Hanfu Accessories: The History of Bu Yao (Step Shaker)

Bu Yao

A classic accessory for ancient Chinese women, the Bu Yao got its name because it sways with every step. Crafted from gold twisted into dragon or phoenix shapes, it’s decked with beads and jade. From the Six Dynasties onward, designs got fancier—birds, beasts, or flower branches—shimmering and elegant, often mixed with hairpins, made from gold, silver, jade, or agate.

Historical Development

The Bu Yao, a traditional Han accessory, started taking shape in the Western Han via Western Regions, blending innovation. By Eastern Han, it spread through Yan to western Liao, then east to Korea and Japan, leaving a cultural mark. Made with gold, silver, and jade, it remained popular from Song to Ming, symbolizing status and rank. After Han, it reached common folks, spreading widely. Noblewomen even rocked Bu Yao crowns, adding extra luxury.

The Bu Yao concept emerged in the Two Han periods, tied to ritual attire. Han rules set it for empress dowagers and queens’ ceremonial headwear: “Jian Xu, Zan Er, ear drops with beads, Zan with tortoiseshell picks a foot long, topped with phoenix and jade feathers, white beads, gold clips, one on each side, pinned horizontally to secure Xu.” Queens’ versions swapped real hair for fake knots, with “golden mountain bases, white beads as twisted桂枝 (gui zhi), one phoenix with nine flowers, bear, tiger, red Pi, Tian Lu, Bi Xie, Nan Shan, and six big beasts, all with jade feathers, gold bases, white bead drops, edged with jade flowers.” Hou Han Shu • Wu Heng Zhuan links it to Xu and Bu Yao.

Analyzing the queen’s Bu Yao—“golden mountain bases” means a gold frame with white beads—mirrors finds like the Two Jin Sixteen Kingdoms’ gold tree-shaped Bu Yao from Liaoning Beipiao Sihuayingzi, with a square base, short wide trunk, branching with peach leaves that jingle when moved, echoing “gui zhi twisted.” Its gold leaves fit the “clip” idea, an ancient pinhead decor.

These artifacts back Shi Ming’s take: “Beads hang from it, swaying with steps.” Paired with Hou Han Shu • Hou Ji’s Deng Empress note—“gifted Feng Guiren a red sash, plus Bu Yao, rings, and pendants, one set each”—it shows Bu Yao’s formal status, far beyond a single hairpin.

Style Breakdown

Common designs feature phoenixes, butterflies, or winged styles, often with tassels or drops that dance with movement, living up to the “step-shaker” name.

Craftsmanship

Made by bending gold into dragon or phoenix shapes, adorned with beads and jade. Post-Six Dynasties, styles grew complex—birds, beasts, or flowers—sparkling and delicate, blending with hairpins.

Historical Records

Shi Ming • Shi Shou Shi: “Bu Yao has hanging beads that sway with steps.”

Hou Han Shu • Yu Fu Zhi Xia: “Bu Yao with golden mountain bases, white beads as twisted gui zhi, one phoenix with nine flowers.” Wang Xianqian’s notes cite Chen Xiangdao: “Han Bu Yao had a gold phoenix, a base ahead, a pin, with five-colored jade drops that swayed.”

Tang Bai Juyi’s Chang Hen Ge: “Cloudy hair, flower face, gold Bu Yao.”

Song Xie Yi’s Die Lian Hua: “Bun tied with green jade Bu Yao, missing flower branch, bee-like leaves.”
Often found in Xianbei minority tombs.

Started with noblewomen, later hit the streets.

Yu Tai Xin Yong • Two Jin Fu Xuan Yan Ge Xing: “Gold Bu Yao on head, bright moon earrings.”