In the drama 'Guose Fenghua', Li Xian's portrayal of Jiang Changyang features an ever-changing wardrobe, earning the title 'Tang Dynasty version of a man's closet'. Even Li Xian himself admitted that the costumes in this series are the most 'flamboyant' he has ever worn.
One of the standout elements of Jiang Changyang's attire is the prominent use of Tuan Ke (团窠) and Lianzhu (联珠纹) patterns. These artistic treasures were uniquely developed during the Tang Dynasty by assimilating the essence of foreign cultures. The Persian-style Lianzhu Tuan Ke motifs, introduced to Central China via the Silk Road during the Northern Dynasties, were later infused with distinct Chinese characteristics by the Tang era.
A key term to understand here is 'Lingyang Gong Yang' (陵阳公样), a category of Tang brocade patterns that dominated the textile art of the period. The 'designer' behind these patterns was Dou Shilun, a renowned Tang Dynasty silk weaving expert who created over a dozen motifs in his lifetime. According to Zhang Yanyuan's 'Records of Famous Paintings Through the Ages', Dou Shilun served as the Grand Administrator of Yizhou and was responsible for designing auspicious brocades and palace silks. His intricate and colorful designs earned him the noble title 'Lingyang Gong' (Duke of Lingyang), and his patterns, along with similar Tang-era designs, came to be collectively known as 'Lingyang Gong Yang'.
Dou Shilun's motifs often featured symmetrical designs incorporating elements like phoenixes, sheep, horses, deer, and unicorns, blending influences from Persian and Sogdian cultures. These designs typically centered around Tuan Ke or were encircled by Lianzhu patterns, adorned with various flora and fauna, auspicious animals, and stylized flowers, creating complex and harmonious compositions.
Returning to Li Xian's wardrobe, most of the patterns fall into three categories: Baohua Tuan Ke (宝花团窠纹), Yima Lianzhu (翼马联珠纹), and Duiniao Tuan Ke (对鸟团窠纹). Breaking these down, Baohua (treasure flowers), Yima (winged horses), and Duiniao (paired birds) serve as central motifs, while Tuan Ke and Lianzhu form the surrounding framework.
Tuan Ke patterns are among the most iconic of Tang Dynasty designs and can appear alongside Lianzhu motifs. The term 'Ke' originally referred to the nests of insects and animals, symbolizing the gathering of decorative elements. This design philosophy skillfully integrates flowers, animals, objects, and even human figures into circular or near-circular patterns that resemble natural nests.
Tang Dynasty Tuan Ke patterns are incredibly diverse, falling into four main categories:
- 1. Lianzhu Tuan Ke: Central motifs encircled by evenly spaced beads, creating a lavish and orderly aesthetic.
- 2. Floral Tuan Ke: Lush flowers and plants as the main theme, embodying the vitality of nature.
- 3. Baoxianghua Tuan Ke: A fusion of Eastern and Western floral aesthetics, presenting idealized flower forms.
- 4. Animal Tuan Ke: Playful and lively animal figures that add charm and dynamism to the designs.
Lianzhu patterns, also known as 'Sassanian-style bead chains', were heavily influenced by Sassanian Persian art, symbolizing divine light. During the Sui and Tang Dynasties, these patterns featured uniform beads arranged in bands or rings, framing central motifs in circular or diamond shapes. Examples can be seen in the Dunhuang murals, where Lianzhu borders adorn winged horses and mythical creatures.
The Yima (winged horse) motif represents a blend of Western Regions and Tang styles. These 'heavenly horses' were considered auspicious creatures. The designs focus on the horse as the central figure, with small wings closely attached to its body, often depicted singly or symmetrically alongside Lianzhu, Bodhi trees, and auspicious clouds.
Baohua (treasure flower) patterns, also called 'Baoxianghua', were among the most common Tang motifs. Following a 'central symmetry' principle, these designs radiate outward from a focal point, with petals either converging or diverging in a symmetrical, radial arrangement. The overall composition often adheres to a cross or star-shaped layout, divided into even segments (four, six, eight, or twelve), symbolizing harmony and cosmic contemplation.
Duiniao (paired birds) patterns evolved from traditional bird-and-flower designs, influenced by Persian Sassanian motifs featuring birds holding
