A History of China - Wolfram Eberhard (e reader for manga .TXT) 📗

under strong military control, had brought China inner stability and in consequence external power and prestige. The reputation which she then obtained as the most powerful state of the Far East endured when her inner stability had begun to deteriorate. Thus in 638 the Sassanid ruler Jedzgerd sent a mission to China asking for her help against the Arabs. Three further missions came at intervals of a good many years. The Chinese declined, however, to send a military expedition to such a distance; they merely conferred on the ruler the title of a Chinese governor; this was of little help against the Arabs, and in 675 the last ruler, Peruz, fled to the Chinese court.

The last years of T'ai Tsung's reign were filled with a great war against Korea, which represented a continuation of the plans of the Sui emperor Yang Ti. This time Korea came firmly into Chinese possession. In 661, under T'ai Tsung's son, the Korean fighting was resumed, this time against Japanese who were defending their interests in Korea. This was the period of great Japanese enthusiasm for China. The Chinese system of administration was copied, and Buddhism was adopted, together with every possible element of Chinese culture. This meant increased trade with Japan, bringing in large profits to China, and so the Korean middleman was to be eliminated.

T'ai Tsung's son, Kao Tsung (650-683), merely carried to a conclusion what had been begun. Externally China's prestige continued at its zenith. The caravans streamed into China from western and central Asia, bringing great quantities of luxury goods. At this time, however, the foreign colonies were not confined to the capital but were installed in all the important trading ports and inland trade centres. The whole country was covered by a commercial network; foreign merchants who had come overland to China met others who had come by sea. The foreigners set up their own counting-houses and warehouses; whole quarters of the capital were inhabited entirely by foreigners who lived as if they were in their own country. They brought with them their own religions: Manichaeism, Mazdaism, and Nestorian Christianity. The first Jews came into China, apparently as dealers in fabrics, and the first Arabian Mohammedans made their appearance. In China the foreigners bought silkstuffs and collected everything of value that they could find, especially precious metals. Culturally this influx of foreigners enriched China; economically, as in earlier periods, it did not; its disadvantages were only compensated for a time by the very beneficial results of the trade with Japan, and this benefit did not last long.

4 The reign of the empress Wu: Buddhism and capitalism

The pressure of the western Turks had been greatly weakened in this period, especially as their attention had been diverted to the west, where the advance of Islam and of the Arabs was a new menace for them. On the other hand, from 650 onward the Tibetans gained immensely in power, and pushed from the south into the Tarim basin. In 678 they inflicted a heavy defeat on the Chinese, and it cost the T'ang decades of diplomatic effort before they attained, in 699, their aim of breaking up the Tibetans' realm and destroying their power. In the last year of Kao Tsung's reign, 683, came the first of the wars of liberation of the northern Turks, known until then as the western Turks, against the Chinese. And with the end of Kao Tsung's reign began the decline of the T'ang regime. Most of the historians attribute it to a woman, the later empress Wu. She had been a concubine of T'ai Tsung, and after his death had become a Buddhist nun—a frequent custom of the time—until Kao Tsung fell in love with her and made her a concubine of his own. In the end he actually divorced the empress and made the concubine empress (655). She gained more and more influence, being placed on a par with the emperor and soon entirely eliminating him in practice; in 680 she removed the rightful heir to the throne and put her own son in his place; after Kao Tsung's death in 683 she became regent for her son. Soon afterward she dethroned him in favour of his twenty-two-year-old brother; in 690 she deposed him too and made herself empress in the "Chou dynasty" (690-701). This officially ended the T'ang dynasty.

Matters, however, were not so simple as this might suggest. For otherwise on the empress's deposition there would not have been a mass of supporters moving heaven and earth to treat the new empress Wei (705-712) in the same fashion. There is every reason to suppose that behind the empress Wu there was a group opposing the ruling clique. In spite of everything, the T'ang government clique was very pro-Turkish, and many Turks and members of Toba families had government posts and, above all, important military commands. No campaign of that period was undertaken without Turkish auxiliaries. The fear seems to have been felt in some quarters that this T'ang group might pursue a military policy hostile to the gentry. The T'ang group had its roots mainly in western China; thus the eastern Chinese gentry were inclined to be hostile to it. The first act of the empress Wu had been to transfer the capital to Loyang in the east. Thus, she tried to rely upon the co-operation of the eastern gentry which since the Northern Chou and Sui dynasties had been out of power. While the western gentry brought their children into government positions by claiming family privileges (a son of a high official had the right to a certain position without having passed the regular examinations), the sons of the eastern gentry had to pass through the examinations. Thus, there were differences in education and outlook between both groups which continued long after the death of the empress. In addition, the eastern gentry, who supported the empress Wu and later the empress Wei, were closely associated with the foreign merchants of western Asia and the Buddhist Church to which they adhered. In gratitude for help from the Buddhists, the empress Wu endowed them with enormous sums of money, and tried to make Buddhism a sort of state religion. A similar development had taken place in the Toba and also in the Sui period. Like these earlier rulers, the empress Wu seems to have aimed at combining spiritual leadership with her position as ruler of the empire.

In this epoch Buddhism helped to create the first beginnings of large-scale capitalism. In connection with the growing foreign trade, the monasteries grew in importance as repositories of capital; the temples bought more and more land, became more and more wealthy, and so gained increasing influence over economic affairs. They accumulated large quantities of metal, which they stored in the form of bronze figures of Buddha, and with these stocks they exercised controlling influence over the money market. There is a constant succession of records of the total weight of the bronze figures, as an indication of the money value they represented. It is interesting to observe that temples and monasteries acquired also shops and had rental income from them. They further operated many mills, as did the owners of private estates (now called "chuang") and thus controlled the price of flour, and polished rice.

The cultural influence of Buddhism found expression in new and improved translations of countless texts, and in the passage of pilgrims along the caravan routes, helped by the merchants, as far as western Asia and India, like the famous Hsüan-tsang. Translations were made not only from Indian or other languages into Chinese, but also, for instance, from Chinese into the Uighur and other Turkish tongues, and into Tibetan, Korean, and Japanese.

The attitude of the Turks can only be understood when we realize that the background of events during the time of empress Wu was formed by the activities of groups of the eastern Chinese gentry. The northern Turks, who since 630 had been under Chinese overlordship, had fought many wars of liberation against the Chinese; and through the conquest of neighbouring Turks they had gradually become once more, in the decade-and-a-half after the death of Kao Tsung, a great Turkish realm. In 698 the Turkish khan, at the height of his power, demanded a Chinese prince for his daughter—not, as had been usual in the past, a princess for his son. His intention, no doubt, was to conquer China with the prince's aid, to remove the empress Wu, and to restore the T'ang dynasty—but under Turkish overlordship! Thus, when the empress Wu sent a member of her own family, the khan rejected him and demanded the restoration of the deposed T'ang emperor. To enforce this demand, he embarked on a great campaign against China. In this the Turks must have been able to rely on the support of a strong group inside China, for before the Turkish attack became dangerous the empress Wu recalled the deposed emperor, at first as "heir to the throne"; thus she yielded to the khan's principal demand.

In spite of this, the Turkish attacks did not cease. After a series of imbroglios within the country in which a group under the leadership of the powerful Ts'ui gentry family had liquidated the supporters of the empress Wu shortly before her death, a T'ang prince finally succeeded in killing empress Wei and her clique. At first, his father ascended the throne, but was soon persuaded to abdicate in favour of his son, now called emperor Hsüang Tsung (713-755), just as the first ruler of the T'ang dynasty had done. The practice of abdicating—in contradiction with the Chinese concept of the ruler as son of Heaven and the duties of a son towards his father—seems to have impressed Japan where similar steps later became quite common. With Hsüan Tsung there began now a period of forty-five years, which the Chinese describe as the second blossoming of T'ang culture, a period that became famous especially for its painting and literature.

5 Second blossoming of T'ang culture

The T'ang literature shows the co-operation of many favourable factors. The ancient Chinese classical style of official reports and decrees which the Toba had already revived, now led to the clear prose style of the essayists, of whom Han Yü (768-825) and Liu Tsung-yüan (747-796) call for special mention. But entirely new forms of sentences make their appearance in prose writing, with new pictures and similes brought from India through the medium of the Buddhist translations. Poetry was also enriched by the simple songs that spread in the north under Turkish influence, and by southern influences. The great poets of the T'ang period adopted the rules of form laid down by the poetic art of the south in the fifth century; but while at that time the writing of poetry was a learned pastime, precious and formalistic, the T'ang poets brought to it genuine feeling. Widespread fame came to Li T'ai-po (701-762) and Tu Fu (712-770); in China two poets almost equal to these two in popularity were Po Chü-i (772-846) and Yüan Chen (779-831), who in their works kept as close as possible to the vernacular.

New forms of poetry rarely made their appearance in the T'ang period, but the existing forms were brought to the highest perfection. Not until the very end of the T'ang period did there appear the form of a "free" versification, with lines of no fixed length. This form came from the indigenous folk-songs of south-western China, and was spread through the agency of the filles de joie in the tea-houses. Before long it became the custom to string such songs together in a continuous series—the first step towards opera. For these song sequences were sung by way of accompaniment to the theatrical productions. The Chinese theatre had developed from two sources—from religious games, bullfights and wrestling, among Turkish and Mongol peoples, which developed into dancing displays; and from sacrificial games of South Chinese origin. Thus the Chinese theatre, with its union with music, should rather be called opera, although it offers a sort of pantomimic show. What amounted to a court conservatoire trained actors and musicians as early as in the T'ang period for this court opera. These actors and musicians were selected from the best-looking "commoners", but they soon tended to become a special caste with a legal status just below that of "burghers".

In plastic art there are fine sculptures in stone and bronze, and we have also technically excellent fabrics, the finest of lacquer, and remains of artistic buildings; but the principal achievement of the T'ang period lies undoubtedly in the field of painting. As in poetry, in painting there are strong traces of alien influences; even before the T'ang period, the painter Hsieh Ho laid down the six fundamental laws of painting, in all probability drawn from Indian practice. Foreigners were continually brought into China as decorators of Buddhist temples, since the Chinese could not know at first how the new gods had to be presented. The Chinese regarded these