Chapter 22 Wild Vines Entangling on the Desolate Tomb*: The Empress and Her Mahakhitan Southern Capital Palaces (Part 2)
022 – 蘞蔓於野:女皇和她的摩訶契丹南京宮闕(下)
*Originally as a line from Creeping Vine (Ge Sheng), Odes of Tang, Classics of Poetry (詩經・唐風・葛生).
Picking up from the last chapter, the stories of the empress’ entire life are fully intertwined with this building complex, so we are forced to tell them together.
I finished planning for this series in Feburary, and today … it’s finally done
(the update was in June), phew.
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As most of the documents and designs in the Ministry of Works were lost and/or destroyed in the second siege of the Central Capital (tears), the floorplan attached here came from the depiction of the civilians from the Southern Capital, so the complete authenticity of it cannot be guaranteed …
Translated floorplan is too big to be uploaded; link:
https://mega.nz/#!Z9QCWKIL!_heyG3P2pqLmg7VVJtYOsQ8D3iRh2gVseJLx-JA_e2E
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Speaking of the largest among the Southern Capital palaces, Changqing Hall (長慶殿
, lit. “Lasting Celebration Hall”) is the sole candidate.
The function of Changqing Hall is similar to that of the Yuanqing Hall (元慶殿) of the Central Capital palaces, as an enormous whole-brick structure serving as the emperor’s banquet hall. As we walk through the Changqing Gate, turn right and proceed to the north, we realise as we enter the hall that it is by no means comparable to Yuanqing Hall which was built two hundred years earlier.
The design of the hall completely abandoned the successive and bulky single arches that were featured in early Mahakhitan brick-stone buildings. Yuanqing Hall of the Central Capital back then, despite gigantic in size, was monotonal and dark within with poor ventilation. During joyful feasts, even slightly more lights would make the air stale, so the Khitan emperors gradually began to dislike it.
With the assistance of designers from Constantinople and craftsmen from Isfahan this time, the issues of ventilation and lighting were solved with the light dome and pendentive. No other hall or palace in Mahakhitan ever had such a bright inner space before, as the subjects attending imperial banquets exclaimed at the enormous half-circle windows and delicate windowpane patterns, as well as seeing the roofs of the three rooms of the hall as if they were floating in the air in daylight. After visiting the empress, the envoy from Constantinople also wrote in his letter(s) that such an experience used to only be available in one other place.
As the sun set towards the west, when the second dish of the Khitan feast was being brought to the hall, the palace servants would light up the chandeliers. The stars painted on the three domes would glitter like real celestial objects, and the waving glow of the flare would gently push the tapestries and curtains around as if giving life to the ancient Khitan battles woven on these Persian fabrics that were worth a thousand pieces of gold. The empress would probably have her best time seeing these lords and officials flabbergasted in surprise.
Today, although the tapestries and curtains are nowhere to be found, and the inner decorative items in the hall have been long thrown away into a tiny room, several master craftsmen from the Ministry of Works still unanimously agree the hall itself is surprisingly sturdy. Despite having served as a war shelter during the great chaos, the underground water cellars under the halls such as the Changqing Hall almost have their wall decorations and floors completely intact, which should be rather easy to restore.
Of course, I also understand since the reputation of Changqing Hall had long been widely circulated across the nation, this is probably one of the other reasons why people carefully tried to protect it – even back when the empress was still alive, local lords from everywhere already had gala halls and other buildings imitating Changqing Hall in their respective fiefdom capitals – but unfortunately had to downsize due to lack of the secret recipe from Fulin and the rough concrete technology.
It seems this hall indeed impressed everyone very much. Even by now (1563), buildings of large spaces such as Zizheng Halls (諮政堂
, lit. “Counseling Policies Hall) in Central and Southern Capitals still bear resemblance to Changqing Hall.
(So much so that the parliamentary buildings and train stations of Mahakhitan in the future will have large halls intentionally following the style of Changqing Hall.)
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There is a gate in Changqing Hall towards the west, leading to Renzhi Hall (仁智殿
, lit. “Benevolence Wisdom Hall”).
This hall, in turn, was where the empress used to summon her subjects for further discussions and meetings after her daily court assemblies. It also served as the imperial family’s library. The original and translated books the empress gathered were piled on the shelves on the four sides of this square hall. Book-collecting was one of Her Majesty’s obsessive hobbies – she seemed to always had felt inferior due to her lack of formal education since childhood. In Mahakhitan back then, crown princes were subjected to very systematic educational demands, whereas for girls even princesses, reading was by no means necessary.
Her lack of confidence on her own educational background and lack of dedicated training of ruling since she was young made the empress sometimes very reliant on her husband when managing political affairs – although the empress had quite good personal capabilities and had kept reading all her life. She seemed, however, really in need of such sense of security. King Xuan (宣王
, where 宣/Xuan1 seems to be the posthumous temple name) of Shanyang, as the crown prince, already had experience of assisting his father when dealing with political and military affairs of the circuit. He played a decisive role in the course of the empress’ consolidation of central power with his own experience as a local lord. Today, no one knows which of those decrees came from Her Majesty herself, and which were drafted by the Shanyang King. (Of course, the absolute loyalty of the troops from Shanyang Circuit as also an important reason why the empire managed to remain relatively stable during all those successes or failures under the empress.)
The Ministry of Works claims in their report that the conditions of Renzhi Hall nowadays are worrying. During the Chongguang (重光
, lit. “Re-Brighten”) years when the national treasury was depleted, the previous emperor ordered to remove the gold and bronze tiles from the Southern Capital palaces for coinage and cannon production. After that the brick-structured domes of Renzhi Hall and Yaoguang (瑤光殿
, where 瑤光/Yaoguang is the ancient Chinese name for the star Alkaid) Hall has since been entirely exposed in sunlight and wind without tiles covering them. The two domes are already leaking in many places, with the paintings on them long spoiled. The bookshelves are completely rotten, and the books and records missing – the best-case result for them would be to appear in the ancient book market of the Southern Capital Bazaar and to be picked and brought as the foundation of the library collection by lecturers from the Southern Capital Zhongzhi Academy* (種智院) who understand the values of them. As for the worst-case scenario, I’d rather prefer not to speak of it.
*(Note: the Southern Capital Zhongzhi Academy has been, in a long time, the only modern university in Mahakhitan, although during the 16th-17th Centuries many places of the empire had quite a lot ancient theological academies and some Confucian colleges, whose later modernisation shall be saved for future introductions possibly.
種智院/“Planting Wisdom Court”, the Buddhism-influenced name IOTL is actually used by a Japanese university 種智院大学/Shuchiin University)
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Going westward along the northern road of the palaces, the bedroom palace of the empress and her husband back then, Ziwen Hall (紫文殿
, lit. “Purple Cultured Hall”) is to the south of the long corridor.
We seem to have mentioned that during the fifty years the palaces were not in use, countless craftsmen used to visit the Southern Capital palaces with various methods. Ziwen Hall, on top of anything else, was the main reason why these people were willing to spend a fortune to bribe the guards and sneak into the palaces risking their lives.
After the civil war, the Southern Capital was the first to recover thanks to the trade through the Indian Ocean, and was where some newly rich of the empire gathered to live during the twenty odd years thereafter. The building fashions popular among them were not as rigid and obsessed with rites like in the case of the old aristocrats, so the rebellious – by the standard back then – and incredibly luxurious Southern Capital palaces became their primary reference.
Being suspected of breaking the hierarchy
(specifically called 逾製/Yu2 Zhi4 in Chinese) was hardly avoidable, but the grey area between allowed much room for maneuvering. The craftsmen in Southern Capital had ten thousand ways to cleverly bypass the red line. On the other hand, the debilitated imperial family now depended on the support of these upstarts, and released signals of “temporary acquiescence” in many aspects – the silent approval of newly emerged merchant class dressing in exclusively aristocratic patterns and colours during the years of Chongguang should be quite revealing.
Therefore, the new generation of the Liao Southern Capital civilian residential buildings, compared to their grey, humble predecessors, showed a much more obvious “official look”. Known as the “empress style”, it became the symbol of the 16th-17th Centuries Mahakhitan architecture, with its origin traced back to the Ziwen Hall here.
In contrast to the more rigid halls including the Yunhe and the Changqing, the space allocation and dimension of Ziwen Hall are the most user-friendly, and most casually designed as the private space of the imperial family. As a result it has been the most favoured reference among civilians.
Northern terrace of Ziwen Hall.
This hall mingles all Her Majesty’s favourite elements. The “Water Fringe Lake (荇海子
, where /Xing4 refers to Nymphoides peltata, or fringed water lily, or water fringe while 海子/small sea in ancient Chinese often meant lake or pool)” to the north of Ziwen Hall is almost a Persian-style garden. The southern side of the hall is on the other hand the arcade overlooking the entire Indus Delta that bears quite some resemblance to Boukoleon Palace of Constantinople. The Feathers Lake (羽淀
, where 羽 means Feather, and 淀 is the traditional local way of calling a water body – lakes or swamps – in northern China) to the east of the hall is on the other hand an open palace garden with an artificial stream. However, at the end of the stream lies a central Sindhu-style stair well, through which water from the surface of the palace garden gather and flow back to the giant reservoir underneath the palaces.
That’s right, following the advice of the hired Fulin craftsmen, in order to level the base and make the palaces visually larger, most of the palace complex is built upon arches, thus forming the gigantic water reservoir under the buildings that helps to cool down the palaces during harsh summers and provides water for landscape and consumption uses.
In the meantime, the consequent underground corridors also have become the transit route for the hundreds of palace servants as well as part of the guardian system, successfully rendering this rather small palace complex not as seemingly crowded in regular days.
Inside the walls of Ziwen Hall there is supposedly a bronze pipe system for the cooling of the walls and roof, but we regrettably cannot personally experience its effect.
It has been said that back then, the empress and the Shanyang King would cuddle together on one of the countless terraces of Ziwen Hall, spending one after another afternoons in the undisturbed shades of trees. The country was rich as it never had been, and the two sons Dun and Jing (both became emperors years later, as Minzong/愍宗 and Pingzong/平宗) and two little daughters growing up day by day. It was as if the happiness of this tiny family would last forever.
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King Xuan of Shanyang passed away in March, the 27th Year (of Duanning; 1497), at the age of forty-five.
It was said at the funeral, she put her favourite neckwear on the chest of the Shanyang King. “See the necklace as I am here.” She said.
The empress never wore a single jewelry since then.
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Later historians always claimed that since the death of the Shanyang King, some the empress’ policies in her late years appeared to be too radical, and threatened the vested interests of too many classes, thus probably served as the initial trigger of the subsequent turmoil the empire suffered. In her late years, the campaign against Tianfang (1504-1507) was also extremely costly both in expenditures and human lives. Although four years of bitter war was concluded with the final victory, the navy that the state of Liao took pride in almost lost all of its main forces, along with the vessels and talents previously shined in the great voyages. Her appointment of Ü-Tsang monks as officials was also met with resentment from the Liao bureaucrats and monks, whereas the “Tianfang special tax” during her last few years led to grudges of the Southern Capital merchants.
It was even rumoured in the capital, that the empress and her son-in-law, the prince of Ü-Tsang kept an unspeakable relationship. But the empress herself did not seem to have heard anything. Indeed, she was making less and less appearances in front of her court officials, while the palace servants said she was always sitting idly in the imperial Buddhist hall in the Southern Capital palaces – the Yaoguang Hall. No one knew what she had been thinking, and the people’s image of her was undergoing changes.
One day in the 37th Year of Duanning (1507), the empress and the crown prince (the future Minzong Emperor) had a brief argument regarding a certain policy concerning Kangzhou. In Qijuzhu (起居注,
lit. “rise and live record”, which was the name of the record of the daily behavior, schedule and words of ancient Chinese emperors) the last segment of their conversation was recorded.
In the record, the empress admitted that without the help of the Shanyang King, she found it hard to grasp a lot of situations. When faced with her son that had issues with her order, she said her time was limited. Therefore she was determined to push reform measures that would provoke the aristocracy to the very end and finish the most costly battles with her own hands, so that when her son inherit the throne, he would be able to show his most merciful side and even abolish some of empress’ “bad policies” so as to win more admiration from his subjects.
The crown prince burst into tears and kneeled for so long without getting up.
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39th Year of Duanning (1509), the empress passed away in Ziwen Hall, Southern Capital. The palaces were since left uninhabited.
1st Year of Jiazhi (1510), many in the court opposed to discuss the temple name for the empress by the excuse of maintaining appropriate rites. Spirit tablets in Ancestral Temple of Central Capital were seen in tears.
14th Year of Jiazhi (1523), the Guiwei Rebellion broke out.
21st Year of Jiazhi (1530), Hanshan and Kangzhou forces besieged the Central Capital. Many lords joined the ranks of the rebel forces. The emperor, the queen and the crown prince were killed by rebels in camp. His Majesty’s younger brother Yelü Jing succeeded to the throne in Tianzhu Circuit, changing the year name to Chongguang.
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“… Winter nights, summer days.
“……冬之夜,夏之日。
… after a hundred years
(a metaphorical lifetime),
……百岁之后,
… I join you in our grave.”
……归于其室。”
*The captions of the three pics above form the last line of the poem Creeping Vine (Ge Sheng) in Odes of Tang, Classics of Poetry. Kara's original captions in Simplified Chinese are left unchanged.
Hm,
speaking of one’s destiny, of course it depends on striving by one’s self, but the course of history should be taken into account too.
Also, even the most powerful individual in the world would be as fragile as a child when left all alone.