Is the Internet-wide imitation of Li Jingxun's Moth Hairpin misunderstood? This hair accessory has gained such popularity that it has been imitated in numerous dramas and by countless costume enthusiasts. Subsequently, some people argued that as a child, Li Jingxun was not supposed to wear a crown, among other similar claims. To set the record straight, the misunderstanding doesn't lie in whether Li Jingxun could wear a crown or not, but rather that this moth hair accessory is not a 'crown' at all; it's a hairpin!
In the early days, hairpins and hair sticks were clearly distinguished. Hairpins had two or more prongs, while hair sticks had only one. However, over time, these terms became interchangeable. This moth hair accessory belongs to the 'Buyao' category. In Shen Congwen's Research on Ancient Chinese Clothing, it is referred to as 'Nao E Er Pu Hua Shoushi' (闹蛾儿扑花首饰), and the excavation report calls it a 'hair accessory' (Institute of Archaeology, Chinese Academy of Social Sciences, Tang Chang'an Chengjiao Sui Tang Mu, Cultural Relics Publishing House, 1980). Since we usually only see partial images, it might be misconstrued as a floral 'crown'. Nevertheless, a crown should have a crown body, which this hair accessory lacks. So, the origin of the 'crown' label remains a mystery. If you have any insights, feel free to share them.
Looking at the photo from another angle, it's evident that it's a hairpin with a worn base, and the wear is quite noticeable. However, due to the significant wear, it is often overlooked in photos. Taking a closer look at the design of this hair accessory, it is truly exquisitely crafted. The base has three prongs, and on top is a lotus-shaped platform made by rolling gold sheets. There are also two coiled rings on the platform, from which gold wire branches extend. These branches are adorned with six-petal gold flowers and triangular gold leaves, with pearls embedded in the centers. Between the flowers, there are gemstone buds and elongated gold pieces shaped like Ruyi clouds. At the very top of the hairpin is a spreading-winged moth. Its wings and body are woven from thick gold wire, and finer wires are used to add detailed layers. The moth's body is hollow, wrapped in a gold wire net embedded with pearls, and it might have been used to hold incense. Its eyes are made of pearls, and its antennae are gold wire. This hairpin employs various techniques such as hammering, drawing, weaving, engraving, and inlaying, showcasing exceptional craftsmanship.
Records of 'Nao E Er' (闹蛾儿) are more prevalent in the Song Dynasty, which inherited many Tang Dynasty customs. The 'Nao E Er' in the Song Dynasty resembled moths and was a kind of accessory worn by young women during the Lantern Festival. Moreover, it could be handmade by the women themselves, and they could compete to show off their skills. Fan Chengda's poem 'Pusa Man' states, 'Keep the golden banners, watch the moths at night.' Wang Fuzhi's 'Za Wu Zan·Huo De Er' describes, 'Cut black gold paper into butterflies, embellished with red powder, attached to needles with small copper wires, adorned with cypress leaves. Worn during Spring Festival and New Year's outings, as mentioned in Liu Yong's 'Nao E Er,' also called 'Nao Rang Rang.' This indicates that it was a festive accessory.
Why was it worn during the Lantern Festival? Chen Weisong's 'Wang Jiang Nan·Sui Mu Za Yi' explains, 'People compete for Southern Tang gold leaves, streets buzz with Northern Song moth hairpins.' It implies that 'Nao E Er' symbolized liveliness, which was fitting for the grand and vibrant atmosphere of the Lantern Festival, where moths flock to the flames. Girls wearing these moths embodied warmth and unity. Additionally, families would gift 'Nao E Er' to expectant mothers because moths lay a large number of eggs, symbolizing fertility and longevity. Elders would give them to young girls, wishing for endless descendants. Unfortunately, Li Jingxun's moth hairpin was likely a gift from her elders, but she passed away at the tender age of nine. Although she was the great-granddaughter of Emperor Wen of Sui and Empress Dugu, and the granddaughter of Northern Zhou's Empress Dowager Yang Lihua, a 'Li child' who was showered with love and luxury, she couldn't escape her early fate. Buried with her, this hopeful token returned to the earth.
In modern portraits, she is depicted with twin buns. She could have worn the most precious 'Nao E Er' and embraced the boundless possibilities of the Lantern Festival. These bustling moths have flown from the past to the present. 'East wind blooms a thousand trees at night, scattering stars like rain. Fragrant roads filled with carved carriages, phoenix flutes playing, jade pots glowing, fish and dragons dancing all night. Moth hairpins, golden willows, laughter fading with faint fragrance. Searching endlessly in the crowd, turning back—there they are, by the dimming lights.'
