Tang

Chinese ideals across the Han, Tang, Song, Ming and Qing: the fuller figures prized under the Tang, court dress, and the painted and sculpted evidence for them.

Part of Beauty Standards

134 moments in this segment.

  1. - Shang Bone Hairpins (10197643816). Yin Ruins and Museum, Anyang, final capital of Shang Dynasty, c. 1400-1100 BC.
  2. - Warring States Jade Xi (Hairpin). 3rd century BC. Jiangsu Provincial Museum, Nanjing, Jade Gallery.
  3. - Queen Mother of the West from a Wall-Painting in Han Dynasty Tomb. Queen Mother of the West (Hsiwangmu) dressing in the Han dynasty style Hanfu, on a wall mural from the late Western Han dynasty (202 BC - 9 AD) or even Xin Dynasty era (9-25 AD) tomb in Houtun Village (Houtun cun, 后屯村), Dongping County (Dongping xian, 东平县), Shandong Province. Source: Penn Libraries.
  4. - Female figure dressed in Tsa-chü-ch ui-shao clothing. Lacquer painting over wood, Northern Wei. Female figure dressed in Tsa-chü-chʻui-shao clothing, from a lacquer painting over wood, 5th century.
  5. - 0650 Mounted Horsemen China anagoria IMG7140. Pair of Mounted Horsemen; China, Tang Dynasty (a.D. 618-907), 7th century; Brooklyn Museum, New York, N.Y., USA.
  6. - 20251026 Green-glazed Pottery Male Figure. Green-glazed Pottery Male Figure, National Museum of China.
  7. - 20251026 Painted Pottery Female on Horseback in Veiled Hat. Painted Pottery Female on Horseback in Veiled Hat, National Museum of China.
  8. - 20251026 Painted Pottery Female Polo Players on Horsebacks. Painted Pottery Female Polo Players on Horsebacks, National Museum of China.
  9. - 20251026 Pottery Female in Men s Clothes. Pottery Female in Men's Clothes, National Museum of China.
  10. - 20251026 Pottery Male Figure in Everyday Clothes. Pottery Male Figure in Everyday Clothes, National Museum of China.
  11. - 20251026 Sancai-glazed Pottery Groom in Foreigner s Clothes. Sancai-glazed Pottery Groom in Foreigner's Clothes, National Museum of China.
  12. - 8th Cent. AD Tang Bronze Mirror 03. Freer-Sackler Galleries, Smithsonian Institution, Washington, D.C., digital copy of print. Complete indexed photo collection at.
  13. - 8th Cent. AD Tang Bronze Mirror 04. Freer-Sackler Galleries, Smithsonian Institution, Washington, D.C. Complete indexed photo collection at.
  14. - Bronze Mirror, Tang 04. China Galleries, Tokyo National Museum, Japan. Complete indexed photo collection at.
  15. - Civil Official, Probably Uighur Turk, Tang. Ceramics of China special exhibit, Benaki Museum, Athens, Greece. Complete indexed photo collection at WorldHistoryPics.com.
  16. - Dinastia tang, arpista, 750 dc ca, dalla cina del nord
  17. - Dinastia tang, cavallo e palafreniere, 700-750 ca. 02
  18. - Dinastia tang, cavallo e palafreniere, 700-750 ca. 03
  19. - Dinastia tang, cavallo e palafreniere, 700-750 ca. 04
  20. - Tang Bronze Mirror 1. With mother-of-pearl inlay, Luoyang, 1955. National Museum: China through the Ages, Exhibit 6.
  21. - Tang Bronze Mirror 2. With gold & silver applique, Zhengzhou. National Museum: China through the Ages, Exhibit 6.
  22. - Tang Bronze Mirror 34. Kaifeng City Museum. Complete indexed photo collection at WorldHistoryPics.com.
  23. - Tang Bronze Mirror - 8. Sui-Tang Gallery, Henan Provincial Museum, Zhengzhou. Complete indexed photo collection at WorldHistoryPics.com.
  24. - Tang Bronze Mirrors. Capital Museum, Beijing. Complete indexed photo collection at WorldHistoryPics.com.
  25. - Tang Dynasty Bronze Mirror - 10. Tang and Following Dynasties Gallery, New Luoyang City Museum, Henan, China. Complete indexed photo collection at WorldHistoryPics.com.
  26. - Tomb figurine of a woman, China, Tang dynasty, 618 906 AD, glazed earthenware Östasiatiska museet. Exhibit in the Östasiatiska museet, Stockholm, Sweden. This artwork is old enough so that it is in the.
  27. - Tomb figurine of a woman riding a horse, dressed in turban and trousers, China, Tang dynasty, 618 906. 09532.
  28. - Southern Tang Bronze Mirror. 953 AD, Anhui, 1957. National Museum: China through the Ages, Exhibit 6.
  29. - Fresco of the Tomb of Chao Ta-wêng 1. Fresco shows women sitting at their dressing tables, from the tomb of Chao Ta-wêng, which excavated at Pai-sha Town of Yü-chou City in Ho-nan Province. Northern Sung dynasty (960, 1127).
  30. - Looking in the Mirror and dabs on Rouge Powder. Sung-dynasty women wearing pei-tzŭ, looking in the mirror and dabbing on rouge powder.
  31. - Panling6. Portraits of two Chinese scholars in panling lanshan, a type of yuanlingpao.
  32. - Gold Hairpins, Tomb of Ming Prince Zhu Tan (10144897846). Shandong Provincial Museum, Jinan, Ming Tomb Gallery. Complete indexed photo collection at WorldHistoryPics.com.
  33. - Liuheyitongmao hat 六合一統帽 颖国武襄公杨洪像. 六合一統帽 as depicted on Yang Hong portrait painted in 1451.
  34. - Ming Gold Earrings and Hairpin (9979198744). Anhui Provincial Museum, Hefei, 2012. Complete indexed photo collection at WorldHistoryPics.com.
  35. - Ming Gold Hairpin (10093365364). Xuzhou Museum, Jiangsu Province. Complete indexed photo collection at WorldHistoryPics.com.
  36. - Ming Gold Hairpin (16928808649). Zhejiang Provincial Museum, Wulin Branch, West Lake Cultural Square, Hangzhou, China. Complete indexed photo collection at WorldHistoryPics.com.
  37. - 镂空菱纹玉方簪XM. Square jade hairpin with pierced argyle patterns. Ming Dynasty.
  38. - Ming Dynasty Silver-gilt Hairpin 1. A gemstone inlaid silver-gilt hairpin, showing a Chinese phoenix flying among some gold leaves which extended from the gold flower. Ming dynasty (1368, 1644).
  39. - Ming Dynasty Silver-gilt Hairpin 7. Detail of a gemstone inlaid silver-gilt phoenix hairpin, here showing the delicate gold flower with a gem as its core. Ming dynasty (1368, 1644).
  40. - Ming Dynasty Silver-gilt Hairpins 1. A pair of gemstone inlaid silver-gilt hairpins, showing two Chinese phoenixes flying among some gold leaves which extended from the gold flowers. Ming dynasty (1368, 1644).
  41. - Chinese migrants in the Philippines. Drawing of a sangley and his wife in the Ming Empire.
  42. - Portrait of Nicolas Trigault in Chinese Costume. Peter Paul Rubens made this drawing of Nicolas Trigault in a Chinese costume when the Jesuit missionary to China was in Antwerp. Held by Metropolitan Museum of Art.
  43. - French School Portrait of a woman in velvet cloak. Portrait of a Lady, Ritratto di Gentildonna Hölgy portréja Portret damy Portret dame Portret van een dame Портрет дамы Retrato de una dama Bildnis einer Dame Retrato de uma senhora.
  44. - Yinxiang. Portrait of Yinxiang, the First Prince Yi (1686-1730), Portrait of Yinxiang, the First Prince Yi (1686-1730) 怡親王胤祥畫像 怡賢親王胤祥像.
  45. - Portrait of a Qing Courtier, possibly Jing Shou (d. 1889). Jing Shou, husband of Princess Shou'en of the First Rank. He is the son-in-low of Daoguang Emperor.
  46. - Silver gilt Qing Dynasty hairpin. This is a photograph of a late Qing Dynasty silver gilt hairpin.
  47. - Nieznany malarz polski Portrait of a woman in a green dress MP 2657 National Museum in Warsaw. Polish: Portret kobiety w zielonej sukni Portrait of a woman in green dress. Portret kobiety w zielonej sukni Portrait of a woman in green dress. Portrait d'une femme dans une robe verte..
  48. - Tian-tsui (kingfisher feather) hair pins. 19th century antique Tian-tsui (Kingfisher feather) hair pins. Of Chinese origin, in private collection.
  49. - Shang Bone Hairpins (10324995483). Zhengzhou City Museum, Henan Province. Complete indexed photo collection at WorldHistoryPics.com.
  50. - Shang Jade Hairpin. National Museum: Jade Gallery. Complete indexed photo collection at WorldHistoryPics.com.
  51. - 韻味足！女仿唐朝妝爆紅 11萬人點閱. A Tang-style face recreated by a young woman in Taiwan circulates widely online, with the broad rouge and small painted mouth of the eighth-century court look.
  52. - 大片腮紅櫻桃嘴 唐朝仕女妝爆紅－民視新聞. Wide sweeps of rouge across the cheeks and a small cherry-shaped mouth, the signature Tang court-lady look, are recreated and draw a large audience online in Taiwan.
  53. - Portrait of a woman in green. (Artist) Formerly attributed to Yan Liben.
  54. - Shang Bronze Hairpin. Shanxi Provincial Museum, Taiyuan. Complete indexed photo collection at WorldHistoryPics.com.
  55. - Shang Bronze Hairpin 2. Shanxi Provincial Museum, Taiyuan. Complete indexed photo collection at.
  56. - [Documentary] The Daming Palace &Tang Dynasty (618 - 907 AD) 唐朝大明宫. The Daming Palace at Chang'an, seat of the Tang court, is reconstructed across its rise and ruin, with the ceremonial life, dress and court society that filled it between 618 and 907.
  57. - Jin (Western & Eastern) Gold Hairpin (14177500573). Qin to Tang Gallery, Liaoning Museum, Shenyang. Complete indexed photo collection at WorldHistoryPics.com.
  58. - Liao Gold Hairpin (14156467735). Khitan (Qidan) Liao Gallery, Liaoning Museum, Shenyang. Complete indexed photo collection at WorldHistoryPics.com.
  59. - Spring & Autumn Bronze Hairpin (11865789735). Warring States Zhongshan State Gallery, Hebei Museum, Shijiazhuang. Complete indexed photo collection at WorldHistoryPics.com.
  60. - Xiajiadian Culture Bone Hairpin & Needle. Shang-Zhou Gallery, Liaoning Museum, Shenyang. Complete indexed photo collection at.
  61. - 2015.05.18.114326 Court lady figurine (Tang Dynasty 618 - 907) Heritage Museum Sha Tin Hong Kong. Court lady with painted decoration. Tang Dynasty (618 - 907).
  62. - 【华夏衣冠】 中国古代女性妆容变迁 (汉, 唐, 宋, 明) | Chinese women's makeup through Han, Tang, Song, and Ming Dynasties. Four dynastic looks in succession: Han restraint, the broad rouged cheeks and 花钿 huadian of the Tang, Song sobriety, and the Ming return to a narrower painted face.
  63. - 80 years of Chinese makeup history(中国妆容百年之美). A century of Chinese faces in sequence, from the thin painted brows of the Republican era through Cultural Revolution plainness to the cosmetics of the reform decades.
  64. - 80 years of Chinese makeup history(中国妆容百年之美). A century of Chinese faces in sequence, from the thin painted brows of the Republican era through Cultural Revolution plainness to the cosmetics of the reform decades.
  65. - History of makeup China & Japan. Lead-based white powder, rouge and forehead ornament in China are set alongside oshiroi, ohaguro and hikimayu in Japan, drawing out where the two cosmetic traditions borrowed and where they diverged.
  66. - History of makeup China & Japan. Lead-based white powder, rouge and forehead ornament in China are set alongside oshiroi, ohaguro and hikimayu in Japan, drawing out where the two cosmetic traditions borrowed and where they diverged.
  67. - 神還原\"唐朝仕女\" 陸漢服設計師暴紅│中視新聞 20180304. A mainland hanfu designer's recreations of Tang court ladies, faithful down to the rouge placement and hair ornament, attract wide attention in the Chinese press.
  68. - 神還原\"唐朝仕女\" 陸漢服設計師暴紅│中視新聞 20180304. A mainland hanfu designer's recreations of Tang court ladies, faithful down to the rouge placement and hair ornament, attract wide attention in the Chinese press.
  69. - ANCIENT CHINESE MAKE-UP - history of ancient China fashion. Brief stills and notes on cosmetics in imperial China, covering powdered white skin, rouge and the ornamented brow and forehead of court women.
  70. - ANCIENT CHINESE MAKE-UP - history of ancient China fashion. Brief stills and notes on cosmetics in imperial China, covering powdered white skin, rouge and the ornamented brow and forehead of court women.
  71. - 唐朝“以胖为美”是真的吗？来看武则天，杨贵妃的体重就明白了！. The claim that the Tang prized fullness of figure is tested against what is actually recorded about Wu Zetian and Yang Guifei, and against how the painted court ladies of the period were proportioned.
  72. - 唐朝“以胖为美”是真的吗？来看武则天，杨贵妃的体重就明白了！. The claim that the Tang prized fullness of figure is tested against what is actually recorded about Wu Zetian and Yang Guifei, and against how the painted court ladies of the period were proportioned.
  73. - 中国历代女性最全妆容演变. Dynasty by dynasty, the changing Chinese woman's face is laid out in painted reconstructions, tracking brow shape, lip size and forehead ornament from early imperial times onward.
  74. - 中国历代女性最全妆容演变. Dynasty by dynasty, the changing Chinese woman's face is laid out in painted reconstructions, tracking brow shape, lip size and forehead ornament from early imperial times onward.
  75. - 唐朝全民化妝場面壯觀，唐朝女人大膽脫俗不是隨便說說的！|Tang Dynasty women makeup scene was spectacular, bold but refined!. Cosmetics in the Tang reached far beyond the court, and the scale of that market, along with the boldness attributed to Tang women, is set out with period evidence.
  76. - 唐朝全民化妝場面壯觀，唐朝女人大膽脫俗不是隨便說說的！|Tang Dynasty women makeup scene was spectacular, bold but refined!. Cosmetics in the Tang reached far beyond the court, and the scale of that market, along with the boldness attributed to Tang women, is set out with period evidence.
  77. - 唐朝以胖为美？真的是这样吗？. Whether 以胖为美, a preference for plumpness, really describes Tang taste is picked apart using tomb figurines, court painting and the written record rather than the popular shorthand.
  78. - 唐朝以胖为美？真的是这样吗？. Whether 以胖为美, a preference for plumpness, really describes Tang taste is picked apart using tomb figurines, court painting and the written record rather than the popular shorthand.
  79. - 「唐妆复原」【大唐风华】《长安十二时辰》檀琪华丽造型仿妆 丨盛唐妆容丨中国古装丨LingZiXi. The elaborate look worn by the character Tan Qi in a drama set in Chang'an is recreated as a high Tang face, with the brow, forehead ornament and hair built to match.
  80. - 「唐妆复原」【大唐风华】《长安十二时辰》檀琪华丽造型仿妆 丨盛唐妆容丨中国古装丨LingZiXi. The elaborate look worn by the character Tan Qi in a drama set in Chang'an is recreated as a high Tang face, with the brow, forehead ornament and hair built to match.
  81. - 簪花仕女图-唐代复原-汉服. The painting known as Court Ladies Adorning Their Hair with Flowers supplies the model for a reconstruction in hanfu, with the high hair, blossom ornament and sheer layered robes it depicts.
  82. - 簪花仕女图-唐代复原-汉服. The painting known as Court Ladies Adorning Their Hair with Flowers supplies the model for a reconstruction in hanfu, with the high hair, blossom ornament and sheer layered robes it depicts.
  83. - 古装教学｜古风妆容｜乘搭时光机带你回到千年以前. An ancient-style face is built from the powder base up, with the brow, lip and forehead work explained as each layer goes on.
  84. - 古装教学｜古风妆容｜乘搭时光机带你回到千年以前. An ancient-style face is built from the powder base up, with the brow, lip and forehead work explained as each layer goes on.
  85. - 【郑云龙Yunlong Zheng 】唐代道教裝束復原（科普）. Daoist dress of the Tang period, its robes, headwear and the ritual meaning attached to each element, is reconstructed and explained as a costume with rules of its own.
  86. - 【郑云龙Yunlong Zheng 】唐代道教裝束復原（科普）. Daoist dress of the Tang period, its robes, headwear and the ritual meaning attached to each element, is reconstructed and explained as a costume with rules of its own.
  87. - 汉朝、唐朝、宋朝、明朝，历时千年的女子妆容变迁过程，每一代都美呆了！｜弥秋君. Han, Tang, Song and Ming faces follow one another in sequence, the contrast turning on brow width, mouth size and how much of the cheek the rouge was allowed to cover.
  88. - 汉朝、唐朝、宋朝、明朝，历时千年的女子妆容变迁过程，每一代都美呆了！｜弥秋君. Han, Tang, Song and Ming faces follow one another in sequence, the contrast turning on brow width, mouth size and how much of the cheek the rouge was allowed to cover.
  89. - Tang Dynasty makeup Hanfu 唐代妆容汉服. A Tang face and hanfu are put together as a pair, the cosmetics matched to the garment layers and hair ornament of the period.
  90. - Tang Dynasty makeup Hanfu 唐代妆容汉服. A Tang face and hanfu are put together as a pair, the cosmetics matched to the garment layers and hair ornament of the period.
  91. - 盛世千年夢，從唐朝妝容看一個唐朝女子的一生（內含十九玄七放閃片段）| 神仙駕到. One Tang woman's life is followed from girlhood to old age through the faces she would have worn at each stage, each look tied to the marital and social position it announced.
  92. - 盛世千年夢，從唐朝妝容看一個唐朝女子的一生（內含十九玄七放閃片段）| 神仙駕到. One Tang woman's life is followed from girlhood to old age through the faces she would have worn at each stage, each look tied to the marital and social position it announced.
  93. - 【二十四伎樂】唐朝宫乐图 复原妆丨Tang Dynasty Palace Band Makeup. The carved stone relief of a twenty-four-piece female court band from Sichuan is used as the reference for a reconstructed Tang face, brows, hair and ornament included.
  94. - 【二十四伎樂】唐朝宫乐图 复原妆丨Tang Dynasty Palace Band Makeup. The carved stone relief of a twenty-four-piece female court band from Sichuan is used as the reference for a reconstructed Tang face, brows, hair and ornament included.
  95. - Timeless Beauty of China: Tang Dynasty Women’s Makeup, Hair, & Fashion” |【中国千年之美】. Powder, rouge, 花钿 huadian and the towering coiffures of the Tang are reconstructed together with the robes, showing how the face and the dress were designed as one composition.
  96. - Timeless Beauty of China: Tang Dynasty Women’s Makeup, Hair, & Fashion” |【中国千年之美】. Powder, rouge, 花钿 huadian and the towering coiffures of the Tang are reconstructed together with the robes, showing how the face and the dress were designed as one composition.
  97. - 【唐代审美】唐朝美妆博主有多卷？连杨贵妃都用死亡芭比粉. The competitive cosmetic culture of Tang court women is described through the pigments they could buy, the shades of rouge in fashion, and the styles associated with Yang Guifei.
  98. - 【唐代审美】唐朝美妆博主有多卷？连杨贵妃都用死亡芭比粉. The competitive cosmetic culture of Tang court women is described through the pigments they could buy, the shades of rouge in fashion, and the styles associated with Yang Guifei.
  99. - Beauty in the eye of the beholder: Exploring court ladies of China's Tang Dynasty's. Plump-cheeked and heavily ornamented, the women painted at the eighth-century court are examined for what the pictures reveal about taste, leisure and rank in Chang'an.
  100. - Beauty in the eye of the beholder: Exploring court ladies of China's Tang Dynasty's. Plump-cheeked and heavily ornamented, the women painted at the eighth-century court are examined for what the pictures reveal about taste, leisure and rank in Chang'an.
  101. - 回顾中国各个朝代的女性妆容，不难发现它们都有着各自的特点，有人爱汉朝的白净，有人欣赏唐朝的开放和多元，你喜欢哪个朝代的妆容呢？｜弥秋君. Looking back across the dynasties, the pale restraint of Han faces is compared with the openness and foreign borrowing visible in Tang cosmetics, and the viewer is left to weigh them.
  102. - 回顾中国各个朝代的女性妆容，不难发现它们都有着各自的特点，有人爱汉朝的白净，有人欣赏唐朝的开放和多元，你喜欢哪个朝代的妆容呢？｜弥秋君. Looking back across the dynasties, the pale restraint of Han faces is compared with the openness and foreign borrowing visible in Tang cosmetics, and the viewer is left to weigh them.
  103. - Making and Dressing a Late Qing Woman | Trailer | Refashioning Culture. A late Qing woman's outfit is constructed and then put on, garment by garment, showing the layering, fastening and hair dressing that a complete look required.
  104. - Making and Dressing a Late Qing Woman | Trailer | Refashioning Culture. A late Qing woman's outfit is constructed and then put on, garment by garment, showing the layering, fastening and hair dressing that a complete look required.
  105. - 【中国千年之美】大宋风雅录｜妆｜发｜饰｜服｜演变史. Song dynasty presentation is traced across cosmetics, hair, ornament and dress, showing the move away from Tang expansiveness toward a paler and more restrained arrangement.
  106. - 【中国千年之美】大宋风雅录｜妆｜发｜饰｜服｜演变史. Song dynasty presentation is traced across cosmetics, hair, ornament and dress, showing the move away from Tang expansiveness toward a paler and more restrained arrangement.
  107. - 各朝代流行的妝 | 花鈿 | 額黃 | 面靨 | 唐朝妝容 | 斜紅妝 |古人怎麼化妝 | 古代妝容 | 化妝歷史 | 古代文化 | 古人生活 | 動畫科普 | 冷知識 | 古代冷知識. Animated explanation of the named elements of an imperial Chinese face: 花钿 huadian on the forehead, 额黄 yellow forehead pigment, 面靥 dimple marks at the mouth, and the 斜红 red streak at the temples.
  108. - 各朝代流行的妝 | 花鈿 | 額黃 | 面靨 | 唐朝妝容 | 斜紅妝 |古人怎麼化妝 | 古代妝容 | 化妝歷史 | 古代文化 | 古人生活 | 動畫科普 | 冷知識 | 古代冷知識. Animated explanation of the named elements of an imperial Chinese face: 花钿 huadian on the forehead, 额黄 yellow forehead pigment, 面靥 dimple marks at the mouth, and the 斜红 red streak at the temples.
  109. - 唐朝女性：中國歷史上最開放朝代，女扮男裝女人掌權，唐朝究竟有多麼開放？. Women's freedom of movement in Tang society, including women dressing in men's clothing and the reign of Wu Zetian, is examined for how far the period's openness actually extended.
  110. - 唐朝女性：中國歷史上最開放朝代，女扮男裝女人掌權，唐朝究竟有多麼開放？. Women's freedom of movement in Tang society, including women dressing in men's clothing and the reign of Wu Zetian, is examined for how far the period's openness actually extended.
  111. - 【妆容】唐帝国289年中女性妆容变化／依旧先于现代时尚前沿. Across the 289 years of the Tang, the woman's face shifts repeatedly in brow, lip and forehead ornament, and the sequence is laid out as a compressed run of changing styles.
  112. - 【妆容】唐帝国289年中女性妆容变化／依旧先于现代时尚前沿. Across the 289 years of the Tang, the woman's face shifts repeatedly in brow, lip and forehead ornament, and the sequence is laid out as a compressed run of changing styles.
  113. - 杨贵妃有多胖多少斤 揭秘唐朝女人以胖为美的原因#杨贵妃 #体重 #唐朝 #胖为美 #中国古代女性. Speculation about Yang Guifei's build is set against what Tang texts actually say, and used to ask where the 以胖为美 formula came from and how far it can be pushed.
  114. - 两分钟还原五个唐代时期的造型. Five distinct Tang-period looks are built in quick succession, each with its own brow treatment, lip shape and hair arrangement drawn from period painting.
  115. - 两分钟还原五个唐代时期的造型. Five distinct Tang-period looks are built in quick succession, each with its own brow treatment, lip shape and hair arrangement drawn from period painting.
  116. - 杨贵妃有多胖多少斤 揭秘唐朝女人以胖为美的原因#杨贵妃 #体重 #唐朝 #胖为美 #中国古代女性. Speculation about Yang Guifei's build is set against what Tang texts actually say, and used to ask where the 以胖为美 formula came from and how far it can be pushed.
  117. - 衣着袒露、以胖为美，这大概是被误解了一千多年的唐朝审美. Two persistent ideas about Tang women, that they dressed revealingly and that fullness was prized, are re-examined against period sources and found to describe a narrower slice of time and class than usually assumed.
  118. - 衣着袒露、以胖为美，这大概是被误解了一千多年的唐朝审美. Two persistent ideas about Tang women, that they dressed revealingly and that fullness was prized, are re-examined against period sources and found to describe a narrower slice of time and class than usually assumed.
  119. - 唐朝女人的超强化妆技术！教你秒变时尚icon！. The cosmetic techniques attributed to Tang women are presented as a still-usable set of methods, covering the powder base, the rouge placement and the forehead ornament.
  120. - 唐朝女人的超强化妆技术！教你秒变时尚icon！. The cosmetic techniques attributed to Tang women are presented as a still-usable set of methods, covering the powder base, the rouge placement and the forehead ornament.
  121. - 唐代妝容分享. Working through a Tang face from powder base to finished ornament, with attention to where the 花钿 huadian sits and how the rouge is carried out toward the temples.
  122. - 唐代妝容分享. Working through a Tang face from powder base to finished ornament, with attention to where the 花钿 huadian sits and how the rouge is carried out toward the temples.
  123. - 唐朝女性的唇妆之美#化妆教程 #汉服之美在华夏 #古代. The many named lip shapes of Tang women, small painted mouths set within a powdered face, are demonstrated one after another with the historical names attached.
  124. - 唐朝女性的唇妆之美#化妆教程 #汉服之美在华夏 #古代. The many named lip shapes of Tang women, small painted mouths set within a powdered face, are demonstrated one after another with the historical names attached.
  125. - 中国千年之美大明锦衣行The Timeless Beauty of China: Evolution of Tang Dynasty Women’s Makeup, Hair, Accessories. A Tang woman is assembled in full: white powder base, rouge, 花钿 huadian, the piled and looped hairstyles of the period, and the hairpins and combs that held them.
  126. - 6分钟读懂《中国妆束：大唐女儿行》，带你鉴赏大唐女子妆束图鉴The Timeless Beauty of China: Evolution of Tang Dynasty Women’s Makeup. A study of Tang women's dress and cosmetics is condensed into its main findings, covering the documented sequence of hairstyles, face ornament and garment silhouettes across the dynasty.
  127. - 中国千年之美大明锦衣行The Timeless Beauty of China: Evolution of Tang Dynasty Women’s Makeup, Hair, Accessories. A Tang woman is assembled in full: white powder base, rouge, 花钿 huadian, the piled and looped hairstyles of the period, and the hairpins and combs that held them.
  128. - 6分钟读懂《中国妆束：大唐女儿行》，带你鉴赏大唐女子妆束图鉴The Timeless Beauty of China: Evolution of Tang Dynasty Women’s Makeup. A study of Tang women's dress and cosmetics is condensed into its main findings, covering the documented sequence of hairstyles, face ornament and garment silhouettes across the dynasty.
  129. - 虢國夫人遊春圖：大唐麗人的生命瞬間。一幅畫揭開盛唐貴婦的慾望與覆滅。. The handscroll showing Lady Guoguo's spring outing is read figure by figure for what the riders' dress, hair and bearing disclose about the women of Yang Guifei's circle and the court that fell around them.
  130. - 虢國夫人遊春圖：大唐麗人的生命瞬間。一幅畫揭開盛唐貴婦的慾望與覆滅。. The handscroll showing Lady Guoguo's spring outing is read figure by figure for what the riders' dress, hair and bearing disclose about the women of Yang Guifei's circle and the court that fell around them.
  131. - #唐朝贵族女性的化妆术#唐朝历史 #西安肖静 #大咖说讲师团 #爱上博物馆. A Xi'an museum lecturer walks through the cosmetic routine of an aristocratic Tang woman, naming the pigments, the order of application and the objects recovered from tombs in the region.
  132. - #唐朝贵族女性的化妆术#唐朝历史 #西安肖静 #大咖说讲师团 #爱上博物馆. A Xi'an museum lecturer walks through the cosmetic routine of an aristocratic Tang woman, naming the pigments, the order of application and the objects recovered from tombs in the region.
  133. - 盛唐美妝:一朵梅花改變了時尚 第6集｜女皇的神都與消失的帝國. The plum-blossom mark worn on the forehead becomes the thread through a period of high Tang fashion, set against Wu Zetian's capital at Luoyang and the court that gathered there.
  134. - 盛唐美妝:一朵梅花改變了時尚 第6集｜女皇的神都與消失的帝國. The plum-blossom mark worn on the forehead becomes the thread through a period of high Tang fashion, set against Wu Zetian's capital at Luoyang and the court that gathered there.
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