The story of Meng Jiang_ Research Booklet_ Legend as Foil

LEGEANDS AS FOIL

INTRODUCTION

legend as foil

BACKGROUND

During the research of 4 popular chinese legends, we found that Legend always changes. These historical origins and continuous transformation of collective stories carry different meanings corss generations. The changes in attitudes and social norms across different time periods are reflected in the way such legends are interpreted, and eventually, influencing changes in plot points in such legends to uphold similar social expectations and values.

PROJECT INTENSION

Legends are always changing. When tracing the development process of four popular Chinese mythologies, “manipulation” is evidenced from changing plot points to suit contemporary sentiments during the time of their reproduction. This project postulates that, legends can be regarded as a foil for capturing culture shifts.

INTRODUCTION OF LEGENDS AS FOIL

04-05

THE STORY OF MENG JIANG

09-50

INTRODUCTION OF THE STORY OF MENGJIANG

10-11

THE STORY OF MENG JIANG IN DIFFERENT PERIODS

THE SPRING AND AUTUMN PERIOD (770-481 BC)

14-15

WARRING STATES PERIOD (475–221 BC)

16-17

WESTERN HAN DYNASTY (206 BC-9 CE)

18-21

TANG DYNASTY (618–907)

22-25

NORTHERN SONG DYNASTY (960–1127)

26-27

SOUTHERN SONG DYNASTY (1127–1279)

28-31

MING DYNASTY (1368–1644)

32-35

QING DYNASTY (1636–1912)

36-39

THE REPUBLIC OF CHINA (1912-1949)

40-41

PEOPLE’S REPUBLIC OF CHINA (1949–1978)

42-45

AFTER THE REFORM AND OPENING OF CHINA (1978-)

46-49

BIBLIOGRAPHY

50-57

The story of Mengjiang

The story of Meng Jiang is a Chinese legend with many variations. Later versions are set in the Qin dynasty, when Meng Jiang’s husband was pressed into service by imperial officials and sent as corvée labour to build the Great Wall of China. When Meng Jiang heard nothing after his departure, she set out to bring him winter clothes. Unfortunately, by the time she reached the Great Wall, her husband had already died. Hearing the bad news, she wept so bitterly that a part of the Great Wall collapsed, revealing his bones.

In 2006, The story of Meng Jiang was included in the first batch of National intangible cultural heritage list by the State Council.

The story of Meng Jiang has a long history, it has been passed down for a thousand years from the agricultural civilization(around 770 BEC) to the modern industrial civilization. Like all literature and art, is a reflection of social life. Different historical periods, storyline was influenced by and changed to reflect the social conflicts, social trends and social customs of time period.

As for the form of representing, The story of Meng Jiang It has been interpreted and enriched in the form of songs, novels, poems and operas.

Although The story of Meng Jiang has a simple plot, has followed the shifting social and cultural changes, changes in different times and places due to social trends and customs, and developed through the emotions and imaginations of the people. In different eras and from different narrators’ perspectives, its plot has been consciously added or reduced. Some changes are purely driven by the narrator’s intention, while others are influenced by the demands of the narrator’s interpretation. At the same time, due to the emergence and growth of the civic class, different versions of The story of Meng Jiang began to appear in the circulation of different classes.

Fig. 01 Cover of The story of Meng Jiang comic book (Beijing: Wang Shuhui, 1962, second edition, nine prints).

Origin and Historical change

1 Zuozhuan Published c. late 4th century BC, is an ancient Chinese narrative history that is traditionally regarded as a commentary on the ancient Chinese chronicle Spring and Autumn Annals. It comprises 30 chapters covering a period from 722 to 468 BC, and focuses mainly on political, diplomatic, and military affairs from that era.

The Spring and Autumn period

770 to 481 BCE

Refuse condolences on the road

齐侯还自晋，不入，遂袭莒，门于且于，伤股而退，明日将复战，期于寿舒，杞，殖华还，载甲夜入且于之隧，宿于莒郊， 明日，先遇莒子于蒲侯氏，莒子重赂之，使无死，曰，请有盟，华周对曰，贪货弃命，亦君所恶也，昏而受命，日未中而弃 之，何以事君，莒子亲鼓之，从而伐之，获杞梁，莒人，行成，齐侯归，遇杞梁之妻于郊，使吊之，辞曰，殖之有罪，何辱 命焉，若免于罪，犹有先人之敝庐在，下妾不得与郊吊，齐侯吊诸其室。

——《左传·襄公二十三年》1

The Duke of Qi attacked and conquered the state of Ju, and his general Qi Liang died in battle. On his return, the Duke met Qi Liang’s wife on the outskirts and sent his condolences. She refused, saying, ‘My husband died because of a crime, why should I accept your condolences? Even if he were free of guilt, our dilapidated house is still here. As a lowly concubine, I have no right to receive condolences with you.’ The Duke paid his respects at her home.”

Recorded in “Zuo Zhuan - The 23rd Year of Duke Xiang”

Zuozhuan

In this initial version of the story, Meng Jiang only appears as the wife of Qi Liang, and as a person who strictly observes ritual propriety. Even in times of grief, she is still able to act with decorum and maintain her composure, which is worthy of admiration. As for how she mourned after her husband’s death, Zuo Zhuan makes no mention of it. It is also not explained in Zuo Zhuan how she ended up in the outskirts, or whether she went there to meet her husband’s coffin. This took place in the year 549 BC. From then on, this event became a story, and how it spread and transformed at time is something unknown.

Social Background

The system of rites and music was a set of practices used to maintain an orderly system of rule centered on the Zhou dynasty. “Li” refers to various etiquette norms, while “yue” encompasses music and dance. As early as the Xia, Shang, and Zhou dynasties, ancient sages used ritual and music to form a fairly complete system of rites and music, which was promoted as moral education to maintain human harmony in society.

According to Confucius’ ideas, when social and political order was established, the emperor established the system of rites and music. If vassals did not follow the system, the emperor would issue orders to punish them. When social and political chaos arose, vassals would establish their own system of rites and music and decide on matters of attack themselves. Thus, during the Spring and Autumn and Warring States periods, people regarded “rites and music” as an ideal political state.

During the Warring States period, the strength of the various vassals increased dramatically and they no longer submitted to the constraints of the system of rites and music. The disorder of social order led to turmoil and unrest. Confucius was determined to rectify the system of rites. The image of the wife of Qi Liang, who steadfastly refused to pay respects to the Duke of Qi, acquired an image of maintaining the system of rites. Her adherence to “Li” was recorded in Zuo Zhuan as a moral model for people of that time.

Fig. 04 Plot Collage of The story of Meng Jiang in Spring and Autumn period

Fig. 03 The Confucius Stigmata, Unknown creator, Ming dynasty, silk scroll painting, Confucius Museum, https://g2.ltfc.net/view/

Warring States period

475–221 BC

2 The Book of Rites Published also known as the Liji, is a collection of texts describing the social forms, administration, and ceremonial rites of the Zhou dynasty as they were understood in the Warring States and the early Han periods.

哀公使人吊黄尚,遇诸道,辟于路,画宫而受吊焉。曾子曰:“黄尚不如杞梁之妻之知礼也!齐庄公袭营于夺(夺即隧),杞 梁死焉。其妻迎其枢于路而哭之哀。庄公使人吊之。对曰:君之臣不免于罪,则将肆诸市朝而妻妾执。君之臣免于罪, 则有先人之敝庐在,君无所辱命!”

——《礼记·檀弓》2

Duke Ai sent someone to offer condolences to Huang Shang. On the way, they met and diverted to receive condolences at a palace. Confucius said, “Huang Shang is not as knowledgeable in ritual as the wife of Qi Liang. When Qi Zhuang Gong attacked the camp at Duo (which means a tunnel), Qi Liang died there. His wife went to meet his coffin on the road and cried in grief.

Zhuang Gong sent someone to offer condolences to her. She replied, ‘If your servant could not avoid being guilty in serving his lord, then let him be sold in the market-place at the morning and evening markets. But if your servant can escape his lord’s guilt, he will still have his ancestral home to go to. Your Majesty need not bother to send someone to offer condolences.’

——The book of Rites

There were not many significant changes to The story of Meng Jiang from the Warring States period, except for the addition of the description “his wife went to meet his coffin on the road and wept with grief.” However, this added plot point is particularly noteworthy. It indicates that she went to the outskirts to meet the coffin and cried bitterly while doing so. While the version in Zuo Zhuan only talks about the rites and rituals, this version adds an emotional element. After this significant change, countless retelling of The story of Meng Jiang, both past and present, have been based on these three words, “wept with grief.”

Social Background

——《淮南子·修务训》4

Ordinary people often value the past and look down upon the present, so those who follow the Tao must first rely on the mythological figures of Shennong and Huangdi before they can be heard. During times of chaos, those in power often come from remote and inaccessible regions, which is why they are highly esteemed. As a result, scholars are blinded by their discourse and hold in high regard what they hear, sitting together in danger and chanting in unison.

4 Huainanzi also known as the Huainan Honglie was compiled under the direction of Liu An (179-122 BC) a member of the imperial family of the Western Han dynasty, who invited scholars and guests to participate. According to the “Yiwen Zhi” section of the “Book of Han, Huainanzi consists of 21 inner chapters and 33 outer chapters. The commentator Yan Shigu explains that the inner chapters discuss Daoist philosophy, while the outer chapters cover various topics.

3 The Mencius Published c. 300 BC, is a collection of conversations, anecdotes, and series of genuine and imagined interviews by the Confucian philosopher Mencius.

淳于影曰:“…昔者王豹处于淇,而河西善讴:绵驹处于高唐,而齐右善歌;华周杞梁之妻善哭其夫而变国俗。有诸内,必 形诸外。为其事而无其功者,影未尝睹之也.”

——《孟子》3

Chunyu Ying said, “In the past, Wang Bao lived in Qi, but the people in Hexi excelled in singing. Mianju lived in Gaotang, but the people in the right of Qi excelled in singing. The wife of Huazhou Qi Liang was good at crying for her husband and changed the customs of the country. What is inside will inevitably show on the outside. As for those who have the intention but lack the effort, I have never seen them succeed.”

——The Mencius

In this version of the story, we learn that the people of the Qi kingdom enjoyed learning the mourning chant of the wife of Qi Liang, and it became a popular trend at that time. It also reveals that the mourning chant of Qi Liang’s wife was as popular as Wang Bao’s eulogy and Mian Ju’s song, and they were all equally admired.

During the Warring States period, music was popular, particularly in the state of Qi, where mourning chants were widely embraced. Musical aesthetic ideas were mainly reflected in the concepts and techniques of music composition and performance during this period. Music emphasized the expression of emotions and thoughts, highlighting the “feelings” and “meanings” of music, while also emphasizing the artistic effects of music. At the same time, the music industry adopted the method of borrowing topic from the past to for recreation, to gain attention and respect by changing previously popular stories into musical forms to increase audience acceptance.

Therefore, the transformation of the mourning chant of Qi Liang’s wife and the subsequent vulgarisation may have been the work of Han E, a songstress who excelled in mournful tunes during the Warring States period. It is possible that the mourning chant was neither created nor modified by Han E and her contemporaries, but rather a result of listeners mixing their chants with the story of Qi Liang’s wife. Because the singers and listeners’ concept of Qi Liang’s wife was originally the same as the ruling class and scholars’ concept of Shennong and Huangdi.

Gu Bestows a Poem to the Landscape, Tangying, Ming dynasty, silk scroll painting, https://g2.ltfc.net/view/

世俗之人多尊古而贱今,故为道者必托之于神农黄帝而后能入说。乱世暗主高远其所从来,因而贵之,为学者蔽于论而 尊其所闻,相与危坐而称之,正领而诵之。

Fig. 06 Plot Collage of The story of Meng Jiang in Warring states period

Fig. 05 陶穀赠词图 Tao

5 Cao Zhi, The Collection

Western Han Dynasty

(206 BCE – 9 CE)

Collapse of Liangshan

昔雄渠李广,武发石开:邹子囚燕,中夏霜下;杞妻哭梁山为之崩,固精神可以动天地金石,何况于人乎!

of Cao Zijian

Published in Western Han dynasty, is a 10-volume compilation of poems, essays, and fu by Cao Zhi(192-232BCE), a poet from the Wei Kingdom during the Three Kingdoms period. It includes over 80 complete poems, more than half of which are in the style of yuefu poetry.

6 Cao Zhi, Jingwei Pian

Published in Wersten Han dynasty, is a five-character poem. The first two lines, “Jingwei lan jinshi, zhixin dong shenming,” set the tone for the entire poem. By recounting the deeds of Qi Liang’s wife, Prince Dan of Yan, Zou Yan, Su Laiqing, Nü Xiu, Ti Ying, and Jinli Nü Juan, the poem emphasizes the importance of sincerity and integrity in clearing one’s name.

《曹子建集》中《黄初六年令》5

In the past, Li Guang dug the Xiongqu Canal, Wu Fa split the Stone Barrier, Zou Yan was imprisoned in Yan City, and frost fell in the middle of summer. The wife of Qi wept, and Liangshan trembled and collapsed. Their unwavering spirits could move mountains and rivers, let alone affect other people!

——The Collection of Cao Zijian

7 Li Bai, The Valiant Woman of the Eastern Sea poem, written in 745 AD during the reign of Emperor Xuanzong. This poem recounts an incident of a wife avenging her husband at that time.

精微烂金石,至心动神明。

杞妻哭死夫,梁山为之倾。

子丹西质秦,乌白马骨生。

邹衍囚燕市,繁霜为夏零。

Subtle, rotten gold and stone, With sincere devotion, move the divine. The wife of Qi weeps for her dead husband, And Liangshan trembles at the news. Zidan travels west to serve the Qin, And a black horse is born from white bones. Zou Yan is imprisoned in Yan City, And the heavy frost melts in the summer sun.

梁山感杞妻,恸哭为之倾。

金石忽暂开,都由激深情。

《精微篇》中《鞠舞歌》之四6

——Jingwei Pian

《李白集》中《东海有勇妇》7

Liangshan is deeply touched by the grief of Lady Qi, and weeps with great sorrow, causing the world to shake.

The gold and stones suddenly open, All because of the power of deep emotions.

——Collection of Li Bai, The Valiant Woman of the Eastern Sea

The most obvious change in the Western Han version of the story is the addition of the plot of Meng Jiang crying cause the collapse of mountain. The reason why the crying caused the collapse of mountain was due to the popularity of the theory of unity between heaven and humanity at that time. The reason why the wife of Qi Liang’s crying caused the collapse of Liangshan is possibly came from the names of Qi Liang. Because Qi Liang’s “zi” is “Liang”, so his wife cried and caused the collapse of “Liangshan”. Such stories that are created by borrowing names were quite common in the Warring States period. It can be seen that the selection and development of Meng Jiang’s story at this time had a certain degree of contingency.

杞梁之妻無子，內外皆無五屬之親。既無所歸，乃就其夫之尸於城下而哭之，內諴動人，道路過者莫不為之揮涕，十 日，而城為之崩。既葬，曰：「吾何歸矣？夫婦人必有所倚者也。父在則倚父，夫在則倚夫，子在則倚子。今吾上則無 父，中則無夫，下則無子。內無所依，以見吾誠。外無所倚，以立吾節。吾豈能更二哉！亦死而已。」遂赴淄水而死。君子 謂杞梁之妻貞而知禮。《詩》云：「我心傷悲，聊與子同歸。」此之謂也。 《列女传 齊杞梁妻》8

The wife of Qi Liang had no child and no relatives within the five degrees of kinship. With nowhere to go, she went to the city gate and wept by her husband’s corpse. Her sorrow was so deep and moving that everyone who passed by shed tears with her. After ten days of mourning, the city walls collapsed. After the burial, she said, “Where should I go? A woman must rely on someone. When her father is alive, she relies on her father. When her husband is alive, she relies on her husband. When her son is alive, she relies on her son. Now I have no father, no husband, and no son to rely on. There is no one inside to depend on, so I reveal my sincerity. There is no one outside to rely on, so I uphold my integrity. How can I change this? I will just die.” She then threw herself into the Zishui River and died. The wise regard Qi Liang’s wife as chaste and knowledgeable in propriety. As the Book of Poetry says, “My heart is sad, and I will accompany you on your journey home.” This is what it means.

古列女傳》清嘉鹰道光周阮元刻道 光二十二年阮亨巢印本 Engraved verison of Biographies of Exemplary Women, Qing Jia Ying, Dao Guang edition, engraved by Zhou Ruan Yuan in the 22nd year of Dao Guang(1842), and printed by Ruan Hengliang.”, https://www.zgbk.com/ecph/

8 Liu Xiang, Biographies of Exemplary Women history record, written around BC 18” ,is a book that introduces the behavior of women in ancient China.

Fig. 08 Plot Collage of The story of Meng Jiang in Western Han Dynasty

Fig. 07 《文選樓叢書》本《新刊

Social Background

梁山崩。

《春秋经》9 Liangshan collapse.

——Spring and Autumn Annals

梁山者何?河上之山也。梁山崩何以书?记异也。何异尔?大也。何大尔?梁山崩,雍河三日不流,外异不书,此何以书?为 天下记异也。

《公羊传》10

What is Liangshan? It is a mountain on the River. Why is Liangshan mentioned when it collapses? To record something unusual. What is so unusual about it? It is great. How great is it? When Liangshan collapsed, the Yong River stopped flowing for three days. This kind of event is not recorded in ordinary books, but it is recorded to show the world its uniqueness.

梁山崩,晋侯以传召伯宗。伯宗辟重，曰:“辟传!”重人曰:“待我,不如捷之出也。”问其所，曰:“绛人也。”问绛事焉, 曰:“梁山崩,将召伯宗谋之。”问将若之何,曰:“山有朽坏而崩.可若何!国主山川,故山崩川竭,君为之不举,降服,乘缓 彻乐,出次,祝币,史辞,以礼焉,其如此而已。虽伯宗若之何!”伯宗请见之,不可。遂以告而从之。

When Liangshan collapsed, the Duke of Jin summoned Bo Zong.Bo Zong hesitated and said, “I decline the summons!”The Duke’s advisor replied, “Wait for me, it would be better to go quickly.”

Asked where he was going, he said, “To see the people of the state of Jiang.”Asked what they were doing, he said, “They are discussing the collapse of Liangshan and planning what to do.”Asked how they would handle it, he said, “When a mountain deteriorates and collapses, what can we do? It is the responsibility of the ruler to maintain the mountains and rivers of the country. When a mountain collapses and a river dries up, the ruler should respond by lowering his flag, offering sacrifices, and sending officials to apologize. This is the proper etiquette. What else can we do?

Even if Bo Zong is here, it will not change this approach!” Bo Zong asked to meet them but was refused. He then reported to the Duke and followed their advice.

The above is a record of the fact that Mount Liang collapsed during the Spring and Autumn Period. Although the collapse was simply due to “the decay and damage of the mountain,” it caused great concern and trouble for the rulers of Jin. The Spring and Autumn historians also considered it a significant event.

Meanwhile, due to frequent natural disasters and social unrest during the Spring and Autumn and Warring States Periods, the idea of the unity of heaven and humanity was used as a theoretical support for governance and social order. The story of Meng Jiang was combined with the collapse of Mount Liang, conforming to the trend of “the unity of heaven and humanity,” and therefore became widely spread among the people.

9 Confucius, Spring and Autumn Annals history record, recorded the major events of the various states during more than 240 years of the Spring and Autumn period.

10 Gongyang Gao, The Gongyang Commentary writtenduring the Warring States period, is one of the ancient Chinese classics. Its ideology is closely linked to the “Spring and Autumn Annals,” focusing on the “unification” and “rectification of chaos” views that have developed from the “respected king” concept in the “Spring and Autumn Annals.” In the early Western Han Dynasty, in order to gain legitimacy, Confucian scholars had to rely on the words of sages and wise men, thus the Spring and Autumn Gongyang thought, which centered around the concept of respecting the king, began to flourish.

Fig. 09 春秋公羊传 明天启写程 闵齐伋刻敦化堂印本 Gongyang Commentary Min Qiji, Ming dynasty Tianqi Period, Engraved edition, https://www.artfoxlive. com/product/7361718.html

11 Guan Xiu(832—913), The Wife of Qi Liang poem, written Tang Dynasty. It tells the story of the Mengjiang. This poem was widely circulated in the Tang Dynasty and became a classic in ancient Chinese literature.

Tang Dynasty 618–907

Collapse of The Great Wall

秦之无道兮四海枯，筑长城兮遮北胡。筑人筑土一万里，杞梁贞妇啼呜鸣一上无父兮中无夫，下无子兮孤复孤。一号城 崩塞色苦;再号杞梁骨出土。疲魂饥魄相逐归，陌上少年莫相非。

11

Injustice of Qin, oh how the seas wither, Building the Great Wall, oh how it blocks the northern nomads. Building with people and earth for ten thousand li, Qi Liang, a virtuous wife, weeping and wailing alone. No father above, no husband by her side, No children below, lonely and alone.

First, the city collapsed, bitter and bleak; Then, Qi Liang’s bones were unearthed. Weary spirits and hungry souls chase each other home, Young men on the road, don’t mistake her for someone else.

——The Wife of Qi Liang

From this poem from the Tang Dynasty, we can see that The story of Meng Jiang underwent significant changes during this time:

(1) Qi Liang was a person from the Qin Dynasty.

(2) Qinshihuang built the Great Wall, and people were even built into it, including Qi Liang.

(3) Qi Liang’s wife first called out to him when the city collapsed, and then again when her husband’s bones were unearthed.

This summarizes various legends about “Qi Liang who died in battle during the Spring and Autumn Period,” and opens up various legends about Qi Liang who died during the construction of the Qin Dynasty as a key point. From then on, the story of the Great Wall and Meng Jiang became highly correlated. The main plot of the story changed from a mourning husband collapsing a mountain to a deserted wife wailing for her lost husband.

Social Background

The development of the New Yuefu Movement in Tang poetry genre. The New Yuefu Movement was a cultural movement advocated by famous Tang poets such as Bai Juyi and Yuan Zhen, with the aim of “innovating” the poetry system. They advocated expressing dissatisfaction with reality, satirising and criticising political corruption in poetic verses.

At the same time, they also expressed sympathy for the common people living at the bottom of Tang society. “Drinking Horse at the Great Wall Cave” can be roughly divided into two factions: the majestic one is the triumph over enemies, and the tragic one is the miserable death from building the Great Wall. Here is one representative work of related themes:

Fig. 10 乐府诗集 The Collection of Yuefu Poetry Guo Maoqian, Song dynasty, Engraved edition, https://www.wikiwand.com/zh-sg /%E4%B9%90%E5%BA%9C%E8 %AF%97%E9%9B%86

The Collection of Yuefu Poetry is a poetry anthology that specifically compiles the yuefu poetry from the Han Dynasty to the Tang Dynasty and the Five Dynasties period, and also includes some ancient songs and lyrics that circulated before the Han Dynasty.

无罪见诛功不赏,孤魂流落此城边。

12

Returning to drink at the Great Wall cave, there are many white bones along the Great Wall road. When asked, the old man said they were soldiers who died while building the Great Wall for the Qin Dynasty. At dusk, there is no human smoke in the north of the pass, and the ghosts wail and moan, with the sound boiling the sky. Even though they were innocent, they were punished without reward for their achievements, and their lonely souls are now stranded by the side of this city.

——Drink at the Great Wall cave

Comparing these works with Guanxiu’s “Song of Qi Liang’s Wife,” one can hardly tell the difference. The themes and topics of these poems are very similar, due to the fact that the ancient poetry of the Yuefu genre, originally opera, has been widely transmitted and naturally subject to change. While Drinking Horse at the Great Wall Cave originally had no specific character, there was a legend of the wife of Qi Liang who broke down the city. The wife was portrayed as a “lowly concubine who could not protect herself for long,” expressing her resentment in the form of “ghosts wailing and moaning, with the sound boiling the sky”.

12 Cai Yong, Drink at the Great Wall cave Music poem, written in Han dynasty. It was first published in “Zhaoming Wenxuan” by Xiao Tong of the Southern Liang Dynasty, and was listed under Cai Yong in “Ancient Poetic Sources” by Shen Deqian of the Qing Dynasty.

The Confluence of “Drinking Horse at the Great Wall Cave” and “Song of Qi Liang’s Wife” in Yuefu Poetry.

Fig. 11 Plot Collage of The story of Meng Jiang in Tang Dynasty

Fig. 12 阎立本步辇图卷 Scroll of the Procession Yan Liben, Tang dynasty, Silk scroll painting, https://www.dpm.org.cn/ collection/paint/234620.html

This historical painting depicts a major event in the early years of the Tang Dynasty. In the eighth year of the Zhen Guan period (634 AD), a Tibetan envoy was sent to Chang’an to seek a marriage alliance with the Tang Dynasty. Emperor Taizong of Tang, Li Shimin, agreed to the request and decided to betroth Princess Wencheng, a member of the imperial family, to the Tibetan ruler Songtsen Gampo. In the spring of the fifteenth year of the Zhen Guan period (641 AD), Songtsen Gampo sent his minister Lu Dongzan to Chang’an to escort Princess Wencheng, while Emperor Taizong sent the Minister of Rites, Li Daozong, to accompany Princess Wencheng on her journey to Tibet.

The country was strong, but there were endless wars and forced labour. The Tang Dynasty was economically developed and culturally advanced, holding a leading position in the world at that time, and had frequent cultural exchanges with many countries around the world. However, this also brought about many border problems.

At that time, martial arts were highly respected. During the reigns of Taizong, Gaozong, and Xuanzong, the Tang Dynasty launched campaigns against Goguryeo and Silla in the east, and against Tubo and the Turks in the west. 10 military governors were stationed at the borders with heavy troops, cultivating wasteland and defending against foreign enemies. The soldiers labored outside all year round, and their sadness can be seen in the poems of Du Fu, such as Chariots of War and Newly Wedded and Parted After they left home, their wives naturally suffered even more. In their dreams, they longed for their husbands, who were either at Yumen Pass, Liaoyang, Yuyang, Huanglong, or Maiyi and Longdui, all in the vicinity of the Great Wall that stretches for thousands of miles.

The Great Wall was undoubtedly a crucial stronghold from a racial and national perspective, but to the resentful young women in their chambers, it seemed no different from a demon. Who was it that built the Great Wall to satisfy their own ambition? We all know it was Qin Shihuang. Who was it that cried down the city because of the grief of her husband’s tragic death? We all know it was the wife of Qi Liang. These two stories, The story of Meng Jiang and The story of Zhongzi, which tells a story of her husband’s death under the heavy corvée of Qinshihuang, were combined by association, becoming the “Wife of Qi Liang Crying Down Qin Shihuang’s Great Wall”. So Qi Liang’s wife could not have been a person of the Qin Dynasty who built the Great Wall! People thought again, why did Qi Liang’s wife cry under the Great Wall? Why did it collapse for her? It must have been that Qi Liang’s wife was buried under the Great Wall by Qin Shihuang and had to cry down the city so that her bones could be unearthed. Therefore, the saying “Build people and build land for ten thousand li” and “Qi Liang’s bones will be unearthed again” emerged! Wives who miss their expeditionary husbands all had grievances about crying down the Great Wall, and they wanted to alleviate their own frustration through the story of Qi Liang’s wife, making her a crystallization of the “grief of a husband’s distant expedition and not returning”.

Late Tang Dynasty

story of Meng Jiang to take shape

杞良,秦始皇时北筑长城,避役逃走,因入孟超(超,下作起)后园树上。起女仲姿浴于池中,仰见杞良,而唤之问曰:“君是 何人? 因何在此?”对曰:“吾姓杞名良,是燕人也。但以从役而筑长城,不 堪辛苦,遂逃于此。”仲姿曰:“请为君妻。”

良曰:“娘子生于长者,处在深宫,容貌艳丽,焉为役人之匹。”仲姿曰:“女人之体不得再见丈夫,君勿辞也。”遂以状陈 父,而父许之。夫妇礼毕,良往作所。主典怒其逃走,乃打煞之,并筑城内。起不知死,遣仆欲往代之,闻良已死并筑城中。

仲姿既知,悲哽向往,向城号哭,其城当面一时崩倒,死人白骨交横,莫知孰是。仲姿乃刺指血滴白骨,云:“若是杞良骨 者。 血可流入。”即沥血。果至良骸,血径流入。便将归葬之也。

13

During the Qin Dynasty, while building the Great Wall in the north, a man named Qi Liang fled from the labor and climbed up a tree in the garden of Meng Changjun. While bathing in the pool, Meng Changjun’s daughter, Zhongzi, saw him and asked, “Who are you? Why are you here?” He replied, “My surname is Qi, and my name is Liang. I am from Yan. I couldn’t bear the hard labor of building the Great Wall, so I ran away here.” Zhongzi said, “Please be my husband.” Liang replied, “Madam, you were born in a noble family and raised in a deep palace. You are beautiful and shouldn’t be matched with a laborer like me.” Zhongzi said, “A woman’s body cannot see her husband again, please don’t decline.” She then asked her father for permission, and they got married.

The supervisor in charge of the labor was angry that Liang had fled and beat him severely. Liang did not survive the beating, and the supervisor had him buried in the wall. When Zhongzi found out, she went to the wall to cry and mourn for him. The wall collapsed at the spot where she cried, and countless bones were exposed. Zhongzi pierced her finger and let her blood drip on the bones, saying, “If these are the bones of Qi Liang, my blood will flow into them.” As it turned out, her blood did reach Qi Liang’s bones. She then buried him properly.

The Records of Virtuous and Talented Individuals

The Great Wall is a typical representation of heavy labour and servitude, breaking the traditional way of life in agrarian society where people live and work in peace and contentment, with men farming and women weaving. Imagine if the Great Wall had not been built or repaired, Qi Liang and others would not have died on the wall, and the Meng Jiang would not have traveled thousands of miles to search for her husband, shedding tears all the way. In legends, the wall is a symbol of cruel and oppressive government, representing high-pressure rule. The close connection between the Great Wall and the suffering of the people became an essential element in The story of Meng Jiang

13 同贤记 The Records of Virtuous and Talented Individuals Fiction, is a collection of strange and supernatural stories from ancient China. The author of the collection is unknown and the original book is lost. However, there is a Tang Dynasty copy of the book called “Shanyu Ji ”, which includes three stories from the collection in its 12th volume, titled “The Influences of Heaven and Fate”.

Fig. 13 Plot Collage of The story of Meng Jiang in Late Tang Dynasty

14 敦煌曲子集 The Collection of Dunhuang Music and Lyrics, compiled by Wang Zhongmin, After Tang dynasty, is a compilation of folk songs and music discovered in Dunhuang.

In 1900, several hundred copies of folk songs and lyrics were discovered in the 288th cave of the Mogao Caves in Dunhuang,In the early 20th century, a large number of Five Dynasties manuscripts were discovered in the Mogao Caves in Dunhuang, Gansu.

Northern Song Dynasty

960–1127

Addition of plot point: Meng Jiang travels thousands of miles to find her husband and brings him warm clothes

孟姜女，杞梁妻，一去燕山更不归。造得寒衣无人送，不免自家送征衣。 长城路，实难行。乳酪山下雪纷纷。吃酒则为

隔饭病，愿身强健早还归。

——《敦煌曲子词集》14

Meng Jiang, wife of Qi Liang, went to Yanshan and never returned. She made a winter coat with no one to send it, and had to go and deliver it herself. The road to the Great Wall was really difficult. Under the cheese mountain, snow fell heavily. Drinking alcohol was like having a disease that separated one from food, and she wished to be healthy and return home early.

——The Collection of Dunhuang Music and Lyrics

The first half of the text describes how Qi Liang went to Yanshan and never returned. It was a harsh winter, but his wife traveled thousands of miles to send him warm clothes, highlighting the deep love between husband and wife. The second half of the text portrays Meng Jiang, who braves the difficult journey and wishes her husband good health and a safe return home in the midst of a heavy snowfall.

The first two sentences of the first half of the text establish the relationship between the characters. The subject of the second sentence is Qi Liang, and never to return implies criticism and satire, as his departure to Yanshan was not voluntary, but due to the forced labour of the feudal rulers’ tyranny. The third and fourth sentences depict the difficult situation of Meng Jiang, highlighting her strong character. The fact that there was no one to deliver the warm clothes that there were no young men in Meng Jiang’s family, and possibly, in the whole village, as all the young adults had been taken to build the Great Wall, forcing her to make the journey herself.

The first three sentences of the second half describe the difficult journey to deliver the clothes, which was already a challenging task, made even harder by the heavy snowfall. However, the female protagonist did not back down. Rather, she thought of her husband’s situation in the cold and snow. The last two sentences express Meng Jiang’s hope and wish. In the end, she expresses her heartfelt desire for her husband’s good health, hoping for his early return and reunion. The beauty of Meng Jiang’s spirit and her care and concern for her husband overflow between the lines of the text.

The story has undergone significant changes and enrichment in both content and plot, and has developed a relatively fixed narrative structure. Later versions of the story were created based on this version.

The main plot of The Story of Meng Jiang is as follows: Qi Liang is conscripted to build the Great Wall - Qi Liang and Meng Jiang are newlyweds and are separated - Qi Liang dies and his body is cast on the wall - Meng Jiang travels thousands of miles to find her husband and brings him warm clothes - Meng Jiang cries and collapses on the wall - the wall collapses and reveals the Qi Liang’s bones - Meng Jiang carries her husband’s bones back for burial.

These structured storylines highlight the strong folk characteristics, inheriting the allusions passed down from previous generations while corresponding to the social customs and historical background of the time. By linking a folk woman with the story of Qinshihuang’s construction of the Great Wall, the people expressed their resistance to the feudal dynasty’s heavy labor and cruel governance. At this point, the image of Meng Jiang, as a loyal and virtuous wife who travels thousands of miles to bring warm clothes to her husband and carries his bones back for burial, has already been formed.

This temple is located on the hill behind Wangfu Shi Village, about 6 kilometers east of Shanhaiguan City in Hebei Province. It is the product of the The story of Meng Jiang in memory of Meng Jiangnu. The temple was built before the Song Dynasty, and was rebuilt in 1594 by Zhang Dong, the head priest of the Ming Dynasty.

From the Five Dynasties and Ten Kingdoms of war and chaos to the early Song Dynasty with continuous smoke of war on the northern border, the people suffered deeply, families were separated, and the separation and death of husband and wife were common. In the midst of the chaos, people admired the character of Meng Jiang, and with the promotion of the Neo-Confucian moral philosophy, Meng Jiang’s image became even higher. In order to praise the virtue of Meng Jiang’s steadfastness, and to express their emotions and relieve their inner struggles, various regions began to establish temples to worship Meng Jiang. According to historical records, there were Jiangnus in Ansui (now Xushui, Hebei) and Tongguan (now Chuanshi, Shaanxi) and other places. In the early years of the Southern Song Dynasty, there was also a “Fan Lang Temple” with a statue of Meng Jiangnu in Yongqiu, the Jin rule area (now Qixian, Henan). At that time, the Meng Jiangnu temples distributed among the people were not rare.

Fig. 15 Plot Collage of The story of Meng Jiang in Northern Song Dynasty

Fig. 14 Meng Jiangnu Temple,

Southern Song Dynasty

1127–1279

Increased descriptions of folkloric scenery

至雍丘县,过范郎庙,其地名孟庄,庙塑孟姜女偶坐,配享者蒙恬将军也。 ——《北辕录》15

To reach Yongqiu County and pass by Fanlang Temple, there is a place called Mengzhuang, where there is a temple with a statue of Meng Jiang sitting and sharing offerings with General Meng Tian, who was also a patron of the temple.

——Beiyuan Lu

杞梁之妻，與經傳所言者，數十言耳，彼則演成萬千言。 ——鄭樵《通志·樂略》16

The wife of Qi Liang, as mentioned in the classics and historical texts, is only spoken of in several dozen words, but in the hands of skilled storytellers, her story can be elaborated into countless tales.

——The Tongzhi

At this point, the basic plot of The story of MengJiang has been established.

With the invention of movable type printing during the Southern Song Dynasty, the cost of printing was effectively reduced, making writing and publishing no longer the exclusive domain of the aristocracy. As a result, a large number of literary works by commoner writers, which reflected social reality and proposed ideas for social development, emerged. The lives of common people were increasingly reflected in The story of Lady Meng Jiang Therefore, in the versions that circulated during the Southern Song Dynasty, the scenes of Meng Jiang missing her husband at home were described in detail.

Social background

Before the rise of the Jin Dynasty, the political situation in the Song Dynasty was stable and the country was peaceful. The domestic economy was developed, with a population of over 100 million, as evidenced by the famous painting Along the River During the Qingming Festival Despite problems such as a large military, a high number of officials, and heavy government spending, the political and economic development during the Song Dynasty was evident. Inventions such as gunpowder, the compass, and movable type printing were introduced during this time, and the popularization of education led to the development of movable type printing. The printing of 300,000 books became widespread in schools, and many private academies emerged. Song engraved books are now highly valued collectibles.

The development of the cultural market during the Song Dynasty greatly stimulated the creativity of literati and artists, leading to a golden age in literature and the arts. For example, the emergence of the professional entertainment market, which included a variety of plays and performances, integrated these activities into the economic life of the period. In the free market competition, they exchanged and blended with each other, constantly innovating, improving performance levels, adjusting performance patterns, introducing new talents and works, and increasing the demand for scripts. This led to collaborations between literati and folk artists in scriptwriting, not only promoting the maturity and comprehensive prosperity of Chinese national drama, but also changing the structure of Chinese literature. The position of poetry and prose as the orthodox literature, with political education as the main purpose, was gradually undermined, and the entertainment-oriented drama and novels gradually became mainstream culture.

Fig. 17 Plot Collage of The story of Meng Jiang in Southern Song Dynasty

Fig. 16 Movable type printing Around 1045, Bi Sheng invented movable type printing with clay, which replaced the traditional carved-block printing technique.

15 北辕录 Beiyuan Lu Zhou Hui 1177, poem

16 通志·樂略 The Tongzhi, Zheng Qiao 1161, Political books. The book follows the style of “The Records of the Grand Historian” and records the political systems and institutions of each dynasty from ancient times to the Sui and Tang dynasties.

Along the River During the Qingming Festival captures the daily life of people and the landscape of the capital, Bianjing (present-day Kaifeng) during the Northern Song. The theme is often said to celebrate the festive spirit and worldly commotion at the Qingming Festival, rather than the holiday’s ceremonial aspects, such as tomb sweeping and prayers. Read right to left, as a viewer unrolled it, successive scenes reveal the lifestyle of all levels of the society from rich to poor as well as economic activities in rural areas and the city, and offer glimpses of period clothing and architecture. The painting is considered to be the most renowned work among all Chinese paintings, and it has been called “China’s Mona Lisa.”

Fig. 18 清明上河图 Along the River During the Qingming Festival Zhang Zeduan, Song dynasty, handscroll painting, https://g2.ltfc.net/view/SUHA/608a61a8aa7c385c8d943aed

Ming Dynasty

1368–1644

Meng Jiang takes revenge on Qin Shi Huang

The printing of the Dragon Seal at the beginning of the scroll was to showcase that the scriptures had received the support of the authorities, making them easier to disseminate. The imperial court strictly punished folk religious sects, so in order to avoid persecution, performers would first recite the “Imperial Edict” before preaching during the compilation of the scriptures and the activities of appropriate recitation. The bookplate at the end of the scroll indicates the information on the engraving, the information of the person requesting the scripture, or the language of prayer for blessings.

Social background

The popularity of Baojuan

Baojuan(宝卷) also known as Xuanjuan(宣卷), is a religious chanting literature in China that first appeared in the Ming Dynasty in the 16th century. It is recited, chanted or performed by performers and is often held in nunneries, temples or believers’ homes.

“秦始皇，真正傻，一心听从孟姜女，她是为夫来报仇，当是真心把她嫁。天下昏君都好色，打下江山只载花，没料人 间有才女，骗得帝王没办法”

——《孟姜女哭长城宝卷》

“Emperor Qinshihuang was truly foolish, he only listened to Meng Jiang. She came to avenge her husband, and he sincerely married her. All the despotic rulers in the world are fond of beauty, focusing only on conquering territories and indulging in pleasure. Little did they know that talented women also exist in this world, capable of deceiving even emperors.”

The story of Meng Jiang was passed down to the Ming Dynasty with the addition of a plot point where she resists Emperor Qinshihuang’s attempt to marry her. In this version, she demands that a tomb, a temple, and a royal sacrifice be built for her husband before taking her own life, leaving Qinshihuang heartbroken.

In addition, The story of Meng Jiang began to be associated with religion. The Xiaoshi Meng Jiang Zhonglie Zhenjie Xianliang Bao Juan from the Ming Dynasty not only has a close relationship with Buddhism in its content, but its illustrations also include classic Buddhist patterns. The images include figures such as Buddha, Bodhisattvas, deities, immortals, and believers. Although these illustrations are not directly related to the text, they serve to promote religious ideas. Upon closer inspection, the engravings are exquisitely carved, with clear lines, vivid shapes, and varied expressions, which can evoke a sense of reverence among believers and enhance the solemnity of the text.

It developed from the Tang Dynasty’s bianwen(變文), a form of narrative literature that was banned in the Song Dynasty due to Emperor Zhenzong’s devout belief in Taoism. Therefore, temples were no longer allowed to continue storytelling through bianwen(變文). Monks or professional storytellers then looked for venues to perform in. Early baojuan(宝卷) mostly consisted of Buddhist scriptures, exhortation texts, and folk stories. The content often promoted the concept of cause and effect and was primarily in rhymed verse, mostly in seven or ten characters. Some were also written in prose.

The story of Meng Jiang during the Ming Dynasty was one of the most widely spread stories in Baojuan(宝卷) literature, and therefore inevitably incorporated some mythological elements related to religion during this time period.

The trend of popularization

In the early Ming Dynasty, the philosophy of Neo-Confucianism was elevated to a supreme position. However, Wang Gen, a disciple of Wang Yangming, proposed the concept of “the daily life of the common people is the Tao”, affirming the significance of the daily life of ordinary people. The prevailing social ideology believed that a person’s moral values were rooted in their daily needs, reflecting the pursuit of individual values. This directly led to the trend of popularization and secularization of literature and art in ancient China during the Ming Dynasty, and literature and art flourished as never before.

The story of Meng Jiang was retold more often by common people, thus incorporating plot details related to everyday life and scenes of “resisting the tyranny of ruling classes” that represented the thoughts of the common people.

Fig. 19 Plot Collage of The story of Meng Jiang in Southern Song Dynasty

Fig. 19 销释孟姜忠烈贞洁贤良宝

卷 Xiaoshi Meng Jiang Zhonglie Zhenjie Xianliang Baojuan Unknown, Ming dynasty, Engraved version, https://auction. artron.net/paimai-art5002791921/

清明上河图 Along the River During the Qingming Festival is orderly and magnificent, with towering buildings, deep courtyards, and even the storefronts of shops are quite spacious. In painting, there are picture framing shops, silver shops, fragrant buildings, and antique porcelain shops, which are emerging industries in the Ming Dynasty. In addition, scenes of female musicians singing and dancing, as well as martial arts training in the training ground, combine history and reality to cre -

This long scroll painting depicts the prosperous scene of Suzhou in the mid-Ming Dynasty using shades of blue and green, and its structural layout is based on the landscape layout of Qingming Shanghe Tu by Zhang Zeduan of the Northern Song Dynasty.

Fig. 20 Qiu Ying, 清明上河图 Along the River During the Qingming Festival Ming dynasty, Metropolitan Museum of Art, handscroll, ink and color on silk, 29.2x645.2 cm, https://g2.ltfc.net/view/SUHA/617ad96d0cade115459da614

Qing Dynasty

1636–1912

The addition of mythological elements

黎山老母和观音菩萨掐指一算:“范其郎是二等罗汉星下凡，与孟姜小姐有婚姻之约，便叫当方土地做媒”把范吹到 孟家花园，从而结成姻缘。

——《长城宝卷》

The Old Mother of Mount Li and Bodhisattva Guanyin calculated with a pinch of their fingers and determined, “Fan Qilang is a second-tier arhat who has come down to the mortal world under the influence of the star. He has a marriage agreement with Meng Jiang, so let the local land deity act as the matchmaker.” They blew Qi Liang to the Meng family’s garden, thus creating a marriage union between them.

“鲤鱼就是奴家变，细眼红尾苗条身。孟姜万郎成双对，一对鲤鱼跳龙门。”

——《淮调孟姜女唱词》

“The carp is the transformation of me, with small eyes, a red tail, and a slender body. Mengjiang and Wan Lang become a happy couple, like a pair of carp leaping over the Dragon Gate.”

The addition of mythological elements and the concept of fate is evident in the story. Some versions of the story begin with the premise that the marriage between Meng Jiang and Qi Liang was predestined. In some versions, the Seven Maidens and Gongtong Immortal intervened to save the people from suffering, and Qi Liang sacrificed himself to save the people. Meng Jiang then helped him to achieve liberation from his wrongful death. In another version, the Heavenly Emperor intentionally caused Fan to suffer, and when he learned of Qi Liang’s unauthorized descent to earth, he ordered the White Star to marry Meng Jiang and Qi Liang.

Additionally, the story has a beautiful ending where after Meng Jiang’s suicide by drowning, she transforms into a fish.

However, overall, the plot of The story of Meng Jiang has remained relatively stable since the Qing

Dynasty. The story generally follows the same sequence of events: Cheating - Qi Liang and Meng Jiang Encounter in the garden - Qi Liang Arrested before the wedding - Meng Jiang Leaving home - Meng Jiang Crying on the Great Wall - Qinshihuang wanting to marry her, and her demanding to build a tomb, temple, and hold imperial sacrifices - After the sacrifice ceremony, she commits suicide and Emperor Qin returns home in despair.

Social background

Social unrest and hardship for the people

During the late Qing Dynasty, the vast labouring masses, including peasants, lived in a turbulent social environment and suffered from the torment of poverty. The complete mythical ending in The story of Meng Jiang represents their expectations for a better life. In feudal society, the majority of the labouring masses, who were mainly peasants, lived a life worse than that of livestock and were subjected to cruel economic exploitation and political oppression by the landlord class. At the same time, they also suffered various natural and man-made disasters and urgently demanded a change in their situation. However, they could not find a way to rescue themselves and had to pray for the protection of their gods in their hearts.

Fig. 21 孟姜女唱春 Meng Jiang singing for spring, Unknown, Ming dynasty, engraved version, https://m.qudiandi.com/product/ item/pid/10013479.html

Fig. 22 People’s life in Qing Dynasty Unknown, Qing dynasty, photography

Fig. 23 Plot Collage of The story of Meng Jiang in Qing Dynasty

After the Ming and Qing Dynasties, The story of Meng Jiang appeared in various forms of popular literature and art, including folk tales, dramas, folk songs, legends, southern operas, drum music, treasure scrolls, and children’s books. These genres expanded the plot of The story of Meng Jiang and deepened its ideological content. Whether it was her journey to find her husband and send him warm clothes, her crying at the Great Wall, her dripping blood to recognize her kin, or her resistance against Emperor Qin Shi Huang, all were depicted with unique characteristics.

Fig. 24 Unknown author, 长 城宝卷 Wan li chang cheng bao juan Ming Guo 1942-1949, Stone print version, https:// curiosity.lib.harvard.edu/ chinese-rare-books/cata-

The Republic of China (ROC)

1912-1949

The emergence of more narrative forms: film

Emperor Qin Shi Huang forced laborers to build the Great Wall. One day, a section of the wall collapsed and the emperor called upon diviners to perform a prophecy. The diviner was originally a traitor from the state of Chu and had once been stabbed by a patriot named Qi Liang. Seeking revenge, the diviner urged Qin Shi Huang to capture Qi Liang and sacrifice him to the collapsed wall. Qi Liang fled and sought refuge in Meng’s family Garden, where he met a woman named Meng Jiang. Impressed by his bravery, Meng Jiang married him. However, their secret was betrayed by a servant and Qi Liang was captured by Qin’s soldiers. The diviner buried him alive at the foot of the Great Wall and left a mark for others to see. Meng Jiang went through many hardships to find Qi Liang’s burial place at the foot of the wall. She wept uncontrollably, and suddenly, a strong wind and rainstorm erupted, causing the wall to collapse again. When Meng Jiang regained consciousness, she found herself in the diviner’s house. Seizing the opportunity, she killed the diviner and then committed suicide by self-immolation.

The plot of The story of Meng Jiang during the Republican era did not undergo major adaptations; it only transitioned from traditional forms such as poetry, drama, and scrolls to a more popular form at the time - film. This was closely related to the development of the Chinese film industry during the Republican era.

The history of Chinese cinema dates back to the early 20th century when the first Chinese-made film, Dingjun Mountain was released in 1905. However, it was not until the 1920s and 1930s that the Chinese film industry began to flourish with the establishment of Shanghai as a major film production center.

Movie Synopsis:

Fig. 25 孟姜女 Meng Jiang Nu, produced by Tianyi Company, directed by Shao Drunken Weng and Qiu Xiuxiang, starring Hu Die, Wei Pengfei, Zhou Kongkong, Jin Yuru and Wang Wufei, 1926, film

Fig. 28 Plot Collage of The story of Meng Jiang in The Republic of China

Fig. 26 Promotional poster for the film The story of Meng Jiang 1926 In the Spring Festival of 1939, the popular film The story of Meng Jiang was released in the Jincheng Grand Theater. wiki/%E5%AE%9D%E5%8D%B7.

Fig. 27 Movie stills for the film The story of Meng Jiang 1926

People’s Republic of China 1949–1978

Diversification of forms, add elements for political propaganda

赞云:万里寻夫说孟姜，冰清玉洁岂寻常!贞心不负当初约，传得声名千载芳。 诗云:为造长城逼喜良，捐身殉节动悲伤，彼美孟姜真可敬，甘心立志逆君皇。 ——《孟姜女万里寻夫集》17

Zanyun praises Meng Jiang, who searched for her husband thousands of miles away. Her purity and chastity were extraordinary, and her faithful heart upheld her initial promise, spreading her fame for thousands of years.

The poem goes as follows: “To build the Great Wall, Qi Liang was coerced; She sacrificed herself, deeply saddened. The beautiful Meng Jiang was truly admirable, with a determined heart to resist the emperor’s will.”

The Meng Jiang Baojuan compiled after the founding of New China has a full composition and few blank spaces, aiming to capture the moment of a climactic scene and showcase the plot with higher artistic value. The scroll highlights the scene where Meng Jiang and Qi Liang get married, with a bustling crowd of people, musical instruments, and singing, creating a sharp contrast between the joyous atmosphere and the later bleak and desolate situation after Qi Liang’s arrest.

In plot Meng Jiang searches for her husband and gender contrast is emphasized. In front of three strong male officials, Meng Jiang is a weak and helpless woman who has no money to pass the checkpoint and can only sing sad songs and endure the officials’ criticism, showing the inner misery of her character.

These illustrations meet the aesthetic taste of the public and moving towards commercialization and entertainment.

In this version, the plot has not changed much, but there is an added storyline of empathy for the workers who helped build the Great Wall alongside Qi Liang. It can be seen that at this time, the storytelling has shifted towards catering to the inner aspirations of labourers.

During the prosperous period of Chinese comic books, people’s entertainment lives were relatively simple, and comic books became an important reading material for many young people and even adults because of their educational and entertaining qualities. Due to the diverse artistic expressions of comic books, the subject matter has traditional Chinese cultural and historical characteristics, which distinguishes it from comic works in other countries and has a unique artistic expression.

Meng Jiang Searches for Her Husband Across a Thousand Miles

Fig. 29 孟姜女宝卷 Meng Jiang Baojuan 1940,.

17 孟姜女万里寻夫集 Meng Jiang Searches for Her Husband Across a Thousand Miles, Lu Gong, Pubished 1955.7

Fig. 31 Plot Collage of The story of Meng Jiang in People’s Republic of China

Fig. 30 Comic book of The story of Meng Jiang Painting: Wang Shuhui, Adaptation: Yu Jin, Publisher: Chaohua Fine Arts Publishing House, Edition: December 1st, 1950, 1st printing, Comic book.

Social background

Founding of the People’s Republic of China in 1949, Literature and art becomes tool for political propaganda

After the founding of the People’s Republic of China in 1949, there was a complete change in the political environment and ideology, and the literary and artistic situation changed rapidly as a result. In order to build broad popular recognition for the new regime, while retaining the original theme and character system, The story of Meng Jiang was rewritten to include her character as a hardworking labourer, and the anti-feudal theme was strengthened. The aim was to highlight the spirit of struggle of the labouring people against feudal oppression in the class struggle between Meng Jiang and Emperor Qin Shi Huang, and their love for labour and life in the new era.

After 1949, the Chinese film industry became a tool for political propaganda and ideological education. The industry was strictly regulated, and filmmakers were required to adhere to the principles of socialist realism.

Fig. 32 Meng Jiang’s Lament in the Twelfth Month” simplified music score Zheng Gong, 1960, Lyric of Huangmei opera, https:// www.cnscore.com/Jianpu/zxtmqcj5naad.html

The story of Meng Jiang Yue Opera performed by the Ningbo Xiaobaihua Yue Opera Troupe and filmed by Yangzhou TV Station, 1950, TV series

18 Its predecessor was the Ningbo City Yue Opera Troupe in the early 1980s, after the establishment of the Zhejiang Little Flowers Yue Opera Troupe and the emergence of the first wave of Zhejiang Yue Opera Little Flowers phenomenon. In 1989, 35 young people with quality and potential were recruited for standardized artistic education at the newly built Ningbo Art School, and representative figures of various schools of art were invited to personally teach and train the “Thirteen Schools of Yue Opera”, full of vitality and vitality.

After

the reform and opening of China 1978-now

TV Series; As a tool for promoting a harmonious society

The TV series The story of Meng Jiang Yueju Opera was performed by the Ningbo Little Flowers Yueju Opera Troupe and produced by Yangzhou TV Station18 This play has some innovations compared to other works in the past.

While highlighting the great love between Meng Jiang and Qi Liang, it also affirmed, to a certain extent, the value of the Great Wall in resisting the Huns, and did not make any comments on Qin Shihuang, leaving space for the audience to ponder.

孟家男主人从葫芦里得到一个可爱的女婴-孟姜女，从此这个女婴被视为掌上明珠，多年后，孟姜女长大成人。

话说历经了春秋战国数百年的动乱，秦始皇嬴政终于扫荡六国，一统江山，完成了史无前例的大一统格局，他也成为 中国历史上第一位皇帝。嬴政自然功勋卓著，但是他刚愎自用，暴虐成性，以严苛的法令统治着这个年轻而又岌岌可 危的国度。他大修阿房宫，广调才女，焚书坑儒。为了抵抗北方游牧民族的滋扰，同时联通龙脉，始皇帝命李斯下诏书 到各郡县，每户三丁抽一，五丁抽二，强迫三百多万人去服苦役。虽然公子扶苏苦苦相劝，怎奈皇帝根本不听他的话， 一意孤行。姑苏才子范杞良与皇帝同年同月生，因此遭到追杀。逃命途中他邂逅孟姜女，后者为报救命之恩嫁给了范 杞良。谁知不久后范又被抓了壮丁，由此上演了孟姜女哭长城的千古传奇。

The master of the Meng family received a lovely baby girl named Meng Jiang from a gourd, and from then on, this baby girl was considered a precious gem. Many years later, Meng Jiang grew up to be a woman.

Qi Liang, a talented man from Gusu who was born in the same year and month as the emperor, was hunted down and killed because of his association with the emperor. While fleeing, he met Meng Jiang, who later married him to repay his kindness. However, not long after, Qi Liang was conscripted as a laborer, and thus began the timeless legend of Meng Jiang weeping at the Great Wall.

In the 1986 film version of the Huangmei Opera The Story of Meng Jiang the emphasized plot was changed to: “Meng Jiang was harassed by bandits and the Great Wall guards on her way to deliver warm clothes to her husband. However, after they heard about Meng Jiang’s miserable experience, they helped her search for her husband.” This transformation was in response to the need to conform to the requirements of building a harmonious society at that time.

Fig. 34 孟姜女越剧版：TV series

Fig. 35 TV series “Meng Jiang Nu” of Yue Opera, stage photo

Fig. 36 孟姜女黄梅戏版：The story of Meng Jiang Huangmei Opera performed by by Yang Jun and Zhang Hui, 1986, Huangmei opera film

Fig. 37 Plot Collage of The story of Meng Jiang After the reform and opening of China

Social Background:

reform and opening of china, The goal of building the harmonious society

The process of building a harmonious society in China began in the 1980s when China faced profound social transformation and the enormous challenges of reform and opening up. Against this background, the Chinese government began to put forward the idea and goal of building a harmonious society, trying to achieve social harmony through comprehensive measures.

The Chinese government has taken a series of policies and measures, including strengthening social welfare, promoting public cultural construction, strengthening the rule of law, promoting education reform, strengthening environmental protection, and maintaining social stability. The cultural industry such as movies and TV dramas is part of the public cultural construction.

At the same time, In the late 1970s and 1980s, there was a relaxation of government control over the film industry, and Chinese filmmakers began to experiment with new themes and styles.

Fig. 38 Analysis of Film, The story of Meng Jiang 1986

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“[曾嵘/朱高亭]‘孟姜女故事’母题流变的实例分析

Painting:

Wu Yuanzhi, Red Cliff Painting,” Jin Dynasty, Paper, color, 51x136 cm, National Palace Museum, Taipei. Min Zhen, “Silkworm Culture and Mulberry Tree,” Qing Dynasty, Paper, color, 123.8 cm x 52 cm, Collection of the Palace Museum, Beijing.

Li Liufang. Rainy Mountain Landscape”, Ming Dynasty, Ink and color on paper, handscroll, 29.2x347.4 cm, Collection of Anhui Provincial Museum, Hefei.

Yu, Zhi. Flowers and Birds Painting Album [12 leaves] Qing Dynasty. Ink and color on silk, 37x40 cm.

Yao Shou, Scholars Drinking and Enjoying Painting,” no known date of creation, ink and paper, 23.3 x 77.2 cm, in the collection of the Metropolitan Museum of Art, New York

Tang Ai. “Lotus Painting.” Paper color painting. Qing Dynasty. Vertical scroll, 148.4 x 81.6 cm, in the collection of Shanghai Museum, Shanghai

Tang Ai. The Gourd ” 1914, Paper color painting, Vertical scroll, Private collection.

Shen Quan. ““Lotus Pond with Mandarin Ducks” Vertical scroll, Silk color painting, Qing Dynasty, 105.2 × 187 cm, in the collection of Anhui Provincial Museum, Hefei.

Gao Keming. Auspicious Snow on Rivers and Mountains Ming Dynasty, Handscroll, ink and color on silk, 28.4 x 951.8 cm. Private collection.

Yuan Jiang. “Afang Guantu.” Chinese landscape painting, Qing Dynasty, Screen, silk, color painting, 194.5x60.5 cm, Collection in the Guanfu Museum, Beijing.