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Dong Zhuo (董卓 d. 192), a tyrannic warlord rising to power at the end of the Han dynasty, caused great concern among courtiers and officials. Wang Yun (王允), the Minister Over the Masses (司徒 Situ), was entrusted to figure out a plan to bring him down. Dong Zhuo was particularly powerful because he managed to ally with the invincible young general <a href="https://tutuhaoyi.com/figures-stories/lv-bus-archery-stunt-at-the-camp-gate/" target="_blank" rel="noopener">Lv Bu</a> (吕布 Lü Bu), who he had adopted as his son. Wang Yun thought if he could open a rift between the two, then it would be the end of Dong.
Wang Yun first invited Lv Bu to his house to reunite him with his long-lost sweetheart <a href="https://tutuhaoyi.com/figures-stories/diao-chan-praying-in-front-of-burning-incense/" target="_blank" rel="noopener">Diaochan</a> (貂蝉), who was then in Wang’s custody. The couple rekindled the passion immediately and could not wait to be together again. Then, Wang Yun treated Dong for dinner at home during which the lecherous lord was drooling over Diaochan, duly falling into Wang’s trap. Leaping at the chance, Wang Yun offered to marry Diaochan to Dong and Dong readily accepted.
When Lv Bu learned that Dong now had Diaochan in his back chambers, he was furious but had to repress his anger. One day, Lv Bu seized an opportunity to have a rendezvous with Diaochan in the back garden of Dong’s residence when Dong was in audience with the emperor. Realising Lv Bu’s absence from his side, Dong hurried back. Seeing the young couple together in the Phoenix Pavilion, Dong flipped his wig and charged at Lv Bu with Lv’s halberd. The seed of dissension was planted between the two. Without his right-hand man’s support, Dong’s power was weakened, which eventually resulted in his downfall.
One of the earliest sources of this story scene is found in a Yuan-dynasty (1271–1368) play entitled The Stratagem of Interlocking Rings (连环计 Lian Huan Ji) involving the intriguing plot of ménage à trois. The play by an anonymous author predates Romance of the Three Kingdoms (三国演义), one of the four great novels of Chinese classical literature, whose earliest preface dated 1494. Chapter Eight of the novel has full-fledged account of this story.
Reference:
<a href="https://tutuhaoyi.com/about-us/dr-yibin-ni/" target="_blank" rel="noopener">Ni, Yibin</a> (倪亦斌)《王允貂蝉合谋连环计，董卓吕布翻脸成仇敌》, Reader’s Taste《读者欣赏》 (October 2017): 114-119

The Couple’s Tryst in the Phoenix Pavilion Making Dong Zhuo Fly into a Fury

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‘True love conquers all’ is the theme of the <a href="https://tutuhaoyi.com/motifs-symbols/peony/" target="_blank" rel="noopener">Peony </a>Pavilion (牡丹亭 Mudan Ting), a musical play of fifty-five scenes written by Tang Xianzu (汤显祖, 1550-1616) in Ming dynasty. Also known as The Romance of Return of Soul (还魂记 Huanhun Ji), the play contains a supernatural love story between Du Liniang (杜丽娘), the only daughter of the Nan’an prefect (南安太守) Mr. Du, and Liu Mengmei (柳梦梅), a civil-service examination candidate. At the beginning of the play, there was a passionate rendezvous of the two in the form of Liniang’s dream in the back garden with vigorously budding bushes during a warm spring afternoon. The encounter was so indelible to the adolescent girl that she eventually died of longing for her ‘dream’ lover. The play narrates how the couple overcome all the obstacles along the way to their union. Their experiences transcend not only time and space but also life and death.
The story scene depicted in the centre of the Shunzhi bowl in the Butler collection and the Kangxi dish in the collection of the V&amp;A Museum was first unveiled by Dr <a href="https://tutuhaoyi.com/about-us/dr-yibin-ni/" target="_blank" rel="noopener">Yibin Ni</a>. His research article with pictorial and literary evidence is available for view <a href="https://tutuhaoyi.com/blogs/commonly-misunderstood-images/who-is-the-figure-on-the-cloud-in-the-dream-scene-of-the-peony-pavilion/" target="_blank" rel="noopener">here.</a>
References:
<ol>
<li>倪亦斌:《明末时尚女子的情色告白》,《艺术世界》, 上海: 上海文艺出版社, 2004-03, pp.72-73.</li>
<li>倪亦斌:《明末时尚女子的情色告白》,《看图说瓷》, 北京: 中华书局, 2008, pp.1-10.</li>
</ol>

A Startled Romantic Dream in the Back Garden

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Guo Ziyi (郭子仪 697–781), posthumously bestowed the title Prince Zhongwu of Fenyang (汾阳忠武王) because of his birth place and his contribution to the court, was the greatest Tang-dynasty general. He played the key role in military campaigns against the Uyghur Khaganate and Tibetan Empire, enemies constantly threatening China from the north-west. After Guo Ziyi and his army successfully stabilised the frontier for years, the rumour about the death of the elderly hero disquieted the enemy around the year 765. The Turfan and the Uyghur tribes joined together, trying to invade the Central Plains (中原). The veteran Guo Ziyi had to be summoned again by the court to deal with the tough situation. What’s worse, he was given only a small army of ten thousand soldiers to confront a combined force of three hundred thousand.
Under the circumstances, Guo Ziyi staged a genius scene. He believed that utter sincerity could move even gods, let alone the Turfan and the Uyghur tribes. General Guo asked his lieutenants and army to stay put. Then, with this conviction and his unmatched valour, he went to the camp of the mighty enemy with only a small entourage. When the tribal chieftains saw the legendary general Guo in person, appearing without his armours on, they were all awed with deep respect. They dismounted and disarmed themselves, kowtowing to him, saying, ‘It is really you, our father (果吾父也)!’
image identification and literature research by Dr <a href="https://tutuhaoyi.com/about-us/dr-yibin-ni/" target="_blank" rel="noopener">Yibin Ni</a> 
Read Dr Ni’s blog <a href="https://tutuhaoyi.com/blogs/interesting-findings/how-did-guo-ziyi-deter-the-colossal-enemy-army-without-fighting/" target="_blank" rel="noopener">here </a>for more interesting discussion regarding the depiction and outfit of General Guo.

Guo Ziyi Deterring the Enemy Without Armour

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In this scene, there are several Chinese <a href="https://tutuhaoyi.com/motifs-symbols/longevity/" target="_blank" rel="noopener">longevity</a> symbols such as the <a href="https://tutuhaoyi.com/motifs-symbols/crane/" target="_blank" rel="noopener">crane</a>, the generic immortal, the pine tree, and the <a href="https://tutuhaoyi.com/motifs-symbols/deer/" target="_blank" rel="noopener">deer</a>, etc. However, the proper meaning of this particular scene is <a href="https://tutuhaoyi.com/blogs/commonly-misunderstood-images/more-than-a-simple-assemblage-of-individual-symbols-of-longevity-discussion-on-a-chinese-pictorial-narrative-scene-of-hai-wu-tian-chou/" target="_blank" rel="noopener">not a simple assemblage of individual symbols</a>. It is a snapshot of a coherent narrative that has been well-loved and widely consumed in the visual oeuvre that represents the Chinese longevity ideal.
The literary origin of the scene can be traced back to an anecdote collected in Notes by Dongpo (东坡志林), compiled by a prominent man of letters of the Song dynasty, Su Shi (苏轼, 1037-1101). During one chance meeting of three geriatric men, the topic of age was broached. Each one of them tried their best to exaggerate his own great age. The second speaker famously boasted, ‘After every cycle of the sea drying up and becoming mulberry fields, I put a strip of <a href="https://tutuhaoyi.com/motifs-symbols/bamboo/" target="_blank" rel="noopener">bamboo </a>in my house as a counter and now the strips have already filled ten of the rooms.’ Later, this dramatic detail evolved into a classic allusion to longevity, a popular dream cherished by all people in China. Pictorial representations of this dramatic moment were invented and elaborated into different versions to adorn birthday presents of all kinds.
Initially, the title of the scene is, literally: ‘A bamboo counter is being added to the house in the sea (海屋添筹 hai wu tian chou)’. The first two characters of the phrase resulted from compressing the paragraph spoken by the second speaker in the story into an abbreviation consisting of the first and the last characters 海屋 hai wu (‘海水变桑田时, 吾辄下一筹, 尔来吾筹已满十间屋’). The coined two-character phrase ‘海屋 hai wu’ now means a ‘pavilion at sea’, serving as the first two characters in the set phrase. The rest two characters of the phrase ‘添筹 tianchou’ denotes the action (of a crane) adding a bamboo strip as a counter’. Thus, the four-character phrase alludes to the second speaker’s words in the original story.
During the Qing dynasty (1644-1911), pun rebus designs became more and more popular in folk decorative arts. The last character of the phrase ‘筹 chou’ for ‘bamboo strip counter’, acquired a pun on ‘寿 shou’, the Chinese character for ‘longevity’. Then, the phrase virtually conveys the meaning of a birthday wish: ‘May the length of your life be eternally prolonged (海屋添寿 hai wu tian shou)’. One of the earliest mentions of this pun phrase in literature can be found in Section 22 in the second part of the book Tao Ya (匋雅), or ‘Notes of Chinese Best Pottery and Porcelain’, compiled by Chen Liu (陈浏) and published in 1910.
This research article is written by Dr <a href="https://tutuhaoyi.com/about-us/dr-yibin-ni/" target="_blank" rel="noopener">Yibin Ni</a>.
Literature: 
<ol>
<li>Jeffrey P. Stamen and Cynthia Volk with Yibin Ni, A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection: Jieruitang Publishing, Bruges, 2017, p. 84-85.</li>
<li>倪亦斌：《仙鹤寿桃祝寿碗 暗藏海屋添筹图》，《读者欣赏》，兰州：读者出版传媒股份有限公司，2018-01，110-117 页</li>
</ol>

May the length of your life be eternally prolonged!

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When the Baron of the Zhou vassal state (周西伯) did a divination with oracle bones for his imminent hunting trip, the message came: ‘You will not catch a small bear or a large bear, but a teacher will be presented to you by the divine power.’ After bathing and fasting for three days, the baron arrived at the River Wei, he saw an elderly man sitting on a grassy mat with a fishing rod beside him at the bank. The baron respectfully bowed to him and politely asked him to be his mentor. He invited the man to sit in his vehicle on the way back to the capital. This elderly man was Jiang Ziya (姜子牙), the famous sage strategist in ancient China. Later, when the baron passed away, his son, who posthumously bestowed his father the title of King Wen (文王), called himself King Wu (武王). With the able assistance of Jiang, who was then respectfully called Jiang Taigong (姜太公), King Wu launched a military campaign to overthrow the ruling Shang house (商, ca. 1600 BCE-1046 BCE) and established the new Zhou dynasty (1046 BCE-256 BCE), which lasted about eight hundred years.
Here is another story about Jiang Ziya on his <a href="https://tutuhaoyi.com/figures-stories/bo-yi-and-shu-qi-trying-to-stop-the-mighty-zhou-army/" target="_blank" rel="noopener">assistance to King Wu</a> in launching a military campaign to overthrow the Shang house. Dr <a href="https://tutuhaoyi.com/about-us/dr-yibin-ni/" target="_blank" rel="noopener">Yibin Ni</a> also wrote an article on the identification of Jiang’s famous yet mysterious <a href="https://tutuhaoyi.com/blogs/culture-and-customs/has-jiang-ziyas-mount-got-anything-to-do-with-the-pere-davids-deer/" target="_blank" rel="noopener">ride</a>.
References:
<ol>
<li>倪亦斌：《子牙垂钓遇文王 明君得辅破殷商》，《读者欣赏》，兰州：读者出版传媒股份有限公司，2016-05，58-63 页</li>
<li>Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection 文采卓然：潔蕊堂藏康熙盛世瓷, Jieruitang Publishing, Bruges, pp. 92-93.</li>
</ol>

Jiang Ziya Was Discovered Angling by Baron of Zhou by the Wei River

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According to Confucian ethics, a man’s ambition and pride need to be balanced by humility.
General Lian Po (廉颇, active 298–236 BC) and Minister Lin Xiangru (蔺相如, active ca. 279 BC) were colleagues in the government of the state of Zhao. When Lin Xiangru received a higher appointment than Lian Po’s, Lian Po felt it was unjustified. He swore, ‘When I meet Lin, I shall humiliate him!’ Hearing this, Lin deliberately kept out of Lian Po’s way. His followers did not understand his response and thought he was a coward until Lin explained to them, ‘When two <a href="https://tutuhaoyi.com/motifs-symbols/tiger/" target="_blank" rel="noopener">tigers </a>fight, one will perish. I am behaving this way in order to put our country’s interests before private feuds so that we can have enough strength to survive threats from our enemies.’ When Lian Po heard this, he came to Lin’s residence and begged for forgiveness. The two then became friends for life.
In Fig 1 &amp; 3, General Lian Po was apologising to Lin in front of the King of Zhao, while the other ministers present congratulate the king for his luck in being surrounded by such sensible courtiers.
image identification and story scene description by Dr <a href="https://tutuhaoyi.com/about-us/dr-yibin-ni/" target="_blank" rel="noopener">Yibin Ni </a>

General Lian Po and Minister Lin Xiangru burying the hatchet

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This is a story of a brave woman who boldly exercised her rhetorical competence, managed to correct the erring ruler and saved her husband from execution. The story of The Wife of the Bow Maker in the State of Jin (晋弓工妻) is recorded in Chapter 6 Convincing and Perceptive (辩通传), Biographies of Exemplary Women (列女传 Lienv zhuan), the earliest extant book for moral education of women in China.
Duke Ping of Jin (晋平公, r. 557-532 BCE) was the sovereign of the State of Jin. Once he ordered a bow to be made for his personal use and the job took three years to finish. The duke happily received the new bow and tried it out with great expectation. Wooden strips for writing at that time were used as the testing target. The duke was sorely dismayed when the arrow did not pierce even one layer of the wooden strips. The duke wanted to have the bow maker executed for his utter incompetence. As soon as the bow maker’s wife heard about the news, she rushed to the palace. In front of the duke, the bow maker’s wife demonstrated her brilliant mastery of reasoning skills. First, she quoted famous benevolent anecdotes practised by past admirable rulers. Second, she enumerated all the best materials her husband had managed to select over a very long time in order to make this finest bow. Third, she pointed out that it is absolutely absurd to blame the bow for the previous ineffective shooting since it was none other than the result of the duke’s misuse of the bow. She then went on teaching the duke the right way of holding the bow and drawing the string and the right moment to release the arrow. The duke followed her advice. This time, the arrow hit the target and went right through seven layers of wooden strips! The reputation of the bow maker was instantly restored and the duke rewarded him 60 taels of gold.
The story scene depicted in the middle of the Kangxi plate currently collected by V&amp;A Museum was first unveiled by Dr Yibin Ni. His article with historical evidence is published <a href="https://tutuhaoyi.com/blogs/interesting-findings/new-research-on-a-rare-story-scene-on-chinese-porcelain-the-wife-of-the-bow-maker-of-jin/" target="_blank" rel="noopener">here</a>.

The Wife of the Bow Maker in the State of Jin

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When the old duke of Jin (晋) passed away, his heir was still in the cradle. It was with the powerful minister Zhao Dun (赵盾)’s support that he succeeded in ascending the throne. Unfortunately, the young duke, who was posthumously given the title Duke Ling of Jin, Jìn Líng Gōng (晋灵公, ? – 607 BCE), became increasingly the opposite of an ideal ruler. When the righteous Zhao Dun tried to alter the young duke’s misbehaviours by repeated remonstrances, he aroused resentment in the duke’s heart, who subsequently made several attempts on his life.
Once he made the excuse to invite Zhao to drink with him while soldiers were gathered to ambush him. Zhao’s retainer Timi Ming (提弥明) realised the plot and rushed to the table to rescue his master. When Zhao was supported to leave the place, the duke sent his immense dog to attack him. Timi was a valiant fighter and he smote the brute and put an end to it.
This scene served as a classic admonishing example for statesmen and rulers alike.
Read Dr <a href="https://tutuhaoyi.com/about-us/dr-yibin-ni/" target="_blank" rel="noopener">Yibin Ni</a>’s research article – <a href="https://tutuhaoyi.com/blogs/commonly-misunderstood-images/how-a-massacre-in-ancient-china-influenced-european-literature-painting-and-theatre/" target="_blank" rel="noopener">How a massacre in ancient China influenced European literature, painting and theatre</a> in <a href="https://tutuhaoyi.com/blogs/" target="_blank" rel="noopener">Blogs</a> section.

Duke Ling of Jin Sending His Dog to Attack Zhao Dun

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The young duke of the State of Jin (晋) who was posthumously given the title Duke Ling of Jin, Jìn Líng Gōng (晋灵公, ? – 607 BCE), has been known as a ‘ruler who does not deserve his title (bu jun 不君)’. His despotic behaviour was enumerated in the records by historiographers. For example, he levied heavy taxes to build more fancy palaces; he had the chef killed only because he didn’t cook his bear paws soft enough; and, when he was bored with shooting birds and animals in his ever-expanding parks, he whimsically indulged in shooting his ministers and pedestrians with catapult slingshots from his palatial terrace and enjoyed watching the victims suffering from the hazard and ducking the pellets.
image identification and story scene description by Dr <a href="https://tutuhaoyi.com/about-us/dr-yibin-ni/" target="_blank" rel="noopener">Yibin Ni  </a>
Read more in Dr Ni’ research article ‘<a href="https://tutuhaoyi.com/blogs/commonly-misunderstood-images/how-a-massacre-in-ancient-china-influenced-european-literature-painting-and-theatre/" target="_blank" rel="noopener">How a massacre in ancient China influenced European literature, painting and theatre</a>’.

Duke Ling of Jin shooting pedestrians with pellets

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In the Buddhist legend, at the beginning there was nothing but water in the world. Vajrapani ordered his disciples to scoop the ocean to see what was hidden there. The sun appeared in the first scoop and Vajrapani fixed the sun in the sky to light the day. In the second scoop, there appeared the moon and Vajrapani placed it in the sky so that it can brighten the night. There might be a connection between this legend and a women’s leisure activity in ancient China, recorded on the surface of various forms of artworks. A well-dressed lady standing in front of a water basin trying to scoop the reflection of the moon in a garden setting during the full moon days, waited on by some maids nearby.

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