In the drama 'Guo Se Feng Hua,' Li Xian's character, Jiang Changyang, showcases a different outfit in almost every scene, earning the title 'Tang Dynasty version of a man's wardrobe.' Li Xian himself remarked that the costumes in this series are the most 'flamboyant' he has ever worn. The attire of Jiang Changyang, played by Li Xian, is particularly notable for its intricate patterns, such as Tuan Ke (团窠) and Lian Zhu (联珠) motifs. These designs are artistic treasures unique to the Tang Dynasty, which absorbed and refined elements from foreign cultures.
The 'Ling Yang Gong Yang' Pattern
One of the most iconic patterns is the 'Ling Yang Gong Yang' (陵阳公样), a term that refers to a category of Tang brocade designs. The 'designer' behind these patterns was Dou Shilun, a renowned silk weaving expert of the Tang Dynasty. Dou Shilun created over a dozen motifs, many of which featured symmetrical designs incorporating elements like phoenixes, sheep, horses, deer, and unicorns. These patterns often combined influences from Persian and Sogdian cultures, such as circular Tuan Ke motifs surrounded by Lian Zhu (联珠) borders, adorned with various flora and fauna. In recognition of his contributions, Dou Shilun was ennobled as 'Ling Yang Gong,' and his designs became synonymous with Tang Dynasty textile art.
Li Xian's Wardrobe Patterns
Returning to Li Xian's wardrobe, the most prevalent patterns include Bao Hua Tuan Ke (宝花团窠), Yi Ma Lian Zhu (翼马联珠), and Dui Niao Tuan Ke (对鸟团窠). These motifs typically feature a central design—such as a treasure flower, winged horse, or paired birds—encircled by Tuan Ke or Lian Zhu borders. The Tuan Ke pattern, one of the most classic Tang designs, can also appear alongside Lian Zhu motifs. The term 'Ke' (窠) originally referred to the nests of insects or birds, symbolizing the gathering of patterns into a cohesive design. Tang Dynasty Tuan Ke motifs are diverse, falling into four main categories: Lian Zhu Tuan Ke (联珠团窠), floral Tuan Ke (花卉植物团窠), Bao Xiang Hua Tuan Ke (宝相花团窠), and animal Tuan Ke (动物团窠). Each category showcases the richness and creativity of Tang textile art.
The Lian Zhu Pattern
The Lian Zhu (联珠) pattern, also known as 'Sassanian-style linked pearls,' was heavily influenced by Sassanian Persian art and symbolized divine light. During the Sui and Tang dynasties, Lian Zhu motifs were arranged in uniform circles or bands, framing central designs in circular or diamond shapes. Examples of these patterns can be seen in the Dunhuang murals, where they adorn winged horses and mythical creatures.
The Yi Ma Motif
The Yi Ma (翼马) motif, featuring winged horses, is a fusion of Central Asian and Tang styles. These 'heavenly horses' were considered auspicious symbols. The designs typically emphasize the horse as the central figure, with small wings closely attached to its body, often paired with Lian Zhu, bodhi trees, or auspicious clouds.
The Bao Hua Pattern
Bao Hua (宝花), or 'treasure flower,' is one of the most common Tang patterns, also referred to as 'Bao Xiang Hua' (宝相花). These designs follow a central symmetry, radiating outward like blooming petals. The layout often adheres to a cross or star-shaped grid, divided into even sections (four, six, eight, or twelve), symbolizing harmony and cosmic contemplation.
The Dui Niao Motif
The Dui Niao (对鸟) motif, inspired by historical bird-and-flower patterns, was influenced by Persian Sassanian designs featuring birds holding ribbons. Tang adaptations included paired birds within circular frames, often standing on floral platforms, surrounded by layered floral scrolls, exemplifying the opulence of Tang textile art.
After exploring these patterns, it's clear that Tang Dynasty fashion was anything but conservative—it was bold, innovative, and incredibly stylish!
