Headdress Imagery and Sacred Order: An Iconological Study of the Iconographic System of Chaoyuan Tu in Yongle Palace

Abstract

The Chaoyuan Tu in the Sanqing Hall of Yongle Palace is one of the largest extant Daoist murals in China and one of the works of the highest artistic value. Taking the headdress imagery in Chaoyuan Tu as its point of departure, this paper combines iconological methods with an archaeological perspective to systematically explore the mechanisms through which its iconographic system is constructed. The study argues that the headdresses in Chaoyuan Tu are not independent decorative elements, but rather a core symbolic system for constructing the hierarchical order of the Daoist pantheon. By analyzing the formal features, ornamental composition, and use of color in four major types of headdresses—mian crowns, phoenix crowns, jinxian crowns, and floral crowns—this paper reveals the interaction between headdress imagery and the human system of ceremonial dress, as well as the Daoist aesthetic thought and concepts of hierarchy embedded within it. It further extends from headdresses to the overall costume system, line language, color system, and compositional layout, thereby constructing a complete iconological interpretive framework for Chaoyuan Tu. The study shows that the iconographic system of Chaoyuan Tu not only inherits the excellent traditions of Tang and Song mural art, but also achieves creative transformation within the cultural context of the Yuan dynasty, embodying the Daoist aesthetic pursuit of “the unity of Heaven and humanity.”