Have you ever been puzzled by scenes in historical dramas like 'The Willow Boat' where characters debate whether 'Twelve Hairpins' are appropriate for a certain rank? Today, let's delve into the significance of these 'Twelve Hairpins'.
A key term here is 'Huashu' (花树), which refers to floral hair ornaments. The practice of using the number of Huashu to denote rank began in the Sui and Tang dynasties, with the quantity corresponding to the wearer's status. Similarly, 'Dianchai' (钿钗), or jeweled hairpins, followed this system but were worn with different ceremonial attire.
For example, the Tang Empress wore twelve Huashu (小花如大花之数，并两博鬓), while the Crown Princess wore nine. Noblewomen of various ranks wore between five and nine Huashu, adorned with precious jewels.
These ornaments, made of delicate gold and silver petals, were prone to damage, which is why archaeological finds often reveal only fragments. Contrary to expectations, these 'flowers' sometimes included tiny figurines.
One might wonder how noblewomen managed the weight and complexity of wearing so many ornaments. The ingenious solution was the 'Bijì' (蔽髻), a crown-like frame that could hold multiple Huashu clusters, simplifying the process of adorning one's hair.
To secure the Bijì, two elaborately decorated long hairpins were inserted on either side. These were known as 'Bobìn' (博鬓), a style traceable to the Northern Qi dynasty and found in the tomb of noblewoman Lou Rui.
By the Tang dynasty, Bobìn designs had diversified. For instance, Empress Xiao's tomb suggests her Bobìn were fixed directly to the crown.
The 'Twelve Dianchai' were worn in high buns, a Tang fashion that required more hairpins for taller hairstyles, especially in the late Tang and Five Dynasties periods. The number of hairpins often matched in pairs, symbolizing wealth and status.
Dunhuang murals depict this elaborate tradition, such as the portrait of Lady Liang of the Five Dynasties in Cave 19 of the Yulin Grottoes, adorned with eight gold hairpins (four pairs) and various jewels. The Cao family portraits show between four and six hairpins.
Originally, 'Zan' (簪) were single - pronged, and 'Chai' (钗) were double - pronged, but over time, 'Zan' became a general term for women's hair ornaments.
In literature, 'Twelve Gold Hairpins' also symbolized beauty, as seen in Emperor Xiao Yan's 'Song of the River' and poet Shi Jianwu's 'Makeup Removal Poem.' Occasionally, the term referred to courtesans or concubines.
