What Did Qing Dynasty Emperors Wear on the First Day of the Lunar New Year?Unveiling Dragon Robes

Hello everyone, welcome to History and Culture. New year, new atmosphere, bid farewell to the old and welcome the new. In traditional Chinese society, the lunar new year was the most solemn and grand occasion of the year. By the end of the 12th lunar month, whether nobles and officials or ordinary commoners, everyone would prepare new clothes well in advance. Adults wore new ones, and children also had to wear new ones. All for the sake of good luck and auspicious omens. What was worn on the body was not just clothing, but rather, a kind of anticipation for the new year. So, if we turn our gaze to the imperial palace during the Qing dynasty, what was the scene like for the emperor celebrating the new year? Of course, the emperor also wore new clothes. And not just any ordinary new clothes, but an entire set, specially prepared for the new year and important festivals. This set of attire had a specific name in the Qing palace, jifu, auspicious attire. The Qing emperors, jifu, can be said to be among the most luxurious and exquisite garments in the entire country at that time. A complete set often cost tens of thousands of taels of silver, or even more. Not only were the materials precious, but the production process was extremely complex, embodying the highest level of craftsmanship of the era. According to some historians, every year on the first day of the first lunar month, that is, the first day of the lunar new year, the forbidden city would begin bustling from early dawn. Before the sky was fully light, the emperor would already rise and groom himself. Assisted by eunuchs in dressing properly. Preparing for a series of new year rituals. According to Qing palace customs. The emperor would first go to the hall of mental cultivation, yangxin dian. Then proceed to the east warm pavilion. To hold a highly symbolic ceremony. Known as the, opening brush ceremony, kaibishu. This, opening brush ceremony. Originated during the Yongzheng reign. In simple terms. It involved the emperor, on the first day of the new year. Using a brush to write a few auspicious phrases. Expressing wishes for national stability and the people's well-being. While also entrusting his hopes for the coming year. Later, this ceremony gradually became an important part of Qing court new year celebrations. Based on a surviving portrait of Emperor Qianlong. It depicts precisely the scene of him performing the, opening brush ceremony, on new year's day. In the painting, Qianlong wears a court crown on his head. And a robe with a fur collar. Appearing solemn and majestic. This outfit is the, jifu, worn by Qing emperors during the new year. Institutionally, a complete set of the emperor's jifu. Included multiple parts such as the dragon robe, jifu crown, jifu sash, etc. None of which could be omitted. A piece in the palace museum collection. That the brocade satin cloud dragon silver marten fur dragon robe. Is an important component of emperor Yongzheng's jifu. Its style. Is basically consistent with the dragon robe worn by Qianlong in the portrait. The cuffs are edged with fur, and the front chest, back, and both shoulders. Are embroidered with colorful golden dragons. The embroidery on the entire dragon robe is extremely meticulous. With vivid patterns full of depth and layers. Immediately conveying the refinement and majesty of imperial attire. When wearing jifu, it naturally required matching headwear. The crown worn by the emperor had edges decorated with fur. The crown body covered in red silk velvet. With a point cui golden base at the top. Inlaid with a very prominent large pearl. Depending on the season, the, jifu crown, was divided into winter and summer versions. The winter version used fur materials. Appearing more substantial and heavy. The summer version was relatively lighter. But the style and symbolic meaning remained the same. Regardless of the type, as long as one wore jifu. The, jifu crown, had to be worn. This was an unwritten but extremely strict rule in the Qing palace. In addition to the crown. The, jifu sash, was also an indispensable part of the full set. The emperor's, jifu sash. Was typically bright yellow. Adorned with a belt hook made of white jade. Carved with cloud dragon, longevity, and other patterns. The belt plaques often featured openwork carvings of celebratory harmony and fish motifs. Symbolizing auspicious abundance. From the belt rings would hang several ornamental items. Such as exquisitely decorated small knives, flint pouches. And purses embroidered with floral, longevity, and dragon patterns. Just from this single belt. One can see the meticulous detail in Qing emperor's attire. In the Qing dynasty, imperial clothing was broadly classified by purpose. Into ceremonial attire, auspicious attire, jifu, regular attire, and casual attire. For routine court audiences and governance, ceremonial attire was worn. Commonly known as court robes. Jifu, on the other hand. Was formal clothing worn for the new year. Important seasonal festivals, and major ceremonies. Ceremonial attire was structured in upper and lower parts. While jifu, what we commonly call dragon robes. Was a one-piece, full-length garment. In terms of patterns, court robes and dragon robes also had clear distinctions. Court robe patterns were more complex in distribution. With varying numbers and positions of dragon motifs on the chest, waist, sleeves, and hem. Jifu dragon robes were more concentrated. With the most prominent dragons on the chest and back. Giving an overall more solemn and dignified appearance. Speaking of dragon robes, one cannot avoid the issue of color. In Chinese history. Yellow gradually became the color exclusive to the emperor. Records show that the earliest explicit regulation requiring emperors to wear yellow clothing. Was under Emperor Wen of Sui. Later. The association between yellow and imperial power grew increasingly close. In the Qing dynasty. Emperor Taizong, Huang Taiji, even issued a clear decree. Prohibiting royal clan members from casually using yellow or five-clawed dragon motifs. This was one of the earliest strict prohibitions on color hierarchy in the Qing. The emperor's preference for yellow. Was related to traditional Chinese, five elements, concepts. In the five elements, metal, wood, water, and fire correspond to the four directions. While earth resides in the center. The symbolic color of earth is yellow. And the emperor represented central authority. So yellow naturally became the representative color of imperial power. Among the Qing Jifu collected in the palace museum. Whether from Shuanzhi, Yongzheng, or Qianlong. Most dragon robes were predominantly bright yellow. However, Emperor Qianlong also had some rather special Jifu. For example, one blue dragon robe. Used large amounts of gold and silver thread on the fabric. Embroidering interlocking gold and silver dragon and floral patterns on blue silk satin. With extremely fine craftsmanship. Even more astonishing. This dragon robe employed a technique called fragrant screw inlay, Xiangluodian. Inlaying shells with natural luster into the fabric. Which would reflect subtle iridescence as the wearer moved. Fully displaying the splendor of imperial attire. Additionally, in Qing Emperor's Jifu. The patterns on dragon robes were not arranged arbitrarily. The most important were the twelve chapter patterns. These twelve motifs. Each symbolized different meanings. For instance, sun, moon, and stars. Symbolizing universal illumination. Mountain motifs, symbolizing stability. Dragon motifs, symbolizing authority. White rice motifs. Implying emphasis on agriculture. And other patterns. Together expressing hopes for national stability and prosperous people. These motifs were not mere decoration but embodiments of political and cultural ideals. At the hem of the dragon robe. One could also see a highly distinctive group of patterns. Composed of rolling waves and rocky cliffs. Commonly known as sea water and river cliffs, Haishuwei Jiangya. It symbolized a stable empire and enduring national fortune. While also entrusting wishes for peace under heaven. It is worth noting that on New Year's day, after the emperor had donned his Jifu. He would also perform rituals and light incense in various parts of the palace. Symbolizing the welcoming of the new year. Along the way, the empress, consorts, and concubines in the palace would also wear Jifu. Greeting him according to etiquette. Although their Jifu was not as luxurious as the emperor's, it was equally exquisitely made. With rich colors and patterns. In terms of color, the empress and empress dowager mostly used bright yellow. While consorts used apricot yellow, fragrant color, and other graded shades. Allowing one to immediately distinguish status hierarchy from the colors alone. As commented by relevant historians. The Jifu in the Qing imperial palace. Was not only a symbol of imperial authority and ritual system. But also recorded the pinnacle of handicraft development in an era. Through them, what we see is not just gorgeous clothing. But a segment of real and profound history. This is the History and Culture channel. Liking and subscribing are the greatest help and support to us. Thank you everyone and see you in the next time.