Artistic highlights of the pivotal Tang dynasty

Tang Vogue Beyond the Horizon: A Golden Era of Multicultural Integration and Openness

Tremendous Tang dynasty

The Tang dynasty was a period of tremendous achievements and growth and a golden age in China’s history.

Gold hairpin ornament decorated with six standing phoenix and inlaid with turquoise, made with exquisite craftsmanship

A new era began after the abrupt end to the short-lived Sui dynasty when Li Yuan became the first Tang dynasty emperor.

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The exhibit Tang Vogue Beyond the Horizon: A Golden Era of Multicultural Integration and Openness at the Hong Kong Heritage Discovery Centre celebrates the cultural and artistic highlights of this pivotal period.

From 618 to 907, China flourished under strong military control and a stable, capable civil administration, fostering an unprecedented time of peace and prosperity.

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Progress was made in agriculture, handicrafts, industry, and commerce. This accelerated the prosperity and development of the economy and society during the Tang dynasty.

Sassanian silver coins (ten pieces)

People’s lives became more settled and prosperous. With their affluence, arts and culture proliferated and timeless works of poetry, prose, music, dance, calligraphy, painting, and sculpture were produced.

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During this golden age, China was exceptionally multicultural and inclusive. Society fully embraced the diverse people and ethnic characteristics of the era.

Merchants, envoys, and students came to China for trade, cultural, and academic experiences and exchanges.

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According to a census conducted at the time, the dynasty had a population of over fifty million in its heyday. It had around 1,859 cities, including 321 commanderies and 1,538 counties.

Imperial Civil Service Examinations

In the early part of the Tang dynasty, officials were appointed based solely on their family status or through referrals. But Institutional reforms, including the revision and formalisation of talent selection through the Imperial Civil Service Examinations, resulted in a more effective recruitment system. 

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The Imperial Civil Service Examinations enabled brilliant, ordinary men from poor, obscure families to rise to the top and become advisors, holding important and coveted roles in government.

A Painted Hu civil official figurine, with thick eyebrows, deep-set eyes, and a full beard, dressed in a Tang dynasty uniform, exemplifies the pomposity that often resulted from the high-value position associated with the civil service. 

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Able people were assigned to different localities in the country, reinforcing centralisation power, and augmenting a competent civil service.

Painted Hu civil official figurine with thick eyebrows, deep-set eyes and a full beard, dressed in a Tang dynasty uniform

Thanks to effective governance, the Tang dynasty experienced significant social and economic advantages. Commerce and trade within China and across its borders flourished.

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A smooth and safe passage was maintained on the Silk Road. Merchants along the route engaged in peaceful and friendly business and cultural exchanges.

Safe passage on the Silk Road

A description of the effective governance during the reign of Emperor Taizong of the Tang dynasty (r. 626-649) specifically noted:

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“On the Road to Great Tang, Merchants on the road did not have to worry about thieves or bandits; the prisons were always empty; herders did not have to keep watch on their horses and cattle grazing on the pastures; people did not need to lock their doors at night.

Kai Yuan Tong Bao (circulating treasure from the new era) bronze coins (eighty pieces) and Qian Yuan Zhong Bao (heavy treasure of the Qian Yuan reign) bronze coins (twenty pieces)

Harvests were abundant every year; rice cost three to four bronze coins per dou (ten litres); travellers could easily obtain food on the road, whether they were going from the capital city to Lingnan, or from Shandong to the sea.”

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Central to the success of the Tang dynasty was the international trade and exchange of ideas, goods and people it facilitated through the Silk Road.

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The trade route allowed not only material, but also spiritual and cultural exchanges with people from regions near and far. This was a peak period of international exchange in Chinese history.

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Teams of merchants travelled westward along the ancient route, through the vast Gobi Desert, bringing Chinese silk, lacquerware, and more to Central and West Asia.

On the return trip, native products, including animals, plants, perfume, jewellery, tea, and gold and silverware, were brought back.

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On a rectangular moulded brick, there is a painted portrait of a Hu merchant leading a camel. The description of this relief carving provides clues to the origin and trade of this pair. The man has deep-set eyes and a prominent nose, suggesting that he is of foreign descent.

Moulded and painted brick with a portrait of a Hu merchant leading a camel returning home

The load carried by the camel is round, which denotes that it contains silk, meaning the merchant has finished his business and is returning home from China. If the load is square, it means that the camel is carrying tea, and the merchant has just started his business trip.

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Many of the items showcase a prosperous society, featuring people from different countries and the vast wealth of the time.

Jie comb, carved from a thin piece of gold, shaped like a horseshoe

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Several exquisite examples reveal the fabulous gold jewellery and accessories owned by the elite. A Jie comb, carved from a thin piece of gold and Earrings, made from rare rubies and glass beads, were fabricated with incredible skill and meticulous detail.

Earrings, rare, delicately and extravagantly crafted gold jewellery with rubies and glass beads

The technological prowess and astonishing craftsmanship of Tang dynasty artisans reach their zenith in the gold hairpin ornament, decorated with six standing phoenix and inlaid with turquoise.

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A tiny crimson gold walking dragon was made with masterful welding techniques. On top of the dragon’s head, a groove holds a pair of horns formed from thin gold wires bent into shape and welded in place. Its detailed scales are finely rendered through engraving.

Tang dynasty cosmopolitan society

The Tang dynasty created a cosmopolitan society that readily incorporated new ideas and elements from foreign lands. It was characterised by the integration and interchange of different peoples from other regions. This was celebrated through the acceptance of foreigners, some of whom were the Hu, nomadic people from the north. 

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Its openness and acceptance helped the economy evolve and grow. The country gained power, prestige and a far-reaching reputation.

Crimson gold walking dragon

Pottery figurines and statuettes depicting various local and foreign people and animals in different poses and actions represent the diverse faces and facets of the Tang dynasty.

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These representations were produced in large quantities but were finished and fashioned individually, serving as portraits of real-life individuals with distinct characteristics and personalities.

A Tang nobleman figurine on horseback holding his reins, wearing a futou headgear on his travel

A Tang nobleman figurine on horseback depicts a man ready to travel, an integral part of life during that era.

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The Sancai hunter figurine on horseback is decorated in a style similar to that of many Tang dynasty ceramics. The classic Sancai glaze, featuring colours of brown, amber, green, cream, and white, became a signature look for Tang dynasty-era pottery.

Sancai hunter figurine on horseback, Tang dynasty. Unearthed in 1960 at Princess Yongtai Tomb in Qian county, Shaanxi

Bronze as well as foreign coins, such as ten pieces of Sassanian silver coins and a gold coin of the Eastern Roman Empire, reveal the significant flow of money along the Silk Road during the Tang dynasty. 

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Tang commerce was fully integrated into an economy that spanned the entire Eurasian continent. Visitors, including travellers, ambassadors, traders, merchants, emissaries, and foreign dignitaries, came to China to trade and pay tribute to the emperor.

Sancai horse-leading figurine wearing fumao headgear

A Sancai horse-leading figurine wearing fumao headgear shows such a foreigner with busy eyebrows, a moustache, and a goatee. 

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Another foreigner, a Painted Hu warrior figurine with deep-set eyes and a full beard, shows his fierce look and battle-ready stance, wearing gilt armour with a black belt.

Painted Hu warrior figurine with deep-set eyes and a full beard, wearing gilt armour with a black belt

During the Tang dynasty, the magnificent capital city of Chang’an (present-day Xi’an) was the largest in the world at the time. It was designed with the wisdom of ancient Chinese traditional architecture, featuring a rigorous layout and symmetrical structure with districts that were orderly and coordinated according to use and hierarchy.

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The capital consisted of the Palace City, where the emperor resided. Then there was the Imperial City, which was occupied by the central government’s ministries and other offices. The Outer City was where millions of ordinary people lived, worked, and played.

Painted figurine of a character in canjun (adjutant) opera, a comic early form of Chinese opera which evolved from the performance of court jesters. Unearthed in 2001 at Mu Tai Tomb, Zhongshanliang, Gansu

Foreign trade enabled Chang’an to prosper and receive visitors from near and far. Foreigners were also drawn to the capital for diplomatic connections, the pursuit of knowledge, and religious missions.

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The customs and spiritual beliefs of foreigners were tolerated, and they were allowed to settle in the city.

Entertainers also came, adding to the mix of visitors gathering in the city.

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From Persia or Central Asia, music and musical instruments used for dance accompaniment were introduced, enriching the repertoire of musical arts available to the imperial court.

Painted comical figurine with vivid facial expression, visible forehead wrinkles, drooping eyelids, and prominent and furrowed brows. Unearthed in 2001 at Mu Tai Tomb, Zhongshanliang, Gansu

Foreign performers came to perform Central Asian dances, adding an exotic touch to the performing arts.

Pottery statues on display showcase the work of these foreign artists. A painted comical figurine appears with a vivid and animated facial expression.

Figurine of a bare-chested Hu man, an entertainer, bearing his sagging chest with nipples hanging downwards to his belly, seemingly bewitching his audience. Unearthed in 2001 at Mu Tai Tomb, Zhongshanliang, Gansu

Another, a painted figurine of a character in canjun opera, an early form of Chinese opera, exhibits a role which evolved from the performance of court jesters.

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While a figurine of a bare-chested Hu man, an entertainer, bearing his sagging chest with nipples hanging downwards to his belly, seemingly bewitches his audience.

Painted figurine of a dancing black man with round deep-set eyes, sharp nose, prominent cheekbones, and large ears hanging down to the shoulders. Unearthed in 2001 at Mu Tai Tomb, Zhongshanliang, Gansu

An exceptionally animated painted figurine of a dancing black man is sculpted with round, deep-set eyes, a sharp nose, prominent cheekbones, and unnaturally large ears hanging down to the shoulders.

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Women during the Tang dynasty enjoyed a higher social status than in any other period. Their rise to importance, power, and social inclusion is most pronounced during the reign of China’s only female monarch, Empress Wu Zetian (690-705).

Sancai polo player figurines (one of four) showing female players, of the Tang dynasty, with heads lowered, hair in buns and round faces in action

Women frequently participated in rugged and daring activities, such as riding horses and playing sports like polo.

Sancai polo player figurines (two of four) showing female players, of the Tang dynasty, with heads lowered, hair in buns and round faces in action

Sancai polo player figurines (three of four) showing female players, of the Tang dynasty, with heads lowered, hair in buns and round faces in action

Sancai polo player figurines (four of four) showing female players, of the Tang dynasty, with heads lowered, hair in buns and round faces in action

A painted female figurine on horseback, holding the reins in an elegant posture, reflects the social status and aesthetic ideals of women in the Tang dynasty.

Painted female figurine on horseback, holding the reins in an elegant posture, reflecting the social status and aesthetic ideals of women in the Tang dynasty

Polo, originating in Persia, was introduced to Chang’an by the Tibetans during the early Tang dynasty. It gained popularity in the imperial court and among the general public.

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A set of four Sancai polo player figurines, showing female players, indicates the freedom enjoyed by women. Each figurine is vivid and distinctive.

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The horses are tall with thick manes. The glaze is milky white on the horses’ faces and hooves, yellow mixed with brown on the bodies and predominantly green on the saddles.

Painted pottery maidservant figurine

Changes in the status of women also coincided with new definitions of feminine beauty and fashion. A painted pottery maidservant figurine shows that the new preferred aesthetic standards were for a round face and full figures symbolising vitality, wealth, and health.

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The makeup and hairstyles of Tang women were highly standardised yet varied. The freedom women enjoyed was also reflected in their clothing choices.

Painted pottery standing female figurine, Unearthed in 1996 at the Li Hui tomb in Qiaolong village, Shaanxi.

They could wear men’s clothing and sometimes wore Central Asian outfits, such as long robes, trousers, and boots, for outdoor activities like hunting and polo. Women wore more than 140 hairstyles, with high buns decorated with elaborate accessories being the most popular.

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Hairdos were like delicate works of art, as shown in two statues displaying the differing styles of coiffure and clothing.

Sancai female figurine with hair in a single-knife half-turned bun. Unearthed in 1981 at the tomb of An Pu and his wife in Dongshan, Longmen, Luoyang, Henan

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Tang women were meticulous when choosing items for their dressers. Delicate mirrors and lovely everyday items reflected the well-developed beauty culture of the day.

Left: Mirror with Chinese characters Tian Ce Wan Sui (heavenly investiture of ten thousand years) of the Wu Zhou dynasty. Right: Mirror with Chinese characters Tian Ma Ti (heavenly horse hoof).

Two mirrors with Chinese characters display the fine luxury goods available for Tang women

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Pottery vessels and tea ware show a vibrant food and tea-drinking culture in the Tang dynasty. Tea drinking was popular and associated with the development of Buddhism, which was exported to the east along the Silk Road.

Green glazed ewer with connected bead mountain chain pattern in brown and green paint, which is a feature of export ceramics of West Asian people, and is proof of the exchanges between China and the rest of the world.

A Green glazed ewer presents a vessel commonly used for tea and wine. This ewer is painted with an abstract mountain chain motif and looping vibrant brown and green dots.

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The connected bead pattern was popular among the tribes of West Asia and has its origins in Persian carpets as well as gold and silverware. This decoration showed the cross-fertilisation of artistic motifs and creative design between China and the rest of the world.

Left: Gilt silver boluozi with base featuring a human arch motif used by the Tang imperial family to hold food offerings for the Buddha. Middle: Gilt silver plates with cross-shaped floral spray pattern and petal-shaped rim – daily utensils of the Imperial court. Right: Gilt silver square box bestowed by the emperor with double phoenixes holding a damask ribbon pattern.

Extravagant banquets are often depicted in Tang poetry and paintings, showcasing the reverence for fine and diverse foods. Dedicated containers were created for different types of food, serving as a visual representation of social status.

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A gilt silver boluozi, a vessel to hold food offerings for the Buddha, and two gilt silver plates used by the Tang imperial family bear testimony to fabulously made items to hold culinary delights.

Brown glazed plate with flower-shaped mouth and impressed flying bird pattern.

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Porcelain produced by kilns across China became a major commodity. All types, such as blue-and-white porcelain, white porcelain and Celadon, were exported to the rest of Asia, across the Indian Ocean to the Persian Gulf, as well as the east coast of Africa.

Gilt bronze belt. Belt clasps were decorations as well as symbols of identity and rank. This belt consist of square and round clasps and rings. Unearthed in 2000 at the Tang Tomb in Xian.

The Tang dynasty was a golden age of cultural richness, openness, and innovation, where diverse peoples and ideas came together to create a vibrant, prosperous society.

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From the thriving capital of Chang’an to the vast Silk Road routes, this period saw remarkable advances in governance, art, and international trade.

The artefacts in the Tang Vogue Beyond the Horizon exhibition highlight the dynasty’s skilful craftsmanship, social progress, and wide-reaching connections.

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By exploring the varied faces and facets of the Tang era, we gain lasting insight into the values of openness, creativity, and cultural exchange that propelled China into a broader sphere of influence and commerce.

Text and photos Cammy Yiu

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