A Hanfu hat, often called Jin (巾), is a traditional headwrap used to secure hair. Common in the Tang Dynasty (618–907 AD), it was typically 1 meter long and 20 cm wide, made of silk or cotton. To wear, wrap it snugly around the head, tying it at the back for a secure fit.
Jin (巾)
The materials used to make the Jin vary, and this choice of material affects its durability and appearance. Silk was traditionally used for formal occasions because of its shine and smooth texture, while less formal Jin were made from cotton or linen. For instance, silk Jin hats of the Song Dynasty would normally be embroidered with patterns signifying the status of the wearer. Such silk Jin could cost several times more than their cotton counterparts, with prices for high-quality silk Jin in ancient China reaching up to 100 silver taels, which was an average yearly income for a skilled artisan during that time. On the other hand, cotton Jin, which was more commonly worn by commoners, would have been much more affordable, typically costing around 10–15 silver taels. The distinction in materials not only reflected economic status but also played a role in determining the wearer’s place in society.
In modern times, the Jin continues to play a role in ceremonial attire. For example, during some cultural festivals or traditional weddings, Jin would be worn to represent the grace of classic traditions. At the same time, however, materials and designs have emerged that work within the context of a more modern aesthetic and practical sense. Modern versions of Jin would include materials of polyester and blended fabrics, which are way more economically viable and low maintenance. A modern Jin made with quality synthetic fabric might cost from $10 to $50, depending on the brand and design. During ceremonial occasions, high-end Jin can be found in silk for prices of $100 to $300; more embroidery or other detailed works increase the price further. This modern adaptation reflects a blend of tradition and practicality, given that people seek to wear Hanfu in a way that would fit into contemporary lifestyles while not sacrificing the cultural meaning behind the clothing.
Futou (服头)
The material of the Futou played an important role in its function and prestige. During the Ming Dynasty (1368–1644), for instance, the Futou was usually made from silk brocade, which was strong and visually appealing. The silk Futou hats worn by high-ranking officials could cost several hundred silver taels. The price of a high-quality Futou made from silk could range from 50 to 100 silver taels—a year’s salary for a middle-class artisan at the time—while commoners often wore plain Futou made from much cheaper cotton or wool, available at 2 to 5 silver taels. This difference in quality material distinguished the status of the wearer, whereby silk Futou was used to signify power and authority, while cotton or wool versions were more practical in everyday use.
Social and ceremonial considerations also dictated the design of the Futou. During official court ceremonies, for example, Futou were worn with other elaborate robes to represent the wearer’s rank within the bureaucracy. The rank of an official could be differentiated because each color and style of Futou was reserved for a given class. For instance, some classes may have held ranks only in the middle, where color represents a red Futou while black or dark color stands for higher-ranking officers. The role of the Futou here was to represent not only authority but also to bring order within the rigid social structure of ancient China. The ceremonial use of the Futou continued well into the Qing Dynasty (1644–1912), during formal court rituals and state functions.
Guan (冠)
The Guan is an ancient Chinese crown that for thousands of years has symbolized all forms of authority, status, and cultural meaning. First appearing during the Zhou Dynasty (1046–256 BC), the Guan would be worn by the emperors, officials, and nobility to reflect their rank and position within society. The design of the Guan was not only a manifestation of prestige but also a reflection of ancient Chinese customs and rituals. Over time, the Guan evolved in terms of material, structure, and symbolism. For example, the Guan worn by officials of the Tang Dynasty (618–907 AD) was usually a tall, rigid headdress made of silk, with intricate decorations such as gold threads and jewels. The latter was worn together with official robes on state occasions and ceremonies and during formal appearances before the court; their height and ornamentation depended on rank. A Guan could rise to 30 cm in a high-ranking official, though lower-ranking officers’ Guan were much smaller, about 15 cm.
The material from which the Guan was prepared played an essential role in portraying its wearer’s position. During the Tang Dynasty, high-ranking officials and emperors wore Guan made out of silk brocade. These were further embellished by using gold or silver thread in them. Other officials below this rank used less Guan made of cotton and wool. The materials with which the Guan is made influenced both its cost and durability. A gold-embroidered Guan from the Song Dynasty (960–1279 AD) would have cost as much as more than 200 silver taels—a very substantial amount, since it was a high-ranking bureaucrat’s annual salary. In comparison, a Guan of simpler cotton or hemp could cost about 10–20 silver taels and thus be more accessible for lower-ranking officials or commoners participating in state rituals.
The Guan indeed had a more important function than aesthetic pleasure; their role in maintaining social order and as a symbol of the hierarchical structure of Chinese society was quite critical. Colors, materials, and the design of the Guan were strictly regulated by the imperial decree. In other contexts, it would depend on rank and role—for example, during the Ming Dynasty (1368–1644), the emperor’s Guan was made with superior quality materials such as black silk embroidered with gold thread, while the civil officials would be given other colors and different designs denoting their position. This cap has found its uses in religious or ceremonial functions, too: special design for ancestral worship, or one for state ritual service. Color use was not only a matter of style in the Guan but also carried symbolic meanings. For example, the color yellow was reserved for the emperor, signifying the emperor’s connection to heaven, while other colors, such as blue or green, were reserved for lower officials or scholars.
Taoist Hats
The materials used in the creation of Taoist hats are very important, as they influence not only the appearance but also the spiritual power of the wearer. High-ranking Taoist priests would usually wear hats made from the best materials, like silk or brocade, which were believed to heighten the priest’s connection with the divine. Most of these hats were embroidered into complicated designs, and the quantity of the threads could represent the level of the person wearing the hat. For example, this type of Taoist hat, used by senior priests in the Song Dynasty (960–1279 AD), would cost around 50 to 100 silver taels. By contrast, hats for the lower-ranking priests or lay practitioners were made from simpler materials, such as cotton or hemp, which were more affordable and usually cost only a few silver taels. The quality of the materials used reflected the hierarchical structure of the Taoist practice, where the richness of the headpiece symbolized the priest’s spiritual attainment and authority within the community.
Taoist hats are also designed to reflect the purpose and ritual for which they are used. In Taoist ceremonies, such as the puja, or ritual prayer, and jiao, or ritual offering, the design and color of the hat play an integral role in the overall ritual. The zhuang is usually black, representing neutrality and balance, though other colors or additions can be used on special occasions. For example, a Taoist hat might, on certain festivals or even bigger rituals, be embroidered in red or gold, which may add much power to connect it with the Taoist deities. In such cases, the hat might become very expensive to make, depending on how heavy the embroidery would go. The Taoist hat with gold embroidery and intricate designs could cost as high as 200 to 300 silver taels, showing the spiritual importance of the ceremony it was worn for. These hats are also often used in Taoist performances, such as those seen during Chinese New Year celebrations or other traditional Taoist festivals. During these performances, the hat is a symbol of the performer’s spiritual role and his relationship to the Taoist traditions being represented.
Headdress for Women
The material used in the creation of a headdress for women varied greatly depending on the social class of the wearer. For women of noble or imperial rank, headdresses were often made from fine materials such as silk, gold, and silver, along with ornamental gemstones and embroidery. A gold headdress, for instance, could cost between 100 to 500 silver taels during the Ming Dynasty (1368–1644), a significant amount, considering the average yearly income of a skilled artisan was around 20 to 30 silver taels. On the other hand, women from lower classes wore simpler headgear made of cloth or woven materials, which were cheaper but still culturally significant. Such simple headdresses, like hua tou, often consisted of silk or cotton ribbons, while their cost ranged from 10 to 20 silver taels. Despite the simplicity, these headdresses played an important role in signifying a woman’s respect for tradition and her relation to cultural rites.
The occasion also largely influenced the design of a woman’s headdress. For instance, during weddings, the xiangguan was a traditional headdress worn by brides in the Tang and Qing dynasties. It was typically decorated with red silk, gold threads, and all sorts of ornamental beads, which would mean joy, prosperity, and the union of the two families. The wedding headdress could be of various costs, depending on materials and the complexity of its execution. A simple wedding headdress may be made of silk and some simple adornments and costs 20 to 50 silver taels, while the one decorated with gold and jade may cost as high as 200 to 300 silver taels. These wedding headdresses were passed down through generations and became heirlooms of the family, possessing both sentimental and material value. The tradition of wearing an elaborate wedding headdress continues today, although modern versions made from synthetic materials are now more common, costing anywhere from $50 to $300, depending on the craftsmanship and adornment.
Types by Dynasty
The development of Chinese headdress can be traced through several dynasties, each contributing its styles that could reflect the cultural, social, and political changes in their time. During the Zhou Dynasty (1046–256 BC), there were more headdresses found on the nobility since they symbolized power or status in those times. The guan was one style of headdress worn by many men and women, especially by the aristocracy. These headdresses were made from materials such as silk and jade, with designs incorporating elements symbolizing the natural world, like dragons or phoenixes, which were believed to protect the wearer. The height of these headdresses varied, but most guan from the Zhou period were about 20 to 25 cm high. They were usually decorated with simple metal ornaments and jade beads. The price of a good-quality guan made of jade or gold could reach 50 to 100 silver taels, a really big sum for that time, as it was a display of wealth and social standing.
During the Tang Dynasty (618–907 AD), headdresses became even more elaborate and were closely connected with the luxurious and cosmopolitan culture of that period. The gua was an impeccable style of headdress popular among ladies at the imperial court and amongst the higher levels of society. Stitched from silk, gold, and bedazzled with valuable stones such as jade, pearls, and rubies, this became more than a piece of headdress—the statement of your high ranking. The height of the gua could reach up to 50 cm, with complicated designs and flowing tassels cascading down the back. These headdresses were normally worn during royal ceremonies, festivals, and weddings. The gua of a high-ranking woman could cost several hundred silver taels, the most elaborate versions incorporating real gold, pearls, and intricate embroidery. The use of such luxurious headdresses throughout the Tang period is reflected in historical records, which indicate that the women of the court had a strong influence on fashion trends throughout the empire.
The Song Dynasty (960–1279 AD) saw a shift in the design of headdresses, particularly for women. During this period, the hua tou (花头) became increasingly popular. These headdresses were smaller and more delicate compared to those of the Tang Dynasty. Usually made in silk or satin, the hua tou often had simple designs, with flowers or birds embroidered onto the fabric. They were usually worn by women during daily life as well as during formal occasions and were a more practical and less ostentatious alternative to the grand gua of the Tang Dynasty. The price of a hua tou was much lower compared to the previous gua, from 10 to 30 silver taels, depending on how complicated the embroidery was and what the material was. While the hua tou was simpler, it nonetheless was a sign of respect to the traditional Chinese customs and marked the wearer as a refined and culturally educated person. This was also a time when headdresses in more subdued colors of deep blues, reds, and greens appeared and were believed to symbolize harmony and balance.
Headdresses again evolved during the Ming Dynasty (1368–1644 AD), with greater attention toward symmetry and elegant simplicity. One of the most recognizable styles to arise from this period was the fengguan, or headdress, worn by a bride. The fengguan was usually made with gold, silver, or lacquer wood and was often decorated with delicate patterns of flowers, phoenixes, and clouds. Worn during weddings and important ceremonies, the design depicted the union of the heavens and earth. A bridal fengguan from the Ming Dynasty could cost anywhere from 200 to 500 silver taels, depending on the quality of the craftsmanship and the materials used. Matching robes with similar floral and phoenix motifs were worn together with the fengguan to create a cohesive, elegant look that was both symbolic and fashionable. Unlike the larger and more elaborate headdresses of previous dynasties, the fengguan of the Ming Dynasty was designed to be more compact and balanced to make it easier for women to wear during the ceremony while still maintaining an aura of grandeur.
During the Qing Dynasty (1644–1912), headdresses had become more standardized, and the xiu he (绣合) became a common design for both ceremonial and everyday use. This headdress was smaller and more practical than before, reflecting the more formalized nature of Qing society. The xiu he often consisted of a simple silk or satin cap embroidered with flowers or auspicious symbols such as dragons, butterflies, or lotuses. These were very often worn with the formal qipao or a type of gown popular during the Qing era. Compared to the most extravagant fengguan of the Ming Dynasty, xiu he was rather inexpensive, from 20 to 50 silver taels. Since the Qing emperors imposed strict dress codes, in this period, a step toward practicality in headdress design was taken, while the simplicity of the xiu he reflected a more regulated and hierarchical nature in Qing society. The xiu he was worn throughout the daily operations of the Qing court and even by women in the imperial family in formal ceremonies, symbolizing the continuity of tradition and the stability of the Qing Dynasty.
Ceremonial Hats
Ceremonial hats, throughout Chinese history, have represented authority and traditional and cultural identities of its people. It covers them during formal and very specific ceremonies, in events at church, or related to the state. Most design respects the status and level of the wearer and is utilized in ancient China by one of the most widely recognized ceremonial hats: the mian, or coronet. The mian consisted of a flat, rectangular board made of wood or lacquer, adorned with strings of beads hanging down the front and back; these were often made from jade and symbolized the wearer’s connection to the heavens and their role as mediators between the divine and the earthly realms. In the Zhou Dynasty (1046–256 BC), a mian could have as many as 12 strings of beads for an emperor, though fewer for other ranks. One made for an emperor could cost as high as upwards of 500 silver taels, reflecting its exclusivity and importance.
Materials used in ceremonial hats would differ according to the rank of the wearer and the occasion. The most characteristic example is that in the Tang Dynasty (618–907 AD), official attire headwear was usually in black silk and often with reinforcements in bamboo or wood so as to retain shape. This guan, also called, was decorated with gold ornaments or embroidery indicative of rank. A guan of a high-ranking official might cost from 100 to 300 silver taels according to the materials used, whereas hats for lower-ranking officials were simpler and cost around 50 silver taels. Not only did these hats have functional purposes, but they were also designed to communicate the authority and dignity of the wearer in such a way that each person’s place within the hierarchy was visually clear in any ceremonial context.
In the Ming Dynasty (1368–1644), one of the most popular and important women’s ceremonial hats was the fengguan. The fengguan was also elaborately designed with patterns of phoenixes, dragons, and flowers to connote prosperity, harmony, and marital bliss. Most headwear used gold, silver, pearls, and jade as raw materials, which are of high cost and extravagance. A typical fengguan from this era could cost anywhere from 200 to 800 silver taels, depending on the complexity of the design and the number of gemstones used. Brides from wealthy families often wore fengguan that was custom-made and could weigh up to 2 kilograms due to the heavy use of gold and jewels. Less elaborate ones, however, were those made of silk and embroidered with metal threads, which were cheaper at about 50 to 100 silver taels.
Distinctive ceremonial hats were also worn for religious ceremonies, especially in Taoist and Buddhist rituals. One headdress Taoist priests wear in rituals is the zhuang, a tall, cylindrical hat made of black silk. These hats were often embroidered with Taoist symbols such as yin-yang patterns or the Eight Trigrams, believed to enhance spiritual potency on behalf of the wearer. An authentic, high-quality zhuang hat could run in a range from 30 to 100 silver taels, depending on embroidery and materials. Correspondingly, Buddhist monks wore ceremonial hats such as the jiasha guan during important rituals and prayer sessions. These hats were often made from saffron-colored silk and featured designs symbolizing enlightenment and compassion. A well-crafted jiasha guan could cost around 20 to 50 silver taels; more elaborate versions used by higher-ranking monks cost significantly more.
