In the historical drama 'The Glory of Tang,' a stunning peacock crown caught the audience's attention. This crown, inspired by a real artifact from the Tang Dynasty, raises the question: Did people in the Tang Dynasty really wear peacocks on their heads? The answer lies in the exquisite craftsmanship and cultural significance of the era.
The design of the peacock crown is based on a painted pottery figurine of a horseback female drummer, housed in the Xi'an Museum. This figurine belonged to Jinxiang Xianzhu (金乡县主), the granddaughter of Emperor Gaozu of Tang, Li Yuan, and the third daughter of Li Yuanying, the Prince of Teng. The artifacts excavated from her tomb reveal a life of luxury and sophistication, vividly depicting the prosperity of the Tang Dynasty.
Xianzhu (县主) was a title within the Zongnü (宗女) hierarchy, a system that defined the status and privileges of royal women. This hierarchy included titles such as Gongzhu (公主, princess), Junzhu (郡主, princess of the crown prince), and Xianzhu (princess of a prince), each with distinct ranks and privileges. For instance, Gongzhu held the first rank, Junzhu the second, and Xianzhu the third. As a second-rank noblewoman, Xianzhu wore elaborate attire, including a Diyi (翟衣, pheasant robe) and ornate hairpins, during significant ceremonies.
Jinxiang Xianzhu's life was marked by prosperity and happiness. She married Yu Yin, a descendant of the Northern Zhou dynasty's Duke Yan, at the age of 20. Their marriage lasted 18 years until Yu Yin's death at 49. The tomb also contained five exquisitely crafted figurines of female musicians, dressed in lavish attire and playing instruments like the waist drum, pipa, and konghou. These figurines likely represented Xianzhu's private orchestra, showcasing her refined taste and status.
The peacock crown was not unique to Xianzhu. Bird crowns, particularly those adorned with peacock feathers, were popular among performers and noblewomen during the Tang Dynasty. Historical records, such as the 'Tongdian' and 'New Book of Tang,' mention the 'Guangsheng Yue' dance, where performers wore bird crowns and colorful costumes. Over time, these crowns evolved into luxurious accessories, embellished with gold, silver, and gemstones, symbolizing nobility and elegance.
Peacock motifs were also prevalent in Tang Dynasty art, appearing on clothing and ceramics as emblems of high status. The figurine in the Xi'an Museum captures this trend beautifully, with its lifelike peacock crown featuring vibrant blue, green, red, and black feathers. The crown's tail drapes gracefully over the figurine's shoulders, epitomizing the fashion of the era.
Modern interpretations of the peacock crown, such as the one worn by singer Alan, further highlight its enduring appeal. Her portrayal, complete with a Hu-style robe and peacock crown, offers a contemporary glimpse into Tang Dynasty fashion. For those interested in Tang culture, the Xi'an Museum's peacock crown figurine is a must-see artifact, embodying the grandeur and artistry of one of China's most illustrious dynasties.
