Li Jingxun 李静训 was only nine when she passed away. Her heart-broken grandma lavished her with burial goods that amazed us even in the modern day, for the breadth of the origins, and beauty and intricacies of the handicrafts.
All artefacts are excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) dated to 4th year of Daye Era (608AD), Sui Dynasty (580-618). They are all in National Museum of China Collection, unless otherwise indicated.
National Treasure 国宝
Glass Vessel 绿色玻璃瓶 1
Scientific analysis reveals that this small vessel is made of high-lead glass, a translucent green material produced by native Chinese glassblowing techniques. The thin-walled vessel (1-2 mm) features a narrow neck, rounded body, and a raised ring around the rim. Its form reflects Sasanian Persian style.
National Treasure 国宝
Glass Jar with Lid 绿琉璃盖罐 2
Over twenty glass objects were discovered in Li Jingxun’s tomb, including both soda-lime and high-lead glass wares. These findings indicate that by this period, Chinese artisans had adopted Western glassmaking techniques, producing both types of glass of refined quality. Despite adopting foreign techniques, vessel forms largely retained traditional Chinese styles, marking a new phase in the development of Chinese glassmaking.
Gold Necklace Inlaid with Pearls and Gemstones 嵌珍珠宝石金项链 3
This breathtaking pearl-and-gem-inlaid gold necklace was found around the neck of the skeletal remains of Li Jingxun and stands as a testament to the widespread influence of Chinese civilisation across Asia and even globally during that era. The necklace consists of 28 spherical gold beads, each meticulously crafted by welding 12 small gold rings and adorned with 10 pearls, radiating dazzling brilliance. These faceted gold beads, primarily found in Southeast Asia and Pakistan, shimmer with breathtaking luminosity.
At the top of the necklace, a blue gemstone is carved with a flower-antlered deer, showcasing distinctive Sogdian artistic style. The lower section features a large circular gold ornament inlaid with a translucent bloodstone, surrounded by 24 pearls. Flanking it are two round gold ornaments set with blue beads, their perimeters also adorned with pearls.
Beneath the bloodstone hangs a heart-shaped gold pendant inlaid with a 3.1-cm gemstone. The entire necklace dazzles with vibrant splendor and regal magnificence, standing as a peerless artistic masterpiece. Through studying the necklace’s faceted gold beads with their welded craftsmanship, the intaglio techniques on blue beads, and the gemstone pendants with pearl-rimmed borders, experts conclude this piece likely originated in Pakistan or Afghanistan.
Gold Bracelets Inlaid with Pearls and Gemstones 嵌珍珠宝石金手镯 4
These artefacts also attest to active communication along the Silk Road from the Northern dynasties to the Sui dynasty, through the Hexi Corridor and Xinjiang to Central Asia and beyond.
Jade Rabbit Pendant 玉兔佩
The Silk Road existed long before the Tang Dynasty (618-907), fundamentally established by China’s Han Dynasty (206 BC–220 AD) through the explorations of Zhang Qian, opening regular overland trade routes westward for silk, jade, and other goods, and connecting with Persian/Parthian empires and the Roman world, with subsequent eras (Wei, Jin, Northern/Southern Dynasties) maintaining and developing these arteries despite fragmentation, setting the stage for the Tang’s later golden age.
Jade Cup with Gold Rim 镶金边白玉杯 5
An important jade artefact of the Sui Dynasty in Li Jingxun’s tomb is the jade cup with gold rim. This cup is very small, like a child’s toy, with a height of 4.1 cm, a calibre of 5.6 cm and a bottom diameter of 2.9 cm. The cup is carved with high-quality Hetian jade, and the shiny white jade is flawless, with a noble and elegant shape.
Jade Hairpin 玉钗
From the perspective of archeology, the development of Chinese jade from the Wei and Jin Dynasties to the Sui and Tang Dynasties seems to have entered a low point, and very few jade artefacts have been unearthed. However, in these few pieces of jade, it can be found that China’s jade production has gradually completed the transition from ceremonial to daily use. These cup and hairpins have obviously got rid of the shackles of the jade production of the Han Dynasty and developed in a more practical direction.
White-Glazed Ewer with Dragon Handle and Chicken Spout 白瓷鸡首壶 6
Sui dynasty white wares made great strides on the craft inherited from the Northern Dynasties (386-581). A batch of white wares unearthed from the tomb of Li Jingxun was of far greater glaze quality than those from the tomb of Fan Cui, with none of the blotches of yellow or green as seen in the latter.
The exterior of the vase is white glazed throughout, with no glaze near the bottom, and fine ice cracks on the surface. The overall shape is straight and beautiful, with beautiful lines. On one side of the shoulder, there is a cock head, with a high comb and round eyes, and the head is raised in a crowing poise. On the opposite side is a straight curved neck-shaped dragon handle, and the dragon’s mouth is connected to the edge of the pot.
White-Glazed Flask with Molded Decoration 白釉印花扁壶 7
This flask was made with molding techniques. Molding involves using a mold to make the raw ware. There are two types of molds: single mold and combined mold. This vessel is made with a combined mold. First, a mold was used twice to make two identical clay bodies; next the two bodies were bonded together; then the bonded area was sealed with clay strips; finally, the whole body was polished.
White-Glazed Miniature Vase, Long-Neck Vase with Bowstring in Relief, and Jar with Cover 白釉小瓶8、凸弦纹长颈瓶9、盖罐10
白釉小瓶、凸弦纹长颈瓶、盖罐 （Sui）, National Museum of China Collection
Petite and ingeniously designed, it is inferred that the vase had been a toy of the nine-year-old tomb occupant, buried to the side following her death. According to historical texts, Gongxian county in Henan province was renowned for the production of delicate small ceramic sculptures. Some scholars speculate that the exquisitely designed wares at Tang tombs in the Central Plains may have been fired at the Gong kilns.
Exquisitely and meticulously produced, this vessel belongs to the category of fine white wares, unearthed alongside a green glass jar with round bottom and cover of an extremely similar design. It was deduced that the glass item was imported. The ceramic item was most likely a new design pioneered on a foundation of absorbing foreign cultures.
White-Glazed Flask with Molded Decoration 白釉印花扁壶 11
This flask was made with molding techniques. Molding involves using a mold to make the raw ware. There are two types of molds: single mold and combined mold. This vessel is made with a combined mold. First, a mold was used twice to make two identical clay bodies; next the two bodies were bonded together; then the bonded area was sealed with clay strips; finally, the whole body was polished.
White-glazed Twin Vase with Dragon-Shaped Handle 隋白釉双龙柄连腹传瓶 12
The Chuan vase 傳瓶 is a funerary good (Mingqi 明器) popularly used by the nobility during the Sui and Tang Dynasties. In terms of shape, it originates from the local long neck vase 盘口瓶, and draws on the decorative characteristics of the double-handled amphora from the West. There is a certain grade specification in the use of funerary goods. The vase on the left was excavated from the tomb, while the National Treasure on the right, although excavated somewhere else, gave the vase its name. It is definitely not something a nine-year-old should be getting in her burial goods.14
Greenish-Glazed Jar with Sawtooth Decoration and Lotus-Root-Knobbed Cover 青釉刻锯齿边莲藕钮盖罐 15
The patterning on this jar possesses a unique and novel style, with a triangular sawtooth decoration expertly carved onto the shoulder and upper belly, embodying the supreme technique of the craftsmen.
The Tomb Owner’s Identity
Li Jingxun 李靜訓 (600-608), aka 李小孩 (according to her epitaph), was a 9-year-old princess of the Sui dynasty when she died in 608. Her stone sarcophagus was found undisturbed in 1957 near the Old City in Xi’an, Shaanxi Province, China, at that time named Daxing (大興, “Great Prosperity”) as the capital of the Sui dynasty.
Gilt Gold and Silver Tree-Shaped Headpiece 鎏金銀花樹釵 16
Born in 600 CE, Li Jingxun was raised in the palace by her grandmother Yang Lihua, under whose influence she also embraced Buddhism. For Yang, who had endured dynastic upheaval, the loss of her husband, and the death of another daughter, the clever and gentle Jingxun became a profound source of emotional comfort and spiritual solace. Growing up in such privilege, she possessed both the right and the opportunity to acquire the empire’s most exquisite adornments.17
Gold Stem Cup 高足金杯
In 608, Emperor Yang 隋炀帝 (r. 604–618 CE) launched a northern tour to meet the Turkic khan, and Yang Lihua brought Li Jingxun along. What began as an honorific journey ended in tragedy—the young girl fell ill and died in a temporary palace. Even the emperor mourned deeply: He suspended music, curtailed meals, repeatedly issued decrees for her ceremonial return to the capital, and provided generous burial gifts18 . His actions both expressed his sympathy for his sister Yang Lihua and recognised the Li family’s distinguished service.19
Her tomb is unusual in several ways. First, many foreign-style objects were in her tomb, which was not a common practice in the Sui. Second, the tomb was found inside the Sui capital city — before this, burial grounds had always been separated from the space of the living.20
Li Jingxun’s remains were solemnly escorted back to Chang’an and interred six months later within Wanshan Monastery, a Buddhist nunnery near the imperial palace. She was dressed in fine silk garments and adorned with a floral gold headdress, a gold necklace, gold bracelets, jade ornaments, and other jewellery. Her body was placed in a stone coffin carved to resemble a miniature palace hall. Grave goods were arranged around her, including vessels for food, cosmetics, and daily use—many made of precious materials such as gold, silver, white jade, white porcelain, and glass.
The coffin was encased by stone slabs and set within the tomb pit, with ceramic human and animal figurines arranged around the coffin in the space between it and the slabs. The underside of the epitaph stone21 and the surrounding area were covered with a continuous layer of charred black paper ash, suggesting that paper offerings—possibly including travel permits for the afterlife and spirit money—were burned during the burial ritual. After the tomb pit was filled, a Buddhist pagoda was erected above the grave, underscoring the burial’s distinctive religious context and its association with monastic space.
In China, the shapes and sizes of graves are often determined by the rank and social status of the deceased. Li Jingxun’s tomb is rectangular, has one ramp, and is 6.85 meters long. Her inner coffin was made of stone. There were incised designs of two female attendants and of two male attendants on it. This kind of carved stone coffin can also be seen later in another tomb, that of a Yongtai 永泰 princess (684-701), whose outer coffin confirms that such coffins were used by high-ranking individuals.22
The burial assemblage contained a complete set of daily imperial utensils—pottery, porcelain, bronze, iron, bone, wood, and lacquer wares—leaving no aspect of Princess Li Jingxun’s earthly comforts unattended, as if fearing the little royal might experience any discomfort in the afterlife. What most moved archaeologists was the exquisite epitaph on the stone coffin, particularly the line “Her purity shone like pearls and jade pendants, her virtue fragrant as flowers and sachets,” reflecting her cherished status in the Empress Dowager’s heart. As for the “Open and Perish” inscription on the outer coffin, it resembles less a “Pharaoh’s curse” and more the grandmother’s final protective embrace for her beloved child.
All photos taken at National Museum of China Aug 2019, May 2022 (Special Exhibition of Li Jingxun), May 2023, Nov 2025 (Special Exhibition of One Belt One Road), unless otherwise indicated.
About Chinese Treasure Series
中華國寶系列 Chinese Treasure series feature specific artefacts and relics from museums all around the world that are historically significant to be considered a National Treasure. The series covers the 5,000 years of Chinese civilisation from Neolithic periods before the Xia dynasty (c. 2070-1600 BC) to modern day.
Footnotes :
- Glass Vessel 绿色玻璃瓶
Glass | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 玻璃 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏
经科学检测，此件玻璃小瓶含铅较高，属于中国本土吹制而成的铅玻璃，通体半透明青绿色，器壁纤薄细颈圆腹。口沿饰凸弦纹一周，器型呈波斯萨珊风格。
李静训墓出土的玻璃器多达20余件，其中既有钠钙玻璃，又有高铅玻璃，表明当时中国已采用西方玻璃工艺，既能制造高铅玻璃，也能制造出质量较高的钠钙玻璃，器物形态则依然多采用传统样式，表明中国玻璃制造进入了一个新的发展时期。此琉璃瓶证实北朝至隋朝通过河西走廊、新疆抵达中亚及以西地方，努力保持着丝绸之路的畅通。
Museum information card, Nov 2025 ↩︎ - Glass Jar with Lid 绿琉璃盖罐
Glass | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 玻璃 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏
此件玻璃器为贵族盛香料之用，它采用魏晋时期引入的西方技术生产，钠钙成分较高，其透明度、延展性都区别于传统的透明度不高的铅玻璃。
Museum information card, May 2020 ↩︎ - Gold Necklace Inlaid with Pearls and Gemstones 嵌珍珠宝石金项链
Gold, Pearl, Gemstones | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 金、珍珠、宝石 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
这些展品的主人是卒年9岁皇族少女李静训，其祖父李崇是隋文帝杨坚手下大将，官至上柱国；外祖母则是隋文帝之长女杨丽华，是为真正的金枝玉叶。李静训自幼深受外祖母宠爱，然大业四年（公元608年）六月一日、殁于宫中，皇太后杨丽华万分悲痛、厚礼以葬之。
项链原产地可能在巴基斯坦或阿富汗地区，手镯可能是北印度制品，高足杯则是罗马风格，皆为当时举世无双的艺术精品。
Museum information card, May 2020 ↩︎ - Gold Bracelets Inlaid with Pearls and Gemstones 嵌珍珠宝石金手镯
Gold, Pearl, Gemstones | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 金、珍珠、宝石 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
这些展品的主人是卒年9岁皇族少女李静训，其祖父李崇是隋文帝杨坚手下大将，官至上柱国；外祖母则是隋文帝之长女杨丽华，是为真正的金枝玉叶。李静训自幼深受外祖母宠爱，然大业四年（公元608年）六月一日、殁于宫中，皇太后杨丽华万分悲痛、厚礼以葬之。
项链原产地可能在巴基斯坦或阿富汗地区，手镯可能是北印度制品，高足杯则是罗马风格，皆为当时举世无双的艺术精品。
Museum information card, May 2020 ↩︎ - Jade Cup with Gold Rim 镶金边白玉杯
Jade, Gold | 4th Year of Daye (608), Sui Dynasty (580-618) | H: 4.1 cm, D (mouth): 5.6 cm, D (bottom): 2.9 cm | Unearthed from tomb of Li Jingxun at Xi an. Shaanxi Province, 1957 ｜National Museum of China Collection. 玉器｜隋 大业四年（公元608年）｜高4.1厘米、口径5.6厘米、底径2.9厘米｜1957年陕西西安李静训墓出土｜中国国家博物馆藏
此杯由上等的和田玉雕琢而成，敞口，口沿镶金带一周，深腹，假留足，平底，通体光洁无纹饰。其柔和的玉质，凝练的造型使得这件玉器虽小却显得高贵典雅，也包含了“金玉满堂”之意，成为隋代玉器的一件代表作品。从现有考古发现角度来看，魏晋至隋唐时期中国玉器发展似是走入了低谷，出土的玉器也为数甚少，但就在这少数的几件玉器中，可以发现中国的玉器生产已逐步完成了从礼器向日用器的过渡。这件白玉杯便明显摆脱了汉代玉器制作程式的束缚，向着更实用的方向发展，已经是非常生活化的器物了。
Museum information card, May 2023
李静训墓中隋代玉器的重要代表作金扣玉盏。这个杯子非常小，像小朋友的玩具，高4.1厘米、口径5.6厘米、底径2.9厘米。杯子用上等和田玉雕琢而成，羊脂白玉完美无瑕，造型高贵优雅。现藏中国国家博物馆。http://www.silkroads.org.cn/portal.php?mod=view&aid=21080 ↩︎ - White-Glazed Ewer with Dragon Handle and Chicken Spout 白瓷鸡首壶
Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | H: 27.4 cm, D (mouth): 7.1 cm, D (bottom): 7 cm | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 高27.4厘米、口径7.1厘米、底径7厘米｜1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
盘口外侈，圆唇，束腰式细长颈，丰肩，鼓腹下渐收，平底。肩部一侧塑一鸡首，高冠圆目，昂首张口作啼鸣状，与之相对的一侧为直体曲颈形龙柄，龙口衔接壶口沿。肩部置对称环式耳，均作双瓣重合状。瓷胎呈白色，通体施白釉，近底部无釉，表面有细冰裂纹。整体造型挺拔秀丽，线条优美。 ↩︎ - White-Glazed Flask with Molded Decoration 白釉印花扁壶
Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
该扁壶为模制而成。模制是用模子制坯，有单模和合模两种方式。此器为合模，也就是一
模两次翻范，然后对粘而成，腹侧结合部位以泥条弥合，再修抹使之平整光滑。
Museum information card, May 2023 ↩︎ - Miniature Vase with White Glaze 白釉小瓶
Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
隋代白瓷在继承北朝工艺技术的基础上，又有长足进步。李静训墓出土的白瓷与北齐范粹墓出土者相比，已不见早期白瓷釉色白中闪黄或闪青的现象，表明其釉质有了显著提高。
Museum information card, Nov 2025 ↩︎ - White-Glazed Vase with Long Neck and Bowstrings in Relief 白釉凸弦纹长颈瓶
Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
此瓶小巧精致，推测应为9岁墓主人生前玩具，死后随葬。据文献记载，河南巩县是著名的生产精巧小瓷塑的地方，故有学者推测中原地区唐墓出土的造型精巧的瓷器，可能产于巩县窑。
Museum information card, Nov 2025 ↩︎ - White-Glazed Jar with Cover 白釉盖罐
Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
该罐制作精致讲究，属于细白瓷类。与此罐同时出土一件绿色玻璃圆底盖罐，两者造型极为相近，推测绿釉玻璃瓶为舶来品，此罐应为吸收借鉴外来文化创烧的新器形。
Museum information card, Nov 2025 ↩︎ - White-Glazed Flask with Molded Decoration 白釉印花扁壶
Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
该扁壶为模制而成。模制是用模子制坯，有单模和合模两种方式。此器为合模，也就是一
模两次翻范，然后对粘而成，腹侧结合部位以泥条弥合，再修抹使之平整光滑。
Museum information card, Nov 2025 ↩︎ - White-glazed Twin Vase with Dragon-Shaped Handle 白釉龙柄双联传瓶
Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | H: 18.6 cm, D (mouth): 4.5 cm, D (body) 6.3 cm | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 高18.6厘米、口径4.5厘米、腹径6.3厘米｜1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。 ↩︎ - White-Glazed Double-Bellied Vase With Double Dragon-Shaped Handles 白釉龙柄双联传瓶
Pottery | Sui Dynasty (580-618) | H: 18.5 cm, D (mouth): 2 cm, D (base): 2.5 cm, D (body): 11 cm | Tianjin Museum collection. 陶瓷 | 隋（公元580年-618年） | 高18.5厘米，口径5.2厘米，底径2.5厘米，腹径11厘米｜天津博物馆收藏。
胎体白中泛黄，白釉下施护胎釉，釉不到底。盘口，单颈，颈下端两侧各有一系，双腹相联，腹饰弦纹，双平底微内凹。肩左右两侧各塑一条修长的龙形柄，龙头探入瓶的盘口。底刻有铭文“此传瓶，有並”，意为此瓶成对或双腹相联。造型新颖别致，是隋代创新的器型。Museum information card, Oct 2024 ↩︎ - 杨君谊，“传瓶”初考，南方文物2017年 第1期。传瓶是流行于隋唐之际供于贵族所使用的明器，在形制上发源于本土的盘口瓶， 并借鉴西域双柄银壶的装饰特征。 在随葬明器的使用中具有一定的等级规范，在类型演变中，与本土工艺结合， 是隋代至唐代中期一类陶瓷明器类型。 在装饰上，唐代大量借鉴佛教文化题材，与隋唐时期的陪葬风俗相一致。 传瓶是一类专门用于贵族陪葬使用，具有文化表象作用的明器类型。http://dianda.cqvip.com/Qikan/Journal/Summary?kind=1&gch=82645X&y=2017&n=1&from=Qikan_Article_Detail， accessed 27 Dec 2025 ↩︎
- Greenish-Glazed Jar with Sawtooth Decoration and Lotus-Root-Knobbed Cover 青釉刻锯齿边莲藕钮盖罐
Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
此罐花纹装饰别具一格，肩和上腹部起边并刻锯齿装饰，装饰手法新颖，充分体现出窑工高超的塑造技巧。
Museum information card, Nov 2025 ↩︎ - Gilt Gold and Silver Tree-Shaped Headpiece 鎏金銀花樹釵
Gold, Pearl, Gemstones | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | H: 11.47 cm, W: 8.3 cm | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 金、珍珠、宝石 | 隋（公元580年-618年）大业四年（公元608年） | 高11.47厘米，宽8.3厘米｜1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
李静训墓中精美无比的嵌珍珠宝石金花蝶头饰。实物很小很精致，是孩子用的。高11.47厘米，宽8.3厘米。整个冠饰台座是纯金的，外壁一周插有粗金丝编成的花枝，花枝上缀有许多用金箔、银箔剪成的五瓣花朵，花蕊中镶嵌珍珠，花朵之间有金筐宝钿和如意云头长条形金薄片。金冠饰的顶部，为一只张开翅膀作飞翔状的蝴蝶，蝴蝶头仍用细金丝编织而成，眼睛用珍珠做成。整个金冠饰采用了捶揲、拉丝、编织、錾刻、镶嵌等各种工艺，可谓巧夺天工。现藏中国国家博物馆。https://zhuanlan.zhihu.com/p/30470949, accessed 29 Dec 2025 ↩︎ - Zheng, Y.; Wang, Z.; Zheng, X. The Gold Necklace of Li Jingxun: Ritual Materiality and Trans-Asian Symbolic Authority. Arts 2026, 15, 2. https://doi.org/10.3390/arts15010002, https://www.mdpi.com/2076-0752/15/1/2#B74-arts-15-00002, accessed 28 Dec 2025
Li Jingxun’s mother, Yuwen Eying 宇文娥英, was born into the highest echelon of Northern Zhou 北周 aristocracy as the daughter of Emperor Xuan 周宣帝 (r. 578–579) and Empress Yang Lihua 杨丽华. The Northern Zhou was a multiethnic empire dominated by Xianbei elites, whereas Yang Lihua herself came from a powerful Han aristocratic lineage—together reflecting the deeply hybrid political landscape of early medieval China. In 581, Yang Lihua’s father, Yang Jian 杨坚—who later became Emperor Wen 隋文帝 (r. 581–604)—overthrew the Northern Zhou, and she was accordingly reduced to the title of Princess of Leping 乐平公主.
Deeply resentful of her father’s usurpation and loyal to her deceased husband’s lineage, Yang Lihua steadfastly refused the emperor’s repeated attempts to compel her remarriage. Her widowed chastity, praised as exemplifying “loyalty” to her husband’s family, also left Emperor Wen with a deep sense of guilt toward her. Consequently, both she and her daughter Yuwen Eying received exceptional favor at the Sui court. Drawing on her political legacy as a former empress, the moral authority of her chaste reputation, and compensatory imperial patronage, Yang Lihua retained considerable influence within the Sui palace (Linghu 1971, p. 146; Wei 1973, p. 1124).
Li Jingxun’s paternal family, originally part of the Xianbei 鲜卑—an Inner Asian steppe people—migrated into northern China and adopted the Han surname Li. They settled in Yuanzhou 原州 (modern Guyuan), an important Silk Roads and military corridor (Figure 2). In the sixth century, her great-grandfather Li Xian 李贤, together with his brothers Li Mu 李穆 and Li Yuan 李远, rose to prominence through military achievements; all served as governors of Yuanzhou and joined the core of the ruling military aristocracy. Li Jingxun’s grandfather Li Chong 李崇 died in battle against the Göktürks, and her father Li Min 李敏 was subsequently raised in the palace.
Admired for his noble lineage, graceful demeanor, and skill in riding, archery, song, and dance, Li Min was chosen by Yang Lihua as the husband of Yuwen Eying. They married with the full honors of a ceremony befitting a princess, and their family entered the highest echelon of Sui nobility, permitted to “reside permanently in the capital, attend palace entertainments, and receive rewards surpassing those granted to meritorious officials” (Linghu 1971, pp. 413–22, 527–30; Wei 1973, pp. 1115–24; Luo 1985; Li and Yu 2020). ↩︎ - Zhongguo Shehui Kexueyuan Kaogu Yanjiusuo 中国社会科学院考古研究所. 1980. Tang Chang’an Chengjiao Sui Tang Muzang 唐长安城郊隋唐墓葬 [Sui and Tang Dynasty Tombs in the Suburbs of Tang Chang’an]. Beijing: Wenwu Chubanshe. p25 ↩︎
- Zheng, Y.; Wang, Z.; Zheng, X. The Gold Necklace of Li Jingxun: Ritual Materiality and Trans-Asian Symbolic Authority. Arts 2026, 15, 2. https://doi.org/10.3390/arts15010002, https://www.mdpi.com/2076-0752/15/1/2#B74-arts-15-00002, accessed 28 Dec 2025 ↩︎
- Wu Jui-man (University of Pittsburgh), Exotic Goods as Mortuary Display in Sui Dynasty Tombs: A Case Study of Li Jingxun’s Tomb, Katheryn Linduff, ed., Silk Road Exchange in China. Sino-Platonic Papers, 142 (July, 2004), p49 ↩︎
- 隋左光祿大夫岐州刺史李公第四女石志銘，並序。
女郎諱靜訓，字小孩，隴西成紀人。上柱國、幽州總管壯公之孫，左光祿大夫敏之第四女也。族纂厲鄉，得神仙之妙；家榮戚里，被日月之暉。況復淑慧生知，芝蘭天挺，譽華髫發，芳流肇悅。幼為外祖母周皇太后所養，訓承長樂，獨見慈撫之恩；教習深宮，彌遵柔順之德。於是攝心八解，歸依六度，戒珠共明璫並曜，意花與香佩俱芬。既而繁霜晝下，英苕春落，未登弄玉之台，便悲澤蘭之夭。大業四年六月一日遇疾，終於汾源之宮，時年九歲。
皇情軫悼，撤縣輟膳，頻蒙詔旨，禮送還京，賵賻有加。以其年龍集戊辰十二月己亥朔廿二日庚申，瘞於京兆長安縣休祥裏面萬善道場之內。即於墳上構造重閣。遙追寶塔，欲髣髴於花童；永藏金地，庶留連於法子。乃銘曰：
光分婺女，慶合天孫，榮苕比秀，采璧同溫。先標令淑，早習工言，生長宮闈，恩勤撫育。法水成性，戒香增馥，金牒旦窺，銀函霄讀。往從輿蹕，言屆河汾，珠涓潤岸，鏡掩輕雲。魂歸秪閣，跡異吳墳，月殿迴風，霜鍾候曉。砌凝陰雪，檐悲春鳥，共知泡幻，和嗟壽夭
Epitaph of the 4th daughter of sir Li, Glorious Grand Master of the Left, and Prefect of Qizhou, with a prologue. Her first name was Lingxun, also called “Little Girl” (小孩), she was from Zhenji in Longxi. She was the granddaughter of Li Zhuang, Pillar of the State and Governor of Youzhou, and the fourth daughter of Li Min, the Glorious Grand Master of the Left. Her clan, registered in Lixiang, is remarkable and immortal. Her family shines over the region, covered in the light of the sun and the moon. In addition, she was virtuous, wise and naturally intelligent, straight as an orchid, had had a great reputation since childhood, and her fragrance brought joy. She was raised by her maternal grandmother, the Empress of the Zhou, followed the rules of Everlasting Happiness, and enjoyed her warm compassion. She was educated in the depth of the Palace, and learned the virtues of pliability and obedience. Then, she focused on the Eight Liberations [of Buddhism], and converted to the Six Perfections [of Buddhism]. Her rings and earrings shined in unisson, she had the scent of flowers. But then a great frost fell on the day, the beautiful flower fell in springtime. Without ever conceiving a child, the orchid tragically died early. She became ill on the 1st of June of the 4th year of Daye (608 CE), and died in the Palace of Fenyuan. She was nine years old…. (the epitaph finishes with the account of the mourning of her death, and a formal eulogy in four-character poetic form)
— Epitaph of Li Jingxun, 608 AD ↩︎ - Wu Jui-man (University of Pittsburgh), Exotic Goods as Mortuary Display in Sui Dynasty Tombs: A Case Study of Li Jingxun’s Tomb, Katheryn Linduff, ed., Silk Road Exchange in China. Sino-Platonic Papers, 142 (July, 2004), p52 ↩︎
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