Hanfu accessories (Chinese: 汉服配饰; pinyin: hànfú pèishì; lit. 'hanfu accessories') refers to the various form of fashion accessories and self-adornments used and worn with hanfu throughout Chinese history. Hanfu consists of many forms of miscellaneous accessories, such as jewellery, yaopei (lit. 'waist ornaments'), ribbons, shawls, scarves, and hand-held accessories, etc.

Chinese jewellery, including Chinese carved jade jewellery, often features Chinese symbols and iconography, and auspicious symbols and images, which are themselves rooted in Chinese culture, legends and mythologies, and philosophy. These symbols often reveal the Chinese traditions which have guided the Chinese civilization for thousands of years and which currently continue to remain in use in present-days.

Jade culture is an important aspect of Chinese culture, reflecting both the material and spiritual culture of the Chinese people. Jade is deeply ingrained in Chinese culture and played a role in every aspect of social life; it is also associated with positive qualities and aspects such as purity, excellence, and harmony. Jade is even more valued than gold in Chinese culture. Traditionally, jade jewellery especially often expressed positive sentiments and good wishes; and, jade itself were often gifted on important and/or special occasions such as wedding and childbirth.

Silver was another common materials in the making of Chinese ornaments and ritual items since ancient times; it also holds an irreplaceable place in Chinese culture and plays a significant role in being a carrier of Chinese traditional culture and in preserving ancient Chinese cultural heritage. Moreover, according to Chinese belief, silver could be used to avoid evil spirits and thus wearing silver ornaments and jewelries was believed to bring good luck to its wearer.

Other materials used in traditional Chinese jewellery making were: gold, shanhu (lit. 'coral'), zhenzhu (Chinese: 真珠; lit. 'pearl'), lüsongshi (lit. 'turquoise'), chensha (lit. 'cinnabar'), niugu (lit. 'ox bone'). Niugu was used as an alternative to a rare material known as xiangya (lit. 'ivory'). Zuanshi (lit. 'diamond'), on the other hand, was typically not used in traditional Chinese jewellery as it considered too bright and vulgar; and thus, it was generally avoided.

Jade bracelets have been favoured by Chinese women since ancient times regardless of social ranking and has been one of the most important form of jewellery in Chinese culture. According to ancient Chinese beliefs, jade bracelets should be worn on the left hand as it is closest to the heart. Chinese women typically had at least three jade bracelets throughout her lifetime: the first one was given by her father as a little girl, the second is given to the girl by her mother when she gets married and which will be passed from generation to generation as a family heirloom, and the third one (regardless of the price and the quality) is given to the girl by her lover to express his love and his desire to protect her for a lifetime, which led to the saying, "no bracelet can't get married". Another jade bracelet may be given by a mother-in-law to her new daughter-in-law when she gets married. There is a belief in China which says that if a jade bracelet breaks, the death of its wearer has been supplanted by the broken bracelet. Jade bracelets continue to be prized and worn nowadays. It is also currently used as a form of fashion accessory used by hanfu enthusiasts.

Earrings in China originated in the Neolithic period; however, they were first used as decorations or amulets. A form of popular earring which pierced the earlobe was the er dang (Chinese: 耳珰) which became popular during the Warring States Period and the Qin dynasty. Ancient er dang were made out gold, jade, silver, ivory, marble, glass and crystal. Glass er dang became popular from the Han dynasty to the Southern and Northern dynasties due to its bright colours and due to its glittering characteristics and translucence.

In the Zhou dynasty, when in the form of jade pendants, the earrings could also be used as decorations to be hanged on guan, a form of Chinese headgear; they were especially used on the mianguan of the Emperor where they became known as chong er (lit. 'ear plugs'). When used on headgear, the chong er were a representation of self-discipline and introspection, both of which were important required characteristics in Chinese culture; the purpose of these jade pendants decorations thus reminded its wearer that he should avoid hearing and listening to anything without careful consideration and avoid slander while simultaneously remind the wearer that he should show humility and listen to good suggestions. These jade pendants gradually spread from the Emperor to officials and scholars, to women who would then hang it to their Chinese hairpins. The er dang attached to hairpins were used by empresses, imperial concubines and princesses during the Han dynasty allowing the er dang to hung down beside their two ears.