Volume 149 Treatises 102: Carriages and Clothes 1

輿服一

Carriages and Clothes, Part One

○五輅大輅大輦芳亭輦鳳輦逍遙輦平輦七寶輦小輿腰輿耕根車進賢車明遠車羊車指南車記裏鼓車白鷺車鸞旗車崇德車皮軒車黃鉞車豹尾車屬車五車涼車相風烏輿行漏輿十二神輿鉦鼓輿鍾鼓樓輿

○ Section contents: The five imperial carriages; the great imperial carriage; the great palanquin; the Fragrant Pavilion palanquin; the phoenix palanquin; the free-roaming palanquin; the level palanquin; the Seven Treasures palanquin; the small sedan; the waist sedan; the plough-root carriage; the advancing worthies carriage; the bright-distance carriage; the sheep carriage; the south-pointing carriage; the li-drum carriage; the white egret carriage; the luan-banner carriage; the honoring virtue carriage; the leather canopy carriage; the yellow battle-axe carriage; the leopard-tail carriage; the retinue carriage; the five carriages; the cooling carriage; the wind-measuring bird carriage; the moving clepsydra carriage; the twelve spirit carriage; the gong-drum carriage; and the bell-drum tower carriage.

昔者聖人作輿，軫之方以象地，蓋之圓以象天。《易·傳》言：“黃帝、堯、舜，垂衣裳而天下治，蓋取諸乾坤。 ”夫輿服之製，取法天地，則聖人創物之智，別尊卑，定上下，有大於斯二者乎！舜命禹曰：“予欲觀古人之象，日、月、星辰、山、龍、華蟲作會，宗彝、藻、火、粉米、黼、黻絺繡，以五采彰施於五色，作服，汝明。 ”《周官》之屬，有巾車、典路、司常，有司服、司裘、內司服等職。以是知輿服始於黃帝，成於唐、虞，曆夏及商，而大備於周。周衰，列國肆為侈汰。秦並之，攬上選以供服禦，其次以賜百官，始有大駕、法駕之製；又自天子以至牧守，各有鹵簿焉。漢興，乃不能監古成憲，而效秦所為。自是代有變更，誌有詳略。《東漢》至《舊唐書》皆稱《輿服》，《新唐書》改為《車服》，鄭樵合諸代為《通志》又為《器服》。其文雖殊，而考古製作，無以尚於三代矣。

In antiquity the sages devised carriages with a square frame to represent the earth and a round canopy to represent Heaven. The Commentary on the Changes says, "Huangdi, Yao, and Shun let their robes hang down and the realm was well governed"—a pattern drawn from Qian and Kun. The institutions governing carriages and ceremonial dress take Heaven and earth as their model. In the sage's wisdom for ordering the world, could anything surpass these two in marking rank and fixing precedence? Shun charged Yu, saying, "I wish to study the emblems of antiquity—the sun, moon, stars, constellations, mountains, dragons, and splendid creatures in full array; ancestral vessels, waterweed, fire, powdered grain, and the fu and fu patterns in fine and coarse embroidery—the five colors set upon the five hues to fashion garments. Bring this to light for me." The Rites of Zhou list such offices as the Director of Carriages, the Director of Roads, and the Director of Banners, along with the Director of Garments, the Director of Fur Garments, the Inner Director of Garments, and the like. From this we know that carriages and ceremonial dress originated with Huangdi, took shape under Yao and Shun, passed through Xia and Shang, and attained their full form under Zhou. When Zhou declined, the feudal states indulged freely in extravagance and excess. When Qin united the realm, it reserved the finest equipage for the emperor's service and dress and distributed the rest among officials, giving rise to the grand escort and statutory escort. From the Son of Heaven down to prefects and governors, each rank had its own guard of honor as well. When Han arose, it could not take the ancient statutes as its guide and instead followed Qin's example. Thereafter each dynasty altered the system, and historical accounts vary in detail. From the Book of Later Han through the Old Book of Tang the treatise was titled Carriages and Clothes; the New Book of Tang renamed it Carriages and Dress; and Zheng Qiao, in his Comprehensive Records spanning the dynasties, called it Utensils and Dress. Though the titles differ, in studying antiquity for craftsmanship nothing surpasses the Three Dynasties.

夫三代製器，所以為百世法者，以其華質適中也。孔子答顏淵為邦之問曰：“乘殷之輅，服周之冕。 ”且《禮》謂“周人上輿”，而孔子獨取殷輅，是殷之質勝於周也。又言禹“致美乎黻冕”。而論冕以周為貴，是周之文勝於夏也。蓋已不能無損益於其間焉。不知曆代於秦已還，何所損益乎？

The Three Dynasties fashioned ritual objects that became the model for a hundred generations because they balanced ornament and substance perfectly. When Yan Yuan asked Confucius how to govern a state, he answered, "Ride in the carriages of Yin and wear the caps of Zhou." The Rites say that "the Zhou valued carriages," yet Confucius chose Yin's carriages alone—showing that Yin's substance surpassed Zhou's. He also said that Yu "brought beauty to the fu caps and ceremonial robes." Yet in discussing ceremonial caps he prized Zhou—showing that Zhou's refinement surpassed Xia's. Surely additions and subtractions were unavoidable along the way. What additions or subtractions have the successive dynasties since Qin actually made?

宋之君臣，於二帝、三王、周公、孔子之道，講之甚明。至其規模制度，飾為聲明，已足粲然，雖不能盡合古製，而於後代庶無愧焉。宋初，袞冕綴飾不用珠玉，蓋存簡儉之風，及為鹵簿，又熾以旗幟，華以繡衣，褻以球杖，豈非循襲唐、五季之習，猶未能盡去其陋邪？詒之子孫，殆有甚焉者矣。迄於徽宗，奉身之欲，奢蕩靡極，雖欲不亡得乎？靖康之末，累朝法物，淪沒於金。中興，掇拾散逸，參酌時宜，務從省約。凡服用錦繡，皆易以纈、以羅；旗仗用金銀飾者，皆易以繪、以髹。建炎初，有事郊報，仗內拂扇當用珠飾。高宗曰：“事天貴質，若尚華麗，非禋祀本意也。 ”是以子孫世守其訓，雖江介一隅，而華質適時，尚足為一代之法。其儒臣名物度數之學，見諸論議，又有可觀者焉。今取舊史所載，著於篇，作《輿服志》。

Song rulers and ministers expounded the Way of the Two Emperors, the Three Kings, the Duke of Zhou, and Confucius with notable clarity. Their institutions and ceremonial display were splendid enough that, though they could not fully match ancient models, later ages would have little cause for reproach. Early Song dragon robes omitted pearl and jade pendants, preserving a spirit of simplicity; yet in forming the guard of honor they again blazed with banners, glorified embroidered garments, and debased ritual with ball-staves—did this not follow Tang and Five Dynasties habits, failing to shed their vulgarity entirely? What they bequeathed to their descendants was likely worse still. By Emperor Huizong's reign, personal indulgence had reached boundless extravagance—how could the dynasty have survived even if it wished to? At the end of the Jingkang era, ritual objects accumulated over many reigns were lost to the Jin. After the restoration they gathered what had been scattered, weighed present needs, and strove for economy. All garments that had used brocade and embroidery were replaced with patterned silk and gauze. All banners and regalia that had used gold and silver ornament were replaced with painted and lacquered work. In early Jianyan, when a suburban sacrifice was held, the whisk-fans in the guard of honor were to bear pearl ornament. Emperor Gaozong said, "In serving Heaven, simplicity is prized; to favor splendor is not the true intent of the suburban sacrifice." Their descendants therefore guarded this teaching through the generations; though they held only a corner south of the Yangzi, their balance of ornament and substance suited the times and sufficed as the standard of an age. Their Confucian ministers' scholarship on ritual names, measures, and numbers, as seen in court debates, also had much worth noting. I now take what the old histories record, set it down in these chapters, and compose the Treatise on Carriages and Clothes.

五輅。宋自神宗以降，銳意稽古，禮文之事，招延儒士，折衷同異。元豐有詳定禮文所，徽宗大觀間有議禮局，政和又有禮製局。先是，元豐雖置局造輅，而五輅及副輅，多仍唐舊。

The Five Imperial Carriages. From Emperor Shenzong onward the court keenly investigated antiquity, summoned Confucian scholars on ritual matters, and reconciled divergent views. The Yuanfeng era had the Office for the Detailed Determination of Ritual Texts; under Huizong in the Daguang period there was the Bureau for Discussing Ritual; and under Zhenghe there was the Bureau for Ritual Regulations. Earlier, although Yuanfeng had established a bureau to make carriages, the five imperial carriages and their secondary carriages largely followed Tang models.

玉輅，自唐顯慶中傳之，至宋曰顯慶輅，親郊則乘之。製作精巧，行止安重，後載太常與闟戟，分左右以均輕重，世之良工，莫能為之。其製：箱上置平盤、黃屋，四柱皆油畫刻鏤。左青龍，右白虎，龜文，金鳳翅，雜花，龍鳳，金塗銀裝，間以玉飾。頂輪三層，外施銀耀葉，輪衣、小帶、絡帶並青羅繡雲龍，周綴糸畏帶、羅文佩、銀穗球、小鈴。平盤上布黃褥，四角勾闌設圓鑒、翟羽。虛匱內貼銀鏤香罨，軾匱銀龍二，銜香囊，銀香爐，香寶，錦帶，下有障塵。青畫輪轅，銀轂乘葉，三轅，銀龍頭，橫木上有銀鳳十二。左建青旗，十有二旒，皆繡升龍；右載闟戟，繡黻文，並青繡綢杠。又設青繡門簾，銀飾梯一，拓叉二，推竿一，銀錔頭，銀裝行馬，青繒裹免索。駕六青馬，馬有金麵，插雕羽，鞶纓，攀胸鈴拂，青繡屜，錦包尾。又誕馬二，在輅前，飾同駕馬。〈（餘輅及副輅皆有之。）〉駕士六十四人。金輅色以赤，駕六赤馬，建大旂，駕士六十四人。象輅色以淺黃，駕六赭白馬，建大赤，駕士四十人。革輅色以黃，駕六騧馬，建大白，駕士四十人。木輅色以黑，駕六黑騮馬，建大麾，駕士四十人。自金輅而下，其製皆同玉輅，惟無玉飾。五副輅並駕六馬，駕士四十人，當用銀飾者，皆以銅，餘製如正輅。

The jade carriage had been handed down since Tang's Xianqing era; in Song it was called the Xianqing carriage, and the emperor rode it when personally performing the suburban sacrifice. Its craftsmanship was exquisite and it moved with steady, weighty grace. The Grand Standard and the halberd of honor were carried behind, placed left and right to balance its weight—no master craftsman of the age could replicate it. Its design placed a level platform and yellow canopy atop the box; all four pillars were painted in oil colors and carved in openwork. On the left stood the azure dragon, on the right the white tiger, with tortoise patterns, golden phoenix wings, mixed floral designs, dragons and phoenixes, gold-over-silver fittings, and jade ornament interspersed throughout. The crown wheel had three tiers with silver radiating leaves on the outside; wheel covers, narrow bands, and net bands were all of azure silk embroidered with cloud-dragons, hung round with silk awe-bands, patterned silk pendants, silver tassel balls, and small bells. A yellow mat was spread on the level platform; at the four corners of the hooked railing stood round mirrors and pheasant feathers. Within the hollow case was affixed a silver openwork incense holder; on the rail case two silver dragons held incense pouches, with a silver incense burner, incense jewels, brocade bands, and a dust screen below. Wheel hubs and shafts were painted azure; hub caps bore silver leaf ornament; three shafts bore silver dragon heads; and twelve silver phoenixes stood on the crossbeam. On the left rose an azure banner with twelve tassels, all embroidered with ascending dragons. On the right was carried the halberd of honor embroidered with fu patterns, both on azure embroidered silk poles. There were also an azure embroidered door curtain, one silver-ornamented ladder, two support forks, one pushing pole, silver cap ends, silver-fitted traveling horses, and azure silk wrapping the leading ropes. Six azure horses drew it, each with a golden face plate, carved feather plumes, breast straps and tassels, chest bells and whiskers, azure embroidered trappings, and brocade-wrapped tails. Two lead horses walked before the carriage, ornamented like the team horses. (The remaining imperial carriages and the secondary carriages all had these as well.) Sixty-four carriage attendants. The metal carriage was red; six red horses drew it and it bore the great banner, with sixty-four attendants. The ivory carriage was pale yellow; six sorrel-white horses drew it and it bore the great red banner, with forty attendants. The leather carriage was yellow; six piebald horses drew it and it bore the great white banner, with forty attendants. The wood carriage was black; six black bay horses drew it and it bore the great standard, with forty attendants. From the metal carriage downward, construction matched the jade carriage except for the absence of jade ornament. Each of the five secondary carriages was drawn by six horses with forty attendants; silver ornament was replaced with copper, but otherwise construction matched the principal carriages.

政和三年，議禮局更上皇帝車輅之製，詔頒行。玉輅，箱上平盤、黃屋以下皆如舊。頂輪三層，內一層素，輪頂上施金塗銀山花葉及翟羽，青絲繡雲龍絡帶二，周綴雜色糸畏帶八、銅佩八、銀穗球二。平盤上布紅羅繡雲龍褥，曲幾、扶幾，上下設銀螭首二十四。四角勾闌設圓鑒一十六，青羅繡寶相花帶，火珠二十八。香匱設香爐，紅羅繡寶相花帶香囊，香寶，銀結綬二，紅羅繡雲龍結綬一，紅錦幟龍鳳門簾一。青畫輪轅，銀轂乘葉。軾匱、橫轅、前轅並飾以金塗銀螭首，橫轅上施銀立鳳一十二。左建太常，十有二旒；右載闟戟，繡黻文。杠絝一，以青繡，杠首飾以銀螭首。金塗銅鈸，青犛牛尾拂，青繒裹索。駕青馬六，馬有銅麵，插雕羽，鞶纓，攀胸鈴拂，青線織屜，紅錦包尾。又踏路馬二，在輅前，飾同駕馬。凡大祭祀乘之。

In the third year of Zhenghe the Bureau for Discussing Ritual submitted revised regulations for the emperor's carriages, and an edict ordered their promulgation. For the jade carriage, from the level platform and yellow canopy atop the box downward, all remained as before. The crown wheel had three tiers, the inner plain; atop it stood gold-over-silver mountain-flower leaves and pheasant feathers, two azure silk cloud-dragon net bands, and around them eight multicolored silk awe-bands, eight copper pendants, and two silver tassel balls. A red silk mat embroidered with cloud-dragons was spread on the level platform, with curved and supporting armrests and twenty-four silver chi-dragon heads set above and below. Sixteen round mirrors stood at the four corners of the hooked railing, with azure silk treasure-flower bands and twenty-eight fire pearls. The incense case held a burner, red silk treasure-flower incense pouches, incense jewels, two silver knot-cords, one red silk cloud-dragon knot-cord, and one red brocade dragon-and-phoenix door curtain. Wheel hubs and shafts were painted azure, with silver leaf ornament on the hub caps. The rail case, cross shaft, and front shaft were ornamented with gold-over-silver chi-dragon heads, and twelve standing silver phoenixes were set on the cross shaft. On the left rose the Grand Standard with twelve tassels. On the right was carried the halberd of honor embroidered with fu patterns. One pole was wrapped in azure embroidery, its head ornamented with a silver chi-dragon. Gold-over-copper cymbals, an azure yak-tail whisk, and azure silk wrapping the ropes. Six azure horses drew it, each with a copper face plate, carved feather plumes, breast straps and tassels, chest bells and whiskers, azure thread-woven trappings, and red brocade-wrapped tails. Two path-treading horses walked before the carriage, ornamented like the team horses. The emperor rode it for all major sacrifices.

金輅以下，並以次列其後。若大朝會、冊命皇太子諸王大臣，則設五輅於大慶殿庭，為充庭之儀。金輅赤質，以金飾諸末，建大旂，餘同玉輅，駕赤馬六；凡玉輅之飾以青者，金輅以緋。象輅淺黃質，金塗銅裝，以象飾諸末，建大赤，餘同玉輅，駕赭白馬六；凡玉輅之飾以青者，象輅以銀褐。革輅黃質，鞔之以革，建大白，餘同玉輅，駕騧馬六；凡玉輅之飾以青者，革輅以黃。木輅黑質漆之，建大麾，餘同玉輅，駕黑騮六；凡玉輅之飾以青者，木輅以皂。凡玉輅用金塗銀裝者，象輅、革輅、木輅及五副輅，並金塗銅裝。

The metal carriage and those below were arrayed in order behind it. At great court assemblies or investitures of the crown prince, princes, or great ministers, the five carriages were set up in the court of the Hall of Great Celebration as the ceremony of filling the courtyard. The metal carriage was red in substance with gold ornament on all extremities; it bore the great banner; otherwise it matched the jade carriage and was drawn by six red horses. Where the jade carriage used azure ornament, the metal carriage used scarlet. The ivory carriage was pale yellow with gold-over-copper fittings and ivory ornament on all extremities; it bore the great red banner; otherwise it matched the jade carriage and was drawn by six sorrel-white horses. Where the jade carriage used azure ornament, the ivory carriage used silver-brown. The leather carriage was yellow and covered with leather; it bore the great white banner; otherwise it matched the jade carriage and was drawn by six piebald horses. Where the jade carriage used azure ornament, the leather carriage used yellow. The wood carriage was black and lacquered; it bore the great standard; otherwise it matched the jade carriage and was drawn by six black bay horses. Where the jade carriage used azure ornament, the wood carriage used black. Where the jade carriage used gold-over-silver fittings, the ivory, leather, and wood carriages and all five secondary carriages used gold-over-copper fittings instead.

又禮製局言：“玉輅馬纓十二而無采，不應古製，欲以五采罽飾樊纓十有二就。輅衡、軾並無鸞和，乞添置。蓋弓二十有二，不應古製，乞增為二十八，以象星。又《巾車》言‘玉輅建太常’而不言色，《司常》注云：‘九旗之帛皆用絳，以周尚赤故也。 ’《禮記·月令》中央‘天子乘大輅，載黃旂’，以金、象、木、革四輅及所建之旂，與四時所乘所載皆合。今玉輅所建之旂，以青帛十二幅連屬為之，有升龍而非交龍，又無三辰，皆非古製。如依成周以所尚之色則用赤，依《月令》兼四代之製則當用黃，仍分縿、斿之製及繡畫三辰於其上。今改製，太常其斿曳地，當依《周官》以六人維之。又《左傳》言：‘、鸞、和、鈴，昭其聲也。 ’注：‘錫在馬額，鈴在旂首。 ’今旂首無鈴，乞增置。又車蓋周以流蘇及佩各八，無所法象，欲各增為十二，以應天數。又輅之諸末，盡飾以玉，為稱其實，而羅紋雜佩乃用塗金，乞改為玉。又車箱兩轓有金塗龜文及鶤翅，左龍右虎，乃後代之製，欲改用蟉龍，加玉為飾。 ”又言：“既建太常當車之後，則自後登車有妨。《曲禮》言：‘君車將駕，則仆執策立於馬前，已駕，仆展令，效駕，奮衣由右上，取貳綏跪乘，執策分轡，驅之，五步而立，君出就車。 ’則君升車亦當自右，由前而入。今玉輅前有式匱，不應古製，恐當更易，以便登車及改式之製。又《禮記》言‘車得其式’，《周官·輿人》：‘三分其隧，一在前，二在後，以揉其式，以其廣之半為之式崇。三分軫圍，去一以為式圍。三分軹圍，去一以為對圍。 ’注：‘立者為對，橫者為軹。 ’今玉輅無式。”

The Bureau for Ritual Regulations also reported, "The jade carriage's twelve horse tassels lack color, which does not accord with ancient practice; we propose ornamenting the bridle tassels with twelve sets of five-colored felt." The carriage crossbar and rail lack luan-bird ornaments and harmony bells; we request that these be added. The canopy has twenty-two ribs, which does not accord with ancient practice; we request increasing them to twenty-eight to symbolize the stars. Moreover, the Director of Carriages says the jade carriage "raises the Grand Standard" but does not specify its color; the commentary on the Director of Banners notes, "The silk of the nine banners all used scarlet, because Zhou esteemed red." The Monthly Ordinances in the Book of Rites states that at the center "the Son of Heaven rides the great carriage and bears the yellow banner"; the metal, ivory, wood, and leather carriages and their banners all accord with what is ridden and borne in the four seasons. The banner now raised on the jade carriage is made of twelve joined panels of azure silk; it bears ascending dragons rather than interlaced dragons and lacks the sun, moon, and stars—all departures from ancient practice. Following completed Zhou and its favored color, scarlet should be used; following the Monthly Ordinances and the combined institutions of the four ages, yellow should be used—with proper lower and upper fringe forms and the three luminaries embroidered upon it. Under the revised regulations, the Grand Standard's fringe trails on the ground; according to the Rites of Zhou six men should steady it. The Zuo Zhuan also says, "Banners, luan-bird ornaments, harmony bells, and ringing bells proclaim their sound." The commentary explains, "The xi ornament is on the horse's forehead; the bell is at the banner head." The banner head now lacks a bell; we request that one be added. Moreover, the tassels and pendants around the carriage canopy are each eight in number, symbolizing nothing; we propose increasing each to twelve to correspond to the number of Heaven. Moreover, all the terminal fittings of the carriage are decorated with jade to match its substance, yet the luo-pattern mixed pendants are gold-plated; we request that these be changed to jade as well. Moreover, both side panels of the carriage box bear gold-plated tortoise patterns and kun-bird wings, with a dragon on the left and a tiger on the right—features of later ages. We propose replacing them with curling dragons and adding jade ornament. He further said, "Since the Grand Standard is erected directly behind the carriage, boarding from the rear would be obstructed. The Qu Li says, "When the ruler's carriage is about to be harnessed, the attendant holds the whip and stands before the horses. Once the horses are harnessed, the attendant issues the command, tests the harness, lifts his robe and mounts from the right, takes the secondary hand-rope and kneels to ride, holds the whip and separates the reins, drives the horses forward, then halts after five paces while the ruler comes out and enters the carriage." Thus the ruler, in mounting the carriage, should likewise do so from the right, entering from the front. The jade carriage now has a shi compartment in front, which does not accord with ancient practice; it should probably be altered to facilitate boarding and to restore the proper shi design. The Book of Rites also states that "the carriage obtains its shi," and the Rites of Zhou's Director of Carriage Makers specifies: "Divide the depth into three parts—one in front and two in back—to shape the shi, and make the height of the shi half its width." Divide the frame perimeter into three parts and subtract one to determine the shi perimeter. Divide the zhi perimeter into three parts and subtract one to determine the dui perimeter. The commentary explains, "The upright piece is the dui; the horizontal piece is the zhi." The jade carriage, however, has no shi at all.

詔：“玉輅用青質，輪輈絡帶，其色如之。四柱、平盤、虛匱則用赤，增蓋弓之數為二十八，左右建旂、常，並青。太常繡日月、五星、二十八宿，旂上則繡以雲龍。朱杠，青縚，鈴垂十有二就，流蘇及佩各增十二之數。樊纓飾以五采之罽，衡式之上又加鸞和。輅之諸末，耀葉、螭頭、雲龍、垂牙、鎚腳、花版、結綬、羅紋雜佩、羽台、蔥台、麻爐、香寶、壓貼牌字，皆飾以玉。自後而升，式匱不去。既成，高二丈七寸五分，闊一丈五尺。副玉輅，亦用青色，舊駕馬四，增為六，色亦以青。”

An edict ordered: "The jade carriage shall be azure in substance, and the wheel felloes and luo belts shall match that color. The four pillars, level platform, and empty compartment shall be scarlet; the number of canopy ribs shall be increased to twenty-eight; banners and standards shall be erected on left and right, all in azure. The Grand Standard shall be embroidered with the sun, moon, five planets, and twenty-eight constellations; the banner shall bear cloud-dragons in embroidery. Crossbars shall be scarlet and cords azure; bells shall hang in twelve sets; tassels and pendants shall each be increased to twelve. Bridle ornaments shall be adorned with five-colored felt, and luan-bird and harmony bells shall be added above the crossbar and shi. All terminal fittings of the carriage—radiating leaves, chitou, cloud-dragons, hanging teeth, hammer feet, flower panels, knotted sashes, luo-pattern mixed pendants, feather platforms, scallion platforms, hemp censers, fragrant treasures, and pressed plaque characters—shall be ornamented with jade. Boarding shall be from the rear, and the shi compartment shall remain in place. When completed, it stood two zhang, seven cun, and five fen high and one zhang and five chi wide. The secondary jade carriage likewise used azure; where four horses had formerly drawn it, the number was increased to six, all azure in color.

政和四年，詔改修正副輅，討論製造金、象、革、木四輅，並依新修玉輅制度。旂、常並建，各與輅一色。除去闟戟，改車箱兩轓龜文、鶤翅、左龍、右虎之飾，並用蟉龍。增蓋弓、博山、流蘇等數，軾衡加和鸞，以合於古。金輅朱質，飾以金塗銀；左右建太常、大旂及輪衣、絡帶等，色皆以黃；龍旂九斿，如《周官》金輅建大旂之製；駕馬以騧，飾樊纓五采九就。象輅朱質，凡制度、裝綴、名物並同金輅，飾以象及金塗銀銅鍮石；左右建太常、大赤，輪衣、絡帶等，色皆以紅；大赤繡鳥隼七斿，如《周官》象輅建大赤之製；駕馬以赤，飾樊纓七就。革輅朱質，凡制度、裝綴、名物並同金輅，飾以金塗銅鍮石；左右建太常、大白及輪衣、絡帶等，色皆以淺黃；大白繡熊虎六斿，如《周官》革輅建大白之製；駕馬以赭白，飾樊纓五就。木輅朱質，凡制度、裝綴、名物皆同金輅，飾以金塗鍮石；左右建太常、大麾及輪衣、絡帶等，色皆以皂；大麾繡龜蛇四斿，如《周官》木輅建大麾之製；駕馬以烏，飾樊纓三就。四輅駕馬各六。玉輅駕士六十四人，餘皆四十人。

In the fourth year of the Zhenghe reign, an edict ordered the revision of the main and secondary carriages and the manufacture of the gold, ivory, leather, and wood carriages, all according to the newly revised jade carriage regulations. Banners and standards shall both be erected, each matching the color of its carriage. The gate halberds were to be removed, and the tortoise patterns, kun wings, left dragon, and right tiger on both side panels of the carriage box were to be replaced with curling dragons. The numbers of canopy ribs, boushan ornaments, tassels, and the like were to be increased, and harmony bells and luan ornaments added to the crossbar and balance, to accord with ancient practice. The gold carriage: scarlet in substance, ornamented with gold-plated silver; On left and right, the Grand Standard and great banner, along with wheel covers and luo belts, all in yellow; A dragon banner with nine fringes, following the Rites of Zhou institution for the gold carriage bearing the great banner; Drawn by piebald horses, with bridle ornaments of five colors in nine sets. The ivory carriage: scarlet in substance; all regulations, adornments, and named objects the same as the gold carriage, ornamented with ivory and gold-plated silver, copper, and brass; On left and right, the Grand Standard and Great Scarlet, along with wheel covers and luo belts, all in red; Great Scarlet embroidered with birds of prey and bearing seven fringes, following the Rites of Zhou institution for the ivory carriage bearing Great Scarlet; Drawn by scarlet horses, with bridle ornaments of seven sets. The leather carriage: scarlet in substance; all regulations, adornments, and named objects the same as the gold carriage, ornamented with gold-plated copper and brass; On left and right, the Grand Standard and Great White, along with wheel covers and luo belts, all in pale yellow; Great White embroidered with bears and tigers and bearing six fringes, following the Rites of Zhou institution for the leather carriage bearing Great White; Drawn by sorrel-white horses, with bridle ornaments of five sets. The wood carriage: scarlet in substance; all regulations, adornments, and named objects the same as the gold carriage, ornamented with gold-plated brass; On left and right, the Grand Standard and Great Banner, along with wheel covers and luo belts, all in black; Great Banner embroidered with turtle and serpent and bearing four fringes, following the Rites of Zhou institution for the wood carriage bearing the Great Banner; Drawn by black horses, with bridle ornaments of three sets. Each of the four carriages was drawn by six horses. The jade carriage had sixty-four carriage attendants; the others each had forty.

又禮製局增改雅飾諸輅：舊副玉輅色青，飾以金，改用黃而飾以玉；樊纓如正輅之製；建太常，色黃，飾以組，象日月於縿、星辰於斿，其長曳地。舊金輅改用青，飾以金；樊纓以五采罽而九就；建大旂，色青，飾以組，象交龍於縿、升龍於斿，其長齊軫。象輅改用赤，飾以象；樊纓以五采罽而七就；建大赤，色赤，飾以組，象鳥隼於縿、斿，其長齊較。革輅改用白，飾以革；龍勒絛纓，建大白，色白，飾以組，象熊虎於縿、斿，其長齊肩。三輅皆維以縷，削幅為之。木輅依舊色，而飾以漆，其色黑；前樊鵠纓，建大麾，色黑，飾以組，象龜蛇於縿、斿，其長齊首；維以縷，充幅為之。又詔玉輅身仍用紅，太常、旂、絡帶等用黃，餘常、旂、絡帶，亦隨其輅色。

The Ritual Regulations Bureau further revised the elegant adornments of the carriages: the secondary jade carriage, formerly azure and ornamented with gold, was changed to yellow and ornamented with jade; bridle ornaments as on the main carriage; the Grand Standard was erected in yellow, adorned with ribbons, with sun and moon on the lower fringe and stars on the upper fringe, its length trailing on the ground. The gold carriage was changed to azure and ornamented with gold; bridle ornaments of five-colored felt in nine sets; the great banner was erected in azure, adorned with ribbons, with interlaced dragons on the lower fringe and ascending dragons on the upper fringe, its length even with the frame. The ivory carriage was changed to scarlet and ornamented with ivory; bridle ornaments of five-colored felt in seven sets; Great Scarlet was erected in scarlet, adorned with ribbons, with birds of prey on the lower and upper fringes, its length even with the yoke end. The leather carriage was changed to white and ornamented with leather; with a dragon bridle and ribbon tassels; Great White was erected in white, adorned with ribbons, with bears and tigers on the lower and upper fringes, its length even with the shoulder. All three carriages were held in place with threads, the panels trimmed to size. The wood carriage retained its original color but was ornamented with lacquer, in black; with a front bridle and swan ornament; the Great Banner was erected in black, adorned with ribbons, with turtle and serpent on the lower and upper fringes, its length even with the head; It was held with threads, the panels left full. Another edict specified that the jade carriage body should remain red, while the Grand Standard, banners, luo belts, and the like should be yellow; other standards, banners, and luo belts should follow the color of their respective carriages.

高宗渡江，鹵簿、儀仗悉毀於兵。紹興十二年，始命工部尚書莫將、戶部侍郎張澄等以天禧、宣和《鹵簿圖》考究制度，及故內侍工匠省記指說，參酌制度。是年九月，玉輅成；明年，遂作金、象、革、木四輅，副輅不設。玉輅之製，青色，飾以玉，通高十九尺，輪高六十三寸，輻徑三十九寸，軸長十五尺三寸。頂上剡為輪三層，象天圜也。外施青玉博山八十一，〈（一名耀葉。）〉鏤以金塗龍文，覆以青羅，曰輪衣。綴垂玉佩，間以五色垂氂尾，曰流蘇。〈（一名糸畏帶。）〉頂四角分垂青羅曰絡帶，表裏繡雲龍。遇雨，則油黃繒覆之。

When Gaozong crossed the Yangzi, the imperial guard regalia and ceremonial insignia were all destroyed in the warfare. In the twelfth year of the Shaoxing reign, Mo Jiang, Minister of Works, Zhang Cheng, Vice Minister of Revenue, and others were first ordered to investigate the regulations using the Tianxi and Xuanhe Illustrations of the Imperial Guard, together with the recollections and explanations of former palace artisans and craftsmen, and to adjust the institutions accordingly. In the ninth month of that year, the jade carriage was completed; The following year, the gold, ivory, leather, and wood carriages were made, but secondary carriages were not provided. The jade carriage was azure in color and ornamented with jade. Its overall height was nineteen chi; wheel height, sixty-three cun; spoke diameter, thirty-nine cun; and axle length, fifteen chi and three cun. At the top it was carved into three layers of wheels, symbolizing the roundness of Heaven. On the outside were affixed eighty-one azure jade boushan ornaments, (Also called radiating leaves.) Carved with gold-plated dragon patterns and covered with azure gauze, this was called the wheel cover. Strung with hanging jade pendants and interspersed with five-colored yak-tail tassels, these were called tassels. (Also called silk awe-bands.) From the four corners of the top, azure gauze hung separately as luo belts, embroidered with cloud-dragons on both sides. In rain, it was covered with oiled yellow silk.

輅之中四柱，象地方也，前柱卷龍。平盤上布錦褥，前有橫軾，後垂錦軟簾。登車則自後卷簾梯級以登。四面周以闌而闕其中，以備登降。執綏官先自右升，立於右柱下，以備顧問。闌柱頭有玉蹲龍。軾前有牌，鏤曰“玉輅”，以玉篆之，上有玉龍二。中設御坐，純以黃香木為之，取其黃中之正色也。下有塗金蹲龍十六。在平槃四圍下，又有拓角雲龍，金彩飾之，前後左右各二。前有轅木三，鱗體昂首龍形。轅木上束兩橫竿，在前者名曰鳳轅，馬負之以行；次曰推轅，班直推之以助馬力。橫於轅後者名曰壓轅，以人壓於後，欲取其平。車輪三歲一易，心用榆，圜數尺，圈以鐵，以防折裂。橫貫大木以為軸，夾以兩輪，輪皆彩畫，此輅下飾也。每新輪成，載鐵萬斤試之。

Within the carriage, four pillars symbolized the squareness of earth; the front pillar was formed as a coiled dragon. On the level platform lay brocade cushions; in front was a horizontal crossbar, and behind hung a brocade soft curtain. To board, one rolled up the curtain from the rear and ascended by steps. On all four sides railings encircled it with openings at the center to allow ascent and descent. The hand-rope attendant mounted first from the right and stood below the right pillar, ready to assist as needed. On the tops of the railing pillars stood jade crouching dragons. Before the crossbar was a plaque engraved with the characters "Jade Carriage" in jade seal script, with two jade dragons above. Within was set the imperial seat, made entirely of yellow fragrant wood, chosen for the proper color at the center of yellow. Below stood sixteen gold-plated crouching dragons. Below the four sides of the level platform were horn-spreading cloud-dragons ornamented in gold, two each to the front, back, left, and right. In front were three yoke timbers, scaly-bodied and dragon-headed with raised snouts. Bound to the yoke timbers were two horizontal poles; the front one, called the phoenix yoke, was borne by the horses to draw the carriage; the next, called the pushing yoke, was pushed straight by attendants to assist the horses. That laid crosswise behind the yoke was called the pressing yoke; men pressed down from behind to keep the carriage level. The carriage wheels were replaced every three years; the hub was of elm, round and several chi across, ringed with iron to prevent splitting. A great timber ran horizontally as the axle, flanked by two wheels; the wheels were all painted in colors—this was the ornamentation beneath the carriage. Whenever a new wheel was completed, it was tested by loading it with ten thousand jin of iron.

左建太常，右建龍旂，插於輅後兩柱之金環前。駕青馬六，馬有鏤錫，鞶纓，金鈴，紅旄繡屜，金包騣，錦包尾，青繒裹索引之。駕士二百三十二人。〈（誕馬十二人，左右索百二十八人，入轅馬十二人，龍頭子二人，前後抱轅各六人，推竿四人，捧輪四人，拓叉四人，淨席四人，前攔人員一人，後攔人員一人，前攔馬八人，後攔馬八人，踏道人員二人，踏道二十人，小拓叉四人，小梯子二人，燭台二人，香匙剪子二人，左右索人員二人。鵩又有嗬喝人員二人，教馬官二人，捧輪將軍四人，千牛衛將軍二人，推輪軸官健八人，抱太常龍旗官六人，職掌五人，專知官一人，手分一人，庫子八人，裝掛工匠二人，諸作工匠十五人，蓋覆儀鸞司十一人，監官三員。）〉

On the left the Grand Standard was erected and on the right the dragon banner, inserted before the gold rings on the two rear pillars of the carriage. Six azure horses drew it, each with engraved xi ornaments, pan-ying bridles, gold bells, red-plume embroidered shoes, gold-wrapped forelocks, brocade-wrapped tails, and reins wrapped in azure silk for leading. There were two hundred thirty-two carriage attendants. (Twelve horse handlers; one hundred twenty-eight left and right rope handlers; twelve horses entering the yoke; two dragon-head attendants; six front and six rear yoke-holders; four pole-pushers; four wheel-bearers; four spreading-fork attendants; four mat-cleaners; one front blocking officer; one rear blocking officer; eight front blocking horses; eight rear blocking horses; two path-preparing officers; twenty path-preparers; four small spreading-forks; two small ladders; two candle stands; two attendants for incense spoon and scissors; and two left-right rope officers. Furthermore there were also two shouting officers; two horse-training officials; four wheel-bearing generals; two Thousand-Ox Guard generals; eight wheel-axle pushing guard soldiers; six Grand Standard and dragon banner holders; five duty officers; one specialist officer; one sub-clerk; eight storekeepers; two mounting craftsmen; fifteen workshop craftsmen; eleven Ceremonial Guard personnel for canopy covering; and three supervising officers.)

金輅黃色，飾以金塗銀，製如玉輅，而高減五寸；博山、輪衣、絡帶、轅輻、軸並以黃，建大旂九斿；駕黃馬六，駕士一百五十四人。象輅朱色，飾以象及金塗銅，製如金輅；博山、輪衣、絡帶並以朱，建大赤七斿；駕赤馬六，駕士一百五十四人。革輅淺黃白色，飾以金塗銅，製如象輅；博山、輪衣、絡帶並以淺黃白，建大白六斿；駕黃白馬六，駕士百五十四人。木輅黑色，飾以金塗銀，製如革輅；博山、輪衣、絡帶並以黑，建大麾四斿；駕黑馬六，駕士一百五十四人。五輅駕士服色：平巾幘、青絹抹額、纈絹對花鳳袍、緋纈絹對花寬袖襖、羅襪絹袴、衤蔑、麻鞋，其色各從其輅。

The gold carriage was yellow in color and ornamented with gold-plated silver. Its design matched the jade carriage but was five cun lower in height; its boushan ornaments, wheel covers, luo belts, yoke spokes, and axle were all yellow, and it bore the great banner with nine fringes; Six yellow horses drew it, with one hundred fifty-four carriage attendants. The ivory carriage was scarlet, ornamented with ivory and gold-plated copper in the same design as the gold carriage; its boushan ornaments, wheel covers, and luo belts were all scarlet, and it bore the great red banner with seven fringes; Six red horses drew it, with one hundred fifty-four carriage attendants. The leather carriage was pale yellow-white and ornamented with gold-plated copper in the same design as the ivory carriage; its boushan ornaments, wheel covers, and luo belts were all pale yellow-white, and it bore the great white banner with six fringes; Six yellow-white horses drew it, with one hundred fifty-four carriage attendants. The wood carriage was black and ornamented with gold-plated silver in the same design as the leather carriage; its boushan ornaments, wheel covers, and luo belts were all black, and it bore the great standard with four fringes; Six black horses drew it, with one hundred fifty-four carriage attendants. The five-carriage attendants wore plain kerchief caps, azure silk forehead cloths, tie-dyed silk phoenix robes with facing flowers, scarlet tie-dyed wide-sleeved jackets with facing flowers, silk socks and trousers, leg wrappings, and hemp shoes, each color matching its carriage.

大輅。政和六年，徐秉哲言：“南北郊，皇帝乘玉輅以赴齋宮。自齋宮赴壇，正當祀天祭地，乃乘大輦，疑非禮意。 ”下禮製局討論。禮製局請：“造大輅如玉輅之製，唯不飾以玉。所駕之馬，其數如之，唯樊纓一就，以稱尚質之義。仍建大旂十有二旒，龍章日月，以協象天之義。至禮畢還齋宮，則禦大輦，於禮無嫌。 ”從之。

The Great Imperial Carriage. In the sixth year of the Zhenghe reign, Xu Bingzhe said, "At the southern and northern suburban sacrifices, the emperor rides the jade carriage to the fasting palace. Yet from the fasting palace to the altar, at the very moment of sacrificing to Heaven and offering to Earth, he rides the great palanquin instead— which seems at odds with ritual propriety. " The matter was referred to the Bureau for Ritual Regulations for discussion. The Bureau for Ritual Regulations proposed, "Construct a great imperial carriage after the jade carriage's design, but without jade ornament. The number of horses should match, but with only one set of bridle tassels, in keeping with the principle of esteeming substance. It should still bear the great banner with twelve fringes, emblazoned with dragons, the sun, and the moon, to accord with the symbolism of Heaven. When the rites are finished and he returns to the fasting palace, he may ride the great palanquin without ritual objection. The proposal was adopted.

大輦。《周官》巾車氏有輦車，以人組挽之，宮中從容所乘。唐製，輦有七：一曰大鳳輦，二曰大芳輦，三曰仙遊輦，四曰小輕輦，五曰芳亭輦，六曰大玉輦，七曰小玉輦。

The Great Palanquin. The Rites of Zhou's Director of Carriages had palanquin carriages drawn by human teams—the vehicle used at leisure within the palace. Under Tang institutions there were seven palanquins: the great phoenix palanquin, the great fragrant palanquin, the immortal-roaming palanquin, the small light palanquin, the fragrant pavilion palanquin, the great jade palanquin, and the small jade palanquin.

太祖建隆四年，翰林學士承旨陶穀為禮儀使，創意造為大輦：赤質，正方，油畫，金塗銀葉，龍鳳裝。其上四面行龍雲氣，火珠方鑒，銀絲囊網，珠翠結絛，雲龍鈿窠霞子。四角龍頭銜香囊，頂輪施耀葉。中有銀蓮花坐龍，紅綾裏，碧牙壓帖。內設圓鑒，銀絲香囊，銀飾勾闌、台坐，紅絲絛網，分錔。中施黃褥，上置御坐，扶幾，香爐，錦結綬。幾衣、輪衣、絡帶並緋繡壓金銀線。長竿四，銀裹鐵鋦龍頭，魚鉤，錦膊褥，銀裝畫梯，拓叉，黃羅緣席、褥、帕，梯杖褥，朱索，緋繒油帕。主輦六十四人。親祀南郊、謁太廟還及具鸞駕黃麾仗、省方還都，則乘之。

In the fourth year of Jianlong, Hanlin Academician Recipient of Edicts Tao Gu, serving as Commissioner of Ritual, devised the great palanquin: red in substance, square, oil-painted, with gold-plated silver leaf and dragon-and-phoenix ornament. On all four sides ran dragons amid cloud vapor, with fire pearls and square mirrors, silver-thread pouch nets, pearl-and-jade knotted cords, and cloud-dragon inlaid rosy cloud motifs. Dragon heads at the four corners held incense pouches, and radiant leaves adorned the crown wheel. Within stood a silver lotus-seat dragon, lined with red silk and fitted with green ivory pressure plaques. Inside were round mirrors, silver-thread incense pouches, silver-decorated railings and platform seats, red silk cord nets, and corner plates. A yellow cushion was spread within, above which stood the imperial seat, an arm-support table, an incense burner, and brocade knotted sashes. The table covers, wheel covers, and luo belts were all scarlet embroidered with gold and silver thread. Four long poles bore silver-wrapped, iron-clamped dragon heads, fish hooks, brocade shoulder cushions, silver-fitted painted ladders, and spreading forks, with yellow gauze-edged mats, cushions, and cloths, ladder-pole cushions, vermilion cords, and scarlet oiled silk cloths. Sixty-four men bore the palanquin. It was ridden on returning from personally sacrificing at the southern suburb or visiting the Imperial Ancestral Temple, when the luan escort and yellow-banner guard were fully deployed, or on returning to the capital from touring the realm.

真宗東封，以舊輦太重，遂命別造，凡減七百餘斤，後常用焉。神宗已後，其製：赤質，正方，油畫，金塗銀龍鳳裝，朱漆天輪一，金塗銀頂龍一。四面施行龍一十六，火珠四。四角龍頭四，穗球一十二。頂輪施耀葉，紅羅輪衣一，綴銀鈴，紅羅絡帶二。中設御坐、曲幾、錦褥等，施屏風，香爐，結綬。長竿四，飾以金塗銀龍頭。祀畢，車駕還內，若不進輅，則乘大輦。

When Emperor Zhenzong performed the eastern Feng sacrifice, the old palanquin proved too heavy, so he ordered a new one built, shedding more than seven hundred jin; thereafter this became the regular vehicle. After Emperor Shenzong its design was: red in substance, square, oil-painted, with gold-plated silver dragon-and-phoenix ornament, one vermilion-lacquered heaven wheel, and one gold-plated silver crown dragon. Sixteen running dragons adorned the four sides, with four fire pearls. Four dragon heads stood at the corners, with twelve tassel balls. Radiant leaves adorned the crown wheel; there was one red gauze wheel cover hung with silver bells and two red gauze luo belts. Within stood the imperial seat, curved table, brocade cushion, and the like, together with a screen, incense burner, and knotted sashes. Four long poles were ornamented with gold-plated silver dragon heads. When the sacrifice was finished and the imperial procession returned within the palace, if the emperor did not mount a ceremonial carriage, he rode the great palanquin.

政和之製：黃質，冒以黃衣，紘以黃帶。車箱四圍，於桯之外，高二尺二寸。設軾於前楹，軾高三尺二寸。建大旂於後楹，旂十二斿，其長曳地，其色黃，繪以交龍；素帛為縿，繪以日月，以弧張幅，以韣韜弧；杠以青錦綢之，注旄於竿首，係以鈴。

The Zhenghe design was yellow in substance, covered with yellow cloth and bound with yellow cords. The carriage box rose two chi two cun on all four sides beyond the side rails. A shi rail was set at the front pillar, three chi two cun high. The great banner was raised at the rear pillar with twelve fringes trailing to the ground, yellow in color and painted with interlaced dragons; plain silk formed the lower section, painted with the sun and moon; a bow stretched the panel, and a bow case sheathed the bow; the pole was wrapped in azure brocade, an ox-tail pennant affixed at its head, and bells attached.

國朝之輦有七，中興後，唯存大輦、平輦、逍遙三輦而已。大輦又曰大安輦，其製：赤質，正方，高十五尺三寸，方十一尺六寸。四柱，平盤，上覆青綠錦。上有天輪三層，外施金塗銀博山八十一。內有圓鏡，金塗銀頂龍一，四面行龍十六，火珠四。輪衣以青，墜以金鈴，頂有青羅十字分垂四角，曰絡帶。四角出龍首，銜氂牛五色尾，曰旒綏。四面拱鬥，外施方鏡，九柱圍以朱闌，中設御坐、曲幾、屏風、錦褥。下舉以長竿四，攢竹筋膠丹漆之，竿為龍首。平盤下，四圍結紅絲網。輦官服色：武弁，黃纈對鳳袍，黃絹勒帛，紫生色袒帶，紫絹行縢。

Our dynasty once had seven palanquins; after the Restoration only the great palanquin, level palanquin, and free-roaming palanquin survived. The great palanquin, also called the Great Peace Palanquin, was red in substance and square, fifteen chi three cun high and eleven chi six cun across. It had four pillars and a level platform covered with azure-green brocade. Above stood a three-layer heaven wheel with eighty-one gold-plated silver boushan ornaments on the outside. Within was a round mirror, one gold-plated silver crown dragon, sixteen running dragons on the four sides, and four fire pearls. The wheel cover was azure and hung with gold bells; at the top azure gauze hung in a cross pattern from the four corners—these were called luo belts. Dragon heads projected from the four corners, holding five-colored yak tails—these were called liu-sui streamers. Bracket-arm canopy structure rose on all four sides with square mirrors affixed outside; nine pillars enclosed by vermilion railings held the imperial seat, curved table, screen, and brocade cushion within. Below, four long poles bore it; bamboo ribs were bundled and lacquered cinnabar-red, the pole ends shaped as dragon heads. Beneath the level platform a red silk net was knotted on all four sides. Palanquin officers wore military caps, yellow tie-dyed phoenix robes with facing patterns, yellow silk waist bands, purple raw-silk sashes, and purple silk leg bindings.

芳亭輦，黑質，頂如幕屋，緋羅衣，裙襴、絡帶皆繡雲鳳。兩面朱綠窗花版，外施紅絲網綢，金銅分錔，前後垂簾，下設牙床、勾闌。長竿四，銀龍頭，銀飾梯，行馬。主輦一百二十人。政和之製，簾以紅羅繡鵝為額，內設御坐，長竿飾以金塗銅螭首，橫竿三。

The Fragrant Pavilion Palanquin was black in substance with a tent-like top and scarlet gauze covering; its skirt panels and luo belts were all embroidered with cloud phoenixes. Vermilion-green window panels adorned both sides; outside hung a red silk net with gold-and-copper corner plates; curtains draped front and rear; below stood an ivory bed and railings. Four long poles bore silver dragon heads, silver-decorated ladders, and walking-horse supports. One hundred twenty men bore the palanquin. In the Zhenghe design the curtain heading was embroidered with a goose in red gauze; the imperial seat was set within; long poles bore gold-plated copper ch'i heads; there were three cross poles.

鳳輦，赤質，頂輪下有二柱，緋羅輪衣，絡帶、門簾皆繡雲鳳。頂有金鳳一，兩壁刻畫龜文、金鳳翅。前有軾匱、香爐、香寶、結帶，下有勾闌二重，內設紅錦褥。長竿三，銀飾梯，行馬。主輦八十人。法駕鹵簿，不設鳳輦。

The Phoenix Palanquin was red in substance; beneath the crown wheel stood two pillars; its scarlet gauze wheel cover, luo belts, and door curtains were all embroidered with cloud phoenixes. One gold phoenix crowned the top; tortoise patterns and gold phoenix wings were carved and painted on both walls. In front stood a shi compartment, incense burner, incense treasure, and knotted sashes; below were double railings, with a red brocade cushion within. Three long poles bore silver-decorated ladders and walking-horse supports. Eighty men bore the palanquin. The phoenix palanquin was not included in the statutory escort guard of honor.

逍遙輦，以棕櫚為屋，赤質，金塗銀裝，朱漆扶版二，雲版一，長竿二，飾以金塗銀龍頭。常行幸所禦。又魚鉤，分錔，梅紅絛。輦官十二人，春夏服緋羅衫，秋冬服白師子錦襖。東封，別造辟塵逍遙輦，加窗隔，黃繒為裏，賜名省方逍遙輦。中興之製，赤質，金塗四柱，棕屋上有走脊金龍四，中起火珠凸頂，四面不設窗障，中有禦踏子，製甚簡素。祗應人員服帽子、宜男方勝纈衫。

The Free-Roaming Palanquin had a palm-frond canopy, red substance, and gold-plated silver fittings; two vermilion-lacquered handrails and one cloud panel; two long poles ornamented with gold-plated silver dragon heads. It was the vehicle regularly used on imperial progresses. It also had fish hooks, corner plates, and plum-red cords. Twelve palanquin officers wore scarlet gauze shirts in spring and summer and white lion-pattern brocade jackets in autumn and winter. For the eastern Feng sacrifice a separate dust-repelling free-roaming palanquin was built with window partitions and a yellow silk lining; it was granted the name Provincial Tour Free-Roaming Palanquin. The Restoration design was red in substance with four gold-plated pillars; four running-ridge gold dragons crowned the palm canopy, with a fire-pearl convex top at the center; no window screens were set on any side; an imperial footrest stood within—the design was notably plain. Attendants wore caps and square-pattern tie-dye shirts in the Yi-ma style.

平輦，又名平頭輦，亦曰太平輦，飾如逍遙輦而無屋。輦官十二人，服同逍遙輦。常行幸所禦。東封，別造升山天平輦，施機關，賜名曰登封輦。中興之製，赤質，正方，形如一朱龍椅而加長竿二，飾如逍遙輦而不施棕屋，製尤簡素，止施畫雲版而已。

The Level Palanquin, also called the Flat-Top Palanquin or Great Peace Palanquin, was ornamented like the free-roaming palanquin but without a canopy house. Twelve palanquin officers wore the same dress as those of the free-roaming palanquin. It was the vehicle regularly used on imperial progresses. For the eastern Feng sacrifice a separate mountain-ascending level palanquin was built with mechanical fittings; it was granted the name Ascent-to-the-Feng Palanquin. The Restoration design was red, square, and shaped like a vermilion dragon chair with two long poles added; it was ornamented like the free-roaming palanquin but without a palm canopy—the design was especially plain, bearing only painted cloud panels.

又有七寶輦，隆興二年，為德壽宮所製也。高五十一寸，闊二十七寸，深三十六寸。比附大輦、平輦制度為之。上施頂輪、耀葉、角龍、頂龍、滴子、鐸子、結穗球。下施梅紅絲裙網，加綴七寶，中設香木御坐，引手為轉身龍，靠背為龍首，靠枰子織以紅黃藤。舁以長竿二，竿為螭首，金塗銀飾焉。初，有司言：“東都舊制，輦飾以玉，裙網用七寶，而滴子用真珠。 ”帝曰：“上皇意不然，止欲簡素。 ”遂以塗金易玉，梅紅絲結裙網，間綴七寶，而象牙易真珠。既而上皇卻不受，每至大內，多乘馬，而間有行幸，則用肩輿。自是，重華、壽康兩宮並不別造。

There was also the Seven Treasures Palanquin, made in the second year of Longxing for the Virtuous Longevity Palace. It was fifty-one cun high, twenty-seven cun wide, and thirty-six cun deep. It was made according to the regulations of the great and level palanquins. Above it bore a crown wheel, radiant leaves, corner dragons, crown dragon, pendant drops, bell pendants, and knotted tassel balls. Below hung a plum-red silk skirt net interspersed with seven treasures; within stood a fragrant-wood imperial seat whose armrest formed a coiling dragon and whose backrest formed a dragon head; the back panel was woven with red and yellow rattan. Two long poles bore it, their ends shaped as ch'i heads with gold-plated silver ornament. At first the responsible officials said, "Under the old Eastern Capital regulations, the palanquin was ornamented with jade, the skirt net used seven treasures, and the pendant drops were of genuine pearls. " The emperor said, "The retired emperor did not agree; he wanted only simplicity. " Thereupon gilded ornament replaced jade, a plum-red silk knotted skirt net was interspersed with seven treasures, and ivory replaced genuine pearls. Yet the retired emperor still would not accept it; whenever he entered the inner palace he mostly rode horseback, and on occasional progresses he used a shoulder sedan instead. Thereafter neither the Chonghua nor the Shoukang palace had separate palanquins made.

小輿，赤質，頂輪下施曲柄如蓋，緋繡輪衣、絡帶，製如鳳輦而小。下有勾闌，牙床，繡瀝水。中設方床，緋繡羅衣，錦褥。上有小案、坐床，皆繡衣。踏床緋衣。前後長竿二，銀飾梯，行馬。奉輿二十四人。中興後，去其輪蓋，方四十九寸，高三十一寸。輿上周以勾闌，施翟羽，玉照子，中為方床三級。上設御坐、曲幾、踏子，曲柄緋羅繡蓋，輿下紅絲結五色花裙網。舁以長竿二，竿為螭首。宮殿從容所乘，設鹵簿則陳之。

The small sedan was red in substance; beneath the crown wheel stood a curved handle like a canopy, with scarlet embroidered wheel cover and luo belts; its design matched the phoenix palanquin but on a smaller scale. Below stood railings, an ivory bed, and embroidered pendant streamers. Within stood a square bed with scarlet embroidered gauze covering and a brocade cushion. Above stood a small table and seat bed, all with embroidered covering. The footrest bed had scarlet covering. Front and rear, two long poles bore silver-decorated ladders and walking-horse supports. Twenty-four men bore the sedan. After the Restoration its wheel canopy was removed; it was forty-nine cun square and thirty-one cun high. Around the upper perimeter of the sedan stood railings; pheasant feathers and jade mirror ornaments were affixed, and at the center stood a three-tiered square bed. Above stood an imperial seat, a curved armrest table, and a footrest, beneath a curved-handle canopy of scarlet embroidered gauze; below the sedan hung a skirt net of red silk knotted in five-colored floral patterns. Two long poles bore it, their ends shaped as ch'i heads. Within the palace precincts it served for leisurely travel; when the ceremonial guard was deployed, it was displayed in procession.

腰輿，前後長竿各二，金銅螭頭，緋繡鳳裙襴，上施錦褥，別設小床，緋繡花龍衣。奉輿十六人。中興製，赤質，方形，四面曲闌，下結繡裙網。製如小輿，惟無翟尾、玉照子、三級床、曲柄蓋，而上設方禦床、曲幾，舁竿無螭首，用亦同小輿。

The waist sedan had two long poles fore and aft, their ends cast as gold and bronze ch'i heads; scarlet embroidered phoenix skirt panels hung below, a brocade cushion lay above, and a separate small bed was fitted with scarlet embroidered dragon-flower covering. Sixteen men bore the sedan. Under the Restoration design it was red in substance and square in form, with curved railings on all four sides and a knotted embroidered skirt net below. Its design matched the small sedan, save that it lacked pheasant-tail ornament, jade mirror, three-tier bed, and curved-handle canopy; above stood a square imperial bed and curved armrest table, the bearing poles bore no ch'i heads, and its use was the same as the small sedan.

耕根車製，青質，蓋三層，餘如五輅之副。駕六青馬，駕士四十人。親祠具大駕、法駕鹵簿，並列於仗內；若耕籍則乘之。國朝之車，自耕根而下，凡十有五。南渡所存，惟耕根車一而已，其制度並同，惟駕士七十五人。

The Root-Ploughing Carriage was green in substance with a three-tier canopy; otherwise it followed the design of the secondary Five Lu carriages. It was drawn by six green horses and attended by forty drivers. For sacrifices performed by the emperor in person, it was accompanied by the grand and formal procession guards, both arrayed within the ceremonial train; when the emperor ploughed the sacred field, he rode in it. The dynasty's ceremonial carriages, from the Root-Ploughing Carriage downward, numbered fifteen in all. After the crossing south only one Root-Ploughing Carriage remained; its design was unchanged, though its attendants numbered seventy-five.

進賢車，古安車也。太祖乾德元年改赤質，兩壁紗窗，擎耳，虛匱，一轅，緋幰衣，絡帶、門簾皆繡鳳，紅絲網。中設朱漆床，香案，紫綾案衣，緋繒裹免索，朱漆行馬。〈（凡車皆有免索、行馬。）〉駕四馬，駕士二十四人。

The Advance-the-Worthy Carriage was the ancient comfort carriage. In the first year of the Qiande era, Emperor Taizu changed it to red in substance, with gauze windows in both walls, raised ears, a hollow box, and a single yoke; its canopy covering, luo belts, and door curtains were all embroidered with phoenixes, and a red silk net hung below. Within stood a vermilion-lacquered bed and incense table with purple damask table covering, scarlet silk-wrapped restraint ropes, and vermilion-lacquered walking-horse supports. (All carriages had restraint ropes and walking-horse supports.) It was drawn by four horses and attended by twenty-four drivers.

明遠車，古四望車也，駕以牛。太祖乾德元年改，仍舊四馬。赤質，製如屋，重簷勾闌，上有金龍，四角垂銅鐸，上層四面垂簾，下層周以花版，三轅。駕士四十人，服繡對鳳。

The Clear-Distance Carriage was the ancient four-view carriage, drawn by oxen. In the first year of the Qiande era Emperor Taizu revised it, though it was still drawn by four horses as before. It was red in substance and built like a house, with double eaves and railings; a golden dragon stood above, bronze bells hung from the four corners, curtains draped on all four sides of the upper tier, floral panels encircled the lower tier, and it had three yokes. Forty attendants drove it, wearing garments embroidered with paired phoenixes.

羊車，古輦車也，亦為畫輪車，駕以牛。隋駕以果下馬，今亦駕以二小馬。赤質，兩壁畫龜文、金鳳翅，緋幰衣、絡帶、門簾皆繡瑞羊。童子十八人。

The Ram Carriage was the ancient palanquin carriage, also called a painted-wheel carriage, and was drawn by oxen. Under the Sui it had been drawn by short-legged horses; now it was drawn by two small horses. It was red in substance; both walls were painted with tortoise patterns and golden phoenix wings; its canopy covering, luo belts, and door curtains were all embroidered with auspicious rams. Eighteen pages attended it.

指南車，一曰司南車。赤質，兩箱畫青龍、白虎，四面畫花鳥，重台，勾闌，鏤拱，四角垂香囊。上有仙人，車雖轉而手常南指。一轅。鳳首，駕四馬。駕士舊十八人，太宗雍熙四年，增為三十人。仁宗天聖五年，工部郎中燕肅始造指南車，肅上奏曰：

The south-pointing carriage, also called the compass carriage. It was red in substance; both boxes were painted with the blue dragon and white tiger, flowers and birds adorned all four sides, and it had a double platform, railings, carved bracket arms, and incense pouches hanging from the four corners. Above stood an immortal figure whose arm always pointed south, no matter how the carriage turned. It had a single yoke. Its yoke end was shaped as a phoenix head, and it was drawn by four horses. Its attendants had formerly numbered eighteen; in the fourth year of the Yongxi era, Emperor Taizong increased them to thirty. In the fifth year of the Tiansheng era, Yan Su, Director in the Ministry of Works, built the first south-pointing carriage and memorialized the throne, saying:

黃帝與蚩尤戰於涿鹿之野，蚩尤起大霧，軍士不知所向，帝遂作指南車。周成王時，越裳氏重譯來獻，使者惑失道，周公賜軿車以指南。其後，法俱亡。漢張衡、魏馬鈞繼作之，屬世亂離，其器不存。宋武帝平長安，嚐為此車，而製不精。祖衝之亦復造之。後魏太武帝使郭善明造，彌年不就，命扶風馬嶽造，垂成而為善明鴆死，其法遂絕。唐元和中，典作官金公立以其車及記裏鼓上之，憲宗閱於麟德殿，以備法駕，曆五代至國朝，不聞得其製者，今創意成之。

When the Yellow Emperor fought Chiyou in the wilds of Zhuolu, Chiyou raised a great fog so that the soldiers lost their way; the Emperor therefore devised the south-pointing carriage. In the reign of King Cheng of Zhou, envoys of the Yuechang clan arrived with tribute through successive interpreters; when they lost their way, the Duke of Zhou granted them a light carriage to guide them south. Afterward the methods were all lost. Zhang Heng of Han and Ma Jun of Wei later reconstructed them, but amid the turmoil of the age the devices did not survive. When Emperor Wu of Song pacified Chang'an, he once had such a carriage made, but its workmanship was crude. Zu Chongzhi also reconstructed one. Emperor Taiwu of Northern Wei ordered Guo Shanming to build one, but a full year passed without success; he then ordered Ma Yue of Fufeng to take over, and when the work was nearly complete Guo Shanming was poisoned to death, so the method was lost. In the Yuanhe era of Tang, Works Director Jin Gongli presented his south-pointing carriage and li-drum carriage; Emperor Xianzong inspected them at Linde Hall to equip the formal procession. From the Five Dynasties down to our dynasty, no one was known to have recovered the method; now I have completed it by original design.

其法：用獨轅車，車箱外籠上有重構，立木仙人於上，引臂南指。用大小輪九，合齒一百二十。足輪二，高六尺，圍一丈八尺。附足立子輪二，徑二尺四寸，圍七尺二寸，出齒各二十四，齒間相去三寸。轅端橫木下立小輪二，其徑三寸，鐵軸貫之。左小平輪一，其徑一尺二寸，出齒十二；右小平輪一，其徑一尺二寸，出齒十二。中心大平輪一，其徑四尺八寸，圍一丈四尺四寸，出齒四十八，齒間相去三寸。中立貫心軸一，高八尺，徑三寸。

The method is this: a single-yoke carriage is used; atop the outer cage over the box stands a double structure bearing a wooden immortal with an outstretched arm pointing south. It employs nine large and small wheels with one hundred twenty teeth in all. There are two ground wheels, six chi high with a circumference of one zhang eight chi. Attached to the ground wheels are two upright subsidiary wheels, two chi four cun in diameter and seven chi two cun in circumference, each with twenty-four projecting teeth spaced three cun apart. Beneath the crossbar at the yoke end stand two small wheels three cun in diameter, pierced by an iron axle. On the left is one small flat wheel, one chi two cun in diameter with twelve projecting teeth; on the right is one small flat wheel, one chi two cun in diameter with twelve projecting teeth. At the center is one large flat wheel, four chi eight cun in diameter with a circumference of one zhang four chi four cun, bearing forty-eight teeth spaced three cun apart. At the center stands a through-heart axle eight chi high and three cun in diameter.

上刻木為仙人，其車行，木人指南。若折而東，推轅右旋，附右足子輪順轉十二齒，擊右小平輪一匝，觸中心大平輪左旋四分之一，轉十二齒，車東行，木人交而南指。若折而西，推轅左旋，附左足子輪隨輪順轉十二齒，擊左小平輪一匝，觸中心大平輪右轉四分之一，轉十二齒，車正西行，木人交而南指。若欲北行，或東，或西，轉亦如之。

A wooden immortal is carved above; as the carriage moves, the wooden figure points south. If the carriage turns east, the yoke is pushed to the right; the right ground subsidiary wheel turns forward twelve teeth, driving the right small flat wheel one revolution, which turns the central large flat wheel one quarter leftward—twelve teeth—so that as the carriage moves east the wooden figure shifts position yet still points south. If it turns west, the yoke is pushed to the left; the left ground subsidiary wheel turns forward twelve teeth, driving the left small flat wheel one revolution, which turns the central large flat wheel one quarter rightward—twelve teeth—so that as the carriage moves due west the wooden figure shifts position yet still points south. Whether turning north, east, or west, the mechanism works by the same principle.

詔以其法下有司製之。

An edict ordered the responsible offices to manufacture it according to this method.

大觀元年，內侍省吳德仁又獻指南車、記裏鼓車之製，二車成，其年宗祀大禮始用之。其指南車身一丈一尺一寸五分，闊九尺五寸，深一丈九寸，車輪直徑五尺七寸，車轅一丈五寸。車箱上下為兩層，中設屏風，上安仙人一執仗，左右龜鶴各一，童子四各執纓立四角，上設關戾。臥輪一十三，各徑一尺八寸五分，圍五尺五寸五分，出齒三十二，齒間相去一寸八分。中心輪軸隨屏風貫下，下有輪一十三，中至大平輪。其輪徑三尺八寸，圍一丈一尺四寸，出齒一百，齒間相去一寸二分五厘，通上左右起落。二小平輪，各有鐵墜子一，皆徑一尺一寸，圍三尺三寸，出齒一十七，齒間相去一寸九分。又左右附輪各一，徑一尺五寸五分，圍四尺六寸五分，出齒二十四，齒間相去二寸一分。左右疊輪各二，下輪各徑二尺一寸，圍六尺三寸，出齒三十二，齒間相去二寸一分；上輪各徑一尺二寸，圍三尺六寸，出齒三十二，齒間相去一寸一分。左右車腳上各立輪一，徑二尺二寸，圍六尺六寸，出齒三十二，齒間相去二寸二分五厘。左右後轅各小輪一，無齒，係竹{}並索在左右軸上，遇右轉使右轅小輪觸落右輪，若左轉使左轅小輪觸落左輪。行則仙童交而指南。車駕赤馬二，銅麵，插羽，鞶纓，攀胸鈴拂，緋絹屜，錦包尾。

In the first year of the Daguan era, Wu Deren of the Palace Attendant Office submitted new designs for the south-pointing carriage and li-drum carriage; once both were completed, they were first used that year in the great ancestral sacrifice. The south-pointing carriage measured one zhang one chi one cun five fen in length, nine chi five cun in width, and one zhang nine cun in depth; its wheels were five chi seven cun in diameter and its yoke one zhang five cun long. The carriage box had upper and lower tiers with a screen between; above stood one immortal bearing a staff, a tortoise and crane on left and right, four pages holding tassels at the four corners, and a latch mechanism mounted above. There were thirteen horizontal wheels, each one chi eight cun five fen in diameter with a circumference of five chi five cun five fen, bearing thirty-two teeth spaced one cun eight fen apart. The central wheel axle passed down through the screen; below were thirteen wheels leading at the center to the large flat wheel. That wheel was three chi eight cun in diameter with a circumference of one zhang one chi four cun, bearing one hundred teeth spaced one cun two fen five li apart, connecting above to left and right for engagement and disengagement. Two small flat wheels, each with an iron weight, were one chi one cun in diameter with a circumference of three chi three cun, bearing seventeen teeth spaced one cun nine fen apart. On left and right was one attached wheel each, one chi five cun five fen in diameter with a circumference of four chi six cun five fen, bearing twenty-four teeth spaced two cun one fen apart. On left and right were two stacked wheels each; the lower wheels were two chi one cun in diameter with a circumference of six chi three cun, bearing thirty-two teeth spaced two cun one fen apart; the upper wheels were one chi two cun in diameter with a circumference of three chi six cun, bearing thirty-two teeth spaced one cun one fen apart. On left and right, one wheel stood upright on each carriage leg, two chi two cun in diameter with a circumference of six chi six cun, bearing thirty-two teeth spaced two cun two fen five li apart. On the left and right rear yokes stood one small toothless wheel each, lashed with bamboo splints and ropes to the left and right axles; when turning right, the right rear yoke's small wheel engaged and dropped the right wheel, and when turning left, the left rear yoke's small wheel engaged and dropped the left wheel. In motion the immortal boy shifted position yet still pointed south. It was drawn by two red horses with copper face masks, inserted feathers, pankou tassels, chest bells and fans, scarlet silk saddle cloths, and brocade-wrapped tails.

記裏鼓車，一名大章車。赤質，四面畫花鳥，重台，勾闌，鏤拱。行一里，則上層木人擊鼓；十里，則次層木人擊鐲。一轅，鳳首，駕四馬。駕士舊十八人，太宗雍熙四年，增為三十人。

The li-drum carriage, also called the Great Record Carriage. It was red in substance, painted with flowers and birds on all four sides, and had a double platform, railings, and carved bracket arms. After traveling one li, the wooden figure on the upper tier struck the drum; after ten li, the wooden figure on the next tier struck the gong. It had a single yoke ending in a phoenix head and was drawn by four horses. Its attendants had formerly numbered eighteen; in the fourth year of the Yongxi era, Emperor Taizong increased them to thirty.

仁宗天聖五年，內侍盧道隆上記裏鼓車之製：“獨轅雙輪，箱上為兩重，各刻木為人，執木槌。足輪各徑六尺，圍一丈八尺。足輪一周，而行地三步。以古法六尺為步，三百步為裏，用較今法五尺為步，三百六十步為裏。立輪一，附於左足，徑一尺三寸八分，圍四尺一寸四分，出齒十八，齒間相去二寸三分。下平輪一，其徑四尺一寸四分，圍一丈二尺四寸二分，出齒五十四，齒間相去與附立輪同。立貫心軸一，其上設銅旋風輪一，出齒三，齒間相去一寸二分。中立平輪一，其徑四尺，圍一丈二尺，出齒百，齒間相去與旋風等。次安小平輪一，其徑三寸少半寸，圍一尺，出齒十，齒間相去一寸半。上平輪一，其徑三尺少半尺，圍一丈，出齒百，齒間相去與小平輪同。其中平輪轉一周，車行一里，下一層木人擊鼓；上平輪轉一周，車行十里，上一層木人擊鐲。凡用大小輪八，合二百八十五齒，遞相鉤鎖，犬牙相製，周而復始。 ”詔以其法下有司製之。

In the fifth year of the Tiansheng era, Palace Attendant Lu Daolong submitted the design for the li-drum carriage: "It has a single yoke and two wheels; atop the box stand two tiers, each with carved wooden figures holding wooden mallets. Each ground wheel is six chi in diameter with a circumference of one zhang eight chi. One revolution of the ground wheels advances the carriage three paces. By the ancient reckoning six chi made one pace and three hundred paces one li; by the present reckoning five chi make one pace and three hundred sixty paces one li. One upright wheel attached to the left ground wheel is one chi three cun eight fen in diameter with a circumference of four chi one cun four fen, bearing eighteen teeth spaced two cun three fen apart. One lower flat wheel is four chi one cun four fen in diameter with a circumference of one zhang two chi four cun two fen, bearing fifty-four teeth spaced the same as those on the attached upright wheel. One upright through-heart axle bears above it a bronze whirlwind wheel with three projecting teeth spaced one cun two fen apart. At the center stands one upright flat wheel four chi in diameter with a circumference of one zhang two chi, bearing one hundred teeth spaced the same as those on the whirlwind wheel. Next is affixed one small flat wheel two and a half cun in diameter with a circumference of one chi, bearing ten teeth spaced one cun and a half apart. One upper flat wheel is two and a half chi in diameter with a circumference of one zhang, bearing one hundred teeth spaced the same as those on the small flat wheel. When the central flat wheel completes one revolution the carriage has traveled one li, and the lower-tier wooden figure strikes the drum; when the upper flat wheel completes one revolution the carriage has traveled ten li, and the upper-tier wooden figure strikes the gong. In all it employs eight large and small wheels with two hundred eighty-five teeth in total, interlocking and meshing in succession in an endless cycle. (Closing quotation mark in the source.) An edict then ordered the responsible offices to manufacture it according to this method.

大觀之製，車箱上下為兩層，上安木人二，身各手執木槌。輪軸共四。內左壁車腳上立輪一，安在車箱內，徑二尺二寸五分，圍六尺七寸五分，二十齒，齒間相去三寸三分五厘。又平輪一，徑四尺六寸五分，圍一丈三尺九寸五分，出齒六十，齒間相去二寸四分。上大平輪一，通軸貫上，徑三尺八寸，圍一丈一尺，出齒一百，齒間相去一寸二分。立軸一，徑二寸二分，圍六寸六分，出齒三，齒間相去二寸二分。外大平輪軸上有鐵撥子二。又木橫軸上關戾、撥子各一。其車腳轉一百遭，通輪軸轉周，木人各一擊鉦、鼓。

Under the Daguan design the carriage box had upper and lower tiers, above which stood two wooden figures, each holding a wooden mallet. There were four wheel axles in all. On the inner left wall, one wheel stood upright on the carriage leg inside the box, two chi two cun five fen in diameter with a circumference of six chi seven cun five fen, bearing twenty teeth spaced three cun three fen five li apart. There is also one flat wheel, four chi six cun five fen in diameter with a circumference of one zhang three chi nine cun five fen, bearing sixty teeth spaced two cun four fen apart. One upper large flat wheel is pierced by a through-axle, three chi eight cun in diameter with a circumference of one zhang one chi, bearing one hundred teeth spaced one cun two fen apart. One upright axle is two cun two fen in diameter with a circumference of six cun six fen, bearing three teeth spaced two cun two fen apart. On the outer large flat wheel axle are two iron triggers. On the wooden cross-axle are one latch mechanism and one trigger each. When the carriage legs complete one hundred revolutions, the through wheel axles make one full cycle, and each wooden figure strikes the gong and drum once.

白鷺車，隋所製也，一名鼓吹車。赤質，周施花版，上有朱柱，貫五輪相重，輪衣以緋，皂頂及緋絡帶，並繡飛鷺。柱杪刻木為鷺，銜鵝毛筒，紅綬帶。一轅。駕四馬，駕士十八人。

The white egret carriage was a Sui design, also called the acclaim-and-drums carriage. It was red in substance, encircled with floral panels; vermilion pillars above threaded five overlapping wheels; its scarlet wheel covers, black crown, and scarlet luo belts were all embroidered with flying egrets. At the pillar tips stood egrets carved from wood, holding goose-feather tubes with red ribbon sashes. It had a single yoke. It was drawn by four horses and attended by eighteen drivers.

鸞旗車，漢製，為前驅。赤質，曲壁，一轅。上載赤旗，繡鸞鳥。駕四馬，駕士十八人。

The luan-banner carriage was a Han design that served as vanguard. It was red in substance, with curved walls and a single yoke. It bore a red banner embroidered with luan birds on its top. It was drawn by four horses and attended by eighteen drivers.

皮軒車，漢前驅車也。冒以虎皮為軒，取《曲禮》“前有士師，則載虎皮”之義，赤質，曲壁，上有柱，貫五輪相重，畫虎文。駕四馬，駕士十八人。政和之製，用漆柱，貫朱漆皮軒五。

The leather canopy carriage was a Han vanguard carriage. Its canopy was of tiger hide, following the Qu Li passage "If a military commander goes before, then display the tiger hide"; it was red in substance with curved walls; pillars above threaded five overlapping wheels painted with tiger patterns. It was drawn by four horses and attended by eighteen drivers. Under the Zhenghe design it used lacquered pillars threading five vermilion-lacquered leather canopies.

黃鉞車，漢製，乘輿建之，在大駕後。晉鹵簿有黃鉞車。唐初無之，貞觀後始加。赤質，曲壁，中設金鉞一，錦囊綢杠。左武衛隊正一人，在車中執鉞。駕兩馬，駕士十五人。

The yellow battle-axe carriage was a Han design; it was raised at the imperial carriage and placed behind the great procession. The Jin imperial guard included the yellow battle-axe carriage. Early Tang lacked it; it was added only after the Zhenguan era. It was red in substance with curved walls; a golden battle-axe stood at the center, with a brocade bag and silk pole. One squad leader of the Left Martial Guard rode in the carriage holding the battle-axe. It was drawn by two horses and attended by fifteen drivers.

豹尾車。古者軍正建豹尾。漢製，最後車一乘垂豹尾，豹尾以前即同禁中。唐貞觀後，始加此車於鹵簿內，製同黃鉞車。上戴朱漆竿，首綴豹尾，右武衛隊正一人執之。駕兩馬，駕士十五人。

The leopard-tail carriage. In antiquity the army commander raised the leopard tail. Under the Han design the rearmost carriage of the train bore the hanging leopard tail; everything before the leopard tail counted as within the forbidden precincts. After the Zhenguan era Tang added this carriage to the guard of honor; its design matched the yellow battle-axe carriage. It bore a vermilion-lacquered pole topped with a leopard tail, held by one squad leader of the Right Martial Guard. It was drawn by two horses and attended by fifteen drivers.

屬車，一曰副車，一曰貳車，一曰左車。秦製，大駕屬車八十一乘，法駕三十六乘。漢法駕用三十一乘，小駕用十二乘。隋製，大駕三十六，法駕十二，小駕不用。唐大駕唯用十二乘，宋因之。黑質，兩箱軬裝，前有曲闌，金銅飾，上施紫通幰，絡帶、門簾皆繡雲鶴，紫絲網分錔。每乘駕三牛，駕士十人。

The retinue carriage was also called the secondary carriage, the reserve carriage, or the left carriage. Under the Qin design the great procession included eighty-one retinue carriages and the statutory procession thirty-six. The Han statutory procession used thirty-one carriages and the minor procession twelve. Under the Sui design the great procession used thirty-six, the statutory twelve, and the minor procession none. The Tang great procession used only twelve carriages, and Song followed suit. It was black in substance, with a double box and curtained sides, curved railings before it, and gold and bronze ornament; a purple through-canopy hung above, with luo belts and door curtains embroidered with cloud-cranes and a purple silk net with corner plates. Each carriage was drawn by three oxen and attended by ten drivers.

五車。徽宗宣和元年，禮製局言：“舊鹵簿記有白鷺、鸞旗、皮軒三車，其製非古。按《曲禮》曰：‘前有水則載青旌，前有塵埃則載鳴鳶，前有車騎則載飛鴻，前有士師則載虎皮，前有鷙獸則載貔貅。 ’萬乘一出，五車必載，所以警眾也。青旌、鳴鳶、飛鴻、貔貅乃以白鷺、鸞旗雜陳其間，未為合禮。今欲改五車相次於中道，繼之以崇德車，於是為備。 ”青旌車，赤質，曲壁，中載青旌，以絳帛為之，書青鳥於其上。鳴鳶車，赤質，曲壁，中載鳴鳶旌，以絳帛為之，畫鳴鳶於其上。飛鴻車，赤質，曲壁，中載飛鴻旌，以絳帛為之，畫飛鴻於其上。虎皮車，赤質，曲壁，中載虎皮旌，以絳帛為之，緣以赤，畫虎皮於上。貔貅車，赤質，曲壁，旌以絳帛為之，緣以赤，畫貔貅於上。其轅皆一。

The five carriages. In the first year of the Xuanhe reign, the Ritual Design Bureau reported to Emperor Huizong: "The old guard-of-honor records list the white egret, luan-banner, and leather canopy carriages, but their designs are not ancient. The Qu Li states: "If water lies ahead, carry the green banner; if dust rises ahead, carry the crying-kite banner; if chariots and horsemen approach ahead, carry the flying-wild-goose banner; if a military commander goes before, carry the tiger hide; if fierce beasts lie ahead, carry the pixiu banner. When the lord of ten thousand chariots goes forth, the five carriages must always be carried, to warn the people. Yet the green banner, crying kite, flying wild goose, and pixiu were jumbled among the white egret and luan-banner carriages—not in keeping with ritual. We propose to array the five carriages in succession along the central road, followed by the Honoring Virtue Carriage, and the procession will then be complete." The green banner carriage was red in substance with curved walls; it bore a green banner of deep-red silk emblazoned with blue birds at the center. The crying-kite carriage was red in substance with curved walls; it bore a crying-kite banner of deep-red silk painted with a crying kite at the center. The flying-wild-goose carriage was red in substance with curved walls; it bore a flying-wild-goose banner of deep-red silk painted with a flying wild goose at the center. The tiger-hide carriage was red in substance with curved walls; it bore a tiger-hide banner of deep-red silk bordered in red and painted with a tiger hide at the center. The pixiu carriage was red in substance with curved walls; its banner was of deep-red silk bordered in red and painted with a pixiu. Each had a single yoke.

涼車，赤質，金塗銀裝，龍鳳五采明金，織以紅黃藤，油壁，緋絲絛龍頭，梅紅羅褥，銀螭頭，穗球，雲朵踏頭，蓮花坐，雁鉤，火珠，門遝，钅屈鉞，頻伽，大小鐶，駕以橐駝。省方在道及校獵回則乘之。

The cooling carriage was red in substance with gold-plated silver fittings and dragon-and-phoenix five-color bright gold, woven with red and yellow rattan and oil-painted walls; it bore scarlet silk-cord dragon heads, plum-red gauze cushions, silver chi-dragon heads, tassel balls, cloud-pattern tread heads, lotus seats, wild-goose hooks, fire pearls, door latches, sa-yue ornaments, kalavinkas, and large and small rings, and was drawn by camels. It was used on provincial tours while traveling and when returning from the hunt.

相風烏輿，上載長竿，竿杪刻木為烏，垂鵝毛筒，紅綬帶，下承以小盤，周以緋裙，繡烏形。輿士四人。

The wind-measuring bird carriage bore a long pole; at its tip stood a bird carved from wood, with goose-feather tubes and red ribbon sashes hanging down; a small dish supported it below, and a scarlet skirt embroidered with bird forms encircled it. Four bearers attended it.

行漏輿，隋大業行漏車也。製同鍾、鼓樓而大，設刻漏如稱衡。首垂銅缽，末有銅象，漆匱貯水，渴烏注水入缽中。長竿四，輿士六十人。

The moving clepsydra carriage derived from the Sui Daye moving clepsydra carriage. Its design matched the bell and drum towers but on a larger scale, with a graduated clepsydra set like a steelyard balance. A bronze bowl hung at the front; a bronze elephant stood at the rear; a lacquer case held the water, and a siphon bird poured it into the bowl. It had four long poles and was attended by sixty bearers.

十二神輿，赤質，四門旁刻十二辰神，緋繡輪衣、絡帶。輿士十二人。

The twelve spirit carriage was red in substance; the twelve zodiac deities were carved beside its four doors, with scarlet embroidered wheel covers and luo belts. Twelve bearers attended it.

交龍鉦、鼓輿各一，皆刻木為二青龍相交，下有木台、長竿，一掛畫鼓，一掛金鉦，上皆有緋蓋，亦繡交龍。輿士各二人。中興後，相風、行漏、十二神、鉦鼓四輿，悉省去。

There was one interlocking-dragon gong carriage and one drum carriage; each was carved from wood as two azure dragons interlocking, with a wooden platform and long pole below; one hung a painted drum and the other a golden gong; both bore scarlet canopies embroidered with interlocking dragons. Each was attended by two bearers. After the Restoration the wind-measuring, moving clepsydra, twelve spirit, and gong-drum carriages—all four—were entirely cut from the procession.

鍾、鼓樓輿各一，本隋大駕鍾車、鼓車也。皆刻木為屋，中置鍾、鼓，下施木台、長竿，如鉦、鼓輿。輿士各二十四人。

There was one bell tower carriage and one drum tower carriage, originally the Sui great-procession bell carriage and drum carriage. Each was carved from wood into a house shape with a bell or drum set within, and a wooden platform and long pole below, like the gong and drum carriages. Each was attended by twenty-four bearers.

行漏輿、十二神輿、交龍鉦鼓輿、鍾鼓樓，舊禮無文，皆太祖開寶定禮所增。

The moving clepsydra carriage, twelve spirit carriage, interlocking-dragon gong-drum carriage, and bell-drum towers had no precedent in the old rites; all were additions made when Emperor Taizu established the rites in the Kaibao era.

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