Historical texts record that in the past, when emperors traveled, their processions were majestic. The Yellow Emperor wore a yellow robe and vermilion trousers, while Emperor Ku rode in a red chariot drawn by white horses. They adhered to ancient ceremonial protocols, and the decorations of their carriages were meticulously designed, with exquisite weaponry that complemented one another.
When emperors went on tours, flags were arrayed, the chariots shone even brighter, and the guards were imposing. The royal palace became even more magnificent, and the brilliance of the North Star shone even brighter. The "Lunar Calendar" states that during the summer months, women in the official households were ordered to dye colorful fabrics, with red, cinnabar red, and other colors arranged according to rank, each having its own insignia. High flags were adorned with images of the sun, moon, and stars, and the arrangement of the ceremonial troops was equally elaborate. Officials wore splendid garments and adorned themselves with various ornaments, as the band played harmonious melodies, dispelling any malevolent spirits that dared to draw near.
These emperors organized social order, repaired national laws, cleared mountains and rivers, and eliminated various disasters. The greater their achievements, the more extravagant the decorations; the higher their virtue, the more noble the attire, with each piece crafted from fine materials and exquisite workmanship. The "Book of Documents" states: "Assess according to achievements and determine the rank of carriages and attire based on accomplishments." The "Book of Rites" mentions: "The Luan chariot was the royal vehicle of the Emperor Shun era, the Gou chariot was the royal vehicle of the Xia dynasty, the Da Lu was the royal vehicle of the Shang dynasty, and the Cheng Lu was the royal vehicle of the Zhou dynasty." These records highlight the ancient emperors' focus on the system of carriages and attire, using them to showcase their status and merits. The ancients believed that sages observed the shapes of birds and animals and the colors of plants before they began to create various garments, with colors differing from one another. They noted the solitary rotation of the autumn pappus and the constellations near the North Dipper, which inspired the creation of uniquely designed carriages. They crafted corresponding tools inspired by their observations, drawing connections and fostering continuous innovation.
The Zhou dynasty inherited the system of the Shang dynasty, and the chariot and attire system has a long history. During the grand sacrificial ceremonies conducted by King Cheng, feathers decorated the altar, and there were as many as eighty items used in the sacrifice. The horses and bird feather-decorated flags used in the sacrifice were met with reverence wherever they went, with vassals such as Duke Yin and Duke Cao bowing respectfully. The Book of Rites states that officials of the Jinche clan used red chariots for court meetings and white chariots for military campaigns. The Zhou dynasty's system was highly developed, and later generations followed these ancient norms. However, the chariot and attire systems varied somewhat across different regions, so the Zhou army was both disciplined and adaptable, capable of showcasing military prowess and cultural significance. The six grades of ceremonial robes and five grades of vehicles were the standard system for the emperors of the Zhou dynasty, with clear distinctions in rank.
Eventually, the ritual system gradually declined, and morals deteriorated, as vassals began to attack each other, leading to the collapse of the ritual system. Purple clothing became prevalent in Qi and other regions, and long tassels became intertwined with decorations in Zou and other regions. Confucius said, "A nobleman studies widely and dresses simply." Some prominent figures disregarded the ritual system, and common people began to wear luxurious clothing. There were individuals donning pearl-embellished shoes in Lord Chunshen's mansion, and people wearing fancy headdresses in front of Duke Zheng's residence. After Qin Shihuang unified the six states, he standardized the chariot and attire system, importing luxurious sable fur from the east, patterns of xiezhi from the south, establishing a system of black flags and black chariot canopies, as well as decorations of horsehair and rare chariots. Ministers from the nine vassal states gathered on the northern slope of Mount Xianyang to pay homage to Qin Shihuang, each with unique chariot decorations, demonstrating the splendor of the Qin dynasty's chariot and attire system, continuing the tradition of the Warring States period.
Later, Qin Shi Huang burned books and buried scholars, destroying the systems and institutions established over three dynasties. He used golden roots to make cart axles, abolished six types of ceremonial robes, and made sacrificial garments from rough black fabric. After Liu Bang, the Emperor Gaozu of Han, crossed the pass, he continued the systems of the Qin Dynasty. During the reigns of Emperor Wen and Emperor Jing of Han, the country was stable and the economy prosperous. In the time of Emperor Wu, the ceremonial processions became even more grand, with the imperial carriage parading majestically. Sacrifices were offered to the Earth God by the Fenhe River and to the Heavenly God at Ganquan Mountain, with officials presenting offerings from the Ministry of Rites. This was known as the grand ceremony, with thousands of carriages and tens of thousands of cavalry. By the time of Emperor Cheng of Han, the carriages of Zhao Feiyan, the favored concubine, were lavishly adorned, with the adornments on her carriage shining like Sirius's bow and arrows. The carriages were lined up neatly, resembling a gathering of clouds. Later, Wang Mang usurped power, halting the carriages, and the Red Eyebrow Army revolted, leading to the disappearance of cultural relics. In the thirteenth year of Jianwu, after Wu Han pacified the Shu region, the decorations of the carriages were gradually restored and refined. Emperor Ming of Han referred to the "Zhou Guan" and "Li Ji" to restore the system of ceremonial robes, with the Son of Heaven donning the Tongtian crown and holding the jade seal. Emperor Ming of Wei felt that the clothing of the time was too extravagant and worried it might overstep boundaries, so he reduced the decorations of the garments. Gao Tanglong submitted a report stating, "Changing the calendar and titles serves as a means for emperors to assert their authority and change the customs of the people." Emperor Ming of Wei adopted his suggestion, changing the era to Jingchu, with clothing primarily in yellow, symbolizing the earth's abundance. During the reign of Emperor Wu of Wei, the systems of previous dynasties were upheld, and the sacrificial ceremonies emulated those of the Yao and Shun eras. During the Jin Dynasty, gold and silver jewelry came into fashion, and people also liked to wear red clothing. Could it be that the officials responsible for ceremonies have lost touch with ancient customs?
Ah, this vehicle is quite exquisite! The wheels are made from five materials: jade, gold, ivory, leather, and wood, which is known as a "Five-Road Car." Just like the emperor's carriage, the wheels are painted in a bright red, adorned with patterns resembling wood grain. The wheels have thirty spokes, reflecting the phases of the moon; the axle is very heavy, with two yokes painted red, measuring eight inches wide and three feet long, directly inserted into the ground, connecting the two axle heads, known as "Flying Axles."
The interior of the carriage is even more luxurious, with handrails shaped like dragons made of gold leaf, which are quite heavy. At the front of the carriage, there are carved mythical beasts lying on the yoke, with a dragon's head adorning the yoke, flanked by auspicious sunbirds, with phoenixes and sparrows standing on the balance beam. Both the yoke and its decorations are painted with wood grain patterns. The roof is covered with a blue lid, and the interior is yellow, hence it's called the "Yellow House." The ends of the crossbeams inside the carriage are decorated with golden ornaments, with twenty-eight beams in total, symbolizing the twenty-eight lunar mansions. At the back of the carriage, there are two boxes, with tortoiseshell lids shaped like wings, and inlaid with gold and silver, which is why it is also called the "Golden Kun Chariot."
On the left side of the carriage, a flag is slanted, and on the right side, a halberd is inserted, both encased in leather. The halberd's case is embroidered with patterns, featuring the character "Ya," and is tied with a banner shaped like a large frog. The yoke measures over ten feet in length. At the top of the halberd, a yak tail is inserted, large enough to resemble a weapon, placed on the yoke of the horse on the left, known as the "Left Standard." The yoke curves upward, echoing the meaning found in the "Rituals" that says it naturally forms an arc without bending.
In ancient times, the caravan was divided into five routes: jade route, gold route, ivory route, leather route, and wood route, with each route's vehicle decorated differently, which is why they are named after these materials. Vehicles made of leather are called the leather route, those made of wood are called the wood route, and so on.
Among these five routes, the Jade Route has the highest status. The vehicles of the Jade Route are used in the Taichang Temple (an ancient office responsible for sacrificial rites), adorned with a ceremonial crown featuring twelve rows of hanging pearls. The canopy of the vehicle is nine feet high and reaches the ground, decorated with paintings of the sun, moon, and a dragon ascending to the heavens, specifically intended for worshiping the heavens. The vehicles of the Golden Route have nine rows of hanging pearls on the crown, primarily used for receiving envoys from various countries and also for rewarding nobles, princes, and the brothers of feudal lords. The vehicles of the Elephant Route have a red canopy featuring no patterns, mainly used for court sessions and also for rewarding feudal lords. The vehicles of the Leather Route have a white canopy, primarily used for military campaigns and rewarding feudal lords stationed at the borders. The vehicles of the Wooden Route have a black canopy, mainly used for hunting and rewarding vassal lords. The vehicles of the Jade Route are pulled by six black horses, while the other four routes use four horses, all adorned with golden manes and decorated with the tail feathers of the Zhai bird.
The horse decorations are also quite elaborate. The horses of the Elephant Route have tin decorations embedded on their foreheads, called "Danglu." The horses of the Golden Route have golden square ornaments (a type of metal decoration); the ornaments are made of iron, approximately three inches wide, shaped like mountain peaks, and are also adorned with the tail feathers of the Zhai bird. The decorative tassels on the horses are adorned with red wool fabric and fur, with the vehicles of the Golden Route featuring twelve such tassels. These tassels hang on the horses' chests, like skirts. All five routes' vehicles have tin phoenixes (a type of metal bird decoration) and bells, as well as jade horse ornaments that dangle from the tassels on the horses' chests. The top of the yoke is carved into the shape of a dragon or elephant, and there are circular decorations on the crossbeam of the cart for hanging bells. The yoke is also decorated with red silk ribbons (a type of cart decoration). The emperor's vehicle is wrapped with red ribbons on the whip to signify its royal status.
Usually, the vehicles on these five routes each have their own duties and do not appear simultaneously; only during large banquets held in the palace will these vehicles, processions, banners, and drum music be placed in the palace courtyard, creating a spectacular scene. In ancient times, the seated carriage was called "seated carriage" and the standing carriage was called "standing carriage" or "high carriage." In the "Zhou Li," it is written that only the empress could sit in the seated carriage, not even the emperor. It was only after the Han Dynasty that seated carriages were made for the emperor. At that time, there were green standing carriages, green seated carriages, red standing carriages, red seated carriages, as well as yellow, white, and black standing and seated carriages, a total of ten, referred to as the "Five Times Carriages," which common people also called the "Five Emperors Carriages." The emperor's carriage was drawn by six horses, while the other carriages were pulled by four horses. There were twelve flags on the carriage that matched its color. The flags on the standing carriage were vertical, while those on the seated carriage were slanted. The horses pulling the carriages were also matched to the colors of the Five Times Carriages, with the tails of the white horses painted red. The carriage shafts were decorated with gold and silver carvings, the top of the carriage was yellow, and a left standard followed behind, similar to the Jin Gen carriage, with the Wu Niu flags trailing behind. These Wu Niu flags were only made after the fall of Wu, with five oxen depicted on both the flags and the carriage, green and red on the left, yellow in the middle, and white and black on the right. The flags were inserted into the backs of the oxen and carried by attendants during travel. Oxen were used as decoration due to their ability to carry heavy loads over long distances and their stability. The flags were rolled up during normal times, referred to as "virtuous carriage with tied banners"; when the emperor personally led his troops into battle, the flags were unfurled, referred to as "martial carriage with displayed banners."
Jin Gen Cart, pulled by four horses, without any flags, adorned on top like a painted carriage and below with golden root motifs. Geng Gen Cart, also pulled by four horses, featuring a red flag with twelve tassels, is the emperor's personal plowing cart, also called a Zhi cart or San Gai cart, with a plow and rake mounted on the cart. In the first year of the Wei Jingchu era, the calendar and clothing colors were revised to favor yellow, white animals were used for sacrificial rites, black-headed, white horses were ridden in battle, with large red flags during battles and large white flags during court meetings, following the practice of the Yin and Shang dynasties. In the second year of the Taishi era, a suggestion was made: "We should use the calendar and clothing colors of the previous generations, inserting red flags on both the Jin Gen Cart and Geng Gen Cart." The emperor agreed.
The Nian, which has been in use since the Han Dynasty, is the cart used by the monarch, and during the Wei and Jin periods, the emperor would use it for even slight outings. Rong Che, pulled by four horses, was the cart the emperor rode when going into battle himself. The cart carried golden drums, feathered flags, and banners, with a crossbow mounted on the cart, and the spears and flags inserted at an angle.
Lie Che, the cart the emperor used for hunting, pulled by four horses, featuring large, wide wheels, adorned with dragon patterns around its body. It was also referred to as the Ta Ji cart or the pig-trotting cart, which Emperor Wen of Wei later renamed the beast-trotting cart. The "Book of Rites" says, "The sovereign does not ride in strange carts," with "strange carts" referring specifically to hunting carts. In ancient times, emperors used wooden carts for hunting, which were eventually replaced by hunting carts.
The Youche is a convoy consisting of nine vehicles, each pulled by four horses, serving as the advance guard. The Yunhan vehicle is similarly pulled by four horses. The Pixuan vehicle, which is also pulled by four horses, has a carriage made of animal hides. The Luanqi vehicle, also pulled by four horses, travels in front of the emperor's carriage, with a Luan flag mounted on it, crafted from woven bird feathers and cow tails, displayed as a banner beside the vehicle. The Jianhua vehicle, also pulled by four horses, consists of two vehicles that travel one on each side during outings.
The Qingche, pulled by two horses, is an ancient war chariot. A team of Qingche consists of twenty vehicles in total, arranged in front and behind, traveling on the left and right sides. The wheels are painted red, there is no canopy, and the vehicles are adorned with spears, halberds, and flags, with crossbow quivers placed on the yoke. When the emperor goes on a procession, the shooting sound officer, the Sima, officials, and soldiers all ride in Qingche, arranged in order of their ranks. The Sinan vehicle, also called the Guiding Vehicle, is pulled by four horses and is designed to resemble a three-story building at its base, featuring golden dragons grasping feathered banners at each corner. It also showcases wooden carvings of immortals clad in feathered garments, and regardless of how the vehicle turns, the immortal's hand consistently points south. When the emperor sets out, the Sinan vehicle always takes the lead.
Drum car, pulled by four horses, similar in shape to a south-pointing chariot, with a wooden figure inside that strikes a drum with a hammer, hitting it once every mile. Yang cart, also known as a nian cart, with a compartment resembling a sedan chair, which has a box for rabbits inside and features painted wheels and shafts. During the time of Emperor Wu of Han, the military officer Yang Xiu often traveled in a Yang cart, and the official Liu Yi brought charges against him. Painted wheel cart, drawn by oxen, with wheels and axles painted in colored paint, hence the name painted wheel cart. The cart features four handrails on the compartment, providing a wide view on both sides, with green oilcloth flags flying from it, red silk threads woven into the cart's decorations, and green crossbars on the shafts. The compartment is similar to a nian cart, but with a chassis like a du cart. In ancient times, high-ranking individuals did not use ox carts. After Emperor Wu of Han implemented the policy of pushing for merit, the influence of the vassal states diminished, and even the poor began to use ox carts. Later, the status of ox carts gradually increased. From the time of Emperor Ling to Emperor Xian, from the emperor to the scholars, they frequently traveled in ox carts, and even the emperor used an ox cart when attending court or during times of mourning. Subsidiary cart, also known as a vice cart, secondary cart, or left cart. The Han Dynasty inherited the system of the Qin Dynasty, with the emperor's entourage made up of eighty-one subsidiary carts, arranged in multiple columns while traveling. The emperor's entourage had a total of thirty-six carts. The last cart had a leopard tail hanging from it, with fewer carts ahead of it. All the carts featured black canopies, red compartments, and cloud patterns on the canopies. The emperor's clothing cart, correspondence cart, letter cart, and medical cart were all drawn by oxen. Beyond Yang Sui Siwang, there is also a small cart with cloth windows and black wheels, also drawn by oxen.
The elephant cart was at the forefront of the Han Dynasty's ceremonial retinue. During the reign of Emperor Wu in the Tai Kang era, after pacifying the state of Wu, Nanyue presented a tamed elephant. The emperor commanded the construction of a grand cart for the elephant to draw, on which sat dozens of musicians of the Yellow Gate, alongside Nanyue people riding on the elephant. During the grand court assembly on New Year's Day, the elephant pulled the cart into the palace.
Now, let's outline the order of the court's ceremonial procession:
First comes the elephant cart, followed by a band of thirteen musicians positioned in the middle of the procession.
Then comes the Jing Shi Ling, a cart that moves in the center; next are two Shi Dao Hou, one cart each, positioned on the left and right.
Following them are two Luoyang Wei, riding horses, positioned on the left and right.
Next are nine Luoyang Ting Chang in red carts, each cart divided into three columns, with two people in each column playing instruments to lead.
Then comes the Luoyang Ling, riding in a black cart, positioned in the center; next is the Henan Zhongbu Yuan, also positioned in the center; the Heqiao Yuan on the left, and the Gongcao Shi on the right, sharing one cart.
Then is the Henan Yin, with a cart pulled by four horses, accompanied by six halberd-wielding officials.
Next is the Henan Zhu Bu, followed by the Henan Zhu Ji, both in carts positioned in the center;
Next is the Sili Bu Henan Cong Shi, walking in the center; the Dufu Cong Shi on the left, and the Biejia Cong Shi on the right, sharing one cart.
Then is the Sili Xiaowei, a cart pulled by three horses, accompanied by eight halberd-wielding officials.
Next is the Sili Zhu Bu, a cart walking in the center; then the Sili Zhu Ji, a cart walking in the center;
Next is the Ting Wei Ming Fa Yuan, walking in the center; the Wuguan Yuan on the left, and the Gongcao Shi on the right, sharing one cart.
Then is the Ting Wei Qing, a cart pulled by four horses, accompanied by six halberd-wielding officials.
Next are the Ting Wei Zhu Bu and Zhu Ji, sharing one cart, walking on the left; the attendants of the Grand Master of the Horse follow the same order as the Ting Wei, walking in the center; the attendants of the Zongzheng follow the same order as the Ting Wei, walking on the right.
Then there was the Grand Minister of Rites, with a carriage pulled by four horses, moving in the center, accompanied by six guards with halberds; the external officials of the Grand Minister of Rites were on the left, and the officials of the Five Offices and the Chief Clerk were on the right, sharing a carriage.
Next was the retinue of the Grand Minister of Rites, also moving in the center; the chief scribe and chief recorder of the Grand Minister of Rites were on the left, while the retinue of the Guard Commandant was on the right, sharing a carriage.
Then there was the external inspectorate official of the Grand Minister of War, in a carriage, moving in the center.
Following that were the officials and subordinates of the Western and Eastern Granaries, sharing a carriage, trailing behind.
Then came the Grand Minister of War, in a carriage pulled by four horses, moving in the center; the Grand Minister of War's chief scribe, an attendant, and two sacrificial officials shared a carriage, moving on the left.
Finally, there was the retinue of the Grand Minister of Construction, in a carriage pulled by four horses, moving in the center.
First, the Grand Minister of Construction rode in a carriage pulled by four horses, moving in the center of the procession. In front of him were three Grand Officials, each accompanied by eight guards with halberds, along with a band of seven musicians.
Next was the Central Military Guard, also in a carriage pulled by four horses, moving in the center of the procession. His retinue had two columns of ceremonial guards on each side; the outermost layer consisted of guards with halberds and shields, while the inner layer had guards with bows and arrows, accompanied by a band of seven musicians.
Then there were the Infantry Commanders and the Long River Commanders, who similarly rode side by side in a single carriage. Their retinue was arranged similarly to that of the Central Military Guard, with two columns of ceremonial guards on each side; the outermost layer consisted of guards with halberds and shields, while the inner layer had guards with swords and shields, each accompanied by a band of seven musicians.
Following them were the Archery Commanders and the Wing Army Commanders, who similarly rode side by side in a single carriage, with their retinue arranged the same as the previous two commanders, with two columns of ceremonial guards on each side; the outermost layer consisted of guards with halberds and shields, while the inner layer had guards with swords and shields, each accompanied by a band of seven musicians.
After that came the Brave Cavalry General and the Guerrilla General, who also rode side by side in a single carriage. Their procession featured two rows of honor guards on each side, with the outer layer composed of guards holding halberds and shields, and the inner layer composed of guards holding swords and shields, each accompanied by a band of seven musicians. The cavalry units included five units on the left and five on the right, each unit comprised of fifty horses, commanded by two leaders overseeing the left and right sides respectively. Each unit also had two guards holding halberds, with flags flying high and music playing at the front of the procession.
Next were the Left General and the Front General, who rode side by side in a single carriage, with the same procession configuration as the previous generals, featuring two rows of honor guards on each side, the outer layer with guards holding halberds and shields, and the inner layer with guards holding swords and shields, each accompanied by a band of seven musicians.
Following them were the cavalry from the Yellow Gate, walking in the center of the procession.
Then came the bands accompanying the Yellow Gate, one on each side, totaling a total of thirteen musicians, riding in a chariot drawn by four horses. The retinue of eight lieutenants was lined up in four rows on each side, with the outer layer holding great halberds and shields, followed by nine-foot-long shields, then bows and crossbows, commanded by Xiong Qu and Ci Fei.
Next was the compass cart, riding in a chariot drawn by four horses, positioned in the center of the procession. The escorting censors rode on horseback, positioned on both sides.
Then came the envoy's aide, riding in a chariot drawn by four horses, in the center of the procession.
Following was the Deputy Censor-in-Chief, riding in a chariot in the center of the procession.
Then came the Martial Guards General, riding on horseback in the center of the procession.
Next was the Nine Travel Cart, positioned in the center of the procession, with the Martial Strong Cart on either side, all riding in chariots drawn by four horses.
Then came the Yunhan Cart, riding in a chariot drawn by four horses, in the center of the procession.
Following was the Ta Ji Cart, riding in a chariot drawn by four horses, in the center of the procession, with long halberds tilted back.
Then came the Pi Xuan Cart, riding in a chariot drawn by four horses, in the center of the procession.
Next was the Luan Banner Cart, positioned in the center of the procession, with the Jianhua Cart on either side, all riding in chariots drawn by four horses.
Then there were three officials guarding the carriage, with the Minister in the center, the Driver on the left, and the Central Commander on the right, all on horseback. There was also a mounted official tasked with overseeing the formations in front and behind, handling emergencies.
At the rear was the Xiang Wind Chariot, positioned in the center of the procession.
First, the Sima supervisor led the procession at the front. On either side of him were three Sima officials, responsible for managing the ceremonial troops, arranged in six rows on each side.
Next were the nine-foot-high shields, followed by sword and shield. Behind them were bows and arrows, and then crossbows. Following that was the Five Seasons Chariot, with cavalry escorts on both sides.
The Chief Military Officer walked in the center of the procession, responsible for ensuring the front and rear formations remained orderly. The Court Inspector was on the left, and the Supervisor from the Hall was on the right, riding side by side.
Then came the High Canopy Chariot, positioned in the center of the procession, with a canopy on the left and a ceremonial object on the right.
Next came the Inspectors, walking in the center of the procession, with four ceremonial attendants on each side.
Then came the Flower Canopy Chariot, also in the center of the procession.
Following that was the Sima from the Hall, positioned in the center of the procession. The Chief Officer from the Hall was on the left, and the Captain from the Hall was on the right, with four rows of troops on each side. Among the crossbow troops, there was also a line of light shield soldiers, along with one line each of the Hall's Sima, Chief Officer, and Captain.
Then came the Ganggong drum, walking in the center of the procession.
Next is the Golden Root carriage, pulled by six horses, moving through the procession. The Grand Preceptor is driving the carriage, with the Grand General seated next to him. On either side, three additional rows are added, making a total of nine rows. The Sima, a group of nine officials, leads two rows of soldiers wielding large halberds and shields, one row of nine-foot shield soldiers, one row of sword and shield soldiers, one row of Ji (a specific ceremonial object, the exact meaning of which requires further historical verification), one row of soldiers armed with crossbows, one row of Ji Qin (a specific ceremonial object, the exact meaning of which requires further historical verification), one row of axe soldiers, and one row of Li Ren sword and shield soldiers. In addition, there are light shield soldiers, Sima of the palace, Prefect of the palace, and Chief of the palace, resulting in twelve rows on each side. The Golden Root carriage displays twelve blue flags. The Left General rides on the left, the Right General rides on the right, and the Central General walks beside the carriage, carrying a chisel and axe, followed by officials in charge of clothing and paperwork, with six rows of procession, totaling thirty-two rows on both sides.
Next comes the Qu Huagai carriage, positioned in the center of the procession. The Attendant, Cavalier, and Yellow Gate Attendant ride alongside, while the Imperial Guards ride on the right.
Next comes the Huang Yue carriage, pulled by one horse, walking on the left side, with the Imperial Guards riding on the right.
Next comes the Xiang Feng carriage (a specific ceremonial object, the exact meaning of which requires further historical verification), positioned in the center of the procession.
Next, the Minister of the Palace rides on the left, and the Secretary of the Palace rides on the right.
Next, the Palace Imperial Censor rides on the left, and the Palace Supervisor rides on the right.
Next comes the Five Ox Flags, featuring red and blue flags on the left, a yellow flag in the middle, and white and black flags on the right.
Next comes the Grand Carriage, positioned in the center of the procession. The Chief of the Imperial Household Department rides on the left, and the Chief of the Imperial Medical Office rides on the right.
Lastly, the Golden Root carriage, pulled by four horses, has no flags displayed.
Then there are blue standing carts, blue sitting carts, red standing carts, red sitting carts, yellow standing carts, yellow sitting carts, white standing carts, white sitting carts, black standing carts, black sitting carts, a total of ten carts, each pulled by four horses. Each cart has twelve flags inserted, with colors matching the body of the cart. The flags on the standing carts are inserted vertically, while the flags on the sitting carts are inserted diagonally.
Finally, there is a pig-drawn cart, pulled by four horses, walking in the middle of the procession without any flags.
The procession set off in grand style, starting with the plough cart, a four-horse-drawn cart, walking in the center of the procession with twelve red flags on each side, with Xiong Qu supervising on the left and Ji Fei supervising on the right.
Next are several imperial carriages, including the imperial four-wheeled carriage, royal clothing carriage, royal book carriage, and royal medicine carriage, all pulled by oxen, also walking in the center of the procession. Then there is the Minister of Works (Shangshu Ling) on the left side, the Minister of Personnel (Shangshu Pushe) on the right side, with six clerks from the Ministry of Personnel lined up on both sides, marching in line. In addition, there are two attending imperial historians on each side, as well as two more attending imperial historians on each side, and the historian of the Orchid Pavilion also on each side, all riding horses.
Next is the leopard-tail carriage, pulled by only one horse, followed by the rear of the ceremonial procession. However, from behind the leopard-tail carriage to the rear of the procession, there are twenty sacred crossbows on each side, with one general and two lieutenants on each side responsible for every five sacred crossbows.
Then there are twenty light carts, lined up on both sides. Next are sixty horses with tassels, imposing and majestic.
Further back is the golden ceremonial mace carriage, pulled by three horses, walking in the center of the procession, with one clerk of the Ministry of Personnel and one official historian riding horses on each side.
The golden bell carriage is also pulled by three horses, walking in the center of the procession, with one attending imperial historian and one official historian riding horses on each side.
Then there is the Yellow Gate overseeing the rear drum and trumpet band, with thirteen people on each side.
Next are two ox-drawn drum and gong carriages, lined up on both sides. On the left side are officials from the Department of State Ceremonial, and on the right side are officials from the Five Offices and the Recorder, marching in line.
Next came the carriage of the Grand Minister of Rites, drawn by four horses, with six officials holding ceremonial axes. The procession of the Grand Steward walked in the center, with the chief clerk and chief recorder of the Grand Minister of Rites on the left, and the procession of the Minor Officials on the right. Then came three ministers riding side by side, followed by four officials, two bell-ringing officials, six cavalry holding whips, and six members of the Feathered Guard holding square fans, all dressed in red. The carriage of the commanding general was in the center of the procession. On both sides of the entire honor guard were two rows of nine-foot-high shields containing bows and arrows, accompanied by a band of musicians, resembling an honor guard. The rear general was on the left, and the right general was on the right, with their honor guards and bands following the left army and the front army. The Cavalry Captain was on the left, and the Garrison Commandant was on the right, with their honor guards and bands similar to the infantry and archery battalions. Leading the way were the Cavalry Guards and the Mobile Cavalry Captains, all on horseback, accompanied by four mounted clerks who guarded them on either side. Each of the military commanders rode in the center of the procession. Four cavalry generals, along with riding commandants, standard bearers, drummers, bell ringers, flag bearers, and military officers rode side by side. The merit officers and chief clerks followed on horseback. Additionally, there were individual riders carrying banners, fans, and flags, as well as a band of seven riders. Following them were the Cavalry Guards, whose procession featured large carts and ceremonial axes, with five officials riding behind.
Then there are ten teams of cavalry, each with fifty horses. In front of each team are three riders: a leader, a flag bearer, and a standard bearer. Behind them are two infantry officers on foot. The Imperial Guards Cavalry Supervisor and the Youzhou Cavalry Supervisor who command these cavalry teams. Following them are ten teams of infantry, each with fifty men. In front of each team are three riders: a leader wearing a crimson robe, a rider, and a flag bearer; behind them are two infantry officers on foot. All cavalrymen carry long spears.
Next are the Halberd Team, Nine-Foot Shield Team, Sword-and-Shield Team, Archery Team, and Crossbow Team, each with fifty men. In front of each team are three infantrymen: a leader in black trousers, a sergeant, and a flag bearer; behind them is an infantry supervising officer on foot. The Golden Faced Supervisor will command these teams.
The Crown Prince's chariot is pulled by three horses, with a vice chariot on each side. The wheels are vermilion, the carriage shaft decorated with animal heads and deer antlers, the canopy painted with nine descending dragon patterns, and the canopy is green with twenty-eight golden tassels. The carriage is black with decorative patterns, the carriage shaft is also exquisitely decorated, and the carriage body is painted with gold and vibrant colors; this carriage is known as Luanlu. If it is not the Crown Prince, they ride in a painted carriage, with a green canopy tied with vermilion silk ropes, and the interior is decorated with golden brocade, while the carriage body is painted with gold and vibrant colors. The Crown Prince also has three vice carriages, similar in style to the main carriage, except without painted wheels.
Wang Qing's carriage and the Imperial Grandson's carriage travel side by side, also pulled by three horses, with a vice carriage on each side. The mica-decorated calf carriage is reserved for nobles and not for commoners.
The black-wheeled cart is pulled by four oxen, resembling a calf cart, except that the wheels are black and the canopy is a green oil cloth, bound with crimson silk ropes. Only kings and high-ranking officials with merits can ride in such a cart. High-ranking officials could also ride in the four-wheeled cart, three-wheeled cart, and the two-wheeled cart.
The oil cloth cart is pulled by oxen and is similar in style to the black-wheeled cart, except that the wheels are unpainted. Only meritorious princes and ministers can ride in it.
In ancient times, carts resembled the small ox-drawn carts we see today, but the canopies were more tightly covered. Kings and high-ranking officials traveled in such carts.
When the officials attended court, the court would provide them with four types of carts, including one comfortable cart equipped with three black-eared horses; one black-wheeled calf cart; and other officials, from the ritual wine officer to the clerks, rode in black small carts, dressed in court robes to attend court. Military officials had their own designated carts.
Those high-ranking generals below the special ranks, cavalry generals, and light cavalry generals, if they had not opened a government office or held the position of a military governor, would be provided with two comfortable carts, black-eared horses, and one small cart with a back door (the sedan).
The three dukes, nine ministers, the middle-ranking two thousand stones, the two thousand stones, the governor of Henan, and the ceremonial attendants, when traveling for sacrifices at the suburbs or the grand hall, would ride in large carts pulled by four horses, with two large carts in front and behind as guides, and a deputy cart on the right. On ordinary outings, they would use comfortable carts. If they retired, the court would grant them comfortable carts and four horses.
When the princes and marquises of the counties traveled, they were provided with two comfortable carts, with a deputy cart on the right, with crimson-painted wheels, the shafts decorated with deer antlers and bear shapes, the cart body black, and the canopy made of black satin.
Princes' flags have eight tassels, marquises' have seven, and ministers' have five, all adorned with the image of a descending dragon.
The carriages of officials earning two thousand stones are black with red shafts and colorful bronze decorations, drawn by two horses; officials above two thousand stones have a secondary carriage on the right, whereas officials with one thousand or six hundred stones have red shafts on the left. The shaft is six feet long, eight inches wide at the bottom, one foot and two inches wide at the top, with a total length of nine zhang and twelve chu, which are traditional Chinese length units, shorter in the back than the front, resembling a newborn moon, symbolizing modesty.
If a noble's son is in charge of state affairs, he rides in a ceremonial carriage with three horses and seven flags; if he is a marquis, the carriage has five flags. In the fourth year of Taikang, the court decreed that the Nine Ministers should be provided with four ceremonial carriages and one official carriage according to the old Han dynasty tradition. In the eighth year, it was decreed that those serving as Shangshu and military officials, as well as those with additional titles of Shizhong and Changshi, should be provided with a chariot for official business, a sword, and be allowed to enter the palace with attendants.
The ambassador's carriage is a type of standing carriage drawn by four horses, featuring red curtains and a red carriage compartment, accompanied by many horse-riding attendants. Previously, officials earning two thousand stones would ride in an ambassador's carriage when traveling to suburban temples or ancestral tombs with the emperor, and in a ceremonial carriage for regular travel.
The small official carriage is a lightweight vehicle drawn by four horses, with red compartments, red wheels, red screens and mudguards, white roofs, and red curtains, accompanied by forty coachmen. Another type of small official carriage has red wheels and a black roof, specifically designed for capturing criminals. All official carriages feature red wheels and shafts.
The fast carriage features a sunshade canopy in place of a roof, resembling a chariot, but drawn by two horses. The term "fast carriage" derives from its speed, primarily utilized on the battlefield to deliver messages.
The yoke carriage, in ancient times, was a military vehicle. A carriage pulled by one horse is called a yoke carriage, while one pulled by two horses is also called a yoke carriage. During the Han Dynasty, the sedan chair was considered more prestigious than the yoke carriage, but by the Wei and Jin Dynasties, the yoke carriage became more prestigious than the sedan chair. Generals ranked third or higher and the Minister of Personnel rode in yoke carriages, featuring ear-shaped decorations at the back and a rear door, with solid black wheels; the Deputy Minister's carriage had only a rear door and lacked ear-shaped decorations, with solid black wheels as well; the carriages of the Minister and fourth-rank generals lacked a rear door, and their wheels were solid black. The Director of the Central Secretariat had a carriage similar to that of the Deputy Minister, and officials like the Palace Attendant, the Yellow Gate, and the Cavalry Officer could also ride in yoke carriages when newly appointed or going to worship at temples.
The Empress Dowager and the Empress travel in magnificent style! They ride in a golden chariot covered in colorful feathers, featuring a blue yoke and matching curtains. The yoke is carved with cloud patterns, its body is painted in gold and bright colors, and the canopy is decorated with gold embellishments, drawn by three horses, with one horse on each side acting as an escort. When visiting the temple for offerings, they travel in a purple chariot, which also features cloud carvings on the yoke and is painted in gold and bright colors, also drawn by three horses. Apart from formal outings, the Empress Dowager uses a palanquin, while the Empress uses a painted wheel carriage. When the Empress goes to worship the silkworm deity, she rides in an ornately decorated oil-painted cloud-mica carriage, drawn by six dark gray horses; there is also a two-yoke oil-painted carriage prepared, drawn by five dark gray horses. Additionally, there are golden thin-stone mountain chariots and purple jute chariots, all drawn by three dark gray horses, serving as spare vehicles. Twelve female officials hold banners, while two female officials hold halberds, escorting the carriage as a group; twelve female officials are responsible for carrying the palanquin and escorting it; eight female officials also escort the carriage. The three noble ladies travel in an oil carriage, drawn by two horses, with one horse on the left acting as an escort. The carriages of the esteemed ladies are decorated with patterns on the yoke. When the three ladies go to worship the silkworm deity, they ride in a blue jiao-lu carriage, drawn by three horses, and they also have a purple jute carriage prepared. The nine concubines and the noble ladies travel in a carriage, drawn by three horses.
The eldest princess traveled in a red silk carriage, drawn by two horses. The princess, queen mother, and princesses all rode in painted carriages drawn by two horses, with the coachman sitting on the right. The eldest princess had an even more luxurious painted carriage, drawn by three horses, in a turquoise color, and she also had a purple silk carriage, also pulled by three horses. The queen mother and the three ladies had the same arrangement. When the eldest princess went to worship the silkworm god, she rode in this painted carriage with three horses. Sometimes, she would take an earlier turquoise-painted carriage, which was also drawn by three horses.
Other princesses, the queen mothers of the princesses, ladies, the ladies of the county, and the wives of dukes and marquises all rode in black carriages, also pulled by three horses, to worship the silkworm god. The wives of the heirs of feudal lords supervising the state, as well as palace attendants, regular attendants, ministers, secretaries, and other titled ladies, also rode in black carriages, but this time they were drawn by two horses.
The dukes and marquises from the counties, the second-tier officials, and their wives who attended court meetings and worshiped the silkworm god all rode in their husbands' carriages, with coachmen on the right. The carriages were black, and the curtains and coverings were also black. If not attending official events, they could not ride in decorated carriages and had to use plain canvas carriages with only copper-colored decorations. The princesses, the wives of distinguished scholars, and the titled county ladies rode in black carriages drawn by three horses; while those titled county ladies rode in painted carriages drawn by two horses, with the coachman on the right.
Since crossing the Yangtze River, many of the previous customs have become a thing of the past. After Emperor Yuan ascended the throne, he had one ceremonial chariot and one military chariot crafted anew, both modeled after the old Jin Gen chariot style, but such grand ceremonial processions are no longer seen. As for the major rituals for worshiping heaven and earth, they just made do with whatever vehicles they had. When the emperor personally led troops into battle, he used the military chariot, removing the canopy to sit directly, and there were only five accompanying vehicles. The military chariot had a green oil banner hanging above, the yoke was crafted from crimson silk, decorated with a blue carriage, and the wheels and axles were painted in a colorful golden hue, with only the hubs retaining their original white color, and there were no golden brocade decorations on the sides of the carriage. One of the vehicles was a palanquin, which was an old custom; the emperor was supposed to be pulled by six horses, but at that time, there were no vehicles with six horses, which is why they were called Xuanmu. The previous five-time chariot was also gone, and tasks were handled with horse-drawn carts, with flags inserted on top. Later, they simply carved five kinds of wood into the shape of oxen to replace the five-time chariot, placing flags on the oxen's backs and having people carry them as they moved. Using oxen as a substitute was likely because they could carry heavy loads over long distances, being stable and reliable. The flags were always rolled up and not unfurled, called "De Chariot with Tied Flags." Only when the emperor personally led troops into battle would the flags be unfurled, referred to as "Wu Chariot with Unfurled Flags." The south-pointing chariot was lost during the crossing of the river, and it wasn't until the fifth year of Yixi that Liu Yu captured Guanggu and found it again, then had the craftsman Zhang Gang repair it for continued use. In the thirteenth year, after Liu Yu pacified Guanzhong, he found the south-pointing chariot and the record chariot, which marked the completion of the collection. As for the palanquin used by the emperor, its design was also lost during the crossing. During the Taiyuan years, Xie An relied on his memory to create one, and later defeated Fu Jian on the Huai River, capturing an old palanquin from the capital, which matched the original in both style and size, earning the admiration of his contemporaries for Xie An's remarkable memory. In the fifth year of Yixi, Liu Yu captured Murong Chao and seized the golden chime palanquin and leopard-tailed chariot, preserving the old style.
In the third year of the Tai Xing era under Emperor Yuan, the crown prince held a ceremony of offering sacrifices. The emperor decreed, "Everything is starting anew, and there are no luxurious carriages available; we can only use the An car." During the Tai Yuan era, the Eastern Palace was completed, and the prince's carriage was decorated with blue and red flags, which felt somewhat out of place. Xu Miao suggested that since the crown prince did not possess a carriage for the five routes, the red flag should be removed. In the Han dynasty's system, the phoenix carriage used by the crown prince was called the An car. Since the Jin dynasty crossed the river, the ceremonial system had become chaotic; below the nobility, the carriages and attire were quite simple, with only the Eastern Palace upholding a high ceremonial status, second only to the emperor and above the feudal lords. When Emperor An was the crown prince, he rode in a stone mountain An car, which was similar in style to the golden route car, but this was not in line with the ceremonial regulations and had no precedent.
When the queen's palace was newly built, during the first sacrifice to the silkworm deity, a royal ceremonial procession was used. The wife of the Grand Master of Ceremonies sat in the imperial carriage overseeing the procession, the wife of the Grand General sat in the co-pilot's position, and the wife of the Minister of Ceremonies sat in the accompanying position. The wives of high-ranking officials like the Dan Yang Yin and Jian Kang Ling were responsible for guiding the ceremonial procession; they all rode in their husbands' official carriages, dressed in corresponding attire. Often, these positions were temporarily filled by palace maids.
This was quite a spectacle; with the completion of the queen's new palace and the first sacrifice to the silkworm, the spectacle was truly impressive! The standards for the outing were exceptionally high, with the royal ceremonial procession in full force! The Grand Master's wife confidently sat in the imperial carriage, directing the convoy; the Grand General's wife sat in the co-pilot's seat, keeping an eye on things; and the Minister of Ceremonies' wife accompanied them, turning it into a proper outing for the nobility. The wives of high officials like the Dan Yang Yin and Jian Kang Ling also joined in to guide the way, each riding in their husband's official car and dressed quite elegantly. However, here's a little secret: these positions were often filled temporarily by palace maids as a way to gain experience.
In the "Rites of Zhou," it is stipulated that the master of ceremonies is responsible for managing six types of crowns, while the clothing supervisor oversees six types of garments. Since then, the clothing system established by emperors extended down to the common people, with distinctions in rank. The Qin Dynasty overthrew the old system, and during sacrifices to heaven and earth, officials wore black coarse cloth clothing, marking a complete abolition of the previous system. The Han Dynasty inherited the flaws of the Qin Dynasty, and the Western Han struggled for over two hundred years to establish a complete clothing system. It was not until the resurgence of the Eastern Han that Emperor Ming began to reference the "Rites of Zhou," "Book of Rites," "Book of Documents," and the opinions of other Confucian scholars to restore ceremonial robes like the crown. The vehicles and clothing of the emperor were made according to the words of Ouyang Xiu; the clothing for officials ranked below dukes and marquises was made according to the sayings of the Xiahou family. Thus, a formal clothing system was established for the emperor, the Three Dukes, the Nine Ministers, and other officials. When performing sacrifices to heaven and earth or in the Ming Hall, they had to wear crowns embellished with dangling pearls, combining styles from five different crowns, utilizing a single set of clothing. The emperor's attire featured twelve distinct patterns, the Three Dukes and feudal lords wore nine-patterned designs featuring mountains and dragons, and officials ranked below the Nine Ministers wore seven-patterned designs adorned with floral motifs, all woven from silk threads in five different colors.
Emperor Ming of Wei felt that the black and red patterns on the ceremonial robes of the nobles were too close to those of the emperor, so he eliminated many embellishments and stipulated that the emperor's attire was to use embroidered patterns while the nobles' attire was to use brocade patterns. After the establishment of the Jin Dynasty, the system of the Wei Dynasty was followed without change. When the emperor performed sacrifices to heaven and earth, the Ming Hall, and the ancestral temple, as well as during the New Year and other ceremonies, he wore a black gauze cap, a crown of heaven, and a plain crown. The crown had a black edge, with red and green linings, seven inches wide and twenty-two inches long, worn over the crown of heaven, round in the front and square in the back, with twelve strands of white jade beads that hung down, tied with red silk threads and lacking any additional decorations. He wore a white jade pendant with four colored ribbons hanging down in yellow, red, green, and blue. The upper garment was black, while the lower was dark red, with three panels in front and four in back. The upper garment was painted, while the skirt was embroidered with patterns of the sun, moon, stars, mountains, dragons, flowers, algae, fire, rice flour, black and red designs, totaling twelve types of designs. The waistband was four inches wide, with a red lining, adorned with red and green silk ribbons on both sides. The inner garment had dark red borders. Shoes were made of red leather, with dark red trousers and socks, and red shoes. Minors wore only black gauze caps. During sacrifices to the ancestors, they wore black gauze robes, dark red inner garments, dark red trousers and socks, and black shoes; when ascending the ceremonial hall, they also wore the ceremonial robe and crown. The court attire included a nine-inch high crown of heaven adorned with a golden mountain on top, a black gauze cap, a dark red gauze robe, and a black inner garment with borders. When worshiping at tombs, they wore a black gauze cap and a single garment. Casual clothing was available in six colors: blue, red, yellow, white, light yellow, and black, worn with a black gauze cap, a five-colored gauze robe, and various crowns, such as the Five Beam Crown, the Distant Travel Crown, the Flat-topped Cap, and the Martial Crown. Plain clothing consisted of a simple white garment.
After the Eastern Han Dynasty, the emperor's crown was adorned with genuine white jade beads. Emperor Ming of Wei had a fondness for women's adornments, so he opted for coral beads. In the early years of the Jin Dynasty, the original style was reinstated. After the Jin Dynasty moved south, the clothing system faced many deficiencies, and the decoration of the crown used jadeite, coral, and various colored beads. Gu He, an attendant, submitted a report: "In the past, the crown featured twelve tassels adorned with white jade beads. Currently, white jade is scarce and cannot be fully acquired, so white xuan beads can be used instead." The emperor agreed.
The Tongtian crown is styled after the Qin Dynasty. It is nine inches high, standing upright, with a slight tilt at the top, and then descending straight, constructed from rolled iron, with an unfolded tube-shaped decoration in front, and a gold Boshan decoration at the front of the crown, which is a hat that the emperor often wears when traveling.
The Pingmian crown is worn by kings, nobles, and officials during sacrifices at suburban temples. The king's crown features eight hanging tassels, while that of the officials has seven. The tassel of the crown is made of twisted ropes, the color matching the official's ribbon. The king's garments are embroidered with nine designs, including mountain dragons, while those of the officials are embroidered with seven designs, including ornate insects.
The Yuan You crown, according to Fu Xuan, is the crown of the Qin Dynasty. It is similar to the Tongtian crown, but without the Boshan decoration in front, only a tube-shaped decoration spread across the front of the crown. This crown is worn by the crown prince, the queen, the emperor's brothers, and the emperor's sons who hold the title of county king. Other princes who receive promotions wear the appropriate official hats; only the crown prince and the queen can wear the Yuan You crown regularly. The crown prince's Yuan You crown is crafted from emerald bird feathers and embellished with white pearls, while others only use blue silk.
The black cloth crown, according to Cai Yong, is called the "wei mao guan" (crown of modest appearance). In ancient times, crowns were made of cloth, and the people of Qi used black cloth for theirs. The black cloth crown was the first type of hat worn. It has four styles: one is similar to a military crown, one resembles a jin xian crown, one is wide at the top and narrow at the bottom like a hat, and another is pointed at the top and square at the bottom. During the rural archery rites, nobles wore the wei mao guan made from black silk. Its shape resembles an inverted cup and is the same style as the leather crown, with dimensions of seven inches in length and four inches in height. They wore black upper garments and white lower garments, with the inner clothing trimmed in black cloth. Those in charge wore leather crowns made from deer hide.
The jin xian crown is a remnant of the ancient black cloth crown, likely worn by cultured literati. It is seven inches high at the front, three inches high at the back, and eight inches long, which came in variations of five beams, three beams, two beams, and one beam. When the emperor held a coronation ceremony, the first crown worn was the five-beam jin xian crown. The three dukes, as well as those conferred the titles of county duke, county marquis, district marquis, and township marquis, wore the three-beam crown. Officials such as ministers, nobles, the eight seats, the ministers of state, the inner marquises of Guanzhong, and those holding ranks above two thousand stones and one thousand stones wore the two-beam crown. The middle secretary, deputy secretary, literary secretary, and deputy minister, along with the prince's horsekeeper and those ranked below six hundred stones, including clerks, doormen, and minor clerks, all wore the one-beam crown. During the middle of the Han Jian period, the Chief of the Imperial Kitchen wore the two-beam crown due to the significance of overseeing the imperial meals. Scholars also wore the two-beam crown to honor Confucianism. Members of the Liu royal family were also permitted to wear the two-beam crown as a sign of preferential treatment.
The Wu Guan, which we refer to as the Wu Guan, also has names such as the da guan, fan guan, jian guan, and long guan; it is essentially the ancient Huiwen crown. Some say it was invented by King Huiwen of Zhao, hence the name. Others say that the character "Hui" refers to cicadas, as the crown’s patterns are light and intricate, resembling cicada wings, thus the name Huiwen crown. Another theory suggests that the people of Qi saw a marsh god who had lived for a thousand years, named Qingji, who wore a large crown and rode a small chariot, enjoying fast speeds, so people crafted this crown in imitation of his hat. During the Han dynasty, the close minister Hong Ru wore this large crown while serving as a palace attendant. When the emperor held the crown ceremony, he would also first wear the large crown, and the attendants and generals on either side would also don this crown. The palace attendants and common attendants would attach gold tassels to the crown and decorate it with cicada ornaments and sable fur, using gold for the crown rod, with the palace attendant wearing it on the left and the common attendant on the right. Hu Guang noted, "In the past, King Wuling of Zhao wore nomadic clothing and adorned his hat with gold sable. After the Qin state destroyed Zhao, they bestowed the hat of the Zhao king to the attendants." Ying Shao mentioned in "Han Officials" that "people believe gold symbolizes strength, enduring through countless refinements; cicadas dwell in high places, drinking clear dew, with their mouths tucked beneath their wings; sable fur is strong inside, yet soft and smooth outside. People use cicadas to symbolize purity, sable fur to symbolize softness, and gold to symbolize preciousness, all of which carry symbolic meanings." Some believe that in the frigid northern regions, the Hu people frequently used sable fur to keep their foreheads warm, and subsequent generations adopted this practice, thus using sable fur to decorate hats. In the Han dynasty, red-black sable fur was preferred, while Wang Mang used yellow sable fur, both chosen according to personal preferences.
Gao Shan Guan, also known as the "Side-Notch Crown," is nine inches tall, crafted from iron and shaped like a soaring beam, resembling the sky. The top of the crown stands straight without leaning, lacking any mountain-shaped decorations. Gao Shan Guan, as mentioned in the Book of Songs, signifies its solemn and majestic nature, which is why it is called Gao Shan Guan. Officials, envoys, and their attendants all wear this type of crown. According to Hu Guang, "Gao Shan Guan is the crown of the King of Qi. Ancient texts state, 'Duke Huan favored tall crowns and wide belts.' After the Qin state conquered the Qi Kingdom, they rewarded the crown of the Qi King to envoys and close attendants." Ying Shao noted that "Gao Shan Guan is the equivalent of today's Fa Guan," and officials from the Qin Dynasty also wore this type of crown. The "Han Officials' Rituals" record that "the emperor wears Gao Shan Guan with flying feather tassels," suggesting that the emperor occasionally dons this type of crown. The "Fu Zi" states, "Emperor Ming of Wei felt that this crown resembled the sky and distant travel, so he ordered it to be modified to be lower."
Fa Guan, also known as Zhuhou Guan, is also called Xiezhi Guan by some. It is five inches tall, with a cylindrical hat body made of silk ribbons, and an iron hat pillar that cannot be bent, symbolizing the integrity of law enforcement officials. The Imperial Censor, the Director of Imperial Prisons, and all law enforcement officials wear this type of hat. Legend has it that Xiezhi is a mythical creature capable of discerning right from wrong and punishing the wicked. The "Records of Strange Beasts" states, "In the northern wilderness, there is a wild beast called Xiezhi, with a single horn, capable of distinguishing right from wrong. When it witnesses a fight, it charges at the side deemed dishonest; when it hears people arguing, it will bite the unjust side. The King of Chu once captured this creature and fashioned this hat based on its likeness." Hu Guang said, "According to the 'Zuo Zhuan,' the Marquis of Jin encountered Zhong Yi in the military camp and asked, 'Who is wearing a Southern hat and is bound?' 'Nan Guan' is the hat of the Chu Kingdom. After the Qin Dynasty destroyed the Chu Kingdom, they rewarded the Chu Kingdom's hat to law enforcement officials."
The long crown, also known as the Qi crown, measures seven inches in height and three inches in width, made of lacquered silk ribbons and has a board-like shape with a bamboo core inside. When Liu Bang, the founder of the Han Dynasty, was young, he wore this type of hat made from bamboo skin, which is why it later came to be known as the Liu crown. Later, bamboo was no longer used, and lacquered silk ribbons were adopted instead. Sima Biao said, "The long crown is a style from the State of Chu. Some people in the folk community also call it the magpie tail crown, which is incorrect. The long crown must be worn during solar eclipses and during ancestral worship. This was designed by Liu Bang, and later generations regarded it as ceremonial attire and held it in high esteem."
The Jianhua crown is made with an iron crown post threaded with nine large copper beads; in ancient times, various wooden beads were used, and it is this type of crown that Yuan Xian wore. The "Zuo Zhuan" (左传) from the Spring and Autumn period states that Zheng Zizang liked to wear the snipe crown, which also refers to the Jianhua crown. During rituals for heaven and earth, the five suburbs, and the Ming Hall, dancers are required to wear this type of hat. In the Han Dynasty, performers of the "Yuming Dance" also wore this hat.
The Fangshan crown is similar in shape to the Jinxian crown. Deng Zhan said, "The Fangshan crown is made from colorful silk." Dancers in the Han Dynasty's "Dayu," "Bayi," and "Wuxing" performances all wore this hat, with the colors of the hats and clothing corresponding to the five elements of the performance.
The Qiaoshi crown is seven inches high in the front and shorter in the back, with a straight upright top. This hat is seldom used; in the Han Dynasty, only the four attendants of the Yellow Gate official wore it during rituals for heaven and earth; they walked in front of the emperor's carriage as a symbol of the four-star eunuchs. Some sources also suggest that this hat is worn by officials responsible for cleaning.
The Quefei crown is five inches high and shaped like the long crown. This hat is worn by palace gate attendants and servants. It features a red flag and blue wings, resembling the tail of a swallow, and the flags of other servants are similar.
This hat is called the "Que Di crown," which measures four inches in height at the front, four inches in total length, three inches in height at the back, and is styled like the Jinxian crown. Historically, only palace gate guards were permitted to wear it.
Fan Kui's hat is nine inches wide and seven inches high, protruding four inches in the front and back, resembling a flat hat. Speaking of it, during the Chu-Han contention at the Hongmen Banquet, Xiang Yu intended to kill Liu Bang. Fan Kui held an iron shield. In a moment of crisis, he tore his clothes open and wrapped the shield, wearing it on his head as a hat, and rushed into Xiang Yu's camp, accusing him face-to-face of his crimes, which allowed Liu Bang to escape. In order to commemorate his courage, this type of hat was created for palace gate officials and guards to wear.
There is also a type called "Shu's crown," which is rounded at the front, in the style of the Wu state, with about four layers. King Wu Ling of Zhao liked to wear this kind of hat. Some say this is the type of hat King Zhuang of Chu wore during his quest for revenge.
The "He crown" has two tails of a he bird inserted on top, standing on both sides. "He" is a type of bird, similar to a hawk but darker in color, fierce in nature, fighting fiercely. The feathers of this bird were tributed from the Shangdang region, and King Wu Ling of Zhao used them to commend brave soldiers. During the Qin and Han periods, only warriors could wear this kind of hat.
The "Pi Bian" is made from light yellow and white deer skin. The "Book of Rites" states, "The Son of Heaven wears a Pi Bian, decorated with colorful jade and hairpins," meaning that several pieces of skin are sewn together to make a Bian hat. The seams are referred to as "hui," decorated with colored jade or cinnabar. This decoration is called "qi," meaning knot. The term "di" refers to the lower edge of the hat, made of ivory, pronounced the same as "di." The Son of Heaven's hat has twelve seams, vassals have nine seams, counts have seven seams, sons have five seams, orphans have four seams, and ministers and nobles have three seams.
The "Wei Bian" has a style similar to that of the Pi Bian, but with a pointed top, dyed with madder grass to a shade resembling light crimson.
Finally, there is the "jue bian," commonly referred to as the "guang mian." It stands eight inches tall and is twelve inches long, shaped like a jue bird, narrow at the front and wide at the back, with decorations that resemble the bird's head on top. There is also a clasp on it, used to secure the hairpin, called "xia shou yin zhao." When performing rituals to the heavens, five suburbs, and the Ming Hall, the musicians performing "Yun Qiao Wu" wear this kind of hat.
In ancient times, headscarves were typically worn by those of lower status who did not wear hats. Emperor Yuan of Han had thick hair and initiated the trend of wearing headscarves. Later, Wang Mang, who was balding, added a crown-like top to the headscarf. The "Han Zhu" indicates that high-ranking individuals should wear long-eared hats, which correspond to the jie zhi (a type of headscarf); while those of lower rank should wear short-eared hats, corresponding to the ping shang zhi (another type of headscarf). Initially, everyone wore different hats according to their status, but later hats were used to distinguish status. Jie zhi is worn by civil officials, while ping shang zhi is worn by military officials. Children wear headscarves without crowns, signifying their youth. There is also a type known as na yan zhi, featuring an additional layer at the back, approximately three inches wide. Another variant is a red headscarf, typically worn by cavalry, military officers, and members of the ceremonial band. During a solar eclipse, both civil and military officials must remove their hats and wear headscarves, signifying dignity.
The Han Dynasty's custom was that on the day of Liqiu, hunters were required to wear a yellow headscarf. In the Jiangnan region (the area south of the Yangtze River), Emperor Cao Cao followed the advice of scholars like Cao Hong to conduct a sacrificial ceremony and announce decrees on the day of Liqiu, so they switched to wearing white headscarves. Towards the end of the Han Dynasty, many high-ranking officials no longer wore formal official attire, but instead preferred the elegance of wrapping their heads in cloth scarves. Generals like Yuan Shao and Cui Jun wore headscarves made of silk. Emperor Cao Cao of Wei, due to widespread famine and financial hardship, imitated ancient leather hats by cutting silk into headscarves, in line with the principles of simplicity and appropriateness, using colors to signify social status. This practice was originally a military decoration rather than a formal state ceremony. Xu Yan remarked, "According to popular belief, headscarves originally weren’t split. When Xun Wenru wore a headscarf that split after brushing against a tree branch, people thought it was good, and so people stopped altering it." Today, headscarves are commonly worn for funerals and celebrations. Headscarves are made of gauze, shaped like headscarves but worn horizontally, and were worn by both nobles and commoners. As a result, the rebels and bandits at the end of the Han Dynasty wore yellow headscarves, earning them the name 'Yellow Turban bandits.'
A hat, as the name suggests, is something that covers the head, and it was originally made of silk fabric. In ancient times, hats did not have brims, and there were silk hat straps worn under the hats. Later, people added brims to hats, so some people redesigned the hat straps to resemble hats. From emperors attending banquets to common folk, everyone wore hats. In the ninth year of the Xianhe reign of Emperor Cheng, it was decreed that officials in the eight positions of the Shangshu and attendants of the three provinces could travel by carriage while wearing white curtain hats. Imperial palace officials wore black gauze hats. Therefore, many scholars and officials donned hats during banquets at that time. In the Jiangnan region, common folk had long been wearing hats, and scholars also often wore them, but at that time, the hats had round tops, which were later made taller.
During the Han Dynasty, it was mandated that everyone, from the emperor to the officials, had to wear swords, but later only wore swords while attending court. In the Jin Dynasty, wood began to be used instead of swords. High-ranking officials used jade for their sword handles, while lower-ranking officials adorned theirs with materials like ivory, gold, silver, and tortoiseshell.
The six imperial seals were part of the Qin Dynasty's system. These included the "Emperor's Seal of Authority," the "Emperor's Seal of Office," the "Emperor's Seal of Trust," the "Son of Heaven's Seal of Authority," the "Son of Heaven's Seal of Office," and the "Son of Heaven's Seal of Trust." The Han Dynasty inherited the system of the Qin Dynasty without changes. Additionally, there was the Lantian Jade Seal of Qin Shihuang, intricately carved with a Chi dragon pattern and inscribed with the words "Receiving the Mandate of Heaven, Long Live the Emperor." Emperor Gaozu, Liu Bang, carried this jade seal, which later became known as the Seal of the State, alongside the White Snake Sword, regarded as treasures of the emperor. During Emperor Huidi's reign, the White Snake Sword was destroyed in a fire at the armory and subsequently vanished. It wasn't until Emperor Mudi's reign, following Emperor Huai's capture by the barbarians, that the Seal of the State returned to Jiangnan, having passed through the hands of Liu Cong and later Shi Le.
The leather girdle, an ancient belt also known as "kuí leather," was worn by officials of all ranks, including civil and military dignitaries, local governors, county magistrates, and court attendants. If a sash was worn, it was tied to the leather girdle; if it was military attire, a standard belt was used instead of the leather girdle. The officials of the eight secretaries wore purple leather girdles, made from unrefined purple silk into bags, which were tied outside their clothing and hung over their left shoulder. It is said that this was the ceremonial dress established by the Duke of Zhou to assist King Cheng and has been in use ever since. Some also say that during the Han Dynasty, officials wore it when presenting memorials, using it to hold the memorial documents, but this claim remains to be verified.
The five hundred attendants before the carriage were the entourage of noble officials during their travels, with five hundred forming a unit. After the Han Dynasty unified the country, although the number decreased, the term was still used.
As for when the "kù zhě" (trousers with pleats) began to be worn, the exact origins are unclear. These days, they are typically worn only by the emperor during inspections or when the military is on alert. There isn’t a set color; they wear black hats adorned with purple tassels. These tassels are made of silk, measuring four inches long and one inch wide, and are tied around the waist with a belt instead of a girdle. The tassels for internal officials are purple, while those for external officials are crimson red. There is also a formal military uniform without tassels; civil and military officials usually wear the same attire. When hunting or on an inspection, they only wear military uniforms, with leather girdles, while civil officials keep their hat tassels on, while military officials remove their hats.
During the Han Dynasty, there were five annual ceremonies to honor heaven and earth. The Emperor and participants in the ceremonies had to wear garments that corresponded to the season. Officials not participating wore their usual crimson robes. The Secretariat Director of the Wei Kingdom, Qin Jing, once said, "The Han Dynasty inherited the system of the Qin Dynasty, modified the system of six types of ceremonial headwear, leaving only the black cap and red garments." After the Wei Dynasty, these garments became known as the Five Season Ceremonial Attire, along with the Four Season Ceremonial Attire and other ceremonial attire. Officials from the Crown Prince downwards received clothes according to their rank. Although referred to as the Five Season Ceremonial Attire, only four sets are currently issued, with the autumn set missing, and a new set is issued every three years.
Those who received the official seal and ribbon but not the purse were allowed to make one themselves. Those who only received the official seal without the ribbon could not wear the ribbon or purse, in accordance with ancient customs. In the Han Dynasty, the purse was worn at the waist and was sometimes referred to as "bàng náng" or "shòu náng," used to hold the ribbon. The ribbon was sometimes kept in the purse or worn separately, depending on the occasion.
The tablet, known as "hù," was carried by individuals of all ranks in ancient times. When needed, it was inserted into the belt. Those known as "jiān shēn zhī shì" were individuals who carried the tablet and wore the ribbon. The ribbon measured three feet in length. The tablet could be used for writing, hence the need to carry a pen, which evolved into the modern white pen. Second-rank civil officials from the Three Departments and Five Ministries carried the pen, while nobles, officials, and military officers did not, except for those with the rank of inner servant. The tablet served as the ancient equivalent of a pen. The heads of the Secretariat, the Minister of Works, and other officials wore a white pen attached to their tablets, wrapped in purple leather, known as the "hù."
The crown prince's attire is elaborate! The seal he uses is made of gold, with a tortoise-shaped handle, and the seal ribbon is vermilion and yellow, hanging from his waist, along with silk ribbons in red, yellow, green, and purple. He has five sets of court attire, changing according to the season, and wears a traveling crown with a jade pendant hanging from his waist and silk ribbons. He usually dons red clothing, layered with a red silk inner garment, a white silk outer garment trimmed in black, and a white curved-neck inner garment. He also carries a precious sword, its hilt adorned with fire pearls and a white blade. His belt is made of leather with a jade buckle and a pouch shaped like an animal head. He wears court attire for large banquets, temple ceremonies, on the first and fifteenth of each month, and during the bi-monthly court meetings. Upon returning to the palace, he dons red clothing, and at important palace banquets, he removes his sword and shoes before the king. He also has a three-peak crown for ceremonies. During ceremonies, he wears a flat crown with nine hanging pendants, a nine-panel robe, a white silk inner garment with red borders, a red belt, a colorful belt, a gold buckle, and purple and green ribbons. The collar features either a wide or curved design, red shoes, and red socks. For academic lectures, he dons a jade pendant and a simple garment. During ceremonies, he wears a traveling crown, black court attire, a red-bordered inner garment, red pants and socks, and black shoes. If he has not yet undergone the adult initiation ceremony, a junior official carries his ceremonial attire, while he wears a jade pendant and a black robe.
The seals used by the kings are also made of gold, featuring a tortoise-shaped knob, and also includes red, yellow, blue, and purple silk ribbons. There are five sets of court clothes, wearing a traveling crown and a headpiece, as well as a three-beam crown for the virtuous. The garments are vermilion, with a crimson gauze inner garment, a white gauze outer garment with black borders, and another plain inner garment underneath. The belt is made of leather, the shoes are black, and they wear mountain xuan jade and silk ribbons, along with a wide belt. If they hold other official positions, they wear the corresponding official attire.
When the queen visits the temple for rituals, she wears a deep garment in dark colors, and for the silkworm ceremony, she wears a deep garment in dark blue on top and light blue on the bottom, both in the style of deep garments, with a hidden collar and ribbon-decorated cuffs. The headpiece is a false bun and a step swing, commonly referred to as a "pearl pine," along with hairpins and earrings. The step swing is made of gold in the shape of a mountain peak, with white pearls strung together as a frame, intertwined. The eight ranks and nine flowers, along with six types of animals—bears, beasts, red leopards, celestial deer, protective creatures, and the great and special animals of Nanshan—have feathers made of jade, gold ornaments, white pearl strands, and jade decorations surrounding them. In the sixth year of the Yuankang era, the emperor issued a decree saying, "Since the Wei Dynasty, the empress's silkworm clothes have been embroidered in colored flowers, which is different from the ancient system. Now it should be changed to pure blue as a permanent system."
Noblewomen, ladies, and concubines all wear gold seals and purple sashes, bearing the inscriptions "noblewoman," "lady," and "noble concubine." They adorn themselves with window jade.
The nine concubines: Shufei, Shuyuan, Shuyi, Xiuhua, Xiurong, Xiuyi, Jieyu, Ronghua, and Chonghua hold noble status, wearing silver seals and blue sashes, adorned with exquisite jade jewelry.
Nobles, imperial concubines, and ladies are required to attend the silkworm assistance ceremony. They wear clothes made of fine white silk, all in long robe styles. Their hairstyles are either Taiping buns or Qijin buns, adorned with black tortoiseshell hair ornaments, paired with exquisite hairpins and earrings. The nine concubines, princesses, and ladies wear five-jin hairpins, while the common ladies wear three-jin hairpins. This tradition of silkworm assistance has been passed down since ancient times!
The crown prince's consort holds a higher status; she wears a gold seal turtle button, ties a red Xunzhu sash, and wears fine jade.
The princesses, consorts of princes, and various princesses and noblewomen wear gold seal purple sashes and wear mountain black jade.
When attending court banquets, the princesses and noblewomen wear Taiping buns or Qijin buns. The princesses can also wear step shakes; they all wear hairpins and earrings, and the clothing styles are the same. Those of higher rank than princesses and noblewomen wear sashes made of colored silk ribbons matching the color of the sash, with a golden Bi Xie buckle.
The wives of dukes, marquises, and viscounts wear silver seal green sashes and carry water-blue jade. Those of particularly high status may also wear gold and purple.
Commoners, special ranks, marquises, ministers, and school officials' wives, as well as the wives of second-class officials, wear indigo silk headdresses. Their hairpins are made of golden dragon heads holding white pearls, with fish whiskers as decorations hanging down one foot long, extremely ornate. When attending temple festivals, they wear garments made of black silk; when attending silkworm assistance ceremonies, they wear garments made of light silk, all in long robe styles. From the wives of second-class officials up to the empress, their court attire is made from silk woven from silkworms.
