Fengguan – Phoenix Crowns of the Ming Dynasty (1368–1644): From the Tomb to the Museum

This paper examines little-known aspects of history and production of unique Chinese jewelry in the diancui technique, crafted from bird feathers. Diancui crowns and hairpin, use kingfisher feathers, which change color from iridescent blue to luminous green depending on the arrangement of the feather particles. Russian scholars have published very few publications on the art of kingfisher feather inlay, while several Russian museums (the State Hermitage Museum and the Russian Ethnographic Museum in Saint Petersburg) possess such jewelry. The author examines the ‘shamanistic’ background of the bird feather ornaments, the symbolism and appeal of grue color dating back to the Chu Dynasty (ca. 350–223 B.C.), the history of diancui ban and its resurgence during Song Dynasty. The primary focus, however, is on the excavation, physical compromise, restoration, and description of the four phoenix crowns – fengguan of two Ming empresses, discovered by the 1956–1968 expedition in the tomb of the Ming Emperor Wanli Dingling. We argue a lack of diligence during the excavation process that led to the irreparable destruction of the delicate artifacts, while simultaneously demonstrating the remarkable resilience of diancui, whose ‘structural’ color withstood the test of open air and the lack of climate control. Analyzing the structure, technology, and precious and ornamental components of fengguan, the paper describes main methods used to create imperial court jewelry. Thus, Dingling treasures represent artifacts of a dual history, testifying both to the unattainable heights of craftsmanship, and to the environmentally destructive aspects of the cruel craft of diancui.