Bian Liang's Dream

Author: Huang Renyu
Publisher:
Publish Date: 2005-04-01
Features: This is the first historical novel published by the author on the mainland, with the original publication under the name Li Wei'ang. The novel depicts the story of a court painter involved in creating Along the River During the Qingming Festival during the reign of Emperor Huizong of the Northern Song Dynasty. Through this character, it weaves together the complex process of creating the masterpiece. Figures from the Huizong era, such as Cai Jing and Tong Guan, and historical events like the transport of the Flower and Stone Fleet, factional struggles, and the Jingkang Disaster, all take their respective places in the narrative. The narrative invention of a historical novelist lies in arranging these historical events and their scattered temporal positions. Within this, we can also glimpse the author's view of "big history" in fiction. Huang Renyu's treatment of characters in the novel adheres to his conceptualized "big history" perspective. Characters are merely supporting players in history. From a "long time, distant distance, broad perspective," all of Xu Chengyin's experiences—from studying painting, creating famous works, painting imperial princesses, to abandoning painting for military service—are deeply intertwined with the historical trends of the Northern Song Xuanhe era (the time when the story takes place). Behind seemingly coincidental events lies Xu Chengyin's destiny, reflecting the author's "predestination" philosophy of history. Zhang Zeduan, Rofu Imperial Princess, and even Emperor Huizong—all are merely vehicles for Huang Renyu to demonstrate his historical constructs—to him, there is no good or bad, only the unavoidable of destiny. Since the Xining Reforms, the Northern Song court had seen policies changing overnight, with new and old systems alternating. By the Xuanhe era, the country's strength had weakened to its extreme. Back then, government officials with differing political views, such as Wang Anshi and Sima Guang, had also fluctuated due to these reforms. Now, how could Xu Chengyin's minor painting skills escape the tide? What is remarkable is that the alternation between new and old systems was based on astrological changes. The emperors of the Great Song Dynasty ruled the people by divine mandate, and astrological shifts and disasters were signs of heaven's dissatisfaction with the government, thus compelling the court to change direction and modify policies to maintain the legitimacy of the Zhao family's rule. Whether progressive or conservative, the views of Wang Anshi, Sima Guang, and others represented idealized human aspirations, while "original sin" or "human desire" pushed in the opposite direction. The struggle between these two forces shaped a spiraling history, which is also Huang Renyu's "imagined formation of history."