China’s last Empress Dowager-regent

April 8, 2013

The Last Empress of China ruled the Qing Dynasty as a coregent after her husband, the Xianfeng Emperor died in 1861, and her son, The Tongzhi Emperor (1856 – 1875), was too young to rule China.

Technically, The Empress Dowanger Tzu Hsi (Cixi) wasn’t the last empress.

However, she was the last empress to rule China as a regent for her son, and then her nephew after her son died at age 19.

Sterling Seagrave, the author of Dragon Lady, writes, “Absurdly little was known about her life. The New York Times printed a long, error filled obituary calling her Tzu An, the title of her coregent, who had died twenty-seven years earlier.”

Many current history texts have slandered the Dowager Empress Tzu Hsi (1835 – 1908) without much evidence as one of history’s most monstrous women—a ruthless Manchu concubine who seduced and murdered her way to the throne in 1861 to rule China through prevision, corruption and intrigue.

This is how many still think of Tzu Hsi. In addition, she has been accused of murdering her son, and then years later her nephew, who died the day before she did.

Instead, her son may have died of syphilis because it was rumored he preferred prostitutes to the hundreds of virgin concubines that belonged to him.

Some rumors claim that Tzu Hsi had her nephew poisoned, but Yuan Shikai may also have poisoned him. There is no evidence to support either theory.

How did the Tzu Hsi earn such a bad reputation? It seems that she earned this reputation similar to how today’s China has been smeared in much of the Western media.

To understand how this came about, I will make a comparison to Jayson Blair, a young reporter for the New York Times who wrote more than 600 articles for the newspaper. During his short career with the New York Times, Blair committed repeated “acts of journalistic fraud”, including stealing material from other papers and inventing quotes.

Blair’s fraud was revealed in 2003, while he was still working for the newspaper. Source: BBC News

However, Jayson Blair was not the first reporter to commit “acts of journalistic fraud”.

Edmund Backhouse did the same thing writing about Empress Dowager Tzu Hsi at the beginning of the 20th century, and his lies and deceit wouldn’t be discovered until Sterling Seagrave was researching for his book Dragon Lady decades later.

And Backhouse’s journalistic fraud served as the foundation for most history texts still used today that continue to slander Tzu Hsi.

To do Tzu Hsi justice and to discover the truth, one should read Seagrave’s Dragon Lady, The Life and Legend of the Last Empress of China.

To learn who the real woman was we may want to consider what Robert Hart had to say about Hzu Hsi in his letters and journals.  Robert Hart arrived in China from Ireland in 1854 to learn the language and work as an interpreter for the British consulate in Ningpo. In 1859, almost five years later, Hart quit his job with the British and went to work for the Emperor of China as an employee. He returned to England in 1908.

For most of his stay in China after 1859, Hart was Inspector General of Chinese Maritime Customs and worked closely with the Imperial ministers and Manchu princes. Before returning to England, Hart met with the Dowager Empress in a private audience.

Hart referred to Tzu Hsi as “the Buddha” and later “the old Buddha” since she was a devout Buddhist and it is obvious that he thought of her with affection and admiration.

In fact, Hart, who is considered the Godfather of China’s modernization, at no time indicated in anything he wrote that Tzu Hsi was conspiratorial, sinister or manipulative. However, he did indicate that she was strong-willed and hot-tempered, clever and had ability.

Tzu Hsi died in 1908 a few weeks after Robert Hart left China. The Qing Dynasty collapsed in 1911.

Discover more of The Qing Dynasty (1644 – 1911)

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Lloyd Lofthouse is the award-winning author of My Splendid Concubine [3rd edition]. When you love a Chinese woman, you marry her family and culture too. This is the love story Sir Robert Hart did not want the world to discover.

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Peking Opera

March 26, 2013

Peking Opera is a combination of several styles of Chinese opera.

The metamorphosis started during the Qing Dynasty (1644-1911), about two hundred years ago.

Peking Opera focuses on historical events, legends about emperors, ministers, generals, geniuses and great beauties.

Performances are a combination of singing, dialogue, pantomime and acrobatic fighting and dancing.

Today, Peking Opera is considered the highest expression of Chinese culture.

The origins of Peking Opera did not begin in Peking (Beijing).  The opera had its start in the Chinese provinces of Anhui and Hubei.

Experts say the opera was born in 1790 and was originally staged for the royal family and then the public.

There are thousands of these operas that cover the history and literature of China. Peking operas can be divided into two categories.

“Civil” operas focus on singing while “Martial” operas feature acrobatics and stunts.  Some are a combination of both.

If Peking Opera interests you, see Chinese Yu Opera with Mao Wei-tao

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Lloyd Lofthouse is the award-winning author of My Splendid Concubine [3rd edition]. When you love a Chinese woman, you marry her family and culture too. This is the love story Sir Robert Hart did not want the world to discover.

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From Mao to the Met

March 12, 2013

Arriving early at the local library to attend a lecture called the Wit and Wisdom of Abraham Lincoln, I stopped by the library’s used bookstore first and found a three-dollar DVD of Hao Jiang Tian’s From Mao to the Met. Later that evening, my wife said she had been looking for that DVD, and she invited her sister and father to join us when we watched it.

Funded by the Committee of 100, this one-man show features Metropolitan Opera basso Hao Jiang Tian weaving song and story into a compelling tale of growing up in China under Chairman Mao, based on his autobiography (with co-author Lois B. Morris) “Along the Roaring River: My Wild Ride from Mao to the Met“.

What I enjoyed most about the one-man show was that Tian never condemned Mao, the CCP or China for his bitter-sweet journey.

 

Instead, this fantastic opera singer says it was fate that led him from Mao to the Met. When you stop to think about it, fate is the river-of-life known later as history—the current that carries all of us through life often without much say in that history.

As a child, Tian hated his piano lessons. Then with the arrival of Mao’s Cultural Revolution, Tian said, “So one happiest day came when I heard an announcement from the loudspeakers: My piano teacher was arrested as a counterrevolutionary. And then I was so happy. And so immediately I ran to the courtyard, screaming and jumping with joy.”

Thirty years later, Tian returned to Beijing and visited his piano teacher, who said, “Well, that was a crazy period, and it was so hard to figure out who was right and who was wrong.”

In his one man show, Tian performs songs of the Cultural Revolution, American standards such as “Some Enchanted Evening”, Irish song “Danny Boy” and operatic arias from his favorite roles; Tian tells the story of the music-and the woman- that changed his life.

NPR says, “For more than 20 years, the basso voice of Hao Jiang Tian has filled major American opera houses. As one of the few Chinese stars in opera, his life story is as remarkable as his work. … Tian is one of the few opera singers to emerge from China.” Source: NPR.org

Discover China’s Invisible Man – Liu Bolin

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Lloyd Lofthouse is the award-winning author of My Splendid Concubine [3rd edition]. When you love a Chinese woman, you marry her family and culture too. This is the love story Sir Robert Hart did not want the world to discover.

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Caressing nature with a long handled brush

March 4, 2013

It would be difficult to talk about Chinese art without understanding Chinese calligraphy and its artistic inspiration. A painting has to convey an object, but a well-written character conveys only its beauty through line and structure.

In Shanghai, or Beijing, I’ve watched men with longed handled brushes, as seen in the first video, using water for ink and concrete for paper. With grace, they exhibit the skills of a Rembrandt breathing life in the characters.

Lin Yutang writes in My Country and My People that Western art is more sensual, more passionate, fuller of the artist’s ego, while the Chinese artist and art-lover contemplates a dragonfly, a frog, a grasshopper or a piece of jagged rock—more in harmony with nature.

Owing to the use of writing calligraphy with a brush, which is more subtle and more responsive than the pen, calligraphy as art is equal to Chinese painting. Through calligraphy, the scholar is trained to appreciate, as regards line, qualities like force, suppleness, reserved strength, exquisite tenderness, swiftness, neatness, massivness, ruggedness, and restraint or freedom.

This helps explain why the Chinese may not be as warlike as Christian and Islamic cultures.

Discover Chinese Yu Opera with Mao Wei-tao

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Lloyd Lofthouse is the award-winning author of My Splendid Concubine [3rd edition]. When you love a Chinese woman, you marry her family and culture too. This is the love story Sir Robert Hart did not want the world to discover.

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China’s Hammered Dulcimer

February 26, 2013

The yangqin, the Chinese Hammered Dulcimer, probably did not originate in China. It came from either Europe or Persia about five centuries ago and was adapted to fit Chinese music.

One theory says that the yangqin came to Chinese on the Silk Road. A second theory says it arrived in China with Portuguese traders in the 1500s.  A third theory says the instrument was developed in China without foreign influence from an ancient stringed instrument called a Zhu.

However, it is a young instrument by Chinese standards, and was first heard during the Ming Dynasty (1368 to 1644).  Later, it was commonly used in Chinese Operas. In Modern China, the yangqin is a major discipline in the College of Music.

The yangqin has over 100 strings that are struck with thin bamboo sticks that have rubber tips on one end.  When struck with the rubber end, a soft sound is heard.  When the strings are struck with the other end of the stick, without the rubber tip, a crisper sound is heard.

Around the world, there are many versions of the hammered dulcimer all designed and played in a similar fashion, but each country has its own distinct sound influenced by culture.

If you enjoyed learning about and listening to the yangqin, discover The Pipa

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Lloyd Lofthouse is the award-winning author of My Splendid Concubine [3rd edition]. When you love a Chinese woman, you marry her family and culture too. This is the love story Sir Robert Hart did not want the world to discover.

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