo)
