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Among the many artifacts displayed in the exhibition Birds & Beasts: Wearing Honour and Order in the Qing Dynasty, one roundel rank badge (fig.1) stands out—not just for its intricate design, but for its historical significance as a product of Yuan Shikai’s brief and controversial reign following the fall of the Qing dynasty (1644-1911). In the traditional Chinese dress system, the represented the highest level of ceremonial decoration, reserved exclusively for emperors, princes, and select high-ranking aristocrats. Originating from the Rites of Zhou, these symbolized the rule of the Son of Heaven. 

This roundel is a novel design created by Yuan Shikai (1859 - 1916), combining elements from earlier visual traditions. The roundel form was previously reserved for members of the imperial family (fig.2), Yuan appropriated it to assert his identity as emperor. However, unlike the traditional arrangement where the Twelve Ornaments were distributed across the surcoat, Yuan concentrated them within a single roundel. During the Ming and Qing dynasties, princes and lower-ranking royals usually wore a simplified version of the design, omitting the sun, moon, and stars, as these symbols relate to the . According to artifacts held by the , this particular roundel design was worn by officials during a grand sacrificial ceremony, essentially a rehearsal for Yuan Shikai’s coronation. The surcoat featured nine roundels placed on the shoulders, sleeves, back, and lower front and back panels. While we lack visual records of Yuan’s own ceremonial attire, historical texts state that he used the full Twelve Ornaments distributed across twelve roundels. This bold display underscored his ambition to fully embody the role of emperor, presenting himself as the Son of Heaven endowed with divine right to rule.

Nevertheless, this grandiose vision clashed with the shifting political climate. In the wake of the Qing dynasty’s collapse, republican ideals emphasizing popular sovereignty were gaining traction. Yuan’s imperial aspirations, out of step with the times, quickly unraveled—his reign as emperor lasted only 83 days before it collapsed, leaving his claim to the throne a fleeting political farce.

References:

Shen, Congwen. Zhongguo Gu Dai Fu Shi Yan Jiu. Reprint, Shanghai: Shanghai bookstore publishing, 2005.

Williams, C. A. S. 2006. Chinese Symbolism and Art Motifs: A Comprehensive Handbook on Symbolism in Chinese Art through the Ages. 4th rev. ed / with an introduction to the new edition by Terence Barrow. Tuttle Pub, 2006.