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History of Miao Yin

Miao silver jewelry is an important jewelry and wedding supplies in the Miao ethnic area for a long time. Its main feature is hand-made in the Miao area, with exquisite patterns and full of meaning. After wearing Miaoyin products, if they are not worn for a long time, the metal on the surface of the bracelet will undergo oxidation reaction, which is what we usually call discoloration, but next time you wear it, you only need to wipe it with a soft cloth or paper towel to make it look as bright as new. There are many kinds of Miao silver products such as jewelry, ring, hairpin, headdress, tableware and so on. It is often sold in places where the Miao people gather in western Hunan and Guizhou, and the prices are generally sold by pieces.

The earliest silver jewelry art of the Miao nationality sprouted in the witchcraft totem activities. The Miao family believes that silverware can drive away evil spirits and protect against Yin Qi. In ancient times, Miao people wore silver collars, and it was said that they could defeat evil “old women” and ensure the safety of the family. The well-known big silver horn of the Miao nationality in southeastern Guizhou is derived from the image of the ancestor Chi You’s “head with horns”, aiming to worship and bless the ancestors.

They cherish silver jewellery in their daily lives and treat them as gods. They created a variety of patterns and styles of silver jewelry modeling, which not only exudes a strong rural and folk atmosphere, but also shows deep folk cultural connotations, and at the same time shows the glory and momentum of a big nation.

It is self-evident that the Miao silver jewellery has the artistic characteristics of great beauty. A convincing example is that the Miao silver horn is almost half the height of the wearer. The heap is a mountain, showing a majestic beauty; the water is a sea, showing a vast beauty. The unique insight of the Miao nationality’s silver ornaments of great beauty is very reasonable from an aesthetic point of view.

Looking at the beauty of weight again, the Miao women from Shidong, Guizhou used piercing ears to expand their piercings with gradually thickening round rods to ensure that they could wear the popular local round earrings and use the weight of the earrings to elongate the earlobe. Some women’s ear lobes are cut because they are too heavy. The local earrings can weigh up to 200 grams. Liping Miao women’s baskets of flowers and silver hoops pay attention to the heavier the better, the heavier is more than eight catties.

The “multiple” artistic features presented on Miao silver ornaments are also amazing. In many Miao areas, silver jewelry is more beautiful. Hang three or four earrings, folded to the shoulders; wear three or four collars, without the neck and cover the forehead; wear all the viscera and waist decorations. Especially for the silver clothing in the Qingshui River Basin, there are hundreds of assembly parts, overlapping and complicated, showing a kind of beauty of complexity. This materialization of ostentation is not difficult to see in other ethnic groups.

The tattoo custom of Dai men pays attention to the wider the tattoo parts and the more complex and beautiful the patterns; the Hani girls in the courtship period wear dense beads and shells all over their bodies; the “jialong” back decorations of the Tibetan women in Qinghai pastoral area fully reflect Pursuing the aesthetic principle of large and many; De’ang people have as many as thirty or forty loops of waistband, which can be described as a typical pursuit of the number of accessories. This shows that more than the Miao people are not the only ones pursuing complex bondage.

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