In Tian Xiwei’s new historical drama Marry the Golden Hairpin (嫁金钗), she wears eye‑catching long drop earrings across many looks. Some are strung with turquoise and colourful beads, while others hang from fine gold chains. These intricately made ornaments nearly reach her shoulders. Did such dramatic ear pendants really exist in ancient times? Long dangling earrings date back to the pre‑Qin era, yet styles and popularity shifted greatly through each dynasty.
During the Shang and Western Zhou dynasties, jade jue (玦) were the mainstream ear ornaments in the Central Plains. Nomadic groups on the northern steppes already wore drop‑style earrings made of gold and jade with bold, simple shapes. Golden ear pendants unearthed in Beijing and Shaanxi are linked by scholars to northern nomadic cultures.
From the Eastern Zhou to the Han Dynasty, short barrel‑shaped ear ornaments called Erdang (耳珰) were popular among people of the Central Plains. Made of jade, glass or agate, they were modest and understated. Meanwhile, nomadic communities developed sophisticated multi‑tiered drop earrings. Relics from the Warring States and Han periods have been discovered in Xinjiang and Inner Mongolia.
The Wei, Jin, Southern and Northern Dynasties marked a key turning point for long earrings. Gold earrings with chain tassels became widespread, especially among northern ethnic groups including the Xianbei (鲜卑) and Xiongnu (匈奴). Many examples were excavated from Northern Wei tombs. Some featured a single gold chain ending with a gemstone, while others used multiple staggered strands. A few pieces reached 20 centimetres long, with mature filigree and inlay craftsmanship. Han women rarely wore them at this time.
In the Sui and Tang dynasties, noble women in the Central Plains generally did not pierce their ears. Long tassel earrings remained uncommon and were mostly worn by female musicians and dancers to add graceful movement during performances.
Ear piercing made a comeback in the Song, Liao (辽) and Jin (金) periods, though aesthetic tastes diverged sharply. Song people in the Central Plains preferred delicate, small earrings shaped like fruits or flowers. The Liao and Jin inherited the northern tradition of long drop ornaments set with agate, turquoise and pearls. The famous earrings unearthed from the tomb of Princess Chenguo, with long amber and pearl pendants, perfectly represent this style.
Tassel earrings grew popular in the Ming Dynasty. Court ladies and ranked noblewomen favoured them. Designs included single‑strand drops and lantern‑shaped pieces with spreading tassels, most falling roughly to the chin. Lantern‑style tassel earrings have been found in Hebei (河北) and Nanjing (南京).
The Qing Dynasty was the golden age of tassel earrings. Women across all social classes wore them. The imperial custom of three earrings per ear included rich tassel styles decorated with kingfisher feather inlay and gemstones. A large number of surviving Qing tassel earrings prove how widely loved they were.
Marry the Golden Hairpin draws loose inspiration from Han‑Dynasty aesthetics. As a romantic historical drama rather than a rigorous historical production, it prioritises visual charm and character vibe over strict archaeological accuracy. Long golden tassels with jewels instantly signal nobility to audiences. On camera, these earrings balance tall hairstyles and costumes, soften facial lines and create vivid motion when they sway. Similar earring types existed in history, but the drama’s pieces are artistic reimaginations tailored for filming and modern tastes.
