The heart of love of beauty, everyone has it, since ancient times.
Modern beauties, full of style, ancient women, also in the history pages of the book refused to give up. Today, Meng Hui's study of ancient women's decoration was specially selected, involving lipstick, eyebrows, flower tin and hair bun.
Look at the makeup of ancient women, their pursuit of beauty, is it not interesting?
On the mountain pillow, whispering
Lyrics: Gu Jie, "Ganzhouzi"
Pictured: The Western Han Dynasty Mawangdui unearthed nine sons of lacquer
Lipids
A touch of color on the lips, can be delicate and feminine, can be elegant and gentle. When modern women bring it up, Chanel, Dior, Saint Laurent... It is often like a number of family treasures, and this sensitive nerve is probably passed down for a long time.
In the Ming and Qing dynasties, women used rouge when applying lips. The practice of rouge in this period is roughly as the Ming Dynasty Song Yingxing's "Heavenly Works and Opening Things" "Zhangshi" and "Yan Fat" said:
"The ancient method of swallow fat is based on those who dye cotton with purple ore, followed by safflower juice and mountain durian flower juice. Near Jining Road, but take the residual safflower for it, it is very cheap. ”
No matter what kind of raw materials are used, the general practice is to soak the raw materials, squeeze out the red juice, and then soak them with silk sponge sheets, and then dry the red silk wool.
When used, the little finger dips warm water into the rouge, so that the rouge dissolves, and you can apply your hands to the face, but it is not okay to apply the lips. Lip coating is to roll the silk cotton rouge into a thin roll, use the fine roll to turn it up to the lips, or use the jade scratch head (the name of the hairpin) to turn on the silk cotton rouge, and then point the lips. ("The Lady of the Palace Talks about the Past")
In "Dream of the Red Chamber", the rouge used in Yihong Courtyard is much more exquisite, "it is not a sheet, but a small white jade box, which contains a box, like rose paste." According to Jia Baoyu, this is made of "steaming" the rouge juice that has been scooped up and mixed with fragrant flower dew. How it is used
Just use a thin hairpin to pick a little and wipe it in the palm of your hand, use a little water to open it, and smear it on your lips, and the rest of the palm of your hand is enough to beat your cheeks.
In the era of "Flower Collection", women's lipstick was very different, closer to today's form of lipstick, called "lipstick". In the Northern Dynasty Jia Sixun's "Qi Min Zhi Shu", there is a "hemisphere lipid method":
Use bovine marrow. (For those with less marrow, use cow fat and it.) If there is no marrow, empty fat is also obtained. Warm wine soaked in cloves and herbs. (The dipping method is like a decoction method.) The frying method is combined together, and the artemisia annua is also used to color the hair. Cotton filter, porcelain, lacquer cup in the condensation. If it is a lip fat, it is wrapped in ripe Zhu Hezhi and green oil.
I don't know if it is influenced by the living habits of nomadic people, the "lip fat" of the Northern Dynasty, like the face oil "face fat", is made of cow marrow or cow fat, so it is greasy. In the Tang Dynasty, the basic raw material of lipstick became wax.
In addition, the lipstick of that era, with a strange aroma. In the Northern Dynasty era, lipstick was to add cloves and herbs to the spices; in the Tang Dynasty, it was fashionable to fry lipstick. A pan-fry is a kind of artificially made compound spice, which was a very complex process for making high-grade lipstick at that time, and used fourteen different spices of sweet rosin, aina incense, alfalfa, thatch, herbs, lingxiang, colored agarwood, finches, Suhexiang, white gum, white sandalwood, cloves, musk, and beetle, most of which belong to expensive imported spices. This makes the aroma of lipstick particularly fascinating, and we can glimpse it from Wei Zhuang's "Jiang Chengzi":
"Grace is affectionate and vulnerable, leaks longer, and relieves Mandarin ducks." Zhu Li did not move, and first felt the fragrance of lipids. Slowly unveil the embroidered wrist, move the phoenix pillow, pillow Pan Lang. ”
It should be noted that lipstick is not only limited to women, but also in the Tang and Song dynasties, men also regarded lipstick as a necessary maintenance and beauty product. Every year on the day of Lapa Day, the Tang Emperor rewarded some important ministers with gifts for the festival, one of the indispensable contents of which was facial fat and lipstick. Du Fu's poem "La Ri" is yun: "Lipstick noodle medicine follows grace, and the green pipe silver poppies under the nine clouds." Judging from the practice of the Tang Emperor always rewarding lipstick and facial fat on the day of La, the concept at that time was obviously to treat lipstick as a kind of winter lip protection, especially as mentioned in the Han Xue Xie table, the emperor would also give lipstick to the soldiers, the purpose of this will not be for beauty, but to let the soldiers protect their lips in winter.
"Alone on the jade, speechless, dotted lips." On the night of Tanabata, stand in front of the stairway, scoop a little lipstick with your hands, and apply makeup to your lips.
Song Ren anon. "Beggar Figure" part
Tender red face like flowers,
Two eyebrows far away from the mountain.
Lyrics: Gu Jie, "The Grievances of the Distant Fang"
Picture: Zhou Fang's "Picture of a Lady with a Hairpin Flower"
Daisy eyebrows
Someone once asked: "If you can only wear three makeup when you go out, what will you choose?" "One of the answers to the high vote is: eyebrows. I don't know if the ancient beauties would vote for it if they participated. However, it seems that the ancient eyebrow shape seems to be much more complicated.
A poem by Zhao Luanluan in the Quan Tang Poems, "Willow Eyebrows", explains the importance of eyebrows:
Crooked willow leaves are sad side play, and cham diamond flowers are frequently illuminated. Feminine does not bother Luo Zidai, Chunshan painting from the spirit.
A pair of very tangible, clear-colored eyebrows make the whole face appear "spiritual", vivid and vivid, full of vitality.
So, what kind of eyebrows were drawn by ancient beauties?
Extremely fortunate, we have "Lady of the Flowers". This volume of painting treasures was originally passed down as the work of the Middle And Tang Dynasty painter Zhou Fang, but in recent years, scholars have studied it and determined that it is a work of the late Tang Dynasty and the Fifth Dynasty. In fact, "Lady of the Hairpin Flower" is equivalent to a "poster painting" of women's clothing in the late Tang Dynasty and the fifth dynasty, showing all kinds of popular fashions at that time in detail. It is very interesting to note that on this "poster", the eyebrow shapes of several women are not the same as each other. Of course, there is also a common feature between this pair of thrushes, that is, the shape is very exaggerated and strange, and it can be said that it has nothing to do with the "prototype" of natural eyebrows.
If you look closely, you will feel that the woman's face shape is a little strange, the proportion is not normal; the distance between the eyebrows and the eyes is too far, the proportion of the forehead is too large, and the eyes are almost located in the middle of the entire face. The only reasonable explanation for this is that the painting reflects a strange atmosphere that arose in the late Tang Dynasty: the opening of the forehead. It is recorded in the New Book of Tang and Chefu Zhi that after Tang Wenzong ascended the throne, he once issued an edict, "Forbidden high buns, dangerous makeup, eyebrow removal, and forehead opening." Combined with the "Lady of the Hairpin Flower", we can deduce the meaning of "open forehead": shave off the hair in front of the forehead, let the hairline move, and make the forehead part larger. The same situation also appears on the faces of the maids and maids in the frescoes and reliefs of the tomb of the king.
In Tang poems, many strange eyebrow patterns are also provided. For example, Guiye eyebrows: "Guiye double eyebrows have not been drawn for a long time" (Jiang Fei's "Xie Zhi Pearl"), and there are eight-character eyebrows: "Double eyebrows are painted as eight characters low" (Bai Juyi's "Time Makeup"). In addition, the frown eyebrows, roughly like the crying eyebrows, are all other names for the eight-character eyebrows: "Cong Sideburns Are New" (Quan Deyu "Miscellaneous"), and there are Lian Xin Eyebrows, which were then called "Lian Juan Eyebrows": "Lian Juan Fine Sweep eyebrows" (Wen Tingjun's "Nan Gezi"),there are long eyebrows: "Long eyebrows paint embroidered curtain open" (Li Shangyin", "Butterfly"), there are short eyebrows: "Mo painting long eyebrows and drawing short eyebrows" (Yuanzhen "Teaching"), there are broad eyebrows: "Light sideburns combing wide sweep eyebrows" (Zhang Zhi advocates women's words); there are thin eyebrows: "Eyebrows are thin and hateful" (Li Shangyin's "Untitled"). Eyebrow color can be deep and thick: "Tim Mei Gui Ye Thick" (Li He "Annoyed Gong"), or it can be shallow and light: "Eyebrow Dai Can Be Light" (Meng Haoran,"Beauty Divides Incense"), "Deep Thrush, Shallow Thrush." The cicada's beard is full of clouds, and the balcony is raining back" (Bai Juyi, "Sauvignon Blanc").
Dai is the colloquial word for "黱", which is "thrush ink". But what exactly is thrush ink? Scholars who study ink history once had a popular view: before the Jin Dynasty, the ink written was once graphite. Ladies may have used natural graphite to draw eyebrows, and called this graphite "thrush stone".
In the No. 1 Han Tomb in Luobowan, Guixian County, Guangxi, a package of "Dai Hei" objects was found, but unfortunately it was not well preserved at the time of excavation, and it was impossible to do further research. Another example is the "Briefing on the Excavation of the Three Bridges of Shanshan in Xinjiang" (Cultural Relics, No. 6, 2002, page 51) that an "eyebrow stone" was unearthed from the tomb, but unfortunately there is no more detailed introduction. In addition, researchers also analyzed the "Dai Yan" from the cultural relics excavated from the Han and Jin tombs, and in the Han tombs in Guangzhou, the pen holder of the thrush pen was also found. It is generally believed that the way Dai is used is like grinding ink, first grinding Dai on the stone board with water, and then, then dipping dai juice with a pen to draw eyebrows.
Subsequently, people invented the artificial stone dai method, using a new type of exotic red dye borrowed from the southern trade- Su fang wood. However, the arrival of Western Qingdai has completely changed the material of female thrushes.
Very poetically, this great change in the history of thrush is reflected through the story of Wu Daixian:
By the temple foot female competition for the long moth eyebrow, the SiGong official Day to the snail Dai Wu Huo, the number of moth green. The snail Dai came out of the Persian country, each worth ten gold, and the post-conquest was insufficient, and it was mixed with copper Dai. The Solitary Immortal was blessed with a lot of money.
The story shows that in the Sui Dynasty, the most high-grade thrush was the "Luo Zi Dai" from Persia, which was worth "ten gold" and was surprisingly expensive. American sinologist Schaeffer guessed based on a "snail Dai" that this item may be "Tyre purple red" extracted from bone snail shells, whether this speculation is reasonable or not, it remains to be seen by the Fang family. (Foreign Civilizations in the Tang Dynasty, by [Mei] Schaeffer, 460 pp., China Social Science Press, 1995) In fact, what is important is that this story reflects a historical fact: around the Sui Dynasty, blue-black pigments from the western regions replaced the ancient "Shi Dai" and became the most fashionable thrush supplies.
Another question is that, referring to the historical literature, Qingdai is always a cyan dye, how to draw black eyebrows? There are poetry clouds:
Eyebrows will be grass-colored, red skirt jealousy kill pomegranate flowers. (Tang Dynasty Wan Chu," "Five Days of Seeing Prostitutes")
Directly comparing the color of the eyebrows with the natural turquoise of the grass is confusing. Is such a metaphor related to Qingdai? It is also possible that when Qingdai is mixed into a thick juice, the effect will be black.
Later, the Tang Dynasty Xu Ning had the "Palace Song" Cloud:
The body is light and pampered, and the waist is thin and can dance the garnet branches. One day new makeup to throw away the old look, the six houses compete to paint black smoke eyebrows.
It depicts a new makeup that seems to have suddenly emerged overnight, making everyone in the harem infected, and everyone is competing to draw "black smoke eyebrows". It represents a change that probably occurred during the Yuan and He years: ink replaced Qingdai. Women switch to ink thrush, in addition to the factors of uncertain fashion, the ink making method is perfect, and the supply of good ink at a good price and inexpensive price is sufficient, which should also be an important reason.
The method of using ink to draw eyebrows is introduced in the "Qing YiLu", which is "simmering the finger with good ink", it seems that at that time, the ink was directly dyed on the fingertips, and the black eyebrows were drawn with the fingertips, which was different from the practice of painting with the eyebrow pencil dipped in ink in later generations.
In the Song Dynasty, women had special thrush supplies called "Thrush Seven Fragrant Pills". "Seven Incense Pills" this kind of thrush ink is mixed with precious spices such as dragon brain, musk and so on, which is not only bright in ink color, but also slightly fragrant. According to Zhou Bangyan, the eyebrow marks printed on the placket will faintly scent, and with the passage of time, the aroma will be extinguished little by little.
Thrush ink such as seven incense pills, when applying makeup, it is necessary to first grind ink with water, and then use your fingers or special eyebrow pencils to dip the ink to draw the eyebrow shape on the forehead. Because the ink carries moisture, after painting the eyebrows, it is not easy to dry immediately, at this time, if you touch something, you will print the ink. From this, there is a very fleshy description in the Five Dynasties and Song Ci:
Cerseiro skirt golden waist, eyebrows broken unpainted. (and ning "Willow Branch")
The eyebrow shape of the ink painting is easy to leave stains, so that prostitutes have invented a means of expressing their feelings to the people who are devoted:
Untie the small character seal of the silk aya, and the spring bush is released at the flower feast. The eyebrows are printed in a slight green, and the sandalwood mouth is thin red. ("Yu Zuo Detective Envoy, Sending Congratulations with the Silk Hand, So There Is Poetry")
At the entrance banquet, a good prostitute sent a unique gift: on one handkerchief, her faint eyebrow marks and thin lip prints were printed on one handkerchief.
CuiDian is as light as a smile,
The jade phoenix carving is flying.
Lyrics: Madame Hua Rui's "Palace Words"
Photo: Cave 61 of Dunhuang
Flower tin
In addition to blush, the ancients also came up with a decorative method for pasting small flower pieces on cheeks and buns. The little bird leans on its cheeks, and it is cute to think about.
For a long time in Chinese history, women used a variety of small flower pieces to paste on their faces and sideburns, and these small flower pieces were called "flower tungsten", or "flowers", "face flowers" and other names. I think that when Mulan returned from the battlefield nine deaths, she was going to restore her daughter's body, and one of the necessary procedures was to "put the mirror on the yellow flower".
At least since the Time of the Southern and Northern Dynasties, decorating one's face with small flower pieces has been the most common makeup technique among women. However, in the era of Mulan, the common yellow "flower yellow", and in the period of Mrs. Huarui, the green "cuidian" became the most fashionable. It turned out to be "I saw that he should be angry with the spring wind noodles, and it was better to paste the cuihua tin" (the first fold of the first book of Wang Shifu's "West Chamber"), this "cui dian" is not a hairpin, not a silk fake flower, but a kind of flower tin, which is used to affix to the face. The jade-carved phoenix on the bun is like a fly, and a pair of green flowers are pasted on the place where the smile vortex is on the lips, making an artificial smile, which is the standard photo of the fashionable beauty of that era.
In the most fashionable flower style at that time, what can compete with Cuidian is the gold leaf made of gold leaf, because the gold tungsten is as thin as a cicada wing, it is also called "golden cicada", the lyricist Zhang Bi once happened to bump into an unknown wind and dust woman on the city well, and the face is "Rui Huang Xiang Painting Paste Golden Cicada", which makes the lyricist deeply moved for a while. The artificial fake jing made of gold tungsten is called "jin jing", and Sun Guangxian described in the words of "Huan Xi Sha" a boudoir with falling flowers and hanging curtains, everything is ruthless, the lavender cage is residual incense, and people are also residual makeup: "Greasy powder is half sticky gold jingzi, residual incense is warm embroidery cage." Jin Jingzi was only half glued to the incense powder on the woman's cheek, and could obviously fall at any time, but the heroine didn't bother to clean it up, because "Hui Xin has nowhere to be with people", and she was busy with her loneliness.
The unique scenes in women's lives are delicately depicted with the help of men's eyes. A close-up of a woman wetting it with her tongue before preparing to paste it: "Tongue taps and pastes the golden tin" (Zhao Guangyuan's "Wing Hand" No. 2). Why lick the golden tin with your tongue? Originally, An Appliqué Tungsten is the use of a special kind of "Oh glue", "Oh glue out of Liaozhong, can feather arrows, but also suitable for women decal tin, he boo with melting, so it is called 'Oh glue'" (Song Ye Tingjue", "Hailu Fragments • Hundred Works of Medical Techniques"). This kind of glue, as long as it is hot for a while, can become soft and sticky, so "yi woman appliqué". Obviously, the flower tin is like today's stamps, coated with oh glue on the back, usually dry, when women need it, it is also like using stamps today, use the tongue to lick and moisten for a while, so that the glue becomes soft when it is hot, and then it can be pasted. Mao Xizhen's "Jiuquanzi" even delicately depicts such a detail, opening the mirror box in the morning to make up, "Xiaohua slightly relaxed and light hehe exhibition", perhaps because of the cold, perhaps because the air is dry, in short, the flower tin is slightly curled in the morning, so I have to sigh at it continuously and flatten it.
In the late Tang Dynasty, the women's faces were more and more flowered, and the style was becoming more and more peculiar, so the "round jing" that was originally imitating the natural laughing vortex was also made into a bird and the like, and the face of the five generations of female providers in Cave 61 of Dunhuang was such a scenery.
But such a thin flower tin will not fall silently, drift with the wind, and be abandoned and forgotten. Therefore, Wei Zhuang used "Xizi left a smile when he went" to describe the falling flowers, not out of inspiration that came out of thin air, but from the reality of reality. If you live in the Tang Dynasty, you will really see that a woman has left, and she does not know where to go, but she has left behind her smile, leaving behind hints about her smile, or leaving behind a smiling cicada.
"In front of the jade sill of the Doucao Deep Palace, Chun Pu is like an arrow like money." I don't know if the red medicine is dry and dry, and who falls in the twilight of the sun"
The red silk rope is tied,
A nest of silk is saved,
Wears a silver bun.
Text: "Golden Plum Bottle"
Picture: "Ming Xianzong Lantern Xingle Map"
Mane bun
Long jet-black hair, a god who lives on the top of your head, I'm still willing to let you flutter with the wind
Many ancient female paintings, as well as the descriptions in the poems, give us the impression that ancient women were wrapped around a long green silk coil and made many wonderful and amazing hair buns, what spirit snake buns, falling horse buns, frightened buns, like dark clouds out of the clouds, its majesty, towering above the woman's head. In fact, in many eras, women did not always treat their hair in this way, at least for most of the Ming Dynasty, women were not. The most common practice for women in the Ming Dynasty was to use buns, cloud buns or crowns to cover the main part of the hair, that is, the bun part. Married women are generally required to wear buns, which is a sign of a woman's married status. Unmarried women cannot wear buns, but must wear a headdress called "cloud buns", such as the spring plum in "Golden Bottle Plum", when she is just a room maid, she wears a silver silk cloud bun (twenty-nine times) and a jade flower cloud bun (seventy-eight times), and the other three room big girls also wear the same cloud bun (forty-one times, forty-two times).
Buns made of different materials hint at different social contents. Women from ordinary families can only wear buns woven with hair, while women from wealthy families wear buns woven with silver wire, and there are also gold buns. On important festive occasions, this gold and silver bun should be inserted with a set of jewelry, that is, "head face", the name, position, and insertion method of the head face, which is explained in great detail in Mr. Sun Ji's article.
Silver silk bun (excavated from the tomb of Ming Cao in Wuxi, Jiangsu) Gold silk bun (excavated from the tomb of Ming Jin in Yiwu, Jiangsu)
Higher than the bun are various "crowns", which are the privileges that can only be enjoyed by the official eunuch's wife. Therefore, "wearing a beaded crown" became synonymous with being a lady of the commandments at that time.
These important headdresses that women can make a fuss about are difficult to talk about beauty in the eyes of people today. The crown is generally in the shape of a flattened oval, while the basic shape of the bun is a cone. Women should buckle this small hat-like thing on the bun, and the space inside the crown and bun is very limited, so of course the bun can no longer be made into any strange and arbitrary form, and can only be coiled together in the simplest way.
The twenty-eighth time in "Golden Plum Bottle" wrote that Chen Economic saw Pan Jinlian combing her hair in the mirror, "the red silk rope is tied, a nest of silk is saved, and the silver silk bun is worn", which is very clear, it is to make the hair the simplest "saving (grasping)" and buckle it under the bun. In the fifty-third time, it is written that Li Zhen'er twisted her hair "in a hurry and twisted it in a hurry, and put it in a bun", showing the exact same way of curling hair. The dingling excavation report records that the hairstyle of Empress Xiaojing of Wanli was "straightened out and coiled for a week, the rest of the hair was hidden under the bun, and the bun was inserted with gold and jade hairpins", which was obviously the use of this "nest of silk saving", while empress Xiaoduan was "the hair was tied with a belt and coiled later in the brain, and the golden hairpin was inserted horizontally", and even the way of tying hair was the same as Pan Jinlian's method. Both empresses wore "black gauze pointed brown hats", or buns, as an example of how Ming dynasty women handled the relationship between hair and buns.
Therefore, the wonderful buns in paintings or poems, in general, are not visible on the heads of women in the Ming Dynasty, and their heads are either clasped with a flat crown or poked with a top bun. Pan Jinlian has never had the scenery of wearing a crown in her life, and the peak of her life has only reached the position of wearing a silver silk bun. Judging from the excavated objects and ming dynasty realistic artworks, the bun of the Ming Dynasty is mostly the lower circle and the upper tip, a bit like the shape of the nest head, it seems that Pan Jinlian is to cover such a nest-shaped thing on the top of the head, and according to Lanling Xiaoxiaosheng, Pan Jinlian who wears a silver silk bun is "dressed up as a living Guanyin", which is really beautiful and charming.
The shape of women in the Ming Dynasty is basically "pyramid-shaped". This is because the skirts below them are generally loose, and sometimes they wear wide flared skirts with a wide hem, and the hem and sleeves of the top are also flared, which makes the human shape the widest at the bottom of the skirt, and the more upward the more inwardly contracted, and the top of the pyramid is closed at the tip of the bun. The image of the palace concubine in the "Ming Xianzong Lantern Xingle Diagram" is the best display of this pyramid-style shape, and people who first look at this picture scroll will probably feel surprised and disappointed, the so-called concubines in the court, it turned out to be so tightly dressed, "clumsy", no elegance to speak of
Data compiled from "Pan Jinlian's Hairstyle" Meng Hui / Jiangsu People's Publishing House / 2005
"Sixteen Voices in the Flower Room" Meng Hui / Life, Reading, Xinzhi Triptych Bookstore / 2006