During the Kaiyuan period of the Tang Dynasty, someone from Lingnan presented a parrot to the imperial court, and it was kept in the palace.

During the Kaiyuan period of the Tang Dynasty (713–741) Year ) In Lingnan, someone presented an ivory-white parrot to the imperial court. The bird was kept in the palace, where it was allowed to drink, peck, and sing freely—but never strayed far from the screen or curtains. Emperor Xuanzong of Tang instructed his attendants to teach the parrot poetry; after only a few repetitions, the bird could recite it fluently. As a result, the parrot became deeply beloved by its master and was bestowed with the name “Xueyi Niang.”

One day, “Snow-Clad Lady” flew onto the noble consort’s dressing table and spoke: Said: Last night, Xue Yi Niang dreamed she had become a fierce bird. (zhi , sound reaches—fierce ) Is this all the bird can accomplish? ? The noble consort was utterly astonished. Upon learning of this, Emperor Xuanzong instructed the consort to give him the Heart Sutra—the sutra translated by Xuanzang—from the Buddhist scriptures. Over time, as it became increasingly docile, it even came to memorize the sutra with remarkable fluency. “Snow-Clad Lady” not only understood words perfectly but also displayed an extraordinary degree of obedience and cleverness.

Whenever Emperor Xuanzong made a blunder during a game of Go with his concubines or princes, the Noble Consort—herself a master of the art of the board—would softly call out, “Xueyi Niang.” Instantly, the bird would understand her hint, swiftly dart into the chessboard, and begin to dance gracefully, scattering the pieces in utter chaos. It would even use its beak... (hui , Yin Hui, the beak of birds and beasts ) She pecked at the hands of the imperial concubines and princes, making it impossible for the game to continue—thus avoiding the emperor’s embarrassment of losing to either a concubine or a prince. “Snow-Clad Lady” " Once its mission is complete, it’ll immediately leap into its owner’s arms, rubbing itself affectionately against the owner’s lap—of course, never forgetting to ask for a reward in the form of some tasty food it loves.

Once, Emperor Xuanzong and the Noble Consort were enjoying a stroll in the Imperial Palace. The Noble Consort placed “Xue Yi Niang” on the palanquin. ( Palanquin ) On the pole, she went along with him. As people admired the scenery and moved away from the palanquin, “Snow-Clad Lady” was killed by an eagle that suddenly descended upon her. Emperor Xuanzong and the Noble Consort sighed deeply for a long while, then ordered that “Snow-Clad Lady” be buried, a tomb erected over her grave, and it be named the “Parrot Tomb.” (zhong , sound species, tomb )”。

Tangyi Museum of Silver and Goldware—Replica Gilt Parrot-Design Silver Jar with Handle

Total height 24.1 Centimeter

Caliber 12 Centimeter

Bottom diameter 14.4 Centimeter

Wall thickness 0.15 Centimeter

Heavy 1879 Ker

Why do parrot motifs frequently appear in the Tang Dynasty?

Parrot motifs on gold and silver objects, lacquered woodware, bronze mirrors, textiles, and porcelain primarily date from the mid to late Tang dynasty. The dating of this artifact likely falls within this period. 8 Mid-century. The sudden popularity of parrot motifs during this period has deep historical roots. The Tang Dynasty was an era of prosperity and openness, as well as a golden age for China’s foreign exchanges. There are numerous records in Tang Dynasty literature documenting the tribute of parrots.

The Old Book of Tang, Volume on Emperor Xuanzong, Part 1 : “The Kingdom of Southern Tianzhu sent an envoy to present a five-colored parrot,” from the “Old Book of Tang—Emperor Xianzong, Part II.” : In the year Bingyin, the kingdom of Heling sent an envoy to present monk’s attendants, five-colored parrots, Pinya birds, and rare fragrant treasures. " "New Book of Tang—Biography of the Western Regions" : “Seven years later, King Naxi of Kharapura, having been struck by the fire, presented a lion and five-colored parrots to the great chieftain Rama.” The arrival of exotic parrots sparked the curiosity and imagination of the Tang people. As parrots were capable of speech, they had already become symbols of wisdom and objects of affection in Tang dynasty literature. Moreover, parrots came to symbolize good fortune and auspiciousness.

In ancient times, it was also known as the “divine bird.” During the Tang Dynasty, parrots primarily inhabited regions such as Longshu in the south and northwest. Because high-ranking officials and nobles of the Tang court greatly enjoyed keeping them as pets, parrots were often presented to the imperial court as “local tributes” from various regions. Moreover, thanks to the smooth operation of the Silk Road, the Tang dynasty’s international influence continued to expand, and countries like Tianzhu, Persia, and Lin Yi frequently sent parrots as tributes to the Tang court.

As precious objects, gold and silver artifacts were not typically owned by ordinary people. Among the Tang Dynasty gold and silver pieces currently discovered, many are decorated with parrot motifs. Examining these artifacts from the same batch, we find that the parrot motifs appear alongside other auspicious designs such as mandarin ducks, phoenixes, fish, butterflies, and wild geese—often in pairs. This suggests that these motifs carry meanings of good fortune and completeness.

Exquisite craftsmanship Prosperous Tang Dynasty Atmosphere

During the Tang Dynasty, gold and silver craftsmanship was highly developed. The gilded parrot-patterned silver jar with a handle employed techniques such as hammering, chasing, soldering, and gilding. Law.

Hammer Shake This technique fully exploits the malleable and ductile nature of gold and silver materials. When employing this process, artisans continuously hammer metal sheets according to design specifications, causing the back side of the sheet to indent inward while the front side bulges outward—creating a relief-like effect—and ultimately producing the desired exquisite form. The main body of the gilded parrot-patterned silver jar with handle—the jar’s belly and bowl-shaped lid—was shaped by hammering.

The chasing technique is relatively complex and requires hundreds of different tools. The patterns on the surface of the gilded silver jar with a bird-and-parrot design were created by first hammering metal sheets and then using the chasing technique to carve out the intricate designs.

Gilding was a highly popular technique during the Tang Dynasty. Artisans mixed gold powder with mercury in a specific ratio to create a gold paste, which they applied to the areas intended for gilding. They then heated the surface with fire; as the mercury evaporated upon heating, the gold adhered firmly to the object’s surface. The most common gilding technique used on Tang Dynasty silver and gold artifacts was partial gilding—where the objects were initially made of silver, but only the decorative patterns were gilded. This technique is well-documented in the numerous silver and gold artifacts that have been unearthed.

The gilding technique employed on the gilded parrot-patterned silver jar with handle is a localized gilding method. The yellow and white colors on the surface of the silver jar create a striking contrast. Remarkably, a circular hoop has been welded inside the foot ring of this gilded parrot-patterned silver jar with handle, which not only prevents the base from easily coming loose but also makes the bottom more robust and durable.

Tang Dynasty gold and silver artifacts feature unique shapes, rich patterns, and exquisite craftsmanship. Craftsmen adopted a broad and inclusive approach, integrating the distinctive decorative motifs of ethnic crafts while also drawing on foreign techniques and decorative styles, thereby continuously creating masterpieces of gold and silver art that reflect the aesthetic tastes of the Tang people. These artifacts have also left behind invaluable physical evidence for modern generations.

Analysis of the ink inscription on the lid of the lifting-handle jar

The handled jar has a wide range of uses, primarily serving as a vessel for food and drink—such as holding water or wine. As for the specific purpose of this silver jar, opinions currently remain somewhat divided. This gilded silver jar features a design of parrots. Inside the jar lid, there was originally a line of ink writing: “Purple Rhizome 50 liang,” and “White Rhizome 12 liang.” From inside the silver jar lid Looking at the ink writing, this... The silver jar is intended as a vessel for storing elixir-making medicines. Because Zi Ying and Bai Ying are medicinal substances that “strengthen vital energy,” “nourish deficiencies,” and “when taken regularly, lighten the body and prolong life.” Both are indispensable ingredients in the preparation of elixirs.

According to historical records, rulers of the Tang Dynasty revered Taoism and were superstitious about Taoist elixirs, believing that consuming these elixirs could grant immortality. 。 This magnificent silver jar is the largest and most exquisite of all known Tang Dynasty silver jars to date—a rare treasure that perfectly combines practicality with artistry.

Pilgrimage to alchemists and taking medicinal pills became a nationwide trend during the prosperous Tang Dynasty.

In the early days of the Tang Dynasty, Emperor Gaozu issued an imperial edict announcing... : Taoism ranked first, Confucianism second, and Buddhism third. From then on, Taoism became the state religion of the Tang Dynasty. Perhaps it was the chronic ailments left over from years of constant warfare that caused the founding heroes so much suffering; perhaps it was the delightful feeling of all quarters converging and myriad nations paying tribute that was too hard to let go; or perhaps it was the luxurious and comfortable lifestyle that people found impossible to part with. Thus, the imperial family and aristocracy, led by the emperor himself, placed particular emphasis on health preservation.

Starting from Emperor Taizong of the Tang Dynasty, there was a deep-seated belief that consuming elixirs could enable one to communicate with the gods, lighten the body, prolong life, and achieve immortality. After him, nearly every emperor had some connection with alchemists; many Daoist priests who practiced elixir-making entered the imperial court and became honored guests of the emperor.

In his "Twenty-Two Historical Notes," the renowned Qing Dynasty scholar Zhao Yi devoted a specific entry titled "Many Tang Emperors Took Elixir Pills," in which he analyzed and studied the phenomenon of Tang dynasty emperors' belief in and worship of Daoism, as well as their penchant for taking elixir pills.

Tang Dynasty 22 Among the emperors are 15 The emperors were keen on taking elixirs; among them were Taizong, Xianzong, Muzong, Jingzong, Wuzong, and Yizong. 5 All the emperors eventually died from poisoning caused by ingesting elixirs. When those in power have a particular preference, those below them tend to follow suit even more eagerly. Driven by the emperor’s tastes, members of the imperial family, aristocrats, and high-ranking officials alike rushed to imitate him, associating with Daoist alchemists and engaging in the practice of refining and consuming elixirs—this became a nationwide craze for a time.

Social luminaries such as Wang Bo, Lu Zhaolin, Yuan Zhen, and Li Bai all firmly believed in the practice of taking elixirs. In his later years, Bai Juyi reflected on the outcomes of his friends—Han Yu, Yuan Zhen, Du Mu, Cui Yuanliang, and others—who had pursued and consumed these elixirs. With deep emotion and a sense of finality, he composed a poem titled “Thinking of Old Friends.” :

On a leisurely day, I think of the past—those old haunts seem as vivid as if they were right before my eyes.

Reflecting once more on where I am now, I’ve fallen into oblivion and returned to the underworld.

Tuizhi took sulfur and, once ill, never fully recovered.

Wei Zhi refined autumn stone, and before he was old, his body suddenly passed away;

Du Zi obtained the secret formula for elixir and abstained from meat and fish all day long;

Cui Jun boasts of the medicine's potency, yet remains unbundled even through the depths of winter.

Whether illness or premature death, none ever surpasses middle age;

Only by abstaining from food does one’s life actually be prolonged.

High-grade cinnabar for alchemical elixirs is often stored in gold and silver boxes.

What exactly were the elixirs of the Tang Dynasty like? ? The Hejiacun cache yielded... 13 The medicinal substances identified include cinnabar, stalactites, white herb, purple herb, coral, amber, orpiment, yellow powder, gold leaf, and gold flakes—this represents the most concentrated discovery of pharmaceutical materials from the Tang Dynasty. Among these, cinnabar and stalactites are the most abundant and exhibit the greatest variety in grade and quality.

Cinnabar, also known as dan sha, chi dan, or mercury sand, is a natural mineral with a chemical composition of mercuric sulfide. It occurs in large masses or as small hexagonal crystals, exhibiting a vivid red color. It is the primary mineral raw material used in the extraction of mercury. Cinnabar has a sweet taste, is slightly cold in nature, and is non-toxic. It promotes blood circulation, nourishes the spirit, clarifies vision, relieves irritability and quenches thirst, and calms the heart and soothes the mind. In ancient times, it was also a key ingredient in the alchemical practice of making elixirs.

During the Tang Dynasty, many medicinal preparations were made primarily using cinnabar, and Sun Simiao’s “Qianjin Yaofang” contains detailed records of these.

As for the sources of cinnabar during the Tang Dynasty, in addition to Qianzhou, Chenzhou, Jinzhou, Xizhou, Zhenzhou, Maozhou, Yizhou, and Rongzhou, ... In addition to tributes from local regions, cinnabar produced in the Western Regions and Persia was also presented as tribute to the Tang Dynasty. The hoard unearthed from the Hejiacun cache includes... 6 Plant cinnabar, each separately stored in 6 Each exquisite, tightly sealed silver box bears the vermilion name and weight of the coin, inscribed in ink by Tang-era scholars. :

One jin of large-grain Guangming sand

Twenty-one liang of Secondary Bright Sand

One jin of bright, crushed red sand.

Bright Purple Sand, one jin—top grade.

Red light cinnabar, two large jin, three large grains—absolutely top-grade.

Xizhou cinnabar, thirty liang.

From these records, we can see that during the Tang Dynasty, the identification and classification of cinnabar were extremely meticulous. The cinnabar used by the imperial court as medicine was always of the highest quality, and its management was exceptionally stringent. Taoism emphasized the use of exquisite gold or silver boxes to store medicines such as cinnabar; the discoveries from the Hejiacun cache indeed confirm this practice.

References

[1] Wu Jie . Silver-gilt parrot-pattern handle pot [J]. The Great Western Development, 2007， (02):64.

[2] Shen Qin Yan . The Fifth in the Series: Appreciation of Tang Dynasty Royal Gold and Silver Artifacts—Tang People Frequently Used Exquisite Gold and Silver Vessels for Alchemical Practices and Medication. [J]. Art market, 2008， (12):91-93.

[3] Zhang Pengcheng . A Preliminary Discussion on the Tang Dynasty Golden Parrot Pattern Silver Jar with Handle [J]. Peony, 2015， (12):74-77.