When actress Zhang Yaqin (张雅钦) appeared at a recent event wearing Tang-style Hanfu, her fans instantly recognized the look from her role as a county princess in the television drama. The online conversation quickly focused on one particular detail: the absence of a distinctive neck ornament she wore in the series. This piece of jewelry, far more than a simple accessory, is a Yingluo (璎珞), an artifact with a story woven through centuries of Chinese history, art, and spiritual belief.
More Than Jewelry
The term Yingluo itself originates from words meaning "jade," and it refers to a specific type of beaded necklace. Traditionally, it was not a single strand but a lavish, multi-layered piece, often described as a "many-treasures" ornament. It was crafted from a brilliant array of materials including gold, silver, jade, pearls, amber, and vibrant gemstones like coral and lapis lazuli. This composition was deeply symbolic, representing the accumulation of worldly virtues and spiritual merits.
In Buddhist iconography, the Yingluo holds profound significance as a symbol of "immeasurable light." Statues of Guanyin (观音) and other revered figures are frequently adorned with intricate versions of it, serving as a form of spiritual adornment. The Vimalakirti Sutra vividly describes deities "adjusting their crowns of a hundred jewels and setting in motion their Yingluo of the eight treasures," highlighting its sacred status. This religious association helped elevate its status in secular fashion, transforming it from mere decoration into an object of cultural and spiritual weight.
A Tang Dynasty Sensation
While its origins can be traced to earlier periods, the Yingluo truly flourished during the Tang Dynasty, a golden age of Chinese culture. The style evolved significantly, becoming shorter, more refined, and intensely popular among noblewomen. It moved from long, simple strands that could reach the waist to intricate, collar-hugging pieces that became a hallmark of high status. The craftsmanship reached unprecedented levels, incorporating complex gold wire work and delicate inlay techniques.
This cultural obsession is captured in the poetry of the era. Liu Yuxi (刘禹锡), in his "Merchant's Song," wrote of a merchant's daughter "draped in a pearl Yingluo," while Yuan Zhen (元稹) satirized the nouveau riche for wearing imitations made of cheaper materials. Historical records even note that Emperor Xuanzong (玄宗) ordered palace dancers to wear seven-treasure Yingluo while performing, cementing its place at the very heart of Tang courtly life and aesthetics.
The influence of the Yingluo's "many-treasures" style directly shaped necklace design for centuries. A famous artifact, the necklace from the tomb of Li Jingxun (李静训), exemplifies this. Though from the Sui Dynasty (隋朝), its design—a heavy gold chain with 28 finely crafted beads, each welded from twelve small rings and adorned with pearls—perfectly illustrates the multi-strand, gem-encrusted aesthetic that the Yingluo popularized.
Evolution and Modern Echoes
The form of the Yingluo continued to transform long after the Tang. During the Yuan Dynasty, it appeared in dramatic, full-body netted versions that draped over the shoulders. The Ming Dynasty saw the rise of a sturdier, collar-like base from which pendants like longevity locks and Ruyi (如意) scepters were suspended. This style is vividly depicted in the classic novel A Dream of Red Mansions (红楼梦), where characters like Baoyu (宝玉) and Baochai (宝钗) wear them, indicating their widespread acceptance across different social strata.
Today, the legacy of the Yingluo is experiencing a vibrant revival. It is not merely a museum piece but a living element of modern style. Contemporary jewelry designers draw inspiration from its form, creating pieces that blend historical motifs with modern sensibilities. Furthermore, the distinctive "Yingluo pattern" has found new life as a decorative element in fashion and textile design, adding a touch of classical elegance to modern apparel.
Its appearance in historical television dramas, even those with fictional settings, acts as a powerful form of cultural relay. It introduces this ancient art form to new generations, demonstrating that classical fashion does not require full-scale retro to move forward. The journey of the Yingluo, from the necks of Tang nobility to the red carpets and screens of today, is a testament to the enduring power and adaptability of traditional aesthetics.
