Mystery of China's 5000-year history collection - (Treasure Edition)

Author: Li Jin
Publisher:
Publish Date: 2006-07-01
Features: Did Qin Shi Huang have a physical defect? "Sunken nose bridge, pigeon chest, suffering from rickets." In the writings of Sima Qian, the pioneer of Chinese historiography from the Western Han Dynasty, the emperor who unified the six states and established a feudal dynasty, Qin Shi Huang, appeared in this manner. In the "Biography of Qin Shi Huang" of the "Records of the Grand Historian," Wei Liao said, "The King of Qin, in terms of appearance, has a horse-shaped nose bridge, long eyes, a pheasant-like chest, and a jackal-like voice." Guo Moruo analyzed this, concluding that Qin Shi Huang had a physical defect. A horse-shaped nose bridge refers to a saddle nose, a pheasant-like chest is the modern medical term for "pigeon chest," and a jackal-like voice indicates bronchitis. His chest and nose shape variations, combined with frequent bronchitis, suggest he was a rickets patient. The film "Assassin of Qin" left audiences with an image of Qin Shi Huang as a clumsy and physically frail figure, but many did not accept this. Most experts in the field of history believe that Qin Shi Huang was a heroic and dashing man with a fine appearance. It is generally thought that Qin Shi Huang was born in Qin territory and belonged to the northwest, so he should have been a typical northwest giant—tall and burly with a fine appearance. As the founding emperor who had experienced countless battles, he should have been a heroic and dashing figure worthy of awe. So, was Qin Shi Huang heroic and tall or clumsy and short? The Qin Shi Huang image we see today is a modern interpretation based on Yan Liben's "Portraits of Emperors of Past Dynasties," but Yan Liben's "Portraits of Emperors of Past Dynasties" depicted portraits of thirteen emperors from the Western Han to the Sui Dynasty, including founding emperors and those who lost their reigns, yet it the portrait of Qin Shi Huang, known as the "Undisputed Emperor of a Thousand Generations." Some speculate that since the Western Han Dynasty promoted the idea of "Abolishing the Hundred Schools and Exalting Confucianism," subsequent dynasties adhered to Confucian thought as the orthodox ideology. Qin Shi Huang, who historically burned books and buried scholars and fiercely opposed Confucianism, was viewed negatively by later generations, which might explain why Yan Liben did not include his portrait. So, what is the basis for later interpretations of Qin Shi Huang's portrait? Professor Bo Songnian of the Academy of Arts & Design, Tsinghua University, explains that in "Portraits of Emperors of Past Dynasties," founding emperors were depicted as heroic, dignified, and imposing, a pattern that later generations found difficult to deviate from. It is likely that Qin Shi Huang's posture—standing tall with a straight back, lips tightly closed, and piercing eyes—was inspired by the portrait of Emperor Wu of Jin, Sima Yan. Professor Du also told the reporter that depicting all founding emperors as having square faces, high noses, and drooping ears, as if they were born to be emperors, carries a superstitious tone. Portraits are an artistic representation, not a true depiction of a person. Especially for imperial portraits, they reflect the artist's personal imagination and artistic generalization, as well as the era's evaluation of the emperor. Specific emotional experiences can alter a person's external appearance, and someone with extraordinary imperial experiences like Qin Shi Huang, whether heroic or clumsy, would undoubtedly have distinctive facial features. Professor Chao Fulin of the History Department at Beijing Normal University believes that great figures are not always dashing, and there is little historical record of Qin Shi Huang's appearance, leaving ample room for literary and cinematic creativity. Professor Zhang Mingqiao of the Shaanxi History Museum notes that Qin Shi Huang has never been seen by anyone today, and cinematic portrayals of a person's external appearance are an externalization of their inner character. Based on various analyses of Qin Shi Huang's personality, his appearance should have been slightly slender, with deep-set eyes, long eyebrows, a high nose bridge, and prominent cheeks. Professor Sun Jiazhou of the History Department at Renmin University of China believes that Wei Liao's description of Qin Shi Huang was not purely objective but rather malicious exaggeration. Therefore, Guo Moruo's conclusion that Qin Shi Huang had a physical defect is unreliable. P5-6