Seated Girl Holding A Mirror

The figurine, made from terracotta and adorned in the three-color (sancai) lead-glazed colors, signifies an important juncture in the development of the “culture of fashion” of the Tang dynasty in the eighth century. At the time, Chang’an, the cosmopolitan capital city of the Tang dynasty, had a “chemical highway” known as the Silk Road that introduced exotic beauty standards and new materials into the center of China, not simply as a trade route for silk. ¹ The figurine shows a woman alone in a moment of applying makeup or combing her hair while she holds a mirror, suggesting that there existed an awareness of one’s appearance and social identity among elite women of the period. ² During what historians have referred to as the “Golden Age” of Tang society, individuals’ pursuit of “refinement and luxury” represented both a personal interest and a visual representation of the imperial government’s wealth and power. ³

Chemistry behind Sancai and Beauty Products

Sancai glazing has a unique connection to the chemistry of ancient beauty products through its chemical history as well. Copper oxide (malachite) gave the glaze its bright green hue while iron oxide produced the yellowish-brown hues, both minerals obtained via trade routes similar to those for beauty products. ⁴ Lead flux was also applied to lower the melting temperature of silica (silicate) in order to create these vibrant colors. The application of lead in glazing was identical to the toxic application of powdered white lead in face paints to achieve a smooth and “porcelain-like” complexion. ⁵

By the late seventh or early eighth century CE, members of Chinese elite moved from basic staining using plants to using long-lasting mineral-based formulas that would produce a much greater and more opaque effect than previous plant dyes. ⁶

Additionally, this movement towards mineral-based beauty products was facilitated by western merchants who exported exotic raw materials, scented oils, and new beauty methods. ⁷

Burial Practice and Legacy of the Silk Road

As part of burial practice, this figurine served as mingqi (spirit goods) intended to support the deceased person throughout eternity. The Chinese viewed death as a continuation of the social hierarchy where the deceased needed all the necessary tools to provide for themselves in terms of “refinement and luxury” within the spiritual realm. ⁸

It is especially important to recognize the significance of the mirror found here; mirrors were rare luxury items made from cast bronze and commonly decorated with floral patterns or animals originating from Persia and Central Asia.

Moreover, having her sitting upon a “waist-stool” symbolizes a great shift in how people lived domestically. During this period when there was so much interaction due to the Silk Road, foreigners imported furniture such as chairs and stools that eventually replaced mat-seating floors in homes.

Preparation Techniques

Additionally, scholars have pointed out that “the preparation techniques and ingredients” for cosmetics employed by this young woman were often shared by medieval Jewish-Christian-Islamic women and thus demonstrate that beauty was a “commonality” among multiple civilizations. ⁹ The detail required to create her coiffure-a “high-piled bun”-was accomplished using special hair oils and wax-setting agents that included aromatic substances delivered from Southeast Asia and the Middle East. Pigments on her cheeks can suggest that she was applying traditional Tang Dynasty fashion makeup, with bright cheeks and possibly more visible eybrow makeup. Therefore, even everyday practices like styling hair illustrate how every aspect of daily life depended upon stable long-distance commercial activity. Overall, this figurine is a consumer at the very end of a global distribution network and exemplifies the fusion of ceramics technology, botanical knowledge, and international trade. ¹⁰

Bibliography

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• McMullen, Roger L., and Giorgio Dell’Acqua. “History of Natural Ingredients in Cosmetics.” Cosmetics 10, no. 3 (2023).Source
• Walter, Philippe, et al. “Egyptian Eye Cosmetics (‘Kohls’): Past and Present.” In Physical Techniques in the Study of Art, Archaeology and Cultural Heritage, edited by D. Bradley and P. Creagh. Amsterdam: Elsevier, 2006. Source
• Jones, Geoffrey. “Cosmetics and Skin Care Products: A Historical Perspective.” Dermatologic Clinics 18, no. 4 (2000): 557–559. Source
• King, Anya. “Medieval Islamicate Aromatherapy: Medical Perspectives on Aromatics and Perfumes.” The Senses and Society 17, no. 1 (2022): 37–51. Source