Hanfu accessories (Chinese: 汉服配饰; pinyin: hànfú pèishì; lit. Chinese history. Hanfu consists of many forms of miscellaneous accessories, such as jewellry, yaopei (lit. 213 These symbols often reveal the Chinese traditions which have guided the Chinese civilization for thousands of years and which currently continue to remain in use in present-days. Chinese jewellery, including Chinese carved jade jewellery, often features Chinese symbols and iconography, and auspicious symbols and images, which are themselves rooted in Chinese culture, legends and mythologies, and philosophy. 18 it is also associated with positive qualities and aspects such as purity, excellence, and harmony. 94 Jade is even more valued than gold in Chinese culture. 94 Traditionally, jade jewellery especially often expressed positive sentiments and good wishes; and, jade itself were often gifted on important and/or special occasions such as wedding and child birth. Other materials used in traditional Chinese jewellery making were: gold, shanhu (lit. 213 Moreover, according to Chinese belief, silver could be used to avoid evil spirits and thus wearing silver ornaments and jewelries was believed to bring good luck to its wearer. Chinese: 真珠; lit. 250 Niugu was used as an alternative to a rare material known as xiangya (lit. According to ancient Chinese beliefs, jade bracelets should be worn on the left hand as it is closest to the heart. 250 Zuanshi (lit. ‘diamond’), on the other hand, was typically not used in traditional Chinese jewellery as it considered too bright and vulgar; and thus, it was generally avoided. Another jade bracelet may be given by a mother-in-law to her new daughter-in-law when she gets married. Chinese women typically had at least three jade bracelets throughout her lifetime: the first one was given by her father as a little girl, the second is given to the girl by her mother when she gets married and which will be passed from generation to generation as a family heirloom, and the third one (regardless of the price and the quality) is given to the girl by her lover to express his love and his desire to protect her for a lifetime, which led to the saying, “no bracelet can’t get married”. 160 Jade bracelets continue to be prized and worn nowadays. There is a belief in China which says that if a jade bracelet breaks, the death of its wearer has been supplanted by the broken bracelet. It is also currently used as a form of fashion accessory used by hanfu enthusiasts. A form of popular earring which pierced the earlobe was the er dang (Chinese: 耳珰) which became popular during the Warring States Period and the Qin dynasty. Earrings in China originated in the Neolithic period; however, they were first used as decorations or amulets. Ancient er dang were made out gold, jade, silver, ivory, marble, glass and crystal. Emperor where they became known as chong er (lit. Glass er dang became popular from the Han dynasty to the Southern and Northern dynasties due to its bright colours and due to its glittering characteristics and translucence. These jade pendants gradually spread from the Emperor to officials and scholars, to women who would then hang it to their Chinese hairpins. The er dang attached to hairpins were used by empresses, imperial concubines and princesses during the Han dynasty allowing the er dang to hung down beside their two ears. Based on archaeological findings, it appears that it was a popular trend for ancient women to only wear a single er dang (especially on the left ear) instead of pairs of earrings. When used on headgear, the chong er were a representation of self-discipline and introspection, both of which were important required characteristics in Chinese culture; the purpose of these jade pendants decorations thus reminded its wearer that he should avoid hearing and listening to anything without careful consideration and avoid slander while simultaneously remind the wearer that he should show humility and listen to good suggestions. Wearing earrings among Chinese women then became popular in the Ming and Qing dynasties. During the Song dynasty that women started to piece their two ears and wore er dang; these earrings could be made with gold and pearls. In the Ming dynasty, the practice of wearing a single earring on the ear was not customary for Chinese men, and such practices were typically associated with the non-Chinese people living along the northern and north-western borders; however, there is an exception: young Chinese boys would wear a single ring-shaped earring attached to their ear as an amulet to protect them against evil spirits. From the middle of the eighteenth century, Manchu women adopted the Han Chinese single earring despite breaking the Manchu dress code and the laws which prevented them from wearing Han Chinese women clothing; this frustrated the Qing emperors. In Qing dynasty, Han Chinese women wore a single earring at each ears which contrasted from the Manchu women who had to wear three earrings at each ear. Song dynasty empress wearing single gold earring at each ear. Empress of Ming wearing a dangling earring at each ear. Rings were initially used as decorations and finger protection when drawing bows since the Neolithic period. They were then given to the Empresses and imperial concubines in the Emperor’s concubines to express or indicate their current physical conditions by the Emperor; by the time of Qin and Han dynasties, a gold ring worn on the left hand were used to express being on menstruation or being pregnant and thus that its wearer were unsuitable to serve the Emperor while a silver ring on the left hand expressed that its wearer was available to serve the Emperor; following a night with the Emperor, the silver ring would be moved from left to the right hand. Rings which were mostly made of precious materials, such as jade, gold, and silver, were also bestowed presents to accomplished court officials and they were used as love token by couples. This custom was then gradually spread to the nobles and officials before spreading to the civilians. Yingluo (Chinese: 璎珞) is currently a common necklace accessory used by hanfu enthusiasts. Rings later became one of the most important betrothal gift for a bride since the Southern Song dynasty. It is a ring-shaped ornament developed in ancient China, which is hung on the neck and chest, worn on the head, arms and legs. At first, it was used as a Buddhist ornament, but later it was widely adopted as a necklace and headwear in Chinese women’s clothing. It is mainly made of pearls, precious stones and precious metals. These lock charms were sometimes personally tied around the necks of children by Buddhist or Taoist priests. The longevity lock is known as changmingsuo (lit. There is also a custom of wearing a necklace with a longevity lock pendant, changmingsuo (lit. Chinese culture; according to Chinese beliefs, the changmingsuo protect children from evil spirits and bad luck by locking its wearer’s soul and life inside of the lock. 213), and jade, and having auspicious words carved on it. 213 Both blessings of longevity and health form part of the concept of wufu (Chinese: 五福; lit. The changmingsuo is also a manifestation of the blessing from the older generation who hoped that the child would live a long time (longevity) and remove illness (health). Chinese philosophy and beliefs and which hold an important place in every aspect of Chinese culture and life. Yupei (Chinese: 玉佩) and had a rigid and specific rules attached to its use. In the Qing dynasty, it was popular for women to wear green, translucent jade jewelries; pendants which were carved in the shape of a curving dragon was popular. Chinese Jade pendant in the form of a bi, 2000-1500 B.C. Jade pendants in the form of stags, Western Zhou. Late Spring & Autumn Jade Ornaments composed of bi and huang jade, and dragon-shaped jade. The jinbu appeared thousands of years ago and were initially only worn by nobles, but with time, it was gradually adopted by all women regardless of their social ranks. Western Zhou Jade Huang from a jade pendant. The jinbu also used to be an indicator of elegance and etiquette in ancient times: if the behaviour of its wearer is discourteous (i.e. walking too fast), the jinbu would sound loud; and thus, it would remind the wearer to mind his manners and elegance; on the other hand, if its wearer behave appropriately, the jinbu would sound melodic and pleasant. When (the king or ruler) was walking quickly (to the court of audience), he did so to the music of the Cai Qi; when walking more quickly (back to the reception-hall), they played the Si Xia. When advancing, he inclined forward a little; he held himself up straight; and in all these movements, the pieces of jade emitted their tinklings. When turning round, he made a complete circle; when turning in another direction, he did so at a right angle. It is currently used as a form of fashion accessory used by hanfu enthusiasts. So also the man of rank, when in his carriage, heard the harmonious sounds of its bells; and, when walking, those of his pendant jade-stones; and in this way evil and depraved thoughts found no entrance into his mind. Yajin (Chinese: 压襟; pinyin: yājīn) are used as press lapels on upper garment ornaments; it could include pendants, hebao, and fragrant sachet, and shibazi. In Qing dynasty, Han Chinese women wore pendant-like charms as yajin; these pendant-like charms were made of diverse materials (such as jade, amber, gold) and were placed at the top button on the side of their ao-jacket. They also wore other forms of pendants, such as pendants made of metal filigree in the shape of potpourri container which would be filled with fragrant herbs and long silver pendants with small silver charms which were filled with bells which would frightened evil spirits away when they tickled as they wore. A style of yajin was the shibazi-style. They would also hang hebao (purses) on the top button of their jacket. The shibazi sometimes have hanging buckles; they would be hung on the right lapels of upper clothing or could be worn around the wrist like a regular bracelet. A shibazi is a type of 18-beads bracelet which originated from the japamala. There were no strict regulations on its wearing etiquette. Dai have been deeply connected to ancient Chinese clothing and just like the style of the ancient clothing have known changes over time, so did the dai. Belts were used as accessories for various civil and military officials, and they were used to distinguish their social ranks. Belts and silk bands are commonly referred as dai (simplified Chinese: 带; traditional Chinese: 帶). Taodai Silk belts or silk narrow bands, made of seven silk bands. Could be woven into 2 different ways. Ke (缂) A narrow band; which could also be of one colour (su); sometimes used as a belt with jade daigou (帶鉤; belt hooks). Sitao (丝套) Narrow silk bands, used as belts. The belt could have a decorative piece attached on it. Dadai (大带) or Shendai (绅带) Silk sash; it was worn on top of the shenyi. Kua (銙) Originated from belts worn in the Zhou dynasty; it was lined with plaques at variable distances, it also had rings or ornaments suspended from its lower edge in order to allow the wearer to attach objects (e.g. knives, tallies, etc.). Some accessories like leather pouches could be attached to those belts. A separate piece of cloth, which has adornment, and was used to wrap the stomach of Han Chinese men. Diexie (蹀躞) Originated from belts worn in the Zhou dynasty; it was similar to the kua (銙) belt, except that it had strips of leather instead of rings. An adornment belt. It is another belt which is worn on top of the belt worn around the waist for decorative purpose. Daigou (帶鉤) Belt hook One end has an elongated body with a knob that goes through the belt; the other end is a curled head that hooks on a loop, ring, or hole on the opposite end of the belt to keep it secure. Belt hooks could also be inlaid with yellow and white gold depicting motifs of animals. Made of precious metals and jade; they were less ornamented in the Jin dynasty compared to the ones worn in the Han dynasty. It was introduced during Jin dynasty from the North; originally it was used to secure horse gear instead of clothing. Daikou (帶扣) Belt buckles Belt buckles with movable tongue. Northern dynasties – Tang dynasty. Pizi A cape; a wide and short cape which drapes over the shoulders. A woman’s neckband which was trimmed with gold and lace. According to Ming’s regulation, the Xiapei length had to be 5.7 chi and 0.32 chi width, with a suspended gold ornament at the end which purpose was to provide weight. In terms of design, it looked closer to a long scarf; it was worn in formal dress. It was tied at the sides and reached below the knees. A type of stole or tabard worn by women; it was developed from the xia pei worn in Ming dynasty. The bottom of the xia pei has a pointed hem. It is also decorated with colourful tassels at the bottom of the end. It was first worn by women on their wedding day, and later, they would wear on special occasions. Lào zi Knotted ribbon decorations tied to the waist belt made of silk and cotton ribbon. Xian (襳) Long ribbons which hung from the upper short skirt. It fell around the collar onto the chest and shoulders. Fangxing quling (方心曲領) Lit. It is a detachable collar worn on top of the jacket (and the xia pei in Qing dynasty). It is pendant-like accessory which falls on the overlapping front of a paofu. It was a notable feature of ceremonial court attire during Song and Ming dynasties. It is made of silk. “bent collar with a square center”. The fangxin quling contains the symbolism of Heaven (circle) and earth (square), respectively. Hebao, Chinese purses or sachet, are currently used as a form of fashion accessory used by hanfu enthusiasts. They are often embroidered and can be decorated with tassels. It consists of a circle at the neck area and an open or solid square which hungs from the circle onto the chest area. Yudai (Chinese: 鱼袋; lit. Chinese: 袋; lit. It is a form of yufu (Chinese: 魚符; lit. It was used from the Tang to the Ming dynasty. Emperor; it could be made of gold, silver, or jade. The Chinese have used hand-held fans as a way to relief themselves during hot days since the ancient times; the fans are also an embodiment of the wisdom of Chinese culture and art. Historically, fans have played an important aspect in the life of the Chinese people. So far, the earliest fans that had been found date to the Spring and Autumn period and Warring States period; these were made of either bamboo or feathers. They were also used for ceremonial purposes and as a sartorial accessory. Replica of a Short-handled Bamboo Fan, Warring States period Tomb. The arts of fan-making eventually progressed to the point that by the Jin dynasty, fans could come in different shapes and could be made in different materials. Female attendants of Emperor Taizong holding large oblong fans. Folding fan with a Chinese painting and a Chinese poem, painted by the Qianlong emperor, Qing dynasty, 1762 AD. Tuanshan (Chinese: 团扇), silk round-shaped fans, also known as “fans of reunion”, is a type of “rigid fan”. A pukui shan, a type of Chinese fan made with palm weaving. These round fans remained mainstream even after the growing popularity of the folding fans. These types of fans were mostly used by women in the Tang dynasty and was later introduced into Japan. Round fans with Chinese paintings and with calligraphy became very popular in the Song dynasty. China by a Japanese monk from Japan as a tribute during the Northern Song dynasty; these folding fans became very fashionable in China by the Southern Song dynasty. In 988 AD, zheshan (Chinese: 折扇; lit. The folding fans later became very fashionable in the Ming dynasty. Nowadays, both the zheshan and the tuanshan are both often used as accessory in hanfu by Hanfu enthusiasts. Another popular type of fan in history was the palmetto fan known as pukui shan (Chinese: 蒲葵扇), also known as pushan (Chinese: 蒲扇), which was made of the leaves and stalks of pukui (i.e. Livistona chinensis). This ban was soon lifted following the founding of the Tang dynasty, and according to the Tang legal code, people were allowed to carry light weapons, bows and arrows, swords, shields, and short spears and were only banned from using professional military weapons. This led to a cultural shift in the Tang dynasty where gallantry culture rose in popularity. Nowadays, Chinese musical instruments, such as dizi and guqin, are both common fashion accessory among Hanfu enthusiasts. This cultural shift also changed the symbol of swords in society, which became symbols of strength, courage, masculinity, righteousness. It thus became fashionable to carry swords as well as short weapons, such as knives and daggers. Nowadays, swords remain present in traditional Chinese arts, such as the Chinese dance and Chinese opera. Poet Han Yu (768 – 824 AD), Li Jian (lit. 23 Chinese swords known as peijian (Chinese: 佩剑), are currently fashion accessories in hanfu and are often used by young male Hanfu enthusiasts being perceived as being indispensable on the road of chivalry and righteousness. 23 Sword dance (Chinese: 剑舞) and knife dance (Chinese: 刀舞) both evolved from Chinese martial arts, with the records of sword dance appearing as early as the Han dynasty. Fu (Chinese: 符) Hufu Chinese: 虎符; lit. A tally is referred as fu (Chinese: 符; lit. A tiger-shaped tally A form of tally worn prior to the Tang dynasty; it was made of silver. It was eventually replaced by the yufu (Chinese: 魚符; lit. A fish-shaped tally A form of tally which started to be worn in 619 AD during the Tang dynasty; it was made of silver. Hu (Chinese: 笏; pinyin: hù) The hu was a flat sceptre-like item which originated in China and were originally used as narrow tablets for recording notes and orders and were used by officials. Yufu (Chinese: 魚符; lit. 208 which represented authority during the Longshan culture and continued to be used in the succeeding dynasties until the Ming dynasty. It was typically used by Chinese rulers (including the emperor) and nobles on ceremonial occasions. Cosmetics have a very long history in China but their origins are unclear. 208 It was held in the hands when worn with ceremonial set of attires, such as the bianfu. The cosmetic industry in China may have potentially originated in the Spring and Autumn period. According to the Shiwu jiyuan (lit. Gao Cheng of the Song dynasty, around the year 1100 BC during the reign of King Wen, women started to use powder and in the court of Qin Shihuang around the 3rd century BC, all imperial consorts and ladies-in-waiting were already using rouge as cosmetics and were drawing their eyebrows. Red makeup was an important colour for facial cosmetics for the Chinese people; for example, in the Tang dynasty, red makeup included rouge and lip glosses made of cinnabar. Cosmetic powder is known as fen as it was made by the pounding and crushing of rice grains or qianfen (lead powder) in China. 24 Another form of lead powder was known as Hufen which is made of lead, with the character Hu being associated with the Northern and Western ethnic groups in China. 24 Cosmetic powder in China was made out of rice since ancient times and appears to have predated the use of lead powder. 26 By the time of the Six dynasties period, lead powder had become a mainstream cosmetics among the aristocrats and the practice of using lead powder became established by the Tang dynasty period. 24-25 In the Han dynasty, women were not the only ones who used cosmetic powder, men also used it and this custom of men applying powder did not decline even during the Six dynasties period. When fen was dyed red, it became known as chengfen (double-dyed red applied). 24 The chengfen was a makeup powder which was applied on the cheeks. 24 In the Tang dynasty, women would apply rouge on their cheeks directly under their eyes. 3 The use of white makeup powder made of freshwater pearls can be traced back to the Northern Song dynasty. In ancient times, not only the face had to be whitened but any exposed areas of the body such as hands, arms, and neck also had to be whitened. 25 There was also a custom of applying powder on non-exposed body areas, such as the chest, shoulders, and back which can be traced back to the Han dynasty period. 12 instead it was due to it association with social economic and/or occupational status class, a concept which can be traced back to the Han dynasty when commoners, such as farmers and labourers, would work outside all day which resulted into darker, tanned skin tone, while those who came from a wealthier families could spend their days indoors and were spared from having to work outside in the sun. This belief continues to remain rooted in present-day China where white skin is believed to represent being part of the elite class; and thus, Chinese people continue to take a lot of measures to ensure that their skin remain white and beautiful. The love for white skin in present-day China has nothing to do with racism. 70 and not under Western influence; for example, during the Nara period (710-794 AD), Japanese women started to use whitening powder under the influence of the Chinese culture; and since then, the standard beauty ideal in Japan is light skin. Nail polish was a popular cosmetic enhancement in early China and can be traced back to approximately 3000 BC. From the 6th century through the Tang dynasty, it was fashionable for women to apply powder to their foreheads, especially yellow powder or pollen. 3 Chinese aristocrats also coloured their nails in red and black with nail polishes which were made up of egg white, bee wax, and gelatin. 46 While the lower classes of society were forbidden from painting their nails in bright colours. 3 Chinese royalty used nail polishes which were gold, silver, black and red in colour and were made with bee wax, gum Arabic, and egg. Meizhuang (Chinese: 梅妆; lit. Huadian (Chinese: 花钿) Shouyangzhuang (Chinese: 寿阳妆; lit. A forehead decoration, which was popular in Tang and Song. Ye (Chinese: 靥) An artificial red dimple about 1 cm at each side of the lips. Xiehong (Chinese: 斜红; lit. During High Tang period, they evolved and some could be found at the 2 sides o the noses and be found in various shapes (e.g. coins, peaches, birds, and flowers). 37 It originated in the Three Kingdom period, where women put a red mark on both sides of their faces to imitate Xue Yelai (薛夜来), Caopi’s concubine, who had a scar at the temple of her face. 36-37 It originally called xiaoxiazhuang due to its rosy colour of the early morning was and was later called “red slant”, and it was at put at the tip of each eyebrow. Tizhuang (Chinese: 啼妆; lit. Leizhuang (Chinese: 泪妆; lit. A short-lived fashion trend, when powder and rouge were not popular on the face; and the only makeup that was worn is black lipstick. Taohuazhuang (Chinese: 桃花妆; lit. E huang (Chinese: 额黄; lit. A forehead makeup where women painted their forehead yellow, which is believed to be in imitation of Northwestern ethnic minorities. Yuanyang (Chinese: 鸳鸯; lit. Xiaoshan (Chinese: 小山; lit. It is an eyebrow makeup. Chuizhu (Chinese: 垂珠; lit. It is an eyebrow makeup. Hanyan (Chinese: 涵烟) Known as “dark fog” in English. It is an eyebrow makeup. 35 It is an eyebrow makeup. Red makeup remain popular in Modern hanfu makeup of the 21st century with the use of red and/or pink eyeshadow. Marks, Ben. “Unraveling the Ancient Riddles of Chinese Jewelry”. Advances in future manufacturing engineering : proceedings of the 2014 IMSS International Conference on Future Manufacturing Engineering (ICFME 2014), Hong Kong, 10-11 December, 2014. G. Yang. Yang, Xiaojing; Wang, Kunqian (2015). “Innovative design and application of woody materials in silver jewellery”. Leiden, The Netherlands: CRC Press. Yu, Ming (2011). Chinese jade (Updated ed.). Metropolitan Museum of Art (1987). 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The founder of the Western Xia dynasty of China (1038-1227), Li Yuanhao (Emperor Jingzong), established an apparel system for all civil and military officials characterized by Tangut culture. Han-style and Tangut-style clothing were distinguished from each other, but both were used in the Western Xia. The emperor of Western Xia wore round-collar gown with dragons roundels, high hats, and wore a belt over their gown. The clothing of the steppe that were used by the Khitan, Jurchen, Tanguts and the Mongols were made of felt, leather, and furs; materials which would be suitable for the climate of the steppe and provide protection against the low temperatures and high winds. Emperor Jingzong, the first emperor of Western Xia, rejected Han Chinese silk clothing over the leather-based and wool clothing of the nomadic people from the Steppe; he argued that the Tanguts had traditionally worn leather-based and wool clothing and since the Tanguts men were military, they also had no use of silk materials. The Emperor Jingzong also ordered that all subjects of the Western Xia must be shaved in an attempt to restore old Xianbei customs, and disobedience would result in death penalty. Yet, silk clothing was still worn in Western Xia during his reign. Emperor Jingzong also mandated Tangut clothing. Under his rule, men were also ordered to shave their hair on the tops of their heads but leave fringe across the forehead and down the sides. This order took place in 1034, and all men had to shave under the threat of death penalty; crowds were permitted to kill any men who disobeyed the order within 3 days. Under the reign of Jingzong, clothing of officials were regulated and there was distinction between Han-style clothing and Tangut style clothing; according to the Song History, the Tangut-style clothing was labelled as “foreign” (Chinese: 番; pinyin: fan). The Han-style clothing was worn by officials whereas the Tangut-style clothing was worn by the military. Civil officials wore futou, boots, purple or crimson gown. Envoys of Western Xia were always dressed in narrow gown and wore golden diexie, leather boots, and golden hats. In his wish list to the Song dynasty court, Emperor Yizong asked permission to use Han Chinese rites and clothing to greet Song dynasty envoys and seek permission to buy Chinese official clothing; both of these requests were granted. Servants wore round-collared, 
Hanfu, the traditional attire of the Han Chinese, carries with it a rich cultural heritage that is deeply rooted in history. Hanfu traditional weddings, in particular, reflect the essence of Chinese cultural traditions and showcase the grace, elegance, and profound rituals associated with this sacred celebration. In this article, we will explore the exquisite Hanfu wedding costumes and delve into the captivating etiquette customs that make Hanfu weddings a truly spectacular affair. The crown, known as “Guang” or “Phoenix Crown,” symbolizes the bride’s noble status. Hair accessories like “Zan” and “Luo” are intricately designed with pearls, gold, and gemstones. The Ru (Jacket): Worn over the Qun, the Ru complements the gown’s elegance. The Qun (Gown): Traditionally made of silk, the bride’s gown consists of several layers representing modesty and purity. Scarves and Veils: Delicate silk scarves and veils are draped over the bride’s shoulders for an ethereal touch. Accessories: Embroidered purses, handkerchiefs, and jewelry complete the bride’s ensemble. The Shan (Robe): Typically made from silk, the groom’s robe is woven in a restrained and dignified style. 1. The Hat: The groom traditionally wears a black or dark blue hat, symbolizing maturity and responsibility. The Yi (Jacket): Layered over the Shan, the Yi exhibits sophisticated craftsmanship. Waistbands: Elaborately embroidered and tied with a decorative knot, waistbands symbolize good fortune and luck. The groom presents betrothal gifts to the bride’s family as a gesture of respect and commitment. Exchange of letters, poetry, and illustrations between the couple. The couple exchanges engagement rings or bangles to signify their union. The groom journeys to the bride’s home, symbolizing his willingness to be a part of her family. The bride steps over a lit stove with red dates, symbolizing a harmonious union. Both families pray to their ancestors for blessings and prosperity. The couple pays respects to their parents by serving tea. The order of tea serving follows a complex etiquette, honoring parents, grandparents, and elders. Traditional blessings and well wishes are bestowed upon the couple. A lavish banquet follows the ceremony,