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I imagine there must be a garden behind this wall, with the warbling of orioles and the fragrance carried on the wind. Several clumps of green trees with canopies appear above the wall, while several branches of roses that have sprung from the garden hang from the top of the wall.

Laughter and chatter came from inside the wall, as women called for someone to push the swing in the garden.

He led his horse back slightly, leaned against the bridgehead, and stood obliquely by the weeping willows, squinting in the golden sunlight as he gazed at the direction from which the swing was raised.

Perhaps the wall was too short, or the swing was too high, but when the swing reached its highest point, the woman's figure flashed over the pink wall in a fleeting moment.

The woman was about seventeen or eighteen years old, with delicate eyebrows and phoenix eyes, a beautiful head and hair, and a long, graceful neck. As she swayed on the swing, her clothes fluttered, and she moved with an elegant and light grace.

When the swing swung for the second time, she noticed him and turned her head in surprise. He smiled slightly, calmly raised his sleeve, and gently wiped away a poplar catkin that had landed on his forehead.

She looked at him three times from behind the wall on the swing, then stopped. Inside the wall, she heard several women whispering; they must have been talking about him with their companions.

A moment later, the roses on the wall swayed, revealing two small buns above, along with the bangs of a young girl with her hair hanging down. Then, the face of a thirteen or fourteen-year-old girl came into his view.

Compared to the woman he had just seen, she had a slightly rounder face, fair skin, and large, clear eyes. When her gaze met his, the smile on her lips had not yet faded, and her pure, bright, and innocent demeanor made him feel as if he had seen her before.

The little girl pressed her hands against the wall, staring at him with wide eyes, from his face and eyebrows, his clothes and headband, all the way to his silk whip, fine horse, jade bridle and carved saddle.

His gaze fell on her ten fingers. Her nails were a clean pink, unpainted, and he found them adorable, so he smiled at her.

The laugh startled her. As if suddenly remembering something, she abruptly turned her head and looked back, saying to the person inside the wall, "Sister, hand me the fan."

Someone offered her a silk fan, which she accepted. Then, she solemnly turned the fan back to shield her face, covering the area below her eyes, but her beautiful eyes still curiously observed him.

His smile deepened, and he asked her, "Excuse me, young lady, which way should I turn to enter the main gate of the prefect's residence?"

"Why did you come to the prefect's residence?" came her still childish voice from behind the fan.

He replied, "I wish to pay my respects to Vice Minister Fu."

"What do you want with my father?" the little girl asked immediately. Before he could answer, staring at the sliver of crimson robe peeking out from beneath the sleeve of his dark black shirt, she added another question she was more interested in: "Who are you?"

He rode a white horse, standing against the backdrop of fragrant grass and willows in the south, bowed slightly to her, and said with a smile, "I am Feng Jing from Jiangxia."

(End of "Drunken Flower Shade")

The Lonely City (The Princess Who Fell in Love with a Eunuch) - Side Story: The Princess of Yan

Chapter word count: 3464 Update time: 08-09-14 18:44

"Double Happiness" and Scandals in the Northern Song Dynasty Court

◎Bai Xuexiang

"Double Happiness," painted by Cui Bai, a court painter of the Song Dynasty, was taken to Taiwan by the Nanjing Nationalist Government in 1949 along with many other cultural relics. It is now housed in Taipei and is one of the most prized treasures of the National Palace Museum in Taipei.

"Double Happiness" depicts a desolate autumn scene with frosty leaves falling. In the painting, a magpie perches atop a withered tree, crowing defiantly at a wild rabbit that has wandered in below. Another magpie takes flight to join the fray, while the rabbit turns its head and stands watching. The contrast between the magpie and the rabbit is incredibly lively. Later generations discovered an inscription on the tree trunk in the painting: "Painted by Cui Bai in the year of Jia? Xin Chou." Jia? Xin Chou refers to the sixth year of the Jia? reign of Emperor Renzong of the Northern Song Dynasty, which is 1061 AD.

Literati painting emerged in the Northern Song Dynasty, imbued with a strong sense of human consciousness. It channeled repressed emotions into brush and ink, evoking resonance in viewers through artistic imagery. "Double Happiness" can also be categorized as literati painting. Cui Bai used light ochre to depict the withered autumn, a time of desolation and life's inevitable decline. Both the hare and the magpie display expressions of fear. What profound meaning does this famous painting ultimately convey?

Let's place the "Double Happiness" painting within the context of the Jiajing era. In the sixth year of Jiajing's reign, Cui Bai was a renowned flower-and-bird painter who entered the Imperial Painting Academy without examination during Emperor Renzong's reign, becoming a court painter. That year, a scandal erupted in the Northern Song court, shocking the court and even sparking debate among ministers, including Sima Guang. The reason was that the Bianjing imperial palace strictly forbade opening its gates at night, but Emperor Renzong's eldest daughter, Princess Fukang, knocked on the gates and entered at night. Rumors about the princess's private life quickly spread, and she was subsequently stripped of her title.

The story begins in the second year of the Mingdao era (1033), when Empress Dowager Zhangxian Liu passed away. Emperor Renzong was overwhelmed with grief, and his attendants told him that Consort Li, a maid of Empress Dowager Liu, was his birth mother. Knowing his true identity, Emperor Renzong, in order to make up for his guilt towards his birth mother, repeatedly promoted his maternal uncle Li Yonghe to higher official positions. Feeling guilty, he arranged for Li Yonghe's son, Li Wei, to marry the eldest daughter of the emperor, Princess Fukang. Little did he know that this action would later lead to a family tragedy.

Emperor Renzong had a difficult time conceiving; none of his sons survived, and only four of his thirteen daughters reached adulthood. Princess Fukang was born in 1038, when Renzong was nearly thirty. It was no exaggeration to say that he doted on this eldest daughter immensely. In the Northern Song Dynasty, princesses were initially granted honorific titles, and later fiefdoms were bestowed upon them. "Fu" and "Kang" represented the emperor's blessings for his eldest daughter's good health and well-being. Historical records indicate that Princess Fukang was an exceptionally intelligent and proud young woman, extremely filial to her father. When Renzong fell ill, she served him day and night, even going barefoot and with disheveled hair to pray to heaven, wishing to take her father's place.

In the second year of the Jiajing reign (1057), Emperor Renzong held a grand investiture ceremony for the twenty-year-old Princess Fukang, bestowing upon her the title of Princess of Yan. The ceremony was as grand as the investiture of an empress, unprecedented in scale and almost unparalleled in its kind since, as princesses during the reign of Emperor Yingzong had never received such treatment. In the same year, the princess married Li Wei, and Emperor Renzong spent 100,000 strings of cash to build a residence for her, demonstrating his deep affection for his daughter.

However, a grand wedding cannot guarantee the quality of a marriage. The princess and her husband's married life deteriorated. The princess looked down on her husband, the husband neglected the princess, and the princess had a strained relationship with her mother-in-law. Upon closer examination, it's difficult to determine who was at fault; one can only say it's an old saying: "Their social standing was unequal, and they were not a good match."

During the Northern Song Dynasty, it was common for the imperial family to intermarry with military families. Emperors and crown princes married daughters of military families as concubines, and sons of military families married princesses and daughters of the imperial clan. For example, Princess Yan, sister of Emperor Taizu of Song, married General Gao Huaide; Princess Xu, sister of Princess Fukang, married Qian Jingzhen, the great-grandson of the King of Wuyue and a general of the Right Imperial Guard; Princess Lu married Cao Shi, a descendant of Cao Bin and a general of the Left Imperial Guard; and Princess Wei married Guo Xianqing, the military commissioner of Kaizhou. These women were either from military families or descendants of meritorious officials, and their lifestyles and cultural levels were generally similar to those of the imperial family, thus the couples were well-matched. The family of the imperial son-in-law, Li Wei, was a nouveau riche during the reign of Emperor Renzong. The emperor's brother-in-law, Li Yonghe, was originally impoverished in Bianjing (Kaifeng), making a living by producing paper money for the dead—probably one of the lowest jobs among the capital's citizens. Later, Empress Dowager Zhangxian Liu rewarded him with a minor official position as the military commander of Kaocheng County. It wasn't until Empress Dowager Liu's death and Emperor Renzong's recognition of her as his mother that the Li family rose to prominence. As the saying goes, "It takes three generations of officials to understand how to dress well." In other words, good taste is cultivated through long-term aristocratic life. Given the nouveau riche character of the Li family, it would be strange if they could win the favor of a clever and proud young princess.

This marriage, arranged between close relatives, was absurd from a generational perspective. The驸马 (imperial son-in-law) Li Wei was actually Emperor Renzong's cousin and the princess's maternal uncle. Li Wei's birth year is unknown, but analyzing the birth and death dates of the emperor's brother-in-law Li Yonghe (988-1050), Li Yonghe was already over fifty when the princess was born. Logically, Li Wei should have been much older than the princess. In the Song Dynasty, being old and unmarried might, maliciously, be attributed to being unattractive or of poor character—of course, this is just speculation. However, it's generally agreed that couples with a significant age difference would have less communication than couples of similar age and appearance.

Now let's go back to the princess's residence and see what the princess and her husband are doing.

The imperial son-in-law, Li Wei, was busy cultivating an air of refinement, practicing the "flying white" style of calligraphy, and spending lavishly on paintings, calligraphy, and antiques. His eagerness to shed his ignorant and uncouth habits only made his nouveau riche nature more clearly visible to the world. The renowned calligrapher and painter Mi Fu once publicly commented on two types of collectors: "Those who are merely enthusiasts and those who are connoisseurs are two separate categories. Connoisseurs claim to be truly dedicated, having read extensively, recorded numerous works, and gained their own insights; some may even be able to paint themselves, thus their collections are all masterpieces. Nowadays, some people may have the wealth, but are not truly passionate about art; they merely create a facade, even relying on others for guidance—these are called 'enthusiasts'." In other words, these "enthusiasts," though wealthy, are blind to true art. Li Wei was one such "enthusiast" satirized by Mi Fu, a far cry from the imperial son-in-law's original intentions, which was his misfortune.

The princess, surrounded by top artists like Cui Bai in the palace, naturally developed a haughty disdain for her husband's showy behavior. After several years of sordid interactions, the princess had an affair. This affair was quite unusual; it involved Liang Huaiji, a eunuch serving in the princess's household. Liang Huaiji had followed the princess from the palace, so the two must have known each other; setting aside their social status, they could even have been childhood sweethearts. Although the Northern Song Dynasty did not experience the scourge of eunuch factions, many eunuchs were still involved in politics, not just serving the royal family. Therefore, eunuchs received excellent educations, and some even came from scholarly backgrounds. The *Xuanhe Painting Catalogue* records a considerable number of eunuch painters. The fact that the princess had an affair with a eunuch would be shocking to anyone in the know.

One night in February of the sixth year of the reign of Emperor Renzong of Tang (1127), Princess Li Wei and Liang Huaiji were having a quiet drink together. At this time, Li Wei's mother, a simple-minded woman from the common people, disregarded her status and secretly spied on them from another room. However, she was discovered by the princess, who became furious. Li Wei's mother also reprimanded the princess, and in the heat of the moment, the two argued fiercely. The princess then ran back to her parents' home and, late at night, demanded that the palace gates be opened, crying to the emperor and asking for a divorce from her husband. The palace gates were not allowed to be opened at night; this was the established rule, and even a princess was not exempt. The remonstrating officials protested to Emperor Renzong, and the official who had allowed the princess into the palace was punished. The princess was then taken back by her fearful husband. From then on, whenever the princess tried to enter the palace late at night, no official dared to let her in. This pampered princess, who had never experienced the hardships of life, refused to compromise with her circumstances, repeatedly engaging in these futile efforts, until she was on the verge of a mental breakdown.

Scandals always spread incredibly quickly, and rumors about the princess and Liang Huaiji spread rapidly in Bianjing, damaging the dignity of the imperial family. The Northern Song scholar-officials, known for their freedom of speech, submitted numerous memorials to Emperor Renzong. Sima Guang submitted two memorials, "On the Princess's Inner Residence" and "Memorial on Rectifying the Family," urging Renzong to admonish the princess based on ancestral family rules. Under pressure, Renzong issued an edict stripping the princess of her title of Princess Yan, demoting her to Princess Yi, but allowing her to continue residing in the palace. Her wet nurse, Han, was expelled, and all other staff in her residence were dismissed. Liang Huaiji was exiled to Luoyang to sweep the imperial tombs. Her husband, Li Wei, was demoted to prefect of Weizhou, and his mother was sent to be cared for by his elder brother, Li Zhang. Despite these lengthy pronouncements, the princess's marital status remained unchanged.

The proud princess, having lost Liang Huaiji to exile and all her confidants, felt increasingly isolated and her mental state deteriorated. She attempted suicide several times and even set fire to her palace, desperately crying out, "I want Liang Huaiji back! I want Liang Huaiji back!" Seeing his beloved daughter, once known for her intelligence, wisdom, and filial piety, now in such a state of madness, Emperor Renzong must have been heartbroken. Filled with regret, he recalled Liang Huaiji to the palace. Despite repeated appeals from his advisors, the emperor remained unmoved; the princess's plight had left this loving father with no other choice.

After Liang Huaiji returned, the princess's madness was not fully cured. Whenever she was asked to return to her residence, she would have a seizure and attempt suicide. Alternatively, she might have recovered but was using her madness to resist reconciling with her husband. Afterwards, no record of her committing any "evil" was found, and she likely lived a relatively peaceful life. People in the palace deeply regretted the princess's fate. Her birth mother, Consort Miao, and other palace women secretly requested an imperial decree to kill Li Wei to avenge the princess, but Emperor Renzong ultimately relented due to his concern for his maternal family. Cui Bai, a court painter, expressed deep sympathy for the princess and Liang Huaiji in his painting "Double Happiness," and his depiction of a wild rabbit profoundly conveyed Li Wei's fear as an adversary.

After the princess entered the palace, Li Wei's elder brother, Li Zhang, submitted a memorial stating that Li Wei was foolish and unworthy of the princess, and requested that the two be divorced. Emperor Renzong granted the request.

Eight years later (1070), Princess Fukang died in the palace at the young age of 33. At that time, her nephew, Emperor Shenzong, was on the throne. Seeking revenge for his aunt, he demoted Li Wei to Chenzhou on charges of "disobeying the emperor." Compared to the princess, Li Wei was far more unfortunate; his once-glorious marriage became a laughingstock.

Princess Fukang was the princess of Yan State, and her final title was Grand Princess of Zhou and Chen State.

The following is a record from the "Biographies of Princesses" in the History of Song:

Princess Zhou and Princess Chen were the Emperor's eldest daughter. In the second year of the Baoyuan era, she was granted the title of Fukang. In the second year of the Jia era, she was further granted the title of Gun. The princess was intelligent and precocious from a young age, and was known for her filial piety. When the Emperor was unwell, the princess, who was by his side, stood barefoot and prayed to Heaven, begging to take his place. The Emperor greatly loved her.

The Emperor, mindful that Empress Dowager Zhangyi was not yet able to enjoy the full comforts of the empire, chose her nephew, Li Wei, to marry the princess. Wei was simple and unsophisticated, and he and the princess had long been at odds.

The princess knocked on the palace gates at night to lodge a complaint, and Wei, fearing for his life, impeached himself. The remonstrating official Wang Tao argued that the palace gates were opened at night and requested that the guards be punished. The censors also jointly criticized the many negligence of the palace officials, and the emperor dismissed more than ten people, including the military supervisor Liang Huaiji. Several years later, relations did not improve, and Wei was banished to the provinces. The princess was demoted to Yi and confined to the inner court. After a long time, Wei was recalled and reinstated as a prince consort. When Emperor Yingzong ascended the throne, Wei was promoted to Princess of Yue.

In the fourth year of Emperor Shenzong's reign (1564), she was granted the title of Grand Princess of Chu.