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> A note on what this is: an essay built on a single idea — that calligraphy is a portrait of the person who holds the brush — traced across the emperors and princes of the Qing dynasty. It begins with a scroll I saw in Shimonoseki, Japan, and ends with Kawashima Yoshiko’s father. Related pieces: [Li Hongzhang — The Scroll at Shimonoseki], [Prince Su (Shanqi) — The Qing Royal Who Chose Japan], [Kawashima Yoshiko], [Pujie and Saga Hiro —…

Four Words That Break What English Does to a Chinese Court — notes from translating a Warring States life I spent several weeks writing about a woman who rose from the entertainer households of Handan to become Queen Dowager of Zhao, and then helped destroy the state by having its finest general killed. She died around 228 BCE. History calls her the Chang Consort. Writing her in Japanese was difficult. Writing her in English turned out to be a different…

  This is a companion to [The tiny gold seal Japan nearly died to fetch], where we watched a “Son-of-Heaven system” hand out recognition at the edge of the world and let the periphery sort itself into a hierarchy for free. Here we watch the same machine run inside the palace walls. A hereditary slave could rise to become the mother of an emperor — the woman the drama Story of Yanxi Palace renders as Wei Yingluo was exactly such…

  This is a companion to [The Heirloom Seal of the Realm: the empty stone that ruled China for a thousand years]. That article looked at the center — the jade in which the Son of Heaven held the whole Mandate. This one looks at the far rim. What a little island at the outermost ring of that world crossed a deadly sea to fetch was not “the Mandate” at all, but something much smaller: mere *recognition*. And the gap…

This article continues from [The He Shi Bi (the jade that became the Heirloom Seal)]. The jade once guarded at the cost of lives was recut into the Chuanguo Xi — the Heirloom Seal of the Realm, the object that declared its holder the rightful Son of Heaven. For a thousand years it was seized, chipped, hidden, and at last lost forever. Why did emperors crave a single stone so badly? And why do replicas still sell today? This is…

  **A note before we begin.** This is not a defense, and it is not an indictment. The Manchu–Mongol Independence Movement was inseparable from Japan’s expansion onto the Asian mainland; from China’s point of view, it was part of an invasion. I do not erase that context. What I want to do here is set the labels down for a moment — “traitor,” “spy,” “puppet” — and return four caricatures to being human beings caught in the collapse of an…

Two of the most beloved Chinese historical dramas — Empresses in the Palace (The Legend of Zhen Huan) and The Legend of Mi Yue — open and close each episode with songs that are far more than background music. In Chinese drama, the theme is a distilled statement of the whole story, and these are some of the finest ever written. Below is a short guide to each: what the song means, and the centuries-old poetry hidden inside it. (Each…

> Part of the C-drama song cluster.  it explains the song’s meaning rather than reproducing the lyrics. The older poems quoted (the Sixth Dalai Lama’s couplets and a Japanese court poem) are centuries old and freely quotable. — The 2011 Chinese time-travel romance Scarlet Heart (步步惊心, Bù Bù Jīng Xīn; based on Tong Hua’s novel, and known in Japan as Kyūtei Jokan Jakukei) is carried by a duet that aches from its first note: “Yi Nian Zhi Zhuo” (一念执着, “one…

> Late Qing Dynasty Series｜Emperors　The Xianfeng Emperor > Reigned 1851–1861 (10 years) · Born 1831 · Died 1861, age 31 > > ※ This article focuses on the financial and structural collapse of the Qing under the Xianfeng Emperor. For the emperor as a man — the rigged succession, his dependence on the future Cixi — see the companion piece [The Rise of Cixi: How a 25-Year-Old Concubine Came to Rule the Qing]. — “Income could no longer cover expenditure”…

“Full Moon” (Mǎn Yuè): The Meaning Behind The Legend of Mi Yue’s Theme Song When the Chinese historical drama The Legend of Mi Yue (芈月传) begins, the first thing you hear is this song — “Full Moon” (满月, Mǎn Yuè). Over the sound of the guzheng (a Chinese zither) and the breathy paixiao (panpipes), a melody unfolds that holds sorrow and warmth at the same time. Even before the story starts, the music already tells you what kind of tale…

If you found your way here from the C-drama Legend of Mi Yue, you may already know the line “so-called the one I long for, on the far side of the water.” It comes from a poem some 2,500 years old — “Jianjia” (蒹葭, “The Reeds”), from the Shijing, or Book of Songs, China’s oldest collection of poetry. Its most famous opening lines are: 所謂伊人，在水一方 Suǒ wèi yīrén, zài shuǐ yī fāng “The one I long for is somewhere across…

If you’ve watched the Chinese historical drama Legend of Mi Yue (芈月传), you’ll remember the quiet, aching melody that closes each episode. That song is “Yiren Rumeng” (伊人如梦) — roughly, “the beloved, like a dream.” Sung by Huo Zun, composed by A Kun, with lyrics by He Qiling, it gently carries the turbulent life of Mi Yue, the woman who rose to become Queen Dowager Xuan of the state of Qin. But behind this modern song lies something far older.…