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hunxi-after-hours · 3 years

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Hi! I got into the QQ donghua and it's partly thanks to your posts! Now I want to recommend it to some friends because frankly, the donghua (and the novel and audio drama) is still really underrated. But I don't know how to explain why it's a must-watch. Surely you must know how to express it better and explain the aspects that make it good. I saw your post on how it differs from the novel and why it's not necessarily a bad thing, but this time I wanted to ask: how would YOU sell it to others?

aw SHUCKS, every new person who gets into 《千秋》 brings me so much joy because it feels like proof that I’m not losing my mind over nothing

hmmmm I mean when it comes to pitching shows/books/media at people, I always feel like it depends on who I’m trying to seduce into consuming said text. will pretty boys in period costume be enough for them, or do they need a strong plot hook? are they here for messy, complicated sibling dynamics, or do they want some complex political intrigue and plots within plots within plots? do they like reading about soulmates who were destined for each other, oh my god, or do they not really care for romance at all?

(linking my inside cover flap-summary here because this is the best introduction to the premise I’ve written)

part of the reason why I enjoyed 《千秋》so much is precisely because it’s such a well-crafted narrative in many of these respects. It’s got compelling and intertwined central ideological themes (deconstructing “good” and “evil,” the nature of trust and forgiveness, optimism vs. pessimism and how that manifests in your actions and conduct) that play out through a cast of fascinating characters (Shen Qiao and Yan Wushi, of course, but also Bai Rong, Yu Ai, Guang Lingsan, Duan Wenyang, Chen Gong); it also has delightfully rich and complex worldbuilding that weaves jianghu politics masterfully with imperial governance and inter-kingdom rivalries. Meng Xishi’s ability to balance the scope of the narrative playing out at large (the rise and fall of dynasties, jianghu sects, political alliances) with the individual journeys of each character is honestly quite rare--in a lot of stories, one of these narratives will eclipse the other, but 《千秋》 makes political advancement crucial to Shen Qiao’s personal journey, and I find that both refreshing and compelling.

THAT’S ALL VERY ABSTRACT THOUGH and some people come to 《千秋》 because they love the dynamic between “exhausted main character who is a Good Person looking for some peace and quiet” and his “shameless love interest who’s Looking for Chaos, And If He Cannot Find It, He Will Create It.” I’d be surprised if most people didn’t come out of this book with a love-hate relationship with Yan Wushi (we love him for his sick burns and his sense of style, we hate him for... being an asshole 95% of the time). The main relationship between Shen Qiao and Yan Wushi is an actively challenging part of the text--while wading through the first 50 chapters, I had to fall back a lot on my faith that the author would do this relationship justice, because... yeah, early Yan Wushi - Shen Qiao interactions are a lot, and not necessarily in a good or fun way. It takes a lot of trust in the author to keep going forwards, and I think that is both a draw and a drawback to 《千秋》. It’s not your training wheels wuxia danmei novel, if you will.

so in a sense, the lack of storybook neatness to the narrative (we don’t get a nice, bow-tied ending on nearly any plot thread; almost all of it concludes on an open-ended “the adventure continues!”) is part of what makes the text feel... well, ‘realistic’ isn’t the right word, but ‘measured,’ perhaps. ‘Earned.’ Because the characters fight for every single accomplishment they make--nothing is given to them on a silver platter, nothing bestowed upon them by the hand of narrative fate, and nothing is ever, truly resolved because, well, they’re not dead yet, and life continues.

THIS IS ALL STILL VERY ABSTRACT let me do bullet-points now:

why I love the novel:

the level of detail in the book is insane--some books work really well for screen adaptations because the dialogue is the strongest part of the text, but 《千秋》’s narration and descriptions are hardly slacking. the fight scenes ALONE--

the author has done a lot of research into the historical time period she’s chosen to set her novel in, and it’s super cool to see her notes!

the book has more time/space in its narrative for moments of emotional recovery (especially post-betrayal) and just like, slice-of-life moments that I really love

the book is much stronger thematically and I respect Meng Xishi so much for sticking to her guns--again, Yan Wushi is an actively challenging character, and she refuses to soften him (or Shen Qiao) just to short-cut her way to a conclusion

why I love the audiodrama:

this is like, the most perfect adaptation of a danmei novel I have ever consumed I stg

the pacing is exceedingly well-done and the music!!! the music <3

the fight scenes work?? even though it’s not visual?? shout-out to post-production sound design

the actors are phenomenal and the director gets it--the entire cast and crew put a lot of thought and work into this project and it shows!!!

the behind-the-scenes material is both hilarious and insightful, and I regularly re-listen to the bloopers and interviews because they never fail to bring me joy

I would trust Ke Muqing with my LIFE

why I love the donghua:

I know the donghua gets a lot of flak for being 3D but it is really good for its style, you just gotta get used to a different set of aesthetics

the fight scenes aaaaaaa

look I love a good live-action fight scene but when the abilities of your characters skate on the border of the supernatural, animation just does that better than live action, sorry

the donghua team is also killing it with the microexpression game

and lighting and textures??? truly, how dare they

the voice acting team is almost the same as the audiodrama!! which is a small detail but makes a huge difference for me--voices can throw me off a lot when it comes to characters, and once again, I would trust Ke Muqing with my life

I’ve been listening to the soundtrack of this show on repeat for the past week, and one of their composers is 潮汐-tide, who you might know from the best song on the CQL companion album

episode 6 is SO good what the heck. what the heckin heck

ahahaha I have NO IDEA if that was helpful at all to you anon, but there you have it, my very messy feelings on why I like this text in all its various incarnations

#it's also hard to promote this book when there isn't a convenient translation you can link people to! so I haven't even tried #idk I kind of love not having to deal with people fighting me about moral or character interpretations with this book #because this book is VERY morally gray and unrepentant about it #so I almost feel that the people who DO come to this book do so with an awareness and solid grounding in critical thinking #an expanded tolerance for material and a willingness to trust #that can be--sadly--rather rare in certain circles

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angieloveshua · 3 years

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Therefore, he took the momentary lull in the conversation as an opportunity to calm his state of mind, and said, “The Huang family’s birthday banquet is open to everyone, so it is natural that Guang-zongzhu is able to attend if he so chooses. This humble Taoist is not the master of this residence, so it is not within my authority to question your presence. However, I cannot help but inquire on why Yan-zongzhu is also present?”

Guang Lingsan turned his gaze at Yan Wushi, and asked with a smile, “Shouldn’t Yan-zongzhu give Shen-daozhang an explanation?”

To his surprise, Yan Wushi sneered, “Who is this person? Does this venerable one need to recognize him?”

As if a basin of icy water was doused over his head, Shen Qiao’s heart suddenly felt cold.

YOU MUST BE JOKING.

#qian qiu #thousand autumns #meng xi shi #梦溪石 #千秋 #yanshen #yan wushi #shen qiao #NO PUEDE SER #NOOOOOOOO

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fuyonggu · 3 years

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Li Deyu’s “Thoughts on Emperor Zhao of Han”

人君之德，莫大於至明，明以照姦，則百邪不能蔽矣，漢昭帝是也。年十四而知燕王書詐，後有譖霍光者，上輒怒曰：「敢有譖毀者坐之！」周成王有慙德矣。高祖、文、景，俱不如也。成王聞管、蔡流言，覩召公不說，遂使周公狼跋而東，《鴟鴞》之詩作矣。漢高聞陳平去魏背楚，欲捨腹心臣。漢文感季布使酒難近，罷歸股肱郡；疑賈生擅權紛亂，欲疏賢士。景帝信讒誅鼂錯，兵解遂戮三公。所謂執狐疑之心，來讒賊之口。使昭帝得伊、呂之佐，則成、康不足侔矣。惜哉！霍光不學亡術，未稱其德。然輕徭薄賦，與人休息，匈奴和親，百姓充實，議鹽鐵而罷榷酤，信任忠臣之效也。纔弱冠而殂，功德未盡，良可痛矣。

"No virtue is more vital for the sovereign than discernment; when one is discerning enough to see through mischief, a whole host of villains will not be able to conceal the truth. Emperor Zhao of Han was such a sovereign. At the tender age of thirteen, he could yet perceive that the supposed letter from the Prince of Yan was a forgery, and whenever people later tried to speak ill of Huo Guang, Emperor Zhao would always fume, 'Anyone who dares to slander or defame this man will be held accountable!'

"King Cheng of Zhou was not so virtuous as he, nor could Emperors Gao, Wen, or Jing have measured up to him. King Cheng lent an ear to the slanders of Guanshu and Caishu while spurning the advice of the Duke of Shao, causing the Duke of Zhou to scamper off to the east and express his woe in 'The Owl'. Emperor Gao gave credence to the accounts of Chen Ping having 'abandoned Wei and betrayed Chu', and was thus prepared to cast out one of his closest ministers. In his haste to presume that Ji Bu was 'given to drinking and hard to keep close', Emperor Wen would have dismissed and sent home the viceroy of a vital commandery, and indulging in suspicions that Scholar Jia (Jia Yi) meant to 'usurp authority and cause confusion', he would have distanced himself from a worthy gentleman. Emperor Jing gave a slanderer his trust and Chao Cuo the axe, and once the threat of war had lifted he took the life of one of his Three Excellencies (Zhou Yafu). It is just as they say: one who nurses a doubtful heart will attract the mouths of liars.

"If only Emperor Zhao had had a helper like Yi Yin or Lü Wang (Jiang Ziya)! He would have surpassed even the reigns of Kings Cheng and Kang of Zhou. Such a shame! His regent Huo Guang lacked learning and was bereft of skill, nor were his virtues worthy of praise. And yet, during his stewardship, he lightened the burden of corvee labor and lowered taxes, gave the people rest and comfort, arranged peace and kinship with the Xiongnu, brought the masses prosperity and plenty, and oversaw the salt and iron discussions and abolished the monopoly on wine. Here was the model of a trustworthy servant and a loyal subject.

"Yet before he could be capped as a man, before his virtues and achievements could reach their full expression, Emperor Zhao expired. Isn't it painful to consider?"

-Li Deyu

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bookofjin · 4 years

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Lost history books of the Sixteen Kingdoms

The Suishu bibliography lists 27 existing books under the heading Histories of Hegemons, and an additional 6 that had been lost, for altogether 33 books, 346 scrolls:

Book of Zhao, 10 scrolls, also named Collection of the Two Shi. Records the affairs of Shi Le. Compiled by bogus Yan's Senior Clerk to the Grand Tutor, Tian Rong.

Biographies of the Two Shi, 2 scrolls, compiled by Jin's Army Advisor to Palace Gentlemen of the North, Wang Du.

Affairs in the Time of the Two Shi's Bogus Rule, 2 scrolls, compiled by Wang Du.

Han's Book, 10 scrolls, compiled by Chang Qu.

Treatise on the States on the Sunnyside of Hua [Huayangguozhi],10 scrolls, compiled by Chang Qu.

Liang had Records on Shu's Pacification, 10 scrolls, Former Affairs of Shu and Han's Bogus Officials, 1 scroll. Lost

Book of Yan, 20 scrolls, records the affairs of Murong Jun. Compiled by bogus Yan's Master of Writing Fan Heng.

Chronicle of Southern Yan, 5 scrolls, records the affairs of Murong De. Compiled by bogus Yan's Gentleman of the Masters of Writing, Zhang Quan.

Chronicle of Southern Yan, 6 scrolls, records the affairs of Murong De. Compiled by bogus Yan's Gentleman of the Palace Writers, Wang Jinghui.

Book of Southern Yan, 7 scrolls, compiled by Youlan Xiansheng [?].

Treatise on Yan, 10 scrolls, records the affairs of Feng Ba. Compiled by Wei's Palace Attendant Gao Lü.

Book of Qin, 8 scrolls, compiled by He Zhongxi. Records the affairs of Fu Jian#.

Records of Qin, 11 scrolls, compiled by Song's General Within the Hall, Pei Jingren. Liang's Master of Account of Yong province, Xi Huiming annotated it.

Annals of Qin, 10 scrolls, records the affairs of Yao Chang. Compiled by Wei's Master of Writing of the Population of the Left, Yao Hedu.

Records of Liang, 8 scrolls, records the affairs of Zhang Gui. Compiled by bogus Yan's Supervisor of the Right, Zhang Zi.

Book of Liang, 10 scrolls, records the affairs of Zhang Gui. Compiled by bogus Liang's Assistant Officer Palace Gentleman to the Great General, Liu Jing.

Records of Xihe, 2 scrolls, records the affairs of Zhang Zhonghua, Compiled by Jin's Attendant Imperial Clerk, Yu Gui.

Records of Liang, 10 scrolls, records the affairs of Lü Guang. Compiled by bogus Liang's Composer Assistant Gentleman, Duan Guilong.

Book of Liang, 10 scrolls, compiled by Gao Daorang.

Book of Liang, 10 scrolls, a history of the Juqu state.

Chronicle of Tuoba Liang, 10 scrolls.

Verified Chronicle of Dunhuang, 10 scrolls, compiled Liu Jing.

Spring and Autumn of the Sixteen States, 100 scrolls, compiled by Wei's Cui Hong.

Compiled Chronicles, 11 scrolls.

Spring and Autumn of the Warring States, 20 scrolls, compiled by Li Gai.

Records of Han and Zhao, 10 scrolls, compiled by He Bao.

Records of the Tuyuhun, 2 scrolls, compiled by Song's Marquis of Xinting, Duan Guo.

Liang had Biography of Zhai Liao, 2 scrolls; Outlined Records of the Various States, 2 scrolls; Compiled Year Records of After Yongjia, 2 scrolls; Biography of Duan Ye, 1 scroll. Lost.

Records of Tianqi, 10 scrolls, records the affairs of Emperor Yuan of Liang's son Xu's occupation of Xiang province.

As you can see, most of these deals with one or more of the Sixteen Kingdoms, some treating their subject matter as legitimate states, others, like those written by Jin authors, as usurpers.

Of these only Chang Qu’s Huayangguozhi exists today as a complete book. For some of the others we have some fragments preserved as quotations in other books, others I believe are now entirely lost.

Cui Hong’s Spring and Autumn of the Sixteen States seems to have become the standard history of the period. This book was divided into sixteen chronological Chronicles, one for each state. I suspect that the name Sixteen Kingdoms/States was basically invented by Cui Hong as the name of his book, and that the answer to “Why sixteen?” is just that these were the states he had existing histories to base himself on (and he didn’t want to write about his own state of Dai/Wei focused on illegitimate usurpers.)

Unfortunately the Spring and Autumn of the Sixteen States is now also lost, perhaps because the Jinshu supplanted it as the standard history of the era. However, while we no longer have the full text of Cui Hong's book, we do have a some idea of what it contained. It is extensively quoted in the Taiping Yulan (though some fragments show some evidence of Tang era “contamination”.) It appears to have been the main source of the era for both the Jinshu and the Weishu, and was also used by Sima Guang in the Zizhi Tongjian (though it is not always possible to separate between where he has used it independently and where he is using the Jinshu.)

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angryinternetpizza · 4 years

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“Managing public health crises: the role of models in pandemic preparedness and Coronavirus Disease 2019 (COVID-19): A Perspective from China”

Text 1

Title of the Text: Managing public health crises: the role of models in pandemic preparedness

Author(s)of the Text: Seyed M. Moghadas, Nick J. Pizzi, Jianhong Wu, Ping Yan

Title of the Journal/Publication: Issue Online: 02 March 2009, Version of Record online: 02 March 2009, Editorial history: Accepted 3 February 2009. Published Online 3 March 2009.

URL or web address: https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1750-2659.2009.00081.x

Main Idea: Given the enormity of challenges involved in pandemic preparedness, design and implementation of effective and cost‐effective public health policies is a major task that requires an integrated approach through engagement of scientific, administrative, and political communities across disciplines. There is ample evidence to suggest that modeling may be a viable approach to accomplish this task.

Evidence that supports the main idea (provide at least two): There will be little time for thoughtful and rapid reflection once an influenza pandemic strikes, and therefore preparedness is an unavoidable priority. Modeling and simulations are key resources in pandemic planning to map out interdependencies and support complex decision‐making. Models are most effective in formulating strategies for managing public health crises when there are synergies between modelers, planners, and policymakers.

Text 2

Title of the Text: Coronavirus Disease 2019 (COVID-19): A Perspective from China

Author(s) of the Text: Zi Yue Zu, Meng Di Jiang, Peng Peng Xu, Wen Chen, Qian Qian Ni, Guang Ming Lu, Long Jiang Zhang

Title of the Journal/Publication:

URL or web address: https://pubs.rsna.org/doi/full/10.1148/radiol.2020200490#

Main Idea: Radiologists’ understanding of clinical and chest CT features of coronavirus disease 2019 (COVID-19) will help detect the infection early and assess the disease course.

Evidence that supports the main idea (provide at least two): In December 2019, an outbreak of severe acute respiratory syndrome coronavirus 2 infection occurred in Wuhan, Hubei Province, China, and spread across China and beyond. On February 12, 2020, the World Health Organization officially named the disease caused by the novel coronavirus as coronavirus disease 2019 (COVID-19). Because most patients infected with COVID-19 had pneumonia and characteristic CT imaging patterns, radiologic examinations have become vital in early diagnosis and the assessment of disease course. To date, CT findings have been recommended as major evidence for clinical diagnosis of COVID-19 in Hubei, China. This review focuses on the etiology, epidemiology, and clinical symptoms of COVID-19 while highlighting the role of chest CT in prevention and disease control.

“Managing public health crises: the role of models in pandemic preparedness and Coronavirus

Disease 2019 (COVID-19): A Perspective from China”

Influenza pandemics have traditionally been detrimental to mankind with substantial morbidity , mortality and socio-economic effects. The 1918–1919 pandemic, the so-called "mother of all pandemics," caused more than 50 million deaths from myriad infections worldwide. Today, 40 years after the last pandemic in 1968, the planet could be on the edge of another big global pandemic. , with a toll that could surpass that of the 1918-1919 pandemic. While the magnitude of the next influenza pandemic can not be determined with precision, determining strategies to effectively minimize the spread of disease is an important priority in response to this global threat. The workshop brought together public health specialists, key decision-makers and modelers of infectious diseases to: recognize the strengths and shortcomings of statistical models and find ways to strengthen their predictive potential that would potentially affect policy effectiveness; and have an opportunity to address the target elements of the Pandemic Strategy and define important factors that influence policy decision-making.

A sustained outbreak of pneumonia associated with a novel coronavirus, severe acute respiratory syndrome coronavirus 2, was recorded in Wuhan, Hubei Province , China, in December 2019. In the weeks that followed, diseases spread across China and other countries around the world. Chinese public health, healthcare and science institutions have taken steps to ensure prompt identification of the new virus and to distribute the viral genome sequence around the world. The disease was declared a Public Health Emergency of International Significance by the World Health Organisation on 30 January 2020. On 12 February 2020, the WHO referred to Coronavirus Disease 2019 as the disease caused by the novel coronavirus (COVID-19). A group of international experts, with a range of expertise, have worked with Chinese counterparts to try to contain the outbreak. In a preliminary paper, a full viral genome review showed that the virus shared 88 per cent sequencing identity with two bat-derived SARS-like coronaviruses, although more distant from the SARS coronavirus. As a result, the virus was initially named the novel coronavirus in 2019. Coronavirus is an enveloped and single-stranded ribonucleic acid known for its solar corona-like appearance due to 9–12 nm-long surface spikes. On 11 February 2020, the Coronavirus Research Group of the International Committee on Virus Taxonomy eventually named it as SARS coronavirus 2, based on phylogeny, taxonomy and existing practice. Shortly afterward, the WHO responded to the disease caused by the coronavirus COVID-19. Based on current evidence, it appears that SARS coronavirus 2 may initially be carried by bats and may have been transmitted to humans by means of pangolin or other wild animals sold at the Huanan Seafood Market, but subsequently spread via human-to - human transmission.

As a matter of fact , the two papers are related to the subject. This pandemic coronavirus is the biggest public health epidemic of our time and the largest threat we have encountered since the Second World War. Since its appearance in Asia late last year, the virus has spread to all continents except Antarctica. But the pandemic is far more than a health crisis, it is also an ongoing socio-economic disaster. Every nation needs to intervene quickly to plan, adapt and recover.

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myhouseidea · 4 years

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Mansion Liu is a project designed by Bob Chen Design Office in 2019, covers an area of 500m2 and is located in Hangzhou, China. Photography by Wen Office.

“What we chose in life tells about us.” If we break all the walls, a “home” typically displays items that embody the owner’s memory. Visiting one’s home is like going through one’s past and walking into their emotions. To simplify the space is to let the articles organize their own language, and also because we believe that “this person” is the best style interpretation. In addition to function as a “social place,” a modern “home” should also be a “return” type of place for reflection, retreat and a degree of introspection. These two different requirements are interwoven in the spatial presentation of “House Liu”. The owner Liu, a professional advertiser, is telling us about the story of his house from 0 to 0.5.

To immerse myself in design is like a vacation. Sometimes, when a group of old men discuss where to go on holiday, Bob always looks like as if he doesn’t listen and spits out such words. Everyone else was speechless. Though when we finally set out, he always shows up, ends up having fun like a child. Bob and I have known each other for almost fifteen or perhaps more years and have been working our way through our own career in Hangzhou together. We are good friends and at the same time we learn from each other. He’s the husband of my wife’s best friend, and father of my son’s playmate.

I’ve always said that some people are “born to be a designer”. I assume that Bob is one of those talented people. My own company is also involved in design industry. I’ve met too many designers, but I haven’t seen much talented people so far. Bob’s father is a carpenter. He has been observing lines since he was a little boy. He is extremely sensitive when it comes to corners and lines. I thought that if such person failed to go to university, there would be a skilled “Carpenter Chen” in the seaside fishing village.

When I need a designer for my own house, the first name that came up to my mind is Bob. No one enjoys to do design more than he does. Besides, he may think more about design than the owner of the house. “Bob, please tell me a price that allows me to push you the deadline with”. He’s probably the most suitable person to trust with for a lazy person like me!

About ten years ago, my obsession with used articles began, and started to buy a lot of them, and gradually developed my “guilty pleasure”. My office and my friends’ warehouses are filled with weird things that I have collected. And as a result, I started to realize what I really like, and more or less I found some value and the so-called “sense”.

Buying a big house to store these things was the first idea. I believe in my own taste of interior that is why I have designed more than 100 times in my mind already.

At first, according to my professional habits, I built a file folder on the desktop of my PC and threw in my favorite pictures, including structure, function, technology, decoration and details. In fact, due to my non professional background, the more I look at it, the more doubt I have about my own ideas, and I began to understand that a perfect home cannot be sewn up by fragmentary points and surfaces, and space design is not like a jigsaw puzzle, so I went for Bob and said, “come on and help out.”

Bob has made remarkable achievements in graphic design. After moving up to work on space design, he has become famous today. I know the ups and downs of his exploration process as a close friend for many years. I have worked with him on two small projects of my own before. I know very well that in space design, design talent is a plus, not a decisive effect. Experience and knowledge could not be gained in one day. The process requires patience and Bob is a patient enough.

One day we were drinking tea. I said to him that what we prefer actually shares the same style. “It’s all about durability and timeless beauty, isn’t it?” he smirked.

As for scale, that’s the first thing Bob will consider, and it is after that he will move on to the next step to think about details. To consider the fluency and accessibility of the whole space, and reasonable circulation is as important as considering design details. As for scale, Bob has his own feelings and intuitions, and it only took us 15 minutes to make the final decision after the plan of our home came out.

On site construction Mr. Dai looked at my plan and kept muttering, “we need to build the foundation well, do a good job in the foundation”. He understands that good results come from stable and firm structure. Dai has been helping me with construction for ten years since my first office. He is stout and considerate. Born in rural areas, yet always with great enthusiasm for space, which is really rare nowadays, and now his construction team has become exclusive of many famous designers in Hangzhou.

Thanks to Bob’s graphic design background, each line and point makes sense in space. The more I talk with him, the more I realize that as long as we ensure the completion of structural lines, the visual effect will not deviate. We were delighted to see that the floor of basement came out well, it is horizontal and vertical, clean and neat. I think this is the so-called “effort” that cannot be seen but can be felt.

Project Schedule: 2019.7 Project Area: 500m2 Project Address: Hangzhou, China Project Client: Guang LIU Design Unit: Bob Chen Design Office Chief Designer: Bob CHEN Design Management: Bing HU, Yunluan SHEN Interior Design: Chao WANG Furniture Design: Chao WANG, Yan RU Landscape Design: Shenshan Landscape Design Construction Team: Team Xinzhe DAI Author of Article: Guang LIU, Danni XUE Photography: Wen Office Furniture Brand: TOUCH FEELING, Ligne Roset, U+, SoLIFE, Philippe Starck, Louis Poulsen, GALLERY SOHE, Line Park, Huah Lightings

Mansion Liu by Bob Chen Design Office Mansion Liu is a project designed by Bob Chen Design Office in 2019, covers an area of 500m2 and is located in Hangzhou, China.

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ericpoptone · 4 years

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Yao Su Rong (“姚蘇蓉“) is a Taiwanese singer and actress born on this day, 5 December, in 1946. Today she’s still best-known for her 1969 hit recording of “今天不回家” (“Today I Won’t Come Home”), the title track of a film of the same name. Her career was cut short at its peak by Kuomintang (KMT) authorities who revoked her license to entertain. Soon after she left to enjoy success in Hong Kong, and then Singapore (where she lives today).

Under the Japanese occupation of Taiwan (1895-1945), enka or, more broadly, ryūkōka was introduced to Tawain and with it, strains of western music like mambo, jazz, and country — albeit filtered through a Japanese sensibility. Many Taiwanese singers found pursued careers as enka singers in Japan. After the defeat of Japan in 1945, Taiwan became part of the Republic of China (ROC) — then engaged in a civil war with the Communist Party of China. After the defeat of the ROC, the KMT retreated to the island in 1949 and established a brutal, US-backed dictatorship. Under KMT rule, native Taiwanese culture was suppressed and Mandarin was promoted as the official language.

It took time for Mandarin-language pop to find favor with a mainstream Taiwanese. Along with artists like 謝雷 (Xie Lei) and his band, Lucky Trio, Yao began making inroads with music which drew upon enka, shidaiqu, and newer western sounds like beat and soul. Yao’s first records were released by Large World Records, a local Taiwanese label that primarily catered to American and Australian soldiers serving at military bases in Taiwan. Before Yao recorded for the label, they primarily released music by American and British artists like The Beatles, Skeeter Davis, The Supremes, and The Seeds (amongst others).

In 1967, Yao moved to Haishan Records. Like Large World, their early releases had been Taiwanese pressings of western releases, in the case of Haishan, releases by the likes of Dusty Springfield, Eddy Arnold, and Hank Williams (among others). By the second half of the 1960s, Haishan had begun releasing music by Hong Konger’s like 華怡保 (Ruby Wah) and 仙杜拉 (Sandra Lang), as well as Taiwanese acts like 于旋 (Yu Xuan) and The Phenix Sisters.

Yao’s first record at Haishan was composed by 李潔心 (Li Jie Xin), arranged by 林家慶 (Lin Jia Qing), but her collaborators over the next few years would be many — a fact which no doubt accounts for the stylistic variety of her large body of work. Some songs have cinematic, quasi-western strings and brass, others lean towards organ-driven rhythm & blues. All of it has the same sort of melodic, psychedelic funkiness that characterizes so much East Asian pop from that era — regardless of whether from Singapore, Korea, Japan, or elsewhere.

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Yao sang in a clear, passionate voice that — along with her penchant for her misty-eyed performances — earned her the nickname, “the Queen of Tears.” One of her hits was a Mandarin-language cover of the Japanese song, “負心的人” (“Cruel-Hearted Lover”). Not everyone was a fan, however, and the nation’s long-misruling dictator, Chiang Kai-shek, did not approve of weeping popstars or the danger of sentimental ballads inflaming the passion of his subjects. More than 80 of Yao’s songs were thus banned.

In 1968, she released the first of two albums backed by Li Sheng Yang‘s band, The Telstar Combo. In 1969, she released the first of several collaborations with the aforementioned Taiwanese singer, 謝雷 (Xie Lei). On 18 August 1969, Yao performed for an audience in Kaohsiung. They cried out for requests, in particular, “今天不回家.” Yao initially apologized and refused, as the song was amongst those banned by the authorities. Eventually, however, she gave in. Authorities at the performance were not amused. Yao refused to provide a playlist or issue an apology and so her license to perform was revoked. Afterward, she moved to Hong Kong.

In 1970, Yao began recording for a Hong Kong label, 樂風. There, and that year, she released her first of several collaborations with various others, including 陳寶玲 (Chen Bao Ling), 與蒋光超 (Jiang Guang Chao), 藍夢 (Lan Meng), 趙曉君 (Lily Chao), 青山 (Qing Shan), 奚秀蘭 (Stella Chee), 魏平澳 (Wei Ping Ao), 楊燕 (Yang Yan), and 張帝 (Zhang Di). Sorting out her discography is rather difficult due to its size, the multitude of re-releases, and my extremely remedial grasp of Chinese. I have, nevertheless, attempted to compile a fairly inclusive discography here of studio albums (although some are no doubt compilations and at least one, although attributed to Yao, features a handful of tracks sung by multiple artists).

DISCOGRAPHY

1966 – Oh Summer Wine 夢裡情侶 / 阿哥哥( 第二集 ) (Large World)

1966 – A Go Go 阿哥哥 ‎(Large World)

Yao Su Yong’s Highlight / A Go Go (Haishan Records)

1967 – 負心的人 (Haishan Records)

1968 – 偷心的人 / Yao Su Yong’s & The Telstar Combo (Haishan Records)

1968 – 臨別的一笑 + 關達拉美娜 (Haishan Records)

1968 – 聽我細訴 ‎(Haishan Records)

1969 – 今天不回家 / Yao Su Yong’s & The Telstar Combo (Haishan Records)

1969 – 跟你一起走 ‎(孔雀唱片)

1969 – [with 謝雷 (Xie Lei)] 安平回想曲 ‎(Haishan Records)

1969 – 紫丁香 ‎(Haishan Records)

1970 – 歌曲精選 (樂風)

1970 – [with 謝雷 (Xie Lei)] 恨你入骨 (樂風)

1970 – [with 與蒋光超 (Jiang Guang Chao)] 鳳還巢 (樂風)

1970 – [with 與蒋光超 (Jiang Guang Chao)] 小翠 / 雲翠仙 (Haishan Records)

1970 – 姚蘇蓉之歌 / 瘋靡港台星馬登台精選歌集 (Cartoon Record)

1970 – 電影明星”姚蘇蓉”歌曲精選 / Movie-Star “Yao Su Yong” Sings (樂風)

1970 – 夢的世界 (樂風)

1970 – 金唱片歌集 (樂風)

1970 – 夢的祈禱 (Haishan Records)

1970 – 像霧又像花 (樂風)

1970 – 家在台北 (Haishan Records)

1970 – 七部最新電影插曲精選 (樂風)

1970 – [with 謝雷 (Xie Lei)] 不要拋棄我! (樂風)

1970 – 我要結婚 (樂風)

1970 – [with 青山 (Qing Shan)] 金唱片歌集 (樂風)

1970 – 心聲淚痕 (Yu Shan Record)

1970 – 妳我她 (雄獅唱片)

1970 – 那是什麼聲音 (樂風)

1970 – [with 謝雷 (Xie Lei), 趙曉君 (Lily Chao), and 楊燕 (Yang Yan)] 結婚好不好 / 有男懷春 (樂風)

1970 – [with 青山 (Qing Shan)] 郎變了 (Leico Record)

1970 – 電影明星”姚蘇蓉”歌曲精選 / Movie-Star “Yao Su Yong” Sings (樂風)

1970 – 郎變了 (樂風)

1970 – 本年度最佳八部電影原聲帶 (Ligo)

1970 – 巡回东南亚演唱名曲专集 (一寸相思一寸泪) (Haishan Records)

1970 – 精選歌曲十八首 (樂風)

1970 – 歌王歌后 (Haishan Records)

1970 – 當你離家時 (樂風)

1970 – 爸爸 ! 嫣嫣 ! (Yu Shan Record)

1970 – 最長的約會 (樂風)

1970 – 我等你回來 I Am Waiting For You (藝風)

1971 – 偷偷愛你 ‎(Haishan Records)

1971 – 想起你的時候 (萬福牌)

1971 – [with 張帝 (Zhang Di)] 張帝找阿珠 (樂風)

1971 – Love Is Forever 不變的情 (Crown Records)

1971 – [with 魏平澳 (Wei Ping Ao), 藍夢 (Lan Meng), 奚秀蘭 (Stella Chee), 韋邦 (Wei Bang), and 陳寶玲 (Chen Bao Ling)] 最新三部電影插曲 “昨夜夢魂中”, “湄南河之歌” & “情人的秘密” (樂風)

1970 – 心聲淚痕 / 咪咪貓 (四海唱片)

1971 – 女人的命運 / 我不要離婚 (Haishan Records)

1971 – 太太回娘家 (Haishan Records)

1971 – 出賣愛情的人 / 藍與黑 ‎(Haishan Records)

1971 – 行行出狀元 ‎(Haishan Records)

1971 – 單身女郎 (Haishan Records)

1973 – 我不能再想你 / 你的電話又來到 (大聯機構 Great Union Organisation)

1973 – 默默盼歸期 (大聯機構 Great Union Organisation)

1973 – 想起你的時後 (Haishan Records)

1973 – 我求你騙我騙到底 (大聯機構 Great Union Organisation)

1973 – 風雲鼓手 ‎(Haishan Records)

1973 – 你就這樣走了 / 白雲飄向誰 / 徘徊十字路 ‎(Haishan Records)

1975 – 告訴我為什麼 / 一份埋藏的心意 (Haishan Records)

1977 – 再來的希望愛的路上千萬裡 (大聯機構 Great Union Organisation)

1977 – [accompanied by The Stylers] 孟麗君 / 滿庭芳 (Prinstar Records)

1978 – [with 蒋光超 (Jiang Guang Chao)] 雙喜臨門 (Uniart Amusement Enterprise)

Yao’s first album for a Singaporean label was released in 1973, and it’s around that time that she may’ve settled there. Most of her work after that was released on Singaporean labels (including a collaboration with the great Singaporean band, The Stylers, who often backed the great Lisa Wong (麗莎) and Lena Lim (林竹君)).

youtube

His Excellency Generalissimo Chiang Kai-shek died in 1975, ushering in a period of democratic reform which culminated in the 1987 end of the White Terror — the then-longest period of martial law in world history (since surpassed by Syria). Today, Taiwan is easily among the most progressive and nations in Asia. Although Yao’s last album seems to have been released in 1978, she was still regularly performing live as late as 1980 — albeit never in Taiwan. In 1996, 今天不回家 was remade by Taiwanese director, Sylvia Chang. Yao’s recording of the title song was again featured. In 1998, the organizers of the Golden Horse Film Festival invited Yao to return to the island to perform. Yao declined. In 2007, the Jay Chou (周杰倫) film, 不能說的·秘密 (Secret), used another vintage Yao song, “情人的眼泪” (Lovers’ Tears). Apparently, Yao only became aware of this when informed by a relative in Chengdu whom she was visiting at the time of the film’s release.

https://open.spotify.com/playlist/0V6Y8eB2pSbjA8udzvmPs3?si=2hb4umRGROu1YNhqPZYIIA

Wherever you are, 姚蘇蓉, here’s wishing you a happy birthday!

Eric Brightwell is an adventurer, essayist, rambler, explorer, cartographer, and guerrilla gardener who is always seeking paid writing, speaking, traveling, and art opportunities. He is not interested in generating advertorials, cranking out clickbait, or laboring away in a listicle mill “for exposure.”

Brightwell has written for Angels Walk LA, Amoeblog, Boom: A Journal of California, diaCRITICS, Hidden Los Angeles, and KCET Departures. His art has been featured by the American Institute of Architects, the Architecture & Design Museum, the Craft Contemporary, Form Follows Function, Los Angeles County Store, the book Sidewalking, Skid Row Housing Trust, and 1650 Gallery. Brightwell has been featured as subject in The Los Angeles Times, Huffington Post, Los Angeles Magazine, LAist, CurbedLA, Eastsider LA, Boing Boing, Los Angeles, I’m Yours, and on Notebook on Cities and Culture. He has been a guest speaker on KCRW‘s Which Way, LA?, at Emerson College, and the University of Southern California.

Brightwell is currently writing a book about Los Angeles and you can follow him on Ameba, Duolingo, Facebook, Goodreads, Instagram, Mubi, and Twitter.

Art prints of Brightwell’s maps are available from Saatchi Art and 1650 Gallery. Other merchandise is available on Tee Public.

Click here to offer financial support and thank you!

Yao Su Rong (姚蘇蓉) Yao Su Rong ("姚蘇蓉") is a Taiwanese singer and actress born on this day, 5 December, in 1946.

#Mando-pop #music #Taiwan #Taiwanese Music #Yao Su Rong #姚蘇蓉

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outpostsofbabel · 5 years

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Preface

Novels are written for people. Novels are about people.

Novels are about the personalities and feelings of one person or several; a group of people or hundreds and thousands. Their personalities and emotions are reflections of their environments, their experiences, and their interactions with other people. Virtually the only full-length novel revolving around a single person is Robinson Crusoe, which is about man's relationship with nature. But in the end, another person appears - the servant Friday. Having a single main character is more often seen in novellas. Often, they use man's interaction with his environment to demonstrate something about his external reality or internal world - especially the latter.

In the Western tradition of literary discourse, novels are analysed in three ways: by their settings, their characters, and their plots. Each author will place a different emphasis on each of these, depending on his or her own personality and talent.

Fundamentally, wuxia novels are similar to other novels in that they concern people. It is just that they are set in ancient times, the people know kungfu, and the plot tends to focus on exciting fight scenes. In that sense, any genre of novel will have its biases. Romance novels are about relationships between men and women - and sex. Realistic fiction describes a specific historical setting. Novels like the The Three Kingdoms and The Water Margin narrate the experiences of men at war. Contemporary novels often focus on the psychology of their characters.

Novels are a form of art. The fundamental content of art is human emotion, and the key thing that art seeks to demonstrate is beauty - beauty in a broad, aesthetic sense. In novels, beauty is found in word choice and sentence structure, with the crux being how the author is able to express the innermost thoughts of his characters. This can take any form; it can be seen in the subjective analysis of the author, or objectively shown in what characters do and say.

When someone reads a novel, a connection is forged between the novel's content and the state of the person’s own heart. One person may be powerfully moved by a novel; another person may be bored to tears by the same work. There is a "chemical reaction" between the reader's own personality and feelings, and what is demonstrated in the novel.

Wuxia novels are only one means of expressing human emotion. It is like a composer who, in attempting to express a certain feeling, makes use of the piano or violin, the orchestra or the choir. Similarly, the artist may choose to use oils or watercolours, inks or cartoons. The problem is not in the method chosen, but in whether or not they are able to express themselves through this medium - to forge a common connection between themselves and the reader, or listener, or viewer of art; to create a resonance with them. Novels are one of the many art forms, and there is good art, and there is bad art.

Whether something is good or bad has to do with its beauty, and not with its truth or goodness. And the standard for judging beauty is beauty - is emotion. We do not look at it as a scientist would, to see if it is true or false, or from a moralistic point of view, to see if it has virtue. Neither do we look at it from an economic point of view, to see if it is worth money, or as a ruler would, to see if it would benefit or harm governance. Of course, any type of art will have its impact on society, and it can be appraised by this impact - but that is another sort of assessment altogether.

Everything in medieval Europe was influenced by Christianity. That is why medieval artworks in museums all draw upon biblical themes. Even in representing the beauty of the female form, artists drew upon the image of the Madonna. This remained the case until the Renaissance, where representations of mortal men and women began to appear in art and literature. This so-called Renaissance was a revival of how the Greeks and Romans described “mankind”, and was no longer centered on the sacred and immortals.

In the Chinese tradition, the function of literature was to be “the vehicle of the Tao”. This was the case for a long time, and is similar to how Europe in the Dark Ages thought of literature. At that time, literature was measured by whether or not it had “virtue”. Love songs from the Book of Songs were explained - despite how far-fetched this may sound - as attempts to mock kings or serenade empresses. There were lovelorn lines from Tao Yuanming’s Ode to a Fantasy of Love, Sima Guang, Ouyang Xiu, Yan Shu. They also spoke regretfully of the flaws in a piece of white jade, or interpreted it in other ways. They did not believe that art and literature expressed emotion, and felt that the only function of words was in how they added value to governance or society.

In my wuxia novels, I merely create a few characters and describe what happens to them in a very specific wuxia environment (that is, an ancient, lawless society where martial skill was used to settle disputes). Society now is very different from what it was then, but the characters and emotions of people have not changed much. The joys and sorrows of people in ancient times can still elicit corresponding emotions from the modern-day reader. The reader may, of course, find the execution clumsy, the skill not fully mature, and the descriptions lacking in depth - from an artistic point of view, a decidedly lower-class work. But even so, I do not wish to be the vehicle for any sort of Tao. In writing my wuxia novels, I also write words of political commentary, and philosophy, and religion. What goes into the mind is up to the reader’s reason, and that is the only way you will be able to judge truth or falsehood. The reader may agree, or they may partially agree, or they may completely oppose me.

When it comes to novels, I hope that readers will only say whether they liked it or not, and whether they felt moved or were bored. My greatest joy is when a reader loves or hates the characters in my stories. If they feel this, it means that the characters have made a connection with the reader’s heart. The greatest desire of any author is nothing more than to create a few characters that become real in the reader’s heart - real as flesh and blood. Art is creation. Music creates beautiful sounds, painting creates beautiful visual images, and novels desire to create people. If all you wanted to do was to strictly reflect the real world, you have tape recorders and video cameras for that. Why do you need music and painting? When you have newspapers, history books, documentaries, social survey statistics, doctor’s records, personnel files from the police and the Party - why do you need novels?

Jin Yong, 6 Feb 1986

Hong Kong

#jin yong

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cnovelartreblogs · 2 years

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Qianqiu (348 posts)

#qianqiu

Alternate Titles:

千秋

Qianqiu

Qian Qiu

Thousand Autumns

山河剑心 (title of the donghua adaptation)

Shan He Jian Xin (title of the donghua adaptation)

Author: 梦溪石/Meng Xi Shi/Meng Xishi

Resources:

Official release

s1 resub

watch donghua s1 on youtube

Characters:

bai rong

bian yanmei

bianyain

duan ying

guang lingsan

qi fengge

sang jingxing

shen qiao

shiwu

yan wushi

yu ai

yu shengyan

yuwen song

Ships:

yanshen (yan wushi/shen qiao)

yushen (yu ai/shen qiao)

#mod post #tag wrangling #qianqiu

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hunxi-after-hours · 3 years

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hmmmmmm upon further thought, I actually quite like that fact that we never got a tragic backstory for Yan Wushi -- for a moment there, with Xie Ling’s appearance, I was worried that the author was going to reveal some deep, hidden trauma that Made Him The Way He Is (TM)

(note: I don’t think there are any explicit spoilers for 《千秋》 in this post, but there are some General Vibes)

there are hints of a Tragique Backstory -- his former identity as a member of a noble family that appears (?) to be no longer, his mother’s possessions turning up at the Panlong Conference, Xie Ling’s sweet and trusting disposition, Yan Wushi’s firm belief that human nature is inherently evil, and that the good ones are simply those who have not suffered enough -- but no sob story is ever given to us, and I think that makes the thematic threads of 《千秋》 that much stronger

because in the end, the story isn’t really interested in promoting a message along the lines of “there’s goodness in the heart of every person” or “even evil can become good under the right person’s influence,” but rather “how can two people of completely different personalities, values, and world views come together.” Manufacturing a tragic backstory for Yan Wushi that would then explain away “why he’s evil” (heavy quotes happening because no one and no theme in this book is ever as simple as that) and shift the conversation about his character to “but does past trauma justify present conduct?” would then undercut the point of how different he is from Shen Qiao. And the whole point w/r/t how extreme both of their characters are is not to represent the polarization of morality, the antithetical relationship of “good” and “evil,” but rather, explore the span of the vast abyss two people can cross to meet each other in the middle

very few characters in 《千秋》 are evil just for the lulz; very few characters in this book are capital-e Evil at all -- in fact, Meng Xishi takes care to deconstruct the association of antagonists with inherent badness. Just because Bai Rong, Yuan Xiuxiu, Xueting Fashi, Guang Lingsan, and Chen Gong all oppose Shen Qiao and/or Yan Wushi at multiple points, none of them are evil to the core, and their motives are often driven by personal reasons rather than “Evil” reasons. Likewise, supposedly “good” people from the non-demonic sects are often revealed to be, well, not as great as they seem on the surface. And look, Bian Yanmei and Yu Shengyan are some of the most lovable characters in the book, and they both align themselves with a demonic sect

《千秋》 isn’t a book that obsesses over right and wrong, good and evil, justice and vengeance, because that’s not where its thematic focus lies; 《千秋》 is much more interested in the nature of trust and forgiveness, the relationship of power to personal conduct. It’s about the vulnerable nature of friendship; the heightened potential of betrayal in family; the intimacy of enmity. It’s about self-actualization and realizing that you were wrong; it’s about doing the work to better yourself and fix the mistakes you’ve made. It’s about realizing that your actions have consequences, and it’s about the inherent freedom and nobility in saying “fuck the consequences, I’ll do what I want anyway.” The characters are messy, their relationships even more so; the morality is gray more often than not, and the book is unrepentant about its ambiguity and delighted by its own machinations

tl;dr Yan Wushi is still a piece of shit but he really brings the themes to the table

#千秋 backlog #Yan Wushi #takes a moment to stan the Huanyue dizi in the middle of meta #hunxi thinks about QQ

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fuyonggu · 5 years

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Book of Jin 59: Biography of Sima Wei

Think about rage for this one.

(Where’s my check, Creative Assembly?)

楚隱王瑋，字彥度，武帝第五子也。初封始平王，曆屯騎校尉。

Sima Wei, styled Yandu, was the fifth son of Emperor Wu (Sima Yan). His posthumous title was Prince Yin of Chu.

Originally, Sima Wei was appointed as Prince of Shiping and Colonel of Camped Cavalry.

太康末，徙封于楚，出之國，都督荊州諸軍事、平南將軍，轉鎮南將軍。武帝崩，入為衛將軍，領北軍中候，加侍中、行太子少傅。

Near the end of the Taikang reign era (~289), Sima Wei was transferred to be Prince of Chu. He was sent out to his fief, and appointed as Commander of military affairs in Jingzhou and General Who Pacifies The South. His rank was soon changed to General Who Guards The South.

After Emperor Wu (Sima Yan) passed away, Sima Wei returned to the capital to serve as Guard General and acting Middle Marquis of the Northern Army. He was further appointed as Palace Attendant and as acting Lesser Tutor to the Crown Prince.

楊駿之誅也，瑋屯司馬門。

During the coup against Yang Jun, Sima Wei camped his soldiers at the Sima Gate.

瑋少年果銳，多立威刑，朝廷忌之。汝南王亮、太保衛瓘以瑋性很戾，不可大任，建議使與諸王之國，瑋甚忿之。長史公孫宏、舍人岐盛並薄於行，為瑋所昵。瓘等惡��為人，慮致禍��，將收盛。盛知之，遂與宏謀，因積弩將軍李肇矯稱瑋命，譖亮、瓘于賈后。而后不之察，使惠帝為詔曰：「太宰、太保欲為伊、霍之事，王宜宣詔，令淮南、長沙、成都王屯宮諸門，廢二公。」夜使黃門齎以授瑋。瑋欲覆奏，黃門曰：「事恐漏泄，非密詔本意也。」瑋乃止。遂勒本軍，復矯詔召三十六軍，手令告諸軍曰：「天禍晉室，凶亂相仍。間者楊駿之難，實賴諸君克平禍亂。而二公潛圖不軌，欲廢陛下以絕武帝之祀。今輒奉詔，免二公官。吾今受詔都督中外諸軍。諸在直衛者皆嚴加警備，其在外營，便相率領，徑詣行府。助順討逆，天所福也。懸賞開封，以待忠效。皇天后土，實聞此言。」又矯詔使亮、瓘上太宰太保印綬、侍中貂蟬，之國，官屬皆罷遣之。又矯詔赦亮、瓘官屬曰：「二公��謀，欲危社稷，今免還第。官屬以下，一無所問。若不奉詔，便軍法從事。能率所領先出降者，封侯受賞。朕不食言。」

Although he was still young, Sima Wei was stalwart and fierce, and he did much to establish his might and power, so the court was wary of him. The Prince of Runan, Sima Liang, and the Grand Guardian, Wei Guan, felt that Sima Wei had a despicable nature, and they did not grant him any high office. They even proposed sending him and the other princes away to their fiefs. Sima Wei thus greatly resented them.

Now Sima Wei had greatly favored his Chief Clerk, Gongsun Hong, and his retainer Qi Sheng, both of whom had originally been lowly fellows. Wei Guan and the others hated them, and since they were worried that they might stir up chaos and disaster, they were about to arrest Qi Sheng. When Qi Sheng learned of this, he and Gongsun Hong hatched a plot. They arranged for the General Who Amasses Crossbows, Li Zhao, to report to the Empress, Jia Nanfeng, with a pretend order he had from Sima Wei, slandering Sima Liang and Wei Guan. Jia Nanfeng did not look closely into the matter, but immediately had Emperor Hui write a decree stating, "The Grand Governor and the Grand Guardian seek to follow the examples of Yi Yin and Huo Guang. Let the royal will hereby be made known. The Princes of Huainan (Sima Yun), Changsha (Sima Ai), and Chengdu (Sima Ying) are ordered to camp their armies at the palace gates, and remove the two lords from office."

That night, Jia Nanfeng sent a eunuch from the Yellow Gate to deliver the edict to Sima Wei. Sima Wei wanted to first send a petition back in response to the edict, but the eunuch told him, "We fear if you did that, the plot might leak out. Letting that happen would go against the wishes expressed by the edict." So he decided against it.

Sima Wei gave orders to his own army while forging an edict summoning the thirty-six armies. He hand-wrote an order to them stating, "Disaster has fallen upon the royal house of Jin, and confusion and chaos are springing up all around. It was thus that Yang Jun attempted to seize power, but thankfully the various lords were able to put down his attempt and restore order. Yet now the two lords, Sima Liang and Wei Guan, are making plots and acting without discipline. They wish to depose His Majesty and thus sever the lineage of Emperor Wu. I have just received an edict ordering me to remove these two lords from office. As of now, I have been granted authority as Commander over all military affairs. I hereby order the soldiers to place the roads under strict order, and make all needed preparations to maintain order. Those bodies of men who are not engaged in keeping order shall march to secure the government offices. By aiding those who are obedient and punishing those who are not, you will receive Heaven's blessings. Great rewards and noble titles await your loyal service. Oh august Heaven and spirits of Earth, hear these my true words."

Sima Wei also forged an edict ordering Sima Liang and Wei Guan to surrender their seals and tassels as Grand Governor and Grand Guardian, and their sable headdresses as Palace Attendants, and to proceed to their fiefs. Their officials and subordinates were ordered to leave them and disperse. He forged yet another edict pardoning these subordinates, stating, "It was the two lords who, by secretly plotting, wished to bring danger to the fortunes of state. For that reason, they are now being stripped of office and sent to their estates. No fault is to be held against their subordinates. If there is any of them who refuses to accept the imperial edict, then those people are to be dealt with according to military law. But whomever among them will be the first to come and surrender shall receive noble titles and be granted rewards. I do not eat my words."

遂收亮、瓘，殺之。

Sima Wei arrested Sima Liang and Wei Guan and killed them.

岐盛說瑋，可因兵勢誅賈模、郭彰，匡正王室，以安天下。瑋猶豫未決。會天明，帝用張華計，遣殿中將軍王宮齎騶虞幡麾眾曰：「楚王矯詔。」眾皆釋杖而走。瑋左右無復一人，窘迫不知所為，惟一奴年十四，駕牛車將赴秦王柬。帝遣謁者詔瑋還營，執之于武賁署，遂下廷尉。詔以瑋矯制害二公父子，又欲誅滅朝臣，謀圖不軌，遂斬之，時年二十一。其日大風，雷雨霹靂。詔曰：「周公決二叔之誅，漢武斷昭平之獄，所不得已者。廷尉奏瑋已伏法，情用悲痛，吾當發哀。」瑋臨死，出其懷中青紙詔，流涕以示監刑尚書劉頌曰：「受詔而行，謂為社稷，今更為罪，托體先帝，受枉如此，幸見申列。」頌亦歔欷不能仰視。公孫宏、岐盛並夷三族。

Qi Sheng urged Sima Wei that, since he now had so much military strength, he ought to execute Jia Mi and Guo Zhang in order to bring justice to the royal house and settle the realm. But Sima Wei was hesitant and could not decide.

Meanwhile, the following day, Emperor Hui heeded Zhang Hua's plan and sent the General of the Palace Halls, Wang Gong, to send his soldiers out among the various armies while streaming the Zouyu Banners. They told the posted soldiers, "The Prince of Chu forged the edict." So Sima Wei's soldiers all cast down their weapons and dispersed. Sima Wei was left without anyone to support him, and he no longer knew what there was left he could do. Only a young slave about thirteen years old stayed with him. They fled in an ox-cart, planning to take refuge with the Prince of Qin, Sima Jian. But Emperor Hui sent his envoys to distribute decrees ordering Sima Wei to return to his camp. They arrested Sima Wei at the camp of the Guards Rapid As Tigers and handed him over to the Minister of Justice.

An edict was issued accusing Sima Wei of having unjustly claimed the authority to execute the two lords and their sons, and that he wanted to execute and exterminate the court ministers. For plotting such wicked things, he was beheaded. He was twenty years old.

That same day, there was a great wind, and a thunderstorm suddenly broke out. An edict was issued stating, "The Duke of Zhou was compelled to execute his two uncles, and Emperor Wu of Han was forced to pass judgment against Zhao Ping, yet their sorrow at having to announce such sentences still does not compare with mine. The Minister of Justice has announced that Sima Wei has already submitted to his sentence, and I cannot help but feel bitter anguish. Let us conduct mourning for him."

Before his death, Sima Wei produced the green sheet of the edict from within his bosom, and wept as he showed it to the execution overseer and Master of Writing, Liu Song. Sima Wei said, "When I accepted this edict and acted, I was told I was acting for the good of the state. Yet now I have been condemned as a criminal. I was fortunate enough to have been entrusted by His Late Majesty, yet now I endure such unjust treatment as this. Can I not defend myself?" But Liu Song only sighed and wept, unable to meet his gaze.

Gongsun Hong and Qi Sheng both had their clans exterminated to the third degree.

瑋性開濟好施，能得眾心，及此莫不隕淚，百姓為之立祠。賈后先惡瓘、亮，又忌瑋，故以計相次誅之。永寧元年，追贈驃騎將軍。

Sima Wei had had an open and generous nature, and he was able to win the hearts of the people over to him. Thus when he was executed, there was no one who did not shed a tear, and the common people raised shrines to his memory.

Jia Nanfeng had both been wary of Wei Guan and Sima Liang and suspicious of Sima Wei. So she had first used Sima Wei as her pawn against the first two, then disposed of him in turn.

In the first year of Yongning (301), Sima Wei was posthumously appointed as General of Agile Cavalry.

封其子范為襄陽王，拜散騎常侍，後為石勒所害。

Sima Wei's son Sima Fan was appointed as Prince of Xiangyang and Cavalier In Regular Attendance. He was later killed by Shi Le (in 311).

#Book of Jin #Jinshu #Sima Wei #Eight Princes #Jin

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Text

Biography of the island barbarian Liu Yu

[From Weishu 097.]

The island barbarian Liu Yu, courtesy name Deyu, was a native of Dantu in Jinling. It is unknown from where his ancestors set out from. Himself said they were originally natives of Pengcheng in Pengcheng. Some say their original family name was Xiang, and then changed to be the Liu clan, likewise it is not possible to trace them back. For that reasons they and the various Liu of Congting and Anshang are completely without a lineage sequence. Yu's family originally was low and minor, and lived in Jingkou, and routinely considered selling shoes to be their patrimony.

His thoughts and mood were vivid and piercing [?], was only just familiar with writing, and was [among] the times' mean and meagre. He once owed the Consultant of Agile Cavalry, Diao Kui's community 30 000 cash, passing through the season he did not return. Kui considered him without action, recorded and compelled and called him into account. The Senior Clerk of Agile Cavalry, Wang Mi, used cash to replace and return, the affair just then got completed. He was downcast and dispirited, and did not study the angles and corners.

2nd Year of Tianxing [399 AD], bogus Jin's Sima Dezong [Emperor An] dispatched his General who Assists the State, Liu Laozhi, to punish Sun En. Yu responded to the levy, and began as Laozhi's Army Advisor. En went north to rob Haiyan, Yu pursued and won over him. Due to his merits, he was slightly after moved to General who Establishes the Martial and Grand Warden of Xiapi.

Liu Laozhi punished Huan Xuan, Yu advised on his army affairs. Laozhi surrendered, Yu became Xuan's cousin Huan Xiu's Army Advisor of the Central Troops. Sun En died, his remaining multitudes pushed forward En's younger sisters husband Lu Xun as their master. Xuan dispatched Yu to conquer him. Yu routed Xun in Dongyang and Yongjia, Xun sailed the sea to run in flight. Added to Yu Interior Clerk of Pengcheng.

When Huan Xuan deposed Dezong and established himself, Yu secretly plotted with his younger brother Daogui, Liu Yi and He Wuji. to raise troops. Huan Xiu's younger brother Sizu was headquartered at Guangling, Daogui and Liu Yi had previously been subordinates of him.

At the beginning of Tianci [404 – 409], Yu with He Wuji and others waited at dawn for the city gates to open, and led the multitudes to behead Xuan's Inspector of Xu province, Huan Xiu, at Jingkou. That day, Liu Yi, Daogui and others likewise beheaded Sizu, and followed with gathering the multitudes and crossed the Jiang. The Grand Warden of Henei, Xin Huxing, the Grand Warden of Hengnong, Wang Yuande, and the General who Arouses Power, Zhong Houzhi likewise together with Yu overcame that day to defeat Xuan.

Yi's elder brother Mai at the time was at Jianye. Yi dispatched Zhou An to direct him. Mai was afraid and informed Xuan. Xuan dispatched the Grand Warden of Dunqiu, Wu Fuzhi, and the General of Guards of the Right, Huangfu Fu to go north and resist. Yu led the multitudes to lodge at Zhuli. He met Fuzhi at Jiangcheng. Yu held his long sword to enter his formation, and beheaded Fuzhi. He advanced to Luoluo Bridge, and also cut off Fu's head. Xuan sent Huan Xiu to garrison Dongling, Bian Fanzhi to garrison west of Fuzhou Mountain. Yu also routed them. Xuan was greatly afraid, and therefore took his sons and nephews to sail the Jiang and run south.

Yu entered to headquarter at Shitou, he used Dezong's Minister over the Masses, Wang Mi as Recording the Masters of Writing and acting Inspector of Yang province. He established a stay-behind government, and collected the hundred officials. Yu became Envoy Holding the Tally, Commander-in-Chief of Yang, Xu, Yan, Yu, Ji, You and Bing provinces, General of the Headquarter Army, and Inspector of Xu province. He ordered Daogui and others with the multitudes to pursue Xuan.

Yu following that set up fame and rank, he dispatched the Master of Writing Wang Gu and others to welcome Dezong, and burnt Huan Wen's spirit table outside of the Xuanyang gate. Soon after he killed the Supervisor of the Left of the Masters of Writing, Wang Yu, and his sons Sui, Na and others. Yu used Sima Zun as Great General, to inherit authority and enter to stay in the Eastern Palace. Excellencies, ministers and below could not but all do obeisance. Then there was a great amnesty, only Xuan and others were not included.

That night, the Minister over the Masses, Wang Mi, escaped and ran. Liu Yi, since his hands had taken away Dezong's signet and ribbon, [said they] ought to execute him. Yu, due to his kindness in repaying the cash, requested to dismiss it. He therefore dispatched the Intendant of Danyang, Meng Chang, to welcome him.

Wuji and Daogui arrived at Sangluo Island, and routed Huan Xuan. The various generals advanced to occupy Xunyang. Added to Yu Commander-in-Chief of Jiang province. Liu Yu then defeated Huan Xuan at Zhengrong Island. Xuan therefore abandoned the multitudes, and alone on a single barge ran and fled. He clasped Dezong to run to Jiangling. Yu acted as Inspector of Qing province, and was to enter the hall with a hundred armoured and armed men.

Yi and others pacified Baling. Dezong returned to the rank at Jiangling, and changed the era to Yixi [“Righteous Splendour”]. When he returned to Jianye, Yu advanced to Palace Attendant, General of Chariots and Cavalry, Commander-in-Chief of All Army Affairs in the Centre and Outside, he made a show of yielding and did not accept. Added Recording the Affairs of the Masters of Writing, again he pretended not to accept.

He therefore set out to headquarter at Dantu, changing [his office] to Commander-in-Chief of Sixteen Provinces, the remainder like before, he also acted as [Inspector] of Yan province, and then gave up Qing province.

Lu Xun routed Guang province. Yu still used Xun as Inspector of Guang province, and his partisan Xu Daofu, a native of Langye, as Chancellor of Shixing. Yu also [became] Commander-in-Chief of Jiao and Guang provinces. Also enfeoffed Yu as Duke of Yuzhang commandery, with an estate of 10 000 households, and 30 000 bolts of tabby silk. Added to him Palace Attendant, and advanced his title to General of Agile Cavalry, Same Ceremonies as the Three Ministers.

Again advanced Yu to Inspector of Yang province, Recording the Affairs of the Masters of Writing, staying in the Eastern Office. Yu dispatched Liu Jingxuan to invade Shu, but he was defeated by Qiao Daofu. Therefore dismissed Jingxuan from office. Yu demoted himself to be General of the Centre Army, Opening Office like before.

At the beginning of Yongxing [409 – 413], Murong Chao greatly plundered north of the Huai, he seized Dezong's Grand Warden of Yangping, Liu Qianzai, and Grand Warden of Ji'nan, Zhaoyuan, Zhao Yuan. He drove away and carried off more than a thousand families and returned home. Yu therefore invaded Chao, and thereupon massacred Guanggu. He seized Chao, and beheaded his kings, dukes, and below, 3 000 people. He took more than 10 000 people and 2 000 horses and exterminated them in the city moat. He sent off Chao to Jianye and beheaded him.

While Yu was acting so, Xu Daofu recommended Lu Xun to bring about exploiting the absence and set out. Xun followed it. Hence the various commandery wardens of Nankang, Luling and Yuzhang all ran in flight. The Inspector of Jiang province, He Wuji, led the armies to arrive in Yuzhang, he was defeated in battle. At that time the crowd's opinion and wish was to cause Dezong to move north and cross the Jiang. Xun thereupon robbed within Xiang, he routed Liu Daogui at Changsha, and defeated Liu Yi at Sangluo Island. He rolled up the mat and went down [river].

Yu's generals Meng Chang and Zhuge Changmin recommended Yu to embrace Dezong and go beyond the Jiang. Yu did not follow. Chang said the affair would surely not succeed, and therefore killed himself. Yu sent out the resident people to rule from Shitou Fort. Daofu and others arrived, and immediately wished burn the ships at Xinting and Baishi Islet, and go up. Lu Xun said:

The great army has not yet arrived, Meng Chang readily disobeyed and killed himself. Using this and then push forward, Jianye soon ought to have a change, and still put on armour and defend it. Do not worry about not succeding.

He therefore garrisoned the army at Cai Islet.

Xun therefore led the multitudes, several ten thousand, to go up on the southern bank, and arrived in Danyang commandery. He thereupon burnt Jingkou, Jincheng and Gushu, and robbed and plundered Tuzhong, reaching Jiangning and Wuhu. Xun used Ruan Ci as Inspector of Yu province. Yu's Army Advisor of the Centre Army, Shang Jing [?], and the Interior Clerk of Xuancheng, Mao Xiuzhi, routed Ci at Gushu, and captured his supply wagons. Ci therefore withdrew.

Again added to Yu Grand Commandant, Overseer of the Palace Writers and Yellow Battle-axe. Yu accepted Yellow Battle-axe. Lu Xun having not fought, therefore announced to Daofu, saying:

The host is old, [we] can turn back and occupy Xunyang, combine power and take Jing provnice, calmly use the strength of two parts out of three to sail down and contend for the balance. We can still thereby succeed.

He therefore withdrew south from Cai Islet. Yu dispatched the General who Assists the State, Wang Chongde, and others to pursue him. Yu also dispatched the General who Establishes Power, Sun Jigao to lead the multitudes over the sea way to assault Panyu. Yu himself used a naval host to invade south. Jigao exploited the sea and combined marches, and soon arrived at Panyu.

Xun did not consider the sea way to be guarded against. As soon as [Jigao?] then [Xun?] was fear-struck. The multitudes therefore were greatly afraid. Jigao went up with all his strength, attacked them on four sides, and followed with massacring their city. Lu Xun's father Gu and the Senior Clerk, Sun Jianzhi both used light ships to run to Shixing.

Xun and Daofu led the multitudes and came down [river]. Yu's multitude armies struck them, Xun and others turned back to Xunyang. Xin wished to escape to Yuzhang, and therefore with all his strength palisaded and cut off Zuoli. Xun on a single barge straight-away turned back to Guang province. Daofu turned back to Shixing. Yu turned back, and became Great General, Shepherd of Yang province, with a squad of 20 swordsmen, original offices like before.

Xu Daofu arrived at Shixing, and still occupied the mountains and brooks. Liu Fan and others attacked him. Daofu first poisoned his wife and children and afterwards killed himself. Lu Xun arrived at Panyu, and gathered the multitudes to attack Jigao. Liu Fan dispatched Shen Tianzi to punish him. Xun ran in flight. His remaining multitudes followed the mountain roads to assault Hepu, they overcame it. He advanced to attack Jiaozhi. The Inspector of Jiao province, Du Huidu, fought again and again, and achieved victory. Xun threw himself in the water and died.

Yu used himself as Grand Commandant and Overseer of the Palace Writers. Yu killed the Supervisor of the Left of the Masters of Writing, Xie Hun, and the Inspector of Yan province, Liu Fan. Yu already had power and esteem, [but] readily in his breast had different aspirations. Since the Inspector of Jing province, Liu Yi quite had brave schemes, and also was occupying up-river, he in his heart feared and detested him. He thereupon himself campaigned against Yu, he dispatched the Army Advisor Wang Zhen'e and others to assault Jiangling.

Zhen'e arrived at Yuzhangkou, and burnt Yi's boats and warships. Yi's troops confronted [him] in battle but were not able to withstand. Zhen'e hurried to enter the outer city. At that time Yi was ill, and therefore was holed up in the inner city. Zhen'e burnt the various gates to attack him, his followers therefore scattered. Yi set out to flee from the northern gates, he hanged [himself] by the road-side. They beheaded his corpse in the market, and executed his sons and nephews.

Yu arrived at Jiangling. He executed the Colonel of the Southern Man, Xi Sengshi, the Army Consultant of Guards, Xie Shao, and others. Yu originally was low and minor, and did not take part in soldier squads. Reaching him monopolizing the times' government affairs, he readily revealed his opinion to kill and massacre, to thereby dominate timid subordinates. Earlier, due to his hatred of Diao Kui tying him up, he executed his brothers. Also, due to Wang Yu, Xie Hun and Xi Sengshi's followers equally all [having] the expectations of the times, he thereupon thoroughly murdered them. He divided off from Jing province to be Xiang province, Yu himself with overall supervision.

Yu turned back to the Eastern Office. He summoned Zhuge Changmin and withdrew from people [?] for idle talk. He secretly ordered strong soldiers, Ding Wu and others, to set out from behind the screen and haul him off from the seat. Changmin fell to the ground and died beside the couch. He likewise was envied due to his talent and valour.

The Inspector of Jing province, Sima Xiuzhi, had quite obtained the multitudes' hearts, Yu inside his breast was envious and frightened. In the 2nd Year of Shenrui [415 AD], he led the multitudes to punish him. He dispatched the Dragon Galloping General, Kuai En, and others as the van army. Yu advanced to acting Inspector of Jing province, additionally with Yellow Battle-axe. The Inspector of Yong province, Lu Zongzhi led his son Gui to meet with Xiuzhi at Jiangling. Gui and others' army was defeated. Therefore he and Xiuzhi together ran to Xiangyang. Yu himself acted as Colonel of the Southern Man. Xiuzhi and others ran to Yao Xing.

Yu became Grand Tutor and Shepherd of Yang province. [He could wear] sword and shoes in the high hall, enter court and not hurry, praise and bow with [saying his] name. He set up Senior Clerks of Left and Right, Marshal, and four Assistant Officer Palace Gentlemen, the remainder like before. Yu also acted as General who Pacifies the North and Inspector of Xu and Yan provinces. Added Controller of Nanqin province, soon after Controller of All Army Affairs in the Centre and Outside.

Yu had aspirations to upset and usurp Jin, and if he did not on the outside establish merit and fame, he feared people's expectations would not allow it. He there went west to invade Yao Hong. He himself acted as General who Conquers the West and Inspector of Si and Yu provinces, and soon after acted as Inspector of Beiyong province, added front and rear sections with feathered tassels, drums and pipes, and increased his squad of swordsmen to 40 people.

His son Yifu became General of the Centre Army, overseeing the stay-behind office affairs of the Grand Commandant, and was given one section of drums and pipes. The Supervisor of the Right, Liu Muzhi became Supervisor of the Left, Leading the Army, Army Minister of the Centre Army's Two Offices, to enter and reside in the Eastern Office, with the overall administration of inside and outside. Muzhi spoke to the Dragon Galloping General, Wang Zheng'e, saying:

His Excellency now has commission you Sir for Guanzhong, Sir should make an effort of it.

Zhen'e said:

[If] I now do not overcome Xianyang, [I] swear not to cross the Jiang. But if His Excellency's Nine Bestowments does not arrive, it is likewise the responsibility of you Sir.

Yu led the multitude armies to arrive at Pengcheng. Added General who Garrisons the North and Inspector of Xu province. He dispatched the Army Advisor of the Centre Troops, Shen Linzi to enter the He from the Bian; the Best of the Army, Tan Daoji with Wang Zhen'e to set out on foot from Huaifei, and Yu's general Wang Chongde to sail the Ji and enter the He. Dezong enfeoffed Yu with ten commanderies as Duke of Song, concurrently Chancellor of State and with the Nine Bestowments, usurping the model of Wei and Jin in former affairs.

Wang Zhen'e advanced tp arrove at Yiyang, and alone took Tong Pass, Shen Linzhi from Xiangyi garrisoned at Shancheng. Yao Hong's various generals were unable to withstand. Beginning with Yu entering up from Hexi, Taizong [Mingyuan of Wei] dispatched Generals E Qing, Zhangsun Song and others to garrison at Hepan. Yu dispatched Zhu Chaoshi, Liu Rongzu and others to ferry over the He. Zhangsun Daosheng routed them, and seized and beheaded their general Yang Feng and others.

Yu dispatched Generals Wang Zhongde and Zhao Lunzhi to lead Shen Tianzi and others to enter the Wu Pass, and garrison the army at Qingni. Shen Linzi made use of the Qin Peaks to meet with Tianzi at Yaoliu City. Yao Hong led a multitude of several ten thousand, did not fight and turned back. Yu arrived at Guantou. Zhen'e arrived at the Wei bridge and routed Hong's army at Huangmen.

Yu arrived at Chang'an, he seized Yao Hong to thereby return home, beheading [him] in the Jianye market. Yu used his son Yizhen as Inspector of Yong province, headquartered at Xianyang. Advanced Yu to be King of Song, added ten commanderies, set up the hundred officials, singularly modelled after the old system. Yu turned back to Pengcheng.

Helian Qugai [Bobo] plundered Weiyang. Yizhen dispatched Shen Tianzi to led the army and punish him. Tianzi withdrew the army above the defiles. Zhen'e went towards Tianzi to consult with him. Tianzi beheaded Zhen'e outside his tent, and also killed his brothers and accompanying crowd, seven people. Tianzi hurried to turn back and said that Zhen'e had disloyal intentions. Yizhen's Senior Clerk, Wang Xiu seized and beheaded him.

Yizhen and his left and right often did not follow the law. Wang Xiu always disciplined and demoted [?] them. Left and right altogether resented [him] and reported to Yizhen, saying:

Wang Xiu, since Guanzhong is blocked by defiles, and troops and food are also sufficient, wishes to plan to turn rebel. [We] ought soon to plot against him.

Yizhen dispatched left and right to kill Xiu. Yu heard about it, and used Zhu Lingshi as Inspector of Yong province.

Yizhen set out from Chang'an, and wanted to flee to Jiangdong, the various generals competed to gather wealth and riches, they lodged at Bashang. Helian Chang led the multitudes to pursue them, and soon arrived at Qingni. Yizhen was greatly defeated. Kuai En and the Marshal who Calms the West, Mao Xiuzhi both were taken captive. The Army Advisor Duan Heng, his name violates Gaozu's temple taboo, on a single horse carried Yizhen to return home in flight. Zhu Lingshi likewise abandoned Chang'an, and ran to the Dragon Galloping General Wang Jingxian at Excellency Cao's old ramparts. Then the fort was taken, and he was captured and killed.

Dezong died, Yu established Dezong's younger brother Dewen [Emperor Gong]. Yu also added to himself 10 commanderies. Yu dispatched Marshal Fu Liang to proceed to Jianye, and cause himself to be summoned to enter and assist. Dewen abdicated his throne, and thereupon he titled himself as Song, and changed the era to be Yongchu [“Eternal Beginnings”]. At the time it was the 5th Year of Taichang [420 AD].

When Yu had usurped the establishment, he again and again requested peaceful relations. Taizong allowed it. 6th Year [421 AD], Yu dispatched his General of the Centre Army, Shen Fan, Suo Jisun and others to court with tribute. 7th Year, 5th Month, Yu died [on 26 June 422].

#ws097

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