In many historical dramas, the veiled hat, known as Weimao (帷帽), is an indispensable element. A classic scene often features the heroine making her first appearance, with the wind lifting the delicate veil to reveal her breathtaking beauty. This accessory has earned the playful nickname "beautiful yet useless" among netizens, highlighting its aesthetic appeal over practicality.
Origin and Features
The Weimao originated as a decorative item in Hu (胡) attire. Before its emergence, another style called Mili (羃篱), made of bamboo, was prevalent. Typically crafted from cloth or gauze, the Weimao features a wide brim with hanging silk nets or thin silk panels that extend to the neck, serving as a face cover. During the Sui and Tang dynasties, the hanging nets were shortened, earning it the name "Qianlu" (浅露). Unlike the Mili, which covered the entire body, the Weimao's veil only concealed the upper body.
Early Usage
Historical records, such as those in the "Book of Jin," note that both men and women initially wore the Mili to shield themselves from wind and sand. Over time, it became predominantly a women's accessory, used to obscure their faces from public view during outings. Some humorously suggest that introverts might have worn it to avoid unwanted social interactions.
Popularity in the Tang Dynasty
The Weimao peaked in popularity during the Tang dynasty. According to the "New Book of Tang," women initially wore the full - body Mili, but by the Yonghui era, the shorter Weimao became fashionable. By the Kaiyuan era, the trend shifted to Hu - style hats, and the Weimao gradually fell out of favor. The Hu - style hats also doubled as windproof gear.
A mural in the tomb of Consort Yan depicts a maid holding a Mili, symbolizing her readiness to assist her mistress on horseback, reflecting the noble status of the wearer. Consort Yan, a concubine of Emperor Taizong, spent much of her life in royal palaces, and the imagery of the Weimao in her tomb likely commemorates the spirited women of the early Tang era.
Transitional Period
During the Weimao's heyday, Emperor Gaozong of Tang attempted to curb its popularity, issuing an edict criticizing the shift from Mili to Weimao. This marked a transitional period where the Weimao began to replace the Mili. However, Consort Yan, like many of her generation, continued to use the Mili in her earlier years, adopting the Weimao only later in life.
Diverse Forms
The Weimao and Mili came in various forms. Historical texts mention a "Seven - Treasure Mili" crafted by Prince Yang Jun of the Sui dynasty, adorned with precious jewels. The Tang dynasty's artistic influence even led to anachronisms, such as the depiction of a Weimao in Yan Liben's "Zhaojun's Departure," a painting set in the Han dynasty, where such hats did not exist. This artistic liberty led to the misnomer "Zhaojun hat," which persists today.
In modern film and television, the Weimao has undergone further stylization, losing its original function and becoming purely decorative. The beaded - veil version, now the most common, neither covers the face nor blocks wind, living up to its "beautiful yet useless" reputation. Yet, in an era where visual appeal reigns supreme, beauty alone is enough to captivate audiences.
