China

Ceremonial arms and armour in China have a rich and diverse history, spanning thousands of years and reflecting the cultural, technological, and artistic developments of various dynasty. Their esteemed place in Chinese culture is particularly noticeable under the Manchu rulers of the Qing dynasty (1644–1911). As their imperial domain extended to Inner Asian territories, including modern-day Mongolia, Tibet, Taiwan, and eastern Turkestan (Xinjiang), the Qing rulers embraced the multiculturalism of their kingdom through cultural and artistic heritages, while also striking a balance between the civil (wen) and the military (wu). This can be seen in the production and use of Qing ceremonial arms and armour. Qing rulers integrated their own Manchu martial traditions with those of the Han Chinese, creating a distinct blend of cultural symbols in their ceremonial arms and armour. Additionally, they preferred specific materials and decorative patterns in the construction of these objects, which included the use of horsehair and leather due to their softness. Ceremonial arms and armour produced under the Qing dynasty is notable for the use of precious stones—a practice that had been prevalent since the Ming dynasty—as well as intricate engraving and gold and silver inlay work. 

Qing emperors, military commanders, and high-ranking officials would wear armour and carry weapons that were lavishly decorated during court ceremonies, formal imperial gatherings, and processions. These regal displays served to assert their status and legitimacy as rulers. To further augment these notions, these objects were central to military parades, inspections (dayue), and martial-arts demonstrations. Military officers would wield and wear their finest arms and armour respectively as they marched in formation or performed martial-arts routines. These displays showcased the military prowess and discipline of the emperor's troops, which, in turn, was a testament to the emperor's ability and Heavenly Mandate. Additionally, prestige weapons were often exchanged as gifts between rulers, diplomats, and foreign dignitaries as symbols of goodwill, alliance, or tribute.

The importance of Qing arms and armour extended to other artistic practices, including imperial painting. The Qianlong emperor (r. 1736–1795), for example, commissioned portraits of victorious official figures, most of them proudly wearing their peidao (sabres) and archery equipment, to hang in the Ziguangge (Pavilion of Purple Splendour) as propagandistic tools to demonstrate power and authority, military acumen, and legitimacy.

Jinchuan fanjian (aboriginal dagger) and scabbard 
Present-day Tibet, Kham region; Qing dynasty (1644–1911), 18th century
Iron, steel, wood, brass, silver, cotton, lapis lazuli, malachite, coral, turquoise 
Hing Chao Collection