This will be a series of posts in honour of the cultural impact Wu Zetian has had on Asian beauty standards, feminine patronage of the arts, the role of China in disseminating culture, Tang as a golden age and so forth. I will be using non-binary pronouns as Wu as with Elizabeth usurped gender norms for women of the times to get into their position by cultivating an androgyny to their life and titles. An extension of the feminine Royal We.
Women in Imperial China (c.0-1100) were overall limited in their abilities and agencies, moving in circles and networks made anew under these limitations. Books such as the Rites of Zhou (c.23 CE) codified these 'women roles' into imperial doctrines, laws, duties, ranks, career paths and other legal frameworks which created the binary division into Chinese cultures of 'woman' and 'man'.[3]
Power doesn't care what you think
Power just wants a little piece
And power doesn't care how you feel
As long as you learn how to kneel
A strong, charismatic, vengeful, ambitious, well-educated woman who enjoyed her husband's absolute affection, Wu was the most powerful and influential woman at court during a period when the Tang dynasty was at the peak of its glory. [...] Empress Wu is considered one of the greatest emperors in Chinese history due to her strong leadership and effective governance, which made China one of the world's most powerful nations.[1]
Wu Zhao
Wu was born in 624 CE in Southern Central China, Sichuan, Guangyuan, Lizhou which bordered Silla in Wu's time. Fittingly this was to Lady Yang.[1] If the fairer sex have a problem with this, I suggest they read up rather more on the mediocrity their chromosomal brethren have been up to.
In 638, Wu entered the imperial concubinage system in Taizong's court. This resulted in a rivalry with Empress Wang and Consort Xiao until the 650s. As Wu was more of a screw around and find out sort of person, they delivered on their promise and came out on top, expelling their rivals in less often and brutish ways than their male counterparts did routinely with whole armies in a mediocre system set up by the same men criticising 'her' for playing them at their own game of brute force murder, power and control.[1]
In 649 playing the money dating game, Wu set about setting up relations with Taizong's ninth offspring, Goazong.[1]
In 655 after working through the concubinage wake up and grind lifestyle, they became Huanghou, or the Empress Consort, which is what Camilla is.[1] This wasn't up to par for Wu, who moved on to greater heights. They were then Empress of China from 660 - 705. After Goazong had a stroke of genius, he had a stroke of the heart. Wu therefore became court administrator in a stroke of the pragmatical until 683. Different strokes for different folks of course gentlemen. While Goazong was sucking his thumb, Wu gained partial control by 660, and total control by 665.[1] As state adminstrator, Wu developed an advanced network of subordinates, loyal to them alone.
Wu ruled during this time with an iron fist whose rule was not to be questioned or srs/man bsnss would occur. During this time, Wu crafted Imperial China into a great power. Culture, Economy, Borders and standards were highly raised, with corruption being reduced in Wu's courts. These times are today known as the Golden Age of Classical China. Wu changed the name of the country during this time, from Tang to Zhou. The new house of Wu had arrived, and it arrived with Wu crowning themselves sovereign ruler of Zhou.[1]
From 668-676, Wu first allied with Silla against Goguryeo, and then against Silla over the occupation of former Goguryeo territory. Wu also furthered social class struggles in Chinese society, giving state support towards Taoism, Buddhism, Confucianism, education and literature.[1] Some instances include going to war, making the modern economy of Ancient Classical China, establishing modern borders, creating the Eastern Asian/Asian cultural zeitgeist for millennia to come and re-establishing important rituals and customs like the imperial state exam for bureaucracy.[1]
In 690 they became the Empress Regnant of China until their death in 705, originating the Wu Zhou dynasty. During this time, Wu became sole business manager of China, unquestioned in their role. Wu employed absolute power to bring balance to the court, which was pretty much full of the male-female global prison population and crime statistics of today.[1][2]
Wu let the country run itself after establishing order, birthing 4 children who they would politically manoeuvre to keep the place running as needs were into the Emperor hotseat. Wu during their later years consolidated their impact upon the cultural landscape by establishing support for new religions such as Buddhism, including the impactful art scene to be found at the Longmen Grottoes, ancient major buildings and bronze castings no longer extant.
In 705 some man stuff happened and Wu was coup-ed.[1] In mediocrity news, her stele was vandalised and left wordless, in an attempt to erase her work. This is most likely as their grandson took power, ruining it within a generation and leading to the nosedive of the Tang dynasty into mediocrity by 712.
Conclusion
In context therefore so far, we can see that Wu was a complex and powerful ruler who took no prisoners, whilst most of the men in their realm had a hard time even playing by the same rules.
Bibliography
[1] https://en.wikipedia.org/wiki/Wu_Zetian
[2] 6.9% is female. 93.1% being male/male adjacent of the prison numbers internationally. | https://www.bbk.ac.uk/news/new-birkbeck-research-shows-the-world-female-prison-population-has-increased-by-60-percent-since-2000#:~:text=Women%20and%20girls%20make%20up,10%25%20of%20the%20prison%20population.
[3] https://en.wikipedia.org/wiki/Women_in_ancient_and_imperial_China
Bijin Series Timeline
11th century BCE
- The Ruqun becomes a formal garment in China (1045 BCE); Ruqun Mei
8th century BCE
- Chinese clothing becomes highly hierarchical (770 BCE)
3rd century BCE
Xi Shi (flourished c201-900CE); The (Drunken) Lotus Bijin
2cnd century BCE
- The Han Dynasty
1st century BCE
Wang Zhaojun (active 38 - 31 BCE) Intermediary Bijin
0000 Current Era
1st century
- Han Tomb portraiture begins as an extension of Confucian Ancestor Worship; first Han aesthetic scholars dictate how East Asian composition and art ethics begin
- Isometric becomes the standard for East Asian Composition (c.100); Dahuting Tomb Murals
- Ban Zhao introduces Imperial Court to her Lessons for Women (c106); - Women play major roles in the powerplay of running of China consistently until 1000 CE, i influencing Beauty standards
- Buddhism is introduced to China (150 CE)
- Qiyun Shengdong begins to make figures more plump and Bijin-like (c.150) but still pious
Diao Chan (192CE); The Outer Bijin
2cnd century
- Yuefu folk ballads inspire desirable beauty standards of pining women ; Tacit Bijin
4th century
Gu Kaizhi (active 364-406); Metaphorical Beauty
- Buddhism is introduced to Korea (c.372)
- Chinese Artists begin to make aesthetic beauties in ethereal religious roles of heavenly Nymphs
- Luo River Nymph Tale Scroll (c.400)
- Womens clothing emphasized the waist as the Guiyi (Swallow-Tail Flying Ribbons) style (c.400)
- Wise and Benevolent Women (c.400)
5th century
- Chinese Art becomes decadent; Imperial Culture begins to see more expression in religious statues (c450)
- Longmen Grotto Boddhisattvas (471)
6th century
Xu Ling; (active 537-583); Terrace Meiren
7th century
- Tang Dynasty Art (618-908)
- Rouged Bijin (600-699 CE) https://commons.wikimedia.org/wiki/Category:Paintings_of_the_Tang_Dynasty
Yan Liben (active 642-673); Bodhisattva Bijin
Wu Zetian (active 665-705); The Great Tang Art Patron [Coming Fully Soon]
Asuka Bijin (c.699); The Wa Bijin
8th century
- Princess Yongtai's Veneration Murals (701) [Coming Soon]
- Introduction of Chinese Tang Dynasty clothing (710)
- Sumizuri-e (710)
Yang Yuhuan Guifei (719-756); [Coming Soon] East Asian Supermodel Bijin https://core.ac.uk/download/pdf/275768522.pdf https://factsanddetails.com/china/cat2/4sub9/entry-5437.html#chapter-5
- Astana Cemetery (c.700-750) [Coming Soon]
Zhang Xuan (active 720-755); [Coming Soon]
- What is now Classical Chinese Art forms
- An Lushun Rebellion (757)
Zhou Fang (active 766-805) ; Qiyun Bijin
- Emakimono Golden Age (799-1400)
9th century
- Buddhist Bijin [Coming Soon] https://commons.wikimedia.org/wiki/Category:Paintings_of_the_Tang_Dynasty#/media/File:Noble_Ladies_Worshiping_Buddha.jpg + https://en.wikipedia.org/wiki/Mogao_Caves#/media/File:Anonymous-Bodhisattva_Leading_the_Way.jpg
- Gongti Revival https://www.jstor.org/stable/495525?seq=2#metadata_info_tab_contents
10th century
-End of Tang Art (907)
13th century
- Heimin painters; 1200-1850; Town Beauty
15th century
- Fuzokuga Painting schools; Kano (1450-1868) and Tosa (1330-1690)
Tang Yin (active 1490-1524); Chinese Beauties [Coming Soon] https://www.comuseum.com/painting/masters/tang-yin/
16 century
- Nanbanjin Art (1550-1630)
- Wamono style begins under Chanoyu teachings (c1550-1580)
- Byobu Screens (1580-1670)
- End of Sengoku Jidai brings Stabilisation policy (1590-1615)
17th century
- Land to Currency based Economy Shift (1601-1655)
- Early Kabuki Culture (1603-1673) ; Yakusha-e or Actor Prints
- Machi-Eshi Art ( 1610 - 1710) ; The Town Beauty
- Sumptuary legislation in reaction to the wealth of the merchant classes (1604-1685)
- Regulation of export and imports of foreign trade in silk and cotton (1615-1685)
Iwasa Matabei (active 1617-1650) ; Yamato-e Bijin
The Hikone Screen (c.1624-1644) [Coming Soon]
- Sankin-Kotai (1635-1642) creates mass Urbanisation
- Popular culture and print media production moves from Kyoto to Edo (1635-1650); Kiyohara Yukinobu (1650-1682) ; Manji Classical Beauty
- Shikomi-e (1650-1670) and Kakemono-e which promote Androgynous Beauties;
Iwasa Katsushige (active 1650-1673) ; Kojin Bijin
- Mass Urbanisation instigates the rise of Chonin Cottage Industry Printing (1660-1690) ; rise of the Kabunakama Guilds and decline of the Samurai
- Kanazoshi Books (1660-1700); Koshokubon Genre (1659?-1661)
- Shunga (1660-1722); Abuna-e
Kanbun Master/School (active during 1661-1673) ; Maiko Bijin
- Hinagata Bon (1666 - 1850)
- Ukiyo Monogatari is published by Asai Ryoi (1666)
Yoshida Hanbei (active 1664-1689) ; Toned-Down Bijin
- Asobi/Suijin Dress Manuals (1660-1700)
- Ukiyo-e Art (1670-1900)
Hishikawa Moronobu (active 1672-1694) ; Wakashu Bijin
- Early Bijin-ga begin to appear as Kakemono (c.1672)
- Rise of the Komin-Chonin Relationship (1675-1725)
- The transit point from Kosode to modern Kimono (1680); Furisode, Wider Obi
- The Genroku Osaka Bijin (1680 - 1700) ; Yuezen Hiinakata
Fu Derong (active c.1675-1722) ; [Coming Soon] https://archive.org/details/viewsfromjadeter00weid/page/111/mode/1up?view=theater
Sugimura Jihei (active 1681-1703) ; Technicolour Bijin
- The Amorous Tales are published by Ihara Saikaku (1682-1687)
Hishikawa Morofusa (active 1684-1704) [Coming Soon]
- The Beginning of the Genroku Era (1688-1704)
- The rise of the Komin and Yuujo as mainstream popular culture (1688-1880)
- The consolidation of the Bijinga genre as mainstream pop culture
- The rise of the Torii school (1688-1799)
- Tan-E (1688-1710)
Miyazaki Yuzen (active 1688-1736) ; Genroku Komin and Wamono Bijin
Torii Kiyonobu (active 1688 - 1729) : Commercial Bijin
Furuyama Moromasa (active 1695-1748)
18th century
Nishikawa Sukenobu (active 1700-1750) [Coming Soon]
Kaigetsudo Ando (active 1700-1736) ; Broadstroke Bijin
Okumura Masanobu (active 1701-1764)
Kaigetsudo Doshin (active 1704-1716) [Coming Soon]
Baioken Eishun (active 1710-1755) [Coming Soon]
Kaigetsudo Anchi (active 1714-1716) [Coming Soon]
Yamazaki Joryu (active 1716-1744) [Coming Soon] | https://www.jstor.org/stable/25790976?seq=5
1717 Kyoho Reforms
Miyagawa Choshun (active 1718-1753) [Coming Soon]
Miyagawa Issho (active 1718-1780) [Coming Soon]
Nishimura Shigenaga (active 1719-1756) [Coming Soon]
Matsuno Chikanobu (active 1720-1729) [Coming Soon]
- Beni-E (1720-1743)
Torii Kiyonobu II (active 1725-1760) [Coming Soon]
- Uki-E (1735-1760)
Kawamata Tsuneyuki (active 1736-1744) [Coming Soon]
Kitao Shigemasa (1739-1820)
Miyagawa Shunsui (active from 1740-1769) [Coming Soon]
Benizuri-E (1744-1760)
Ishikawa Toyonobu (active 1745-1785) [Coming Soon]
Tsukioka Settei (active 1753-1787) [Coming Soon]
Torii Kiyonaga (active 1756-1787) [Coming Soon]
Shunsho Katsukawa (active 1760-1793) [Coming Soon]
Utagawa Toyoharu (active 1763-1814) [Coming Soon]
Suzuki Harunobu (active 1764-1770) [Coming Soon]
- Nishiki-E (1765-1850)
Torii Kiyonaga (active 1765-1815) [Coming Soon]
Kitao Shigemasa (active 1765-1820) [Coming Soon]
Maruyama Okyo (active 1766-1795) [Coming Soon]
Kitagawa Utamaro (active 1770-1806) [Coming Soon]
Kubo Shunman (active 1774-1820) [Coming Soon]
Tsutaya Juzaburo (active 1774-1797) [Coming Soon]
Utagawa Kunimasa (active from 1780-1810) [Coming Soon]
Tanehiko Takitei (active 1783-1842) [Coming Soon]
Katsukawa Shuncho (active 1783-1795) [Coming Soon]
Choubunsai Eishi (active 1784-1829) [Coming Soon]
Eishosai Choki (active 1786-1808) [Coming Soon]
Rekisentei Eiri (active 1789-1801) [Coming Soon] [https://commons.wikimedia.org/wiki/Category:Ukiyo-e_paintings#/media/File:Rekisentei_Eiri_-_'800),_Beauty_in_a_White_Kimono',_c._1800.jpg]
Sakurai Seppo (active 1790-1824) [Coming Soon]
Chokosai Eisho (active 1792-1799) [Coming Soon]
Kunimaru Utagawa (active 1794-1829) [Coming Soon]
Utagawa Toyokuni II (active 1794 - 1835) [Coming Soon]
Ryūryūkyo Shinsai (active 1799-1823) [Coming Soon]
19th century
Teisai Hokuba (active 1800-1844) [Coming Soon]
Totoya Hokkei (active 1800-1850) [Coming Soon]
Utagawa Kunisada Toyokuni III (active 1800-1865) [Coming Soon]
Urakusai Nagahide (active from 1804) [Coming Soon]
Kitagawa Tsukimaro (active 1804 - 1836)
Kikukawa Eizan (active 1806-1867) [Coming Soon]
Keisai Eisen (active 1808-1848) [Coming Soon]
Utagawa Kuniyoshi (active 1810-1861) [Coming Soon]
Utagawa Hiroshige (active 1811-1858) [Coming Soon]
Yanagawa Shigenobu (active 1818-1832) [Coming Soon]
Katsushika Oi (active 1824-1866) [Coming Soon]
Hirai Renzan (active 1838ー？) [Coming Soon]
Utagawa Kunisada II (active 1844-1880) [Coming Soon]
Yamada Otokawa (active 1845) [Coming Soon] | 山田音羽子 https://www.jstor.org/stable/25790976?seq=10
Toyohara Kunichika (active 1847-1900) [Coming Soon]
Kano Hogai (active 1848-1888) [Coming Soon]
Tsukioka Yoshitoshi (active 1850-1892) [Coming Soon]
Noguchi Shohin (active c1860-1917) [Coming Soon]
Toyohara Chikanobu (active 1875-1912) [Coming Soon]
Uemura Shoen (active 1887-1949) [Coming Soon]
Kiyokata Kaburaki (active 1891-1972) [Coming Soon]
Goyo Hashiguchi (active 1899-1921) [Coming Soon]
20th century
Yumeji Takehisa (active 1905-1934) [Coming Soon]
Torii Kotondo (active 1915-1976) [Coming Soon]
Hisako Kajiwara (active 1918-1988) [Coming Soon] https://www.roningallery.com/artists/kajiwara-hisako | https://www.jstor.org/stable/25790976
Yamakawa Shūhō (active 1927-1944) [Coming Soon]
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