In the ancient costume drama 'The National Beauty and Fragrance,' these two grand wedding crowns have sparked much discussion, primarily due to their extravagance and intricate details. From a cultural relic perspective, they seem to reference certain prototypes, appearing quite authentic at first glance. However, upon closer inspection, something feels off. Why is that?
Previously, we discussed the 'sky-high' crown of Princess Xianzhu, Li Chui. For those interested, you can refer to another article. Today, we’ll focus on the crown worn by Yang Zi’s character, He Weifang, during her wedding. It’s worth noting that the crowns in these dramas are becoming increasingly lavish. Interestingly, what’s referred to as a 'crown' here is more akin to a set of accessories in Tang Dynasty style. Let’s delve deeper.
To start with a conclusion, this crown’s original prototype likely stems from the crown of Empress Xiao of the Sui Dynasty. Although it underwent some stylistic changes during the Sui and Tang Dynasties, it retained elements like hairpins (Chaidian) and side ornaments (Bobin) as markers of status.
Regardless of these changes, the number of Bobin and floral decorations (Huashu or Huadian) was still determined by the rank of noblewomen or female officials. According to traditional rites, this crown doesn’t quite match the character’s status in the drama.
In the Tang Dynasty, high buns were fashionable among women—the higher the bun, the more prestigious the wearer. This trend peaked during the late Tang and Five Dynasties periods, requiring more artificial hair and symmetrical hairpins. The more golden hairpins one wore, the more opulent they appeared. For formal occasions, high-ranking noblewomen wore 'Di Yi' or 'Chaidian Li Yi,' adorned with corresponding numbers of hairpins.
During the early Tang Dynasty, crowns from the empress down to fifth-rank noble women featured Huashu/Huadian and Bobin. The number of these decorations varied by rank: twelve for the empress, nine for first-rank noblewomen, decreasing sequentially to five for fifth-rank noblewomen. Female officials during Wu Zhou’s reign wore Bobin as shown in the upper-left image. Their attire, compared to noblewomen’s formal wear, leaned more toward everyday ceremonial dress. It’s also important to note that noble titles were conferred based on merit—either through the husband’s or descendants’ achievements or the woman’s personal virtues or outstanding deeds, as decreed by the emperor. One stipulation was that only wives, specifically primary wives, could receive such titles, entitling them to ceremonial attire. In the drama, He Weifang, as Jiang Changyang’s concubine, never received a title or rank, making her wearing this crown somewhat awkward. This might be a creative liberty for the plot.
Rules aside, one can’t deny the beauty and extravagance of this crown! The prototype from Empress Xiao of the Sui Dynasty featured two Bobin, two crossbeams, and three hoops, along with twelve teardrop ornaments and thirteen Huashu. The materials included copper, gold, glass, white marble, and pearls, among others.
Breaking it down, this crown typically consists of several components: Bijiu (a structured base), Bobin, golden ornaments (Jindian), and hairpins (Fa Chai). The wearing process, as shown in the image, involved first donning the Bijiu, then the Bobin, followed by Jindian, and finally decorating with Huashu and Fa Chai. What appears as a single piece is actually quite complex to assemble.
Bijiu served as a pre-styled artificial bun base, often pre-adorned to simplify the process. Bobin helped balance the sides and signify ceremonial etiquette. Jindian, the teardrop-shaped ornaments, resembled blooming lotus petals, varying in number with the noblewoman’s rank. Fa Chai were used to secure and embellish the entire crown. Hence, Jiang Changyang could later remove an entire set of Fa Chai, a pair of Bobin, a group of Jindian, and the golden Bijiu.
Interestingly, both crowns, while impressive, contain creative reinterpretations. Princess Xianzhu’s crown, though based on an actual relic, was found fragmented, leaving its original assembly unclear. He Weifang’s crown is a Tang-style adaptation of Empress Xiao’s Sui Dynasty crown, with only the Sui prototype surviving. Tang Dynasty specifics remain speculative, relying on artistic license. Any resemblance is purely coincidental.
