u/Both-Improvement-880

Sha Er Shi Zhang popped up when I was looking for a Republican drama that promised to be different from many others. Many thanks to u/admelioremvitam for posting about this one, otherwise I wouldn't have seen it.

Our protagonist Fan Sha'er is a typical happy-go-lucky rich kid from rural Sichuan. He hates studying, "settling down", and is rather rebellious, much to his great uncle's chagrin.

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His drive for justice, a sort of honor, and willingness to fight for those less fortunate is apparent from the very beginning. He's similar to the fool in many a Shakespearean dramas, appearing stupid and messy but is actually cunning and always comes out on top.

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When one such misadventure is botched and he helps steal grain from his own house, Sha'er is buried alive. He escapes though, and makes his way. Many of his shenanigans made me chuckle. The drama is unashamedly provincial and is almost entirely in dialect which I loved; it focuses on the lives of vagabonds, street gangs, and hungry kids, but never romanticizes it.

Scarface and his gang. These guys look like a legit shady street gang who beat people up for protection money

For instance, we get a glimpse of how young master Liao almost becomes the victim of a human sacrifice for offending the gods but escapes because Sha'er pretended to be a monk in one of the most hilarious scenes in the drama. Poverty, superstition, and instability drive people to truly desperate measures.

Meanwhile, his wife Yuzhen finds out that he's still alive and sets out to meet him. Yuzhen is an interesting woman. A scholar's daughter, she is quiet, dignified, and cares for Sha'er. She is also gutsy and I was clapping when she leaves her mom who's pretending to be sick and later Sha'er himself. That's a principled woman.

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Sha'er's shenanigans land him wounded and almost dead in front of the Dong family, who sell alcohol. The daughter, Xiugu, hates being the fiancee of young master Huo and it's easy to see why. Huo is smarmy, fake, a poser, and has more than a cruel streak. He hates being compared to anyone, especially Sha'er, and kidnaps and tortures Xiugu when she pretends to sleep with Sha'er in front of Huo. And later does not hesitate to rough up young master Liao as a hostage or use civilian lives as canon fodder. Yikes! He's the archetype of the "gentleman scholar" who readily commits appalling crimes.

Notice the tilted frame and harsh colors? This man is unhinged

Rescuing Xiugu becomes another beautiful subplot in the drama with Sha'er literally opening a hotpot restaurant in front of the Huo mansion and discounting meals to anyone who shouted out that she be released.

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This man is so goddamn resourceful and can think on his feet, he's also incredibly brave when it comes to handling powerful men with huge egos. He's also self aware and great with people and yet incredibly alone. He blends in and yet he doesn't. Idk how he does it, I'd have run screaming. Surprisingly for a Republican drama, there's no mention of communists, the story is narrated from the Kuomintang side. And the drama doesn't hesitate to show how army officers profited from and terrorized civilians. Commander Qin having a stake in Sha'er's hotpot business and using his soldiers to deliver food is one such blatant example.

I really hated this guy

Annnnnd Xiugu falls for Sha'er, not surprised by that but I could tell that this isn't gonna end happy. I mean, Xiugu still has quite a bit of idealism in her and this time period in history isn't good for it.

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I ended up really liking Xiugu. She's gutsy, honorable, loyal, perceptive, and isn't afraid to tell it like it is. Kudos to the drama for showing how her trauma from Huo kidnapping her transforms slowly into her desire for revenge after Huo kills her dad. She absolutely made the right decision to leave Sha'er because she couldn't handle the grandstanding plans and calculations when Sha'er rises up in the army hierarchy. A flawed but interesting woman.

Sha'er is also a great connoisseur of Sichuan opera, his relationship with master Wen is one of such respect and care. He acts the clown at least twice on stage; in a way he's acting on stage what he often has to be like in real life. Playing a role. Sha Er Shi Zhang is quite funny but there's a boatload of serious business going on. When it hits you, it really hits.

Those lines hitting hard

The bandit arc is one of the most interesting and yet somewhat frustrating. Sha'er's luck feels stretched at times.

Dying laughing because wth

 I wish Tiger Ma's character was better developed because she ends up as a device for Sha'er to seek revenge on Commander Wei. However, Sha'er's talents as a strategist and fighting really blossom here and it's only as a bandit where he moves away from civilian life and takes harsher decisions.

Scarface and Sha'er have a great friendship

They're careful not to overdo this but moments like these where Sha'er struggles with murder and looting are so important for his arc. And Scarface is almost always there, watching and patiently listening. I love their bond.

I was also pleasantly surprised and glad when Yuzhen quotes Li Zhiyi's River Song/Song of Divination when Tiger Ma threatens them. Glad I'm recognizing poetry!

Me too Scarface, I'm concerned too

Killing that Japanese official made Sha'er a national hero but see how much his face is cast in shadow? You can almost see the unhinged glee in his eyes for a moment. No wonder even a hardened thug like Scarface is concerned. I'm not a huge fan of the cinematography in this show, too much Netflix lighting in many places, but there are some good shots.

And Sha'er formally joins the KMT army with his posse under commander Wei, who is technically his sworn brother. Kudos to the actor because his jealousy and insecurity and willingness to dispose off Sha'er is very much there from the beginning.

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In fact, as Sha'er wises up and grows more powerful, you see him try maintaining his values really hard when he has to bend them sometimes. He's forced to think long term for the men under him even if revenge has to be postponed. If he's being used as a pawn, he damn right will play commander Chen and Wei against each other.

But the moment Wei uses young master Liao as hostage against his father commander Liao to settle scores, Sha'er sees red. It's probably the only moment in the whole series where we see Sha'er actively contemplate brutal violence. Because using a kid as a hostage like that especially when he is a sworn brother? That's beyond the pale.

Sworn brothers and likenesses of each other huh

I love how this show can go from discussing father-son conflict and preventing mass slaughter of citizens...

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... to this scene. This is a very serious scene and an actual dialogue, I'm not making up anything.

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... to this lol moment.

I told you, when the humor hits, it really hits. Archenemy commanders slow dancing at a rich guy's party and everyone is staring at them. 

The drama ends on a bittersweet note with all of them putting aside their squabbles to fight against the Japanese, Sha'er a general among them.

I really loved this drama, I never thought anyone can have a humorous drama set in the Republican era but they've done it so well. Everyone has acted their hearts out, in fact I didn't know most of these actors before. Criminally underrated but so worth a watch.

Thanks to u/ataraxy I watched this one. This drama emotionally devastated me so much, I took a few days off. Phew, what a ride it has been!

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I'd like to say at the onset that this is an incredibly dark and bleak drama. Graphic depictions of torture, grooming and s*xual abuse, r*pe, murder, and psychological trauma are scattered. And unlike most Cdramas that offer solace or comfort, there's little hope. These are characters who fight hard for what they love and believe in, and whether they win or lose, they all are broken in a hundred ways. Their actions are often monstrous but also achingly human. It isn't all a grim ride though, there are plenty of instances of humor and slapstick.

The Warring States era makes for a fascinating setting and it's really a shame that recent dramas aren't set in this period anymore. It's definitely become one of my favorite historical eras. There's no focus on the state of Qin at all, instead we turn to the states of Wei, Chu, Han, and sometimes get a glimpse of the Zhou king in Luoyi. Literally everyone and their mom has an agenda and is playing 6D chess with fifteen other people, while not hesitating to sell their morality for power. It's also the first time I saw quite some display of divination rituals and sacrifices, and frank discussion of diverse philosophical thoughts like Confucianism, Legalism, and Mohism. You usually don't see this stuff in such detail.

Their friendship is one of the best things in the show

Our protagonist Wang Chan, played by Duan Yihong, is a stubborn, loud-mouthed, brilliant guy who becomes less impulsive and increasingly ruthless, callous, and power hungry as the series advances. You really start being horrified by him while also understanding why he does the things he does. Duan Yihong is a good actor but I definitely think he can do better.

The amazing Zu Feng plays Jianyu and there were several scenes where I got chills down my spine seeing this man. He's one of the best antagonists I've seen in Cdramaland. The same goes for the Duke of Wei played by Fang Zibin, another actor I'm hugely impressed with.

The amazingly talented actor Zu Feng

More disturbingly, you can't help but empathize with the beautiful and talented princess Jinshu of Han (played by Qi Wei) who feels stifled by misogyny and incompetence and tries to break free to do what she wants, even if she knows she will pay a terrible price for it. She is a cruelly realistic example of what happens when women do not conform to societal standards.

Princess Jinshu is one of the best characters

Where the drama clearly suffers is in the romance aspect and the idol actress Angel Xu really can't act. By around episode 35, there's a marked dip in quality although it does pick up much later. There are also a few glaring plot holes and anachronisms which prevent this drama from being truly great.

Regardless, For the Holy Guiguzi goes places few dramas dare. Definitely worth a watch if you are an admirer of gritty realism, veteran actors, ambiguous motivations, interesting cinematography, and thrilling plots.

My Rating: 7/10

Thanks to u/BronzeBellRiver and u/xyz123007 for asking for my thoughts on this drama!

This is part 5 of the Timeline of Chinese history series. Thank you for your support and encouragement so far!

We saw how powerful military governors grew virtually independent, threatened the unity of the Tang dynasty, and rebelled. This ended the Tang and the empire split into a series of five dynasties and ten kingdoms (907-979 AD) which sometimes existed simultaneously and often overlapped in status and authority.

Swords into Plowshares

It was a chaotic and tumultuous period, eerily similar to the Warring States, post Three Kingdoms era, and Northern and Southern dynasties in many ways. Famine, disease, war and displacement meant huge parts faced population decline and abandonment. The founders of the five dynasties and ten kingdoms were ethnically non Han or mixed, usually had Turkic or steppe roots, and were partially sinicized. They were all Tang era military commanders or high ranking governors who turned warlords and army rule was the law of the day. In fact, if someone says these founders were noble thugs and ruffians, they'd be quite correct.

Kaifeng however continued to be the capital of all the five dynasties and also their successor, the Song dynasty.

Everyone claimed to have the Mandate of Heaven and proclaimed themselves emperor while also diplomatically regarding other rulers as equals, and seriously embarrassing questions were been raised on this matter. There are accounts that many of the literati were on hallucinogenic drugs in this period, a continuation from the Tang.

A section of the famous southern Tang painting, Night revels of Han Xizai: by Gu Hongzhong

Meanwhile, Khitan tribes (descended from the Xianbei) and related ethnic groups united by the end of the Tang dynasty, forming the Liao dynasty in what is today Mongolia, Manchuria, and parts of Korea and Siberia. The Liao often raided and were a constant threat to the Central Plains and later even to the Song dynasty, with Khitan empresses being particularly powerful and involved in the military. The Liao also gradually sinicized and favored Buddhism. The later Jin, one of the Five Dynasties, had to surrender sixteen prefectures to the Liao, which included huge parts of the Great Wall and were the boundary between the Liao and the Central Plains. This left the Central Plains greatly vulnerable because the whole frontier was lost and anyone could easily invade from the north, was a massive blow to pride and legitimacy, and the Song dynasty would spend it's entirety trying to regain this strategic territory.

The Jiangnan region in the south (present day Shanghai and most of Jiangsu) was however far more stable and economically better off than the north. Many of these rulers rose from low social backgrounds and were considered bandit-turned-kings who depended on booming economy and culture to legitimize their rule. The kingdoms of Wuyue and Southern Tang in particular were comparatively peaceful and artistically talented. Poetry, porcelain, tea culture advancements, hydro-engineering works, painting, and Four Treasures of the Study (paper, brush, ink, and ink stone) greatly advanced in these kingdoms and were later furthered by the Song dynasty.

Wintry Groves and Layered Banks: a southern Tang painting

Guo Rong, an emperor of Later Zhou, the last of the Five Dynasties, fought and annexed many of the ten kingdoms. Zhao Kuangyin, a military governor under Guo Rong, rebelled and founded the Song dynasty and continued his policy of conquest and unification, thereby ending the Five Dynasties and Ten Kingdoms era.

Song Dynasty (960-1276/1279 AD): founded by Zhao Kuangyin (Taizu of Song) was one of the most advanced societies in it's time. Zhao Kuangyin was effective in controlling the unruly military and ending the warlord culture since the late Tang. His brother Zhao Kuangyi (Taizong of Song) intimidated and annexed Wuyue, uniting most of China again after the Tang.

The great emperor in Song dynasty

In many ways, the Song were the contemporary and equivalent of the Indian Chola empire, Byzantine empire, Karakhanid Khanate (who often addressed the Song emperors as maternal uncles!), Abbasid caliphate, Fatimid Egypt, East African city states, Tran dynasty Vietnam, and Goryeo Korea, maintaining extensive diplomatic and trade networks with them.

The imperial examination system rapidly expanded and the bureaucracy and literati class were almost entirely recruited from these exams, with scholar officials becoming more dominant than ever. The Hanlin Academy also grew more influential. Shuyuan or academies of classical learning became extremely valuable for scholarly learning and philosophy. Neo-Confucianism grew and spread largely because of them. I also found it interesting that while the Song dynasty has been interpreted as quintessentially Han, to an extent by it's own scholar officials, the imperial Zhao family was likely mixed Han-Xianbei-Turkic.

Palace of Devotion

The Song have been praised and also criticized for officially adopting Neo-Confucianism. On one hand, it advocated for rationalism, personal and moral responsibility, and ethics. But it also at times condemned Buddhism, Daoism, and has been blamed for women's declining status and idealizing a rigid social hierarchy. Many thinkers heatedly argued and did not agree with each other and not until later dynasties would this be codified. Zhu Xi and Cheng Yi were Neo-Confucian philosophers and politicians whose opinions and interpretations became the standard from Yuan dynasty onwards.

Eight thousand li of cloud and moon

In fact, alternating periods of conservativism and liberal reforms were rampant by the 11th century. Government intervention in the booming Song economy, monopolies, and scholar official involvement in trade became serious issues provoking infighting. Each faction once in power, would demote and purge their rivals and these intrigues contributed to weakening the dynasty severely. The Song also had a complicated approach to the military. Wary of strong military commanders of the late Tang and the Five Dynasties chaos, they were often suspicious when they grew too strong, executing even loyal generals like Yue Fei. Soldiers also had a lower social status than scholar officials. However, the Song were also practical enough to invest heavily in the military and it is in the Song that we first have formulas and verifiable records of gunpowder weapons.

I've said before that the Liao dynasty was a constant threat to the Song, but the Liao themselves were overthrown by their vassals, the Jurchen tribes, who formed the Jin dynasty. The Song were sometimes on friendly terms with the Jin but later frequently fought wars. The Jin exploited Song military weaknesses and sacked the capital Kaifeng from 1126-1127. The Song lost the northern half and had to retreat down south, forming the rump state known as Southern Song. Hangzhou became the new capital.

Outlaws of the Marsh (1983)

Like the Northern Song, the Southern Song too was economically prosperous and actually had a strong navy, successfully defending against the Jin for a while. They did have some serious weaknesses though and it is also true that some Southern Song literati described themselves as morally and culturally superior against the "northern barbarians who only knew to wage war".

However, the Jin themselves were facing the rising threat of unified Mongol tribes under Genghis Khan and his descendants. The Southern Song allied with the Mongols against their common enemy and the Jin fell. However, soon other empires like Xia, Tibet, and Dali of Yunnan all gradually fell to the Mongols, who seemed unstoppable. Contrary to popular myths which have regarded the Southern Song as utter weaklings, they fiercely resisted the Mongols for years, Kublai Khan himself admitting as much. The Mongols had to rely on court intrigue, defection from Song troops, non Han minorities, and Muslim engineers to defeat the Southern Song. Thus began the Mongol Yuan dynasty.

The Story of Minglan

Art, culture, and trade

The Song were one of the richest premodern empires and had a fairly liberal attitude to trade, even more than the Tang. While some of the Silk Routes were no longer accessible, maritime trade reached new heights, especially in Hangzhou and Quanzhou in the prosperous south. In fact, more foreigners visited and settled in China and a significant amount of foreign trade in some ports was in Muslim hands. Joint stock companies and printed paper money distinguished the Song. While scholar officials often looked down upon merchants, they often depended on them for commerce and were involved in mercantile affairs, at times to the point of intermarriage.

Justice Bao (2010)

Song dynasty cities like Kaifeng, Hangzhou, Jiankang, Suzhou, and Quanzhou were some of the world's largest and fairly well planned. Much of this was because Song emperors encouraged scientific advances. Gunpowder weapons, movable type printing, magnetic compass, astronomical clocktowers, windmills, paper money, revolving book cases (!!!) were some of them. Many Song politicians were also collectors of antiques and it is here that we see serious efforts to identify and date art objects. Forensic science and it's use in lawsuits also was significantly documented by Song Ci (this is a whole subgenre in Cdramas).

Part of the painting Along the River during the Qingming festival. Considered the equivalent of the Mona Lisa

Painting, already highly prized since the Northern and Southern dynasties and Sui-Tang, reached a zenith with emperors themselves at times being distinguished artists. Art appreciation, specifically of paintings and sculpture, was increasingly considered a gentleman's art, and many enthusiastically collected art. Shanshui (mountains and rivers) style, known in the Tang, was dominant in the Song, with the Daoist idea that human beings are tiny compared to the great cosmos. Gongbi, a highly technical and realist style known in the Tang dynasty, was also refined in the Song. However, by the Southern Song, more intimate scenes became dominant. And while poetry accompanying or inspiring paintings was not new, this increased in the Song, with the Eight Views of Xiaoxiang series setting a new standard for similar such regions throughout the Sinosphere. Many of these paintings and poems have allusions to exile and veiled criticism.

Night rain on Xiaoxiang, one of the Eight Views paintings

While the Tang dynasty was a golden age for poetry, Song poetry at first imitated and then developed quite a few genres. Song ballads and lyrical tunes were highly valued, and political poetry was perhaps even sharper than the Tang. Su Shi (Dongpo), Li Qingzhao, and Lin Bu are some of the most celebrated. While early Chinese opera or nanxi was especially popular among the lower classes for its frank and coarse themes, Kaifeng had a whole thriving entertainment industry that developed hand-in-hand with restaurants, particularly when all-night establishments and night markets proliferated and Tang-style carnivals began.

The Song truly revered tea to the point of considering tea brewing and appreciation as a gentlemanly art. Tea competitions were frequent. Ceramics, celadon ware, and various types of teahouses flourished. Meanwhile, Buddhism was not as popular as in the Tang due to the rise of Neo Confucianism and was sometimes frowned upon; however, Pure Land Buddhism and importantly, Chan Buddhism and it's focus on meditation was valued, with the imperial government patronizing.

With or Without You

Women, eunuchs, and homoeroticism

Neo Confucianism has often been rightly blamed for women's declining status. The horror of foot binding definitively started by around the 12th century, although some Neo Confucians were strongly against it. Considered a beauty standard and status symbol, since only the upper classes followed it during the Song, foot binding was also increasingly linked to a girl's femininity, marriage prospects, and upward mobility, and this mattered a lot in the heavily commercial Song society. While initially widows could and did remarry, this became quite stigmatized because of increasing importance of widow chastity and sacrifice. Song laws also imprisoned wives if they filed lawsuits against their husbands, even for the most severe reason. The famous poet Li Qingzhao was also not spared in this matter.

Story of Her: Li Qingzhao episode

However, many women enjoyed significant property rights and managed their assets, and merchant women in particular were heavily involved in business and trade, sometimes even on behalf of scholar officials. Many were more educated than their Tang counterparts. Song empresses and empress dowagers could be extremely influential in politics, sometimes ruling as regents like Empress Liu.

After the mass execution of eunuchs at the end of the Tang dynasty, many hid in fear; although, the southern Tang relied extensively on eunuchs. Later, the Song were rather suspicious of eunuchs. However, they continued to be valued palace attendants, especially in the hougong, and briefly grabbed power during emperor Huizong's reign. However, they never became as influential as in the previous dynasties.

Zhao Kuangyin and Guo Rong in Swords into Plowshares

Male favorites, whatever the level of intimacy and political function between them and the ruler may be, were rampant in the Five Dynasties and Ten Kingdoms era, especially because of the military culture. Like the Han and Tang, Song emperors too had male companions, sometimes high ranking officials themselves. Male prostitution however was frequent in cities, despite ineffective bans.

List of dramas

1. Judge of Song dynasty: on the pioneer of forensic science Song Ci and his medicolegal cases
2. Justice Bao series (multiple series but 1993, 2008, and 2010 are particularly famous) and Kaifeng Mansion (2017): cases featuring the famous official and judge Bao Zheng as well as imperial court intrigue. Widely considered classics.
3. The Story of Minglan: a slice of life drama focusing on the life of the fictional Sheng Minglan, a concubine's daughter, in a scholar official family
4. Serenade of Peaceful Joy: on the tragic tale of Princess Fukang of Northern Song and also the simmering tensions between the liberal and conservative factions in emperor Renzong's court
5. Outlaws of the Marsh (1983), Water Margin (1998), and All men are brothers (2011): adaptations of the classic novel Water Margin. Depicts a group of outlaws who rebel against the Northern Song but are granted amnesty to resist the Liao.
6. With or without you: Cantonese light-hearted drama on the famous poet Su Shi
7. Palace of Devotion: portrays the story of the powerful and controversial Empress Liu
8. The great emperor in Song dynasty: focuses on the life of Zhao Kuangyin, the founder of the Song dynasty
9. Swords into Plowshares: a brutal and grim drama spanning the chaotic Five Dynasties and early Song period, with a focus on the kingdom of Wuyue. One of my favorites.
10. Shades of Truth (2004): Hong Kong drama that is a parody of the Song era novel Water Margin and features time travel in an organized crime setting.
11. Eight thousand li of cloud and moon: Taiwanese series based on the general Yue Fei and Jin-Song wars.
12. Story of her: based on four different historical women. One episode deals in great detail on the magnificent yet tragic life of the great poet Li Qingzhao.

This is part 4 of the Timeline of Chinese history series. Thank you for the warm support and encouragement!

Northern and Southern Dynasties (420-589 AD): We saw how the splintering of the Jin dynasty led to widespread revolts, sixteen kingdoms, and the dominance of many non Han ethnic groups in politics especially the Xianbei in the north. How the Xianbei rose from being fringe tribes in the late Han dynasty to a confederation of rebellious chiefs in the Three Kingdoms to major power brokers who initially supported the Jin dynasty and later became independent is a wondrous tale. Four of the five Northern dynasties were Xianbei and more importantly, the later Sui and Tang dynasties had Xianbei ancestry.

Also, while infighting among clans persisted and these dynasties could be volatile, the local ethnic Han gentry who didn't flee to the south constructed defensive fortifications and fiefs, militarizing themselves. Rather similar to the powerful Italian noble families in medieval city states. In addition, because chaos and wars meant heavy taxation, tax evasion and census fraud became a serious issue (Cdrama screenwriters, there's a great idea!)

Empress Feng of the Nortehrn Wei dynasty

Sinicization, as I mentioned earlier, would progress slowly but surely and this is important because the culture of a Han bureaucracy and clans was already dominant and their support could not be ignored. However, Han-Xianbei tensions persisted, and ended up splitting the first Northern dynasty. In general though, mixed culture and mixed ethnicity clans would become important by the end of the Northern dynasties. This meant an attitude of relative tolerance towards steppe and nomad peoples and minorities, which persisted into the Sui and Tang and is key to understanding why they acquired a reputation of cosmopolitanism.

Dunhuang caves: Northern Wei style

The South was initially dominated by powerful families and later by influential merchants. Peasants however suffered and often became mercenaries or turned robbers, and defections by these mercenaries to the Northern dynasties was common. Southern dynasties were violently short-lived and rarely had independent rulers, in part because of a lack of militarization.

Yang Jian (emperor Wen of Sui), father of the last empress dowager of the Northern Zhou dynasty, abolished their rule, spread the not-entirely-false propaganda about the last ruling Chen dynasty in the south, and unified China again, starting the Sui.

Initiating Prosperity

The Sui (581-618 AD) was a short lived dynasty and, like the Qin, focused on many large scale projects like expanding the Grand Canal and the great wall. They formulated the Three Departments and Six Ministries system, which would be followed till the end of imperial China, and started the imperial examination system to weaken local aristocratic clans. Chang'an and Luoyang became two of the largest, most cosmopolitan world cities and models for the Sinosphere. Much of the Sui legal codes, administration systems, and economy was retained by the Tang. The imperial yellow as the emperor's exclusive color also was followed by every dynasty from the Sui and more strictly from the Tang onwards.

Significantly, emperor Wen of Sui converted to Buddhism and emphasized reconciliation between Confucianism, Buddhism, and Daoism since serious spates between them could and did occur, to the point that Confucians openly rebelled against the Sui in their waning years. Continuous wars with foreign powers, grain hoarding and inflation, peasant rebellions greatly damaged the Sui, with Li Yuan (Emperor Gaozu of Tang), a cousin of the Sui emperor, overthrowing them and establishing the Tang dynasty.

Rise of the Tang empire

Tang Dynasty (618-907 AD): The Sui-Tang interregnum was remarkably short if violent, with the Li family, especially under Li Shimin (Tang Taizong) rapidly establishing dominion and expanding borders. That meant a number of neighboring and distant powers paid tribute, accepted nominal or virtual Tang supremacy, and in some cases were under the protectorate system that the Han dynasty first instituted. This is important because Han dynasty attitudes that China is the centre of civilization become far more entrenched by the Tang.

Imperial examinations that started from the Sui dynasty, seriously contributed to the Tang bureaucracy, and the particular Han literati scholar official class, that in later dynasties became dominant, began here and was seen as a step towards egalitarianism. The concept of Confucian classics was increasingly standardized. Hanlin Academy, one of the most important academic institutions and influential till the end of Qing dynasty, was established by the Tang. They closely worked in interpreting classics, histories, translations, drafting imperial edicts, and tutoring princes, among other matters.

In certain ways, the Tang were the contemporary and equivalent of the south Indian Pallava kingdom and east Indian Pala kingdom, Byzantine empire, Ghana empire, Sasanian Iran, and later the Abbasid Caliphate, and had extensive trade and diplomatic relations with them.

Story of Zhenguan

Tang succession was far from simple and some of this was due to Xianbei attitudes which favored the most capable son to succeed. As per Confucian ideals and precedent from previous dynasties, the eldest son of the empress was supposed to be emperor. The mother's rank and family status mattered. However, in practice, princes struggled between each other, sometimes rather violently, and intrigue was a given since it was not entirely impossible for a high ranking consort's son to be emperor. In fact, the eldest son did not become the next emperor until after the An Lushan rebellion.

Wu Zetian, the only female Chinese emperor, was Tang Taizong's concubine, later empress to his son Gaozong (!!!), empress dowager to her sons, and then seized power to rule in her own right from 690 to 705 AD as the Wuzhou dynasty. Criticized and admired, she greatly patronized Buddhism, expanded meritocracy and favored lesser families, wrote and encouraged poetry, conquered parts of the Tibetan empire, and often used spies and her secret police to ruthlessly eliminate threats. After her death and restoration of the Tang proper, she was however, from the Song dynasty onwards, used as a warning of what happens when women are allowed unbridled power. Many Confucians hated her.

Wu Zetian (1995)

Tang Xuanzong's reign, largely considered part of the High Tang, was marred by his infamous obsession with Yang Guifei and more dangerously, over relying on favorites and promoting officials and generals like An Lushan. He rebelled and plunged the Tang dynasty in a devastating civil war (755-763 AD), sacking Chang'an and Luoyang, followed by a deadly Tibetan invasion. Warlords became more powerful and a constant source of tension to the Tang, fatally weakening them.

The Longest Day in Chang'an

The Tang recovered somewhat in a couple of decades but economic decline, bad harvests, mismanagement, and the threat of independent military commanders who later rebelled like Huang Chao, fragmented the empire into Five Dynasties and Ten Kingdoms. By the end of the Tang, Jiangnan province (present day Shanghai, Jiangsu, and surrounding areas) rose in wealth and power, while Chang'an and it's neighborhood permanently lost their old influence.

Art and cultural aspects

Buddhism and Daoism greatly expanded, often fusing and borrowing from each other. Monasteries became rich and sometimes corrupt. During the Northern dynasties, paintings and frescoes spread in the Mogao and Dunhuang caves (where a unique style developed), Yungang and Longmen grottoes. Bodhisattvas appeared by the Northern dynasties, with Mahayana Buddhism dominant by the Sui, and Pure Land Buddhism by the Tang. So did the classical pagoda shape as we know today by the Sui. No wonder then that painting started being considered highly prized and a mark of sophistication. The classic ink wash style was developed by the Tang, with Chan Buddhism and Daoism influencing the ideals of harmony and spontaneity in painting. Landscapes became a popular theme as also paintings in only black ink.

Yungang grottoes

The famous painting: Sailing boats and a riverside mansion

The great Buddhist monk Xuanzang also travelled to India and central Asian lands; his commentaries and translations of sutras became a major foundation of Chinese Buddhism. The classic novel Journey to the West, the basis of many adaptations in Cdramaland, is a fantasy and allegory of Xuanzang's travels to India. I was also delighted to know that Buddhist monks and pilgrims transported cane sugar across the Silk Routes and Tang Taizong himself send two missions to India to learn about crystal sugar. Sugar diplomacy huh?!

Xuanzang

Tea was initially considered a medicine or a food (often used in soups) and the rare, expensive varieties were gifted as tribute. It was more or less restricted to the elite. But the Tang developed a whole tea culture and appreciation along with improved cultivation and flavor. Poems, drawings, celadon ware focusing on tea developed as part of this culture. Buddhism and Daoism emphasized and preferred tea to alcohol and Buddhist monks spread tea culture to Japan and Korea. Tea taxation (!!!) began by this time and predictably large scale tea smuggling was a serious venture for smugglers (I wish we get a Cdrama on Tang era tea smuggling, it'd be fun). There were entire Tea-Horse trade routes connecting Sichuan, Yunnan, Tibet, to Nepal and India and Bangladesh, where tea, salt, and the famous Shu brocade were exchanged for sturdy horses needed for war.

The booming economy and exchange of goods and ideas on the Silk Routes since the Sui also reflected in household luxury. The Tang traded as far as the Harla of Somalia and Abbasid Iraq. More comfortable beds, ornate ceramic and jade pillows (Yes this was real), accepting chairs for sitting which was possibly Sogdian and Xianbei influence, the high regard and almost worship of horses, and a variety of central Asian and Turkic dances and musical instruments were the haute style. Nestorian Christians, Zoroastrians, Muslims, Hindus, Manicheans, and people from a wide variety of nations stayed and worked in Tang dynasty, especially in Chang'an, Luoyang, and the mercantile Yangzhou, despite fairly strict immigration laws. However, trade and absorbing foreign influence did not mean acceptance of foreigners. Even in the high Tang, outright xenophobic and racist attitudes were common, and the Tang military very much had a predatory culture, like most premodern armies.

Tang style ceramic pillow

Distinct regional cuisines, today part of the Eight Great Cuisines also emerged by the Sui-Tang, with Cantonese, Fujianese, and Jiangsu styles achieving particular renown.

Poetry, already a highly respected art form since the Eastern Zhou dynasty, became ornate by the Northern and Southern dynasties period. However, the Tang increasingly preferred somewhat simpler forms and a variety of genres and styles, leading to entire schools and movements. Tang poetry is considered one of the apex eras of literature and a great many Tang poems (especially by Du Fu, Wang Wei, Sikong Shu, Bai Juyi, and Li Bai) are liberally quoted in Cdramas; further, the invention of woodblock printing meant wider distribution and literacy than before. Poetry was a required subject in imperial examinations, and poetry contests were serious business. It was also a high class courtesan's art, and featured in veiled allusions to the government especially by Wu Zetian's and Xuanzong's reigns.

Li Bai and his poetry

Imperial favorite and homoeroticism

Older Cdramas often have this dynamic but also a few newer ones. Ever since the Warring States and later in the Western Han dynasty, having open affection and great care for retainers or followers who often grew up together with kings/aristocrats or went together through major milestones was common. Sometimes, sworn brothers and sisters had a homoerotic element to them. Personal loyalty, intimacy and proximity, and political function ambiguously blurred. I'm serious, the Han dynasty (passion of the cut sleeve 斷袖之癖 and bitten peach 分桃 are popular metaphors for homoeroticism and homosexual acts probably around this time), the Three Kingdoms, and Northern and Southern Dynasties were in many ways surprisingly open minded about this. There's a reason Romance of the Three Kingdoms has So. Many. Inside. Gay. Jokes which may or may not fully reflect history.

What the Northern and Southern dynasties and later especially the Tang and even the early Song emphasized was however that the ruler's personal charisma and body politic mattered far more than morality. It's a rather personalist way of functioning and was rampant during the Tang. Meritocracy and personal favor (whatever that may mean) purposely fused and as long as everyone knew the hierarchy, followed filial piety, and served their function, you had a great deal of leeway in private. Several powerful Tang officials and eunuchs, especially close to Taizong, Wu Zetian, and Xuanzong were products of this imperial personalism. The high refinement and importance of Tang political poetry became a serious weapon because you couldn't bluntly criticize the emperor but you could criticize the favorites.

Legend of lady Yang

And while imperial favorites were often men, hougong women too, though more ambiguously, played this role since many of them hailed from aristocratic families and were knowledgeable about outer court politics. Xianbei culture in some ways offered women more rights especially since women were permitted to handle political and judicial matters to an extent. Indeed, the emperor's sisters and aunts were often politically powerful, sometimes controlling succession itself. And so were certain Buddhist and Daoist nuns/priestesses, some aristocratic, who were dominant at court. But the widespread acceptance of Buddhism also meant a degree of what we'd today call homophobia crept in.

Slaves, eunuchs, and women

Slavery especially in Buddhist and Daoist monasteries exploded in this period; in fact, quite a great amount of foreigners especially living in Chang'an were trafficked slaves or tribute sent to the Tang as a symbol of submission. And while the Tang could be strict in punishing if you seriously harmed slaves and legally banned sex slavery, selling wives as prostitutes, using slaves for sex slavery especially foreign non Han people, and eroticizing them in poetry reached new levels.

Idealized women in a Tang painting

Courtesan culture flourished, especially in the High Tang, and it was considered a sign of a well bred gentleman to interact with talented ones. Geji were high class courtesans who existed since the Warring States period but became extremely sought after by the Tang.

Many were highly trained in dance, singing, calligraphy, drama, and poetry (some becoming famous poets in their own right), some being selected by the Royal Academy For Performing Arts itself, which continued till the end of the Ming dynasty. Pear Garden/Liyuan was the first highly respected and documented imperial academy with emperor Xuanzong himself training and enacting scenes from dramas, and even today, Chinese opera artists call themselves disciples of the Pear Garden. However, some of these artists also occasionally engaged in prostitution, and drama and Chinese Opera till the end of imperial China was never entirely free from these implications.

The great poet Du Qiuniang

And while there had always been differences between a wife and concubine, pre-Tang concubinage was seen as more of an elite, upper-class institution. The Tang however changed this and legal codes emphasized strict social differences between a wife and concubines and their children (di-shu system) and also stringent rules on divorce. The custom of heqin or marriage diplomacy, prevalent in Han dynasty, saw a major resurgence in the Tang.

Cruelly, the Han, and increasingly the Sui and Tang, formally set up incentives like tax and forced labor exemptions for widows who stayed "chaste" and did not remarry. This was based on the Confucian ideal, "A minister cannot serve two kings and a woman cannot serve two husbands/masters." While many women could and did remarry across all social classes and ethnicities without stigma, this was seized upon by later dynasties.

While burying concubines and servants alive or forcing them to commit suicide after the death of the emperor or an important person (xunzang) was common till the late Han dynasty, it died out by the Sui-Tang dynasties who regarded it as uncivilized and inhumane. Tomb figurines, symbolic of human sacrifice and guardian spirits, were however quite popular till the An Lushan rebellion.

Tang style tomb figurines

Eunuchs were often instrumental in the balance of power during the volatile Northern dynasties, sometimes becoming influential but also especially prone to factionalism and execution. While the Tang was the first time that eunuchs were officially involved in overseas trade, especially maritime trade. Eunuch marriages were also not uncommon. However, post An Lushan rebellion, their influence and interference in politics (forming private armies for instance) increased to the point of setting puppet emperors on the throne. And in a ghastly repeat of the end of the Han dynasty, many eunuchs were executed by the end of the Tang, while others escaped and lived in fear.

List of dramas

1. Empress Feng of northern Wei dynasty: on the turbulent life of Empress Feng, a powerful and influential figure responsible for much economic progress, Buddhist patronage, and sinicization
2. Initiating Prosperity: deals with political intrigue in the late Sui and early Tang and the interregnum.
3. Heroes of Sui and Tang dynasties 1-4 series: a multi-season depiction of the Sui and early Tang
4. Rise of the Tang empire: widely considered a classic and a nuanced portrayal of Tang Taizong and his reforms, starring several veteran actors.
5. The Story of Zhenguan: somewhat controversial for its inaccuracies, yet a widely beloved narrative of Taizong and the people around him.
6. Wu Zetian (1995): humanizes Wu Zetian. I'm currently watching this and can confirm the high quality of cinematography and acting. Liu Xiaoqing is achingly beautiful and intelligent as Wu Zetian, and I could barely recognize Chen Baoguo as Gaozong.
7. Secret history of empress Wu (2011): rather melodramatic but has top notch acting.
8. Wu Zi Bei Ge (2007): the great Siqin Gaowa plays Wu Zetian. This is also said to be a relatively balanced portrayal of her and the then government.
9. Love Legend of the Tang dynasty: features the highly scandalous affair between Princess Gaoyang and Bianji, a Buddhist monk, in Taizong's reign
10. The Longest day in Chang'an: one of the most accurate depictions of the high Tang with the focus on preventing a terrorist attack in Chang'an within 24 hours. One of my all-time favourites.
11. Palace of Desire: the Machiavellian yet tragic story of Princess Taiping, Wu Zetian's daughter
12. The legend of Yang Guifei (2010): loosely based on the rise of Yang Guifei
13. The legend of Lady Yang (2000): Cantonese drama on the disastrous affair between Xuanzong and Yang Guifei. One of the few to describe the prelude to the An Lushan rebellion.
14. Tang Minghuang (1990): Focuses on the political aspect of the obsession of Xuanzong for Yang Guifei. One of the rare dramas to criticize the then military governor system, depict the An Lushan rebellion, and the haunting aftermath.
15. Beyond the realm of conscience: Cantonese harem drama set in the late Tang
16. The Litchi Road: sort of a comedy and spin-off of The Longest Day in Chang'an after about a decade. How a Tang official has to deliver lychees to the capital in an unbelievably short time.

I've been in a bit of a haze because of The Great Revival, it really is that awesome. I wouldn't have watched this if not for u/Lotus_swimmer in her excellent post https://www.reddit.com/r/CDrama/comments/1aletfe/more_highquality_nonidol_costumed_dramas/

The turbulent Spring and Autumn period no doubt makes for an interesting backdrop but in particular the wars between Wu and Yue states piqued my interest. Like Swords into Plowshares set in the Five Dynasties and Ten Kingdoms, I barely knew anything about this era and learned a lot.

Father-son conflict ( or rather father figure-son figure conflict) makes for intriguing dramas; this one is no different. Goujian absolutely does not see eye to eye with his father King Yunchang of Yue (another amazing actor) to the point that Yunchang >!deposes him as the crown prince and would rather pass the throne to a literal child!<, feels constrained, and occasionally lashes out. So does Fuchai with King Helu of Wu and later with prime minister Wu Zixu. These curious parallels between Goujian and Fuchai especially in the early episodes is one of the most absorbing motifs of the drama.

Goujian

The fact that the great Chen Daoming plays the male lead Goujian itself is a good reason to watch this one, that man has never disappointed me. He gets so many scenes with Venetian blind like shadows, my noir loving heart was so happy. You really feel every moment of his hardship and frustration. I also appreciated Hu Jun as Fuchai greatly. It's not easy to be the antagonist to Chen Daoming, but Hu Jun is quite responsive and a great listener here. At least two of their soliloquies have allusions to Macbeth and Hamlet. But the supporting actors?!!!! It's a treat to see this range of acting and depth of character.

Fuchai

Wen Zhong played by the wonderful Zheng Tianyong (seriously how haven't I seen him before?) is the archetype of the frail idealistic scholar who tries to do the right thing, but is full of hidden depths, a diplomat par excellence, and can exploit weaknesses eloquently. His conversation with Bo Pi in episode 18 is one of those perfect scenes in Cdrama history for me. The pauses, the dialogues, the way Wen Zhong hits Bo Pi right where it hurts, the way that characteristic beam of light falls on a small part of Wen Zhong's face leaving the rest in darkness even when he is usually not shot in such light, how he >!manipulates Bo Pi who is standing on a higher step and has theoretically more power !<... all of it is awesome.

Wen Zhong

I was also impressed by Ding Yongdai as Bo Pi (again, why did I not see him before?) and when I rewatched certain parts, his subtlety, fondness and greed for luxury, >!struggle for power and resentment towards Wu Zixu, !<and yet adherence to a certain moral code is present from the beginning. An ambiguous and complex character played by a deft actor.

Bo Pi

Then there's Fan Li and boy that's a whole can of worms there. His relationship with Goujian is ahem *ambiguous at best*. Their first interesting meeting, how Goujian instinctively understands Fan Li's plans and intentions, how furious he gets when Fan Li >!leaves Yue and he sends him the empty scabbard of his royal sword as a rebuke. !< Or the famous snow scene where Goujian literally asks him if he's been a terrible king and sinner, or how he manages to >!keep morale up while they're all enslaved in Wu!<. Dear gods, I was screaming! Fan Li again is infuriatingly complicated and I love him for it. Bless Jia Yiping.

Fan Li and Goujian

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Wu Zixu and Shi Mai are, to an extent, prototypes of the loyal minister who would rather martyr themselves for the nation. But I liked how they're not exactly idealized. Power hungry, driven by revenge, condescending, frighteningly ready to commit appalling crimes to get what they want, they're deeply flawed and set in their ways. Again, absolutely wonderful acting by veteran actors.

Shi Mai

Sadly Xi Shi and Yayu were underwhelming at best. They did seem period appropriate, but Zuo Xiaoqing as Queen Yayu fell far short of my expectations. I felt she was too calm and composed and not nearly as expressive. Now, I have no problem with age gaps in relationships if done well, but she did not even register as a presence next to Chen Daoming. I wished Xi Shi had more of a role to play; historically she was one gutsy woman. Maybe The Rebirth of a King would be more focused on her.

Have you watched this drama? What did you enjoy? Did you like The Rebirth of a King better or not?

A few people reached out and asked me for recommendations on non-idol dramas. I'm sticking to historical and costume dramas because that's what I usually watch. I've mentioned the ones I've seen and many, many others are on my watch list. Feel free to share and discuss more such non-idol dramas and what you loved about them.

Dramas I've seen and highly recommend:

1. Romance of the Three Kingdoms (1994): Is it long and requires you to open Wikipedia tabs? Yes. Is it worth it? Absolutely. Top notch acting from everyone, great attention to detail and accuracy, copious use of classical Chinese and poetry, and great pacing, I was literally glued to my screen for this one.

Born to play Cao Cao

2. The Great Revival: I have a weakness for Chen Daoming and walked into this one with no context. One word - amazing. The acting is stellar, the historical accuracy high, cinematography is beautiful and almost noir like in places. I'm still watching this one but it's quite difficult not to rave about this one.

https://preview.redd.it/jhgeky64ox0h1.png?width=401&format=png&auto=webp&s=aa85473beb22995ceb58f216c31d26469dfaf473

3. Empresses in the Palace/ Legend of Zhen Huan: one of the best Qing harem dramas, perhaps only topped by War and Beauty. Harrowing in it's character depiction, although it has it's share of plot holes, I still think of and commiserate with Zhen Huan and every single woman in that stuffy hougong.

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4. Joy of Life: Season 3 when?!! This drama made me firmly stay in Cdramaland. I remember seeing Zhang Ruoyun and Cao Cuifen in a scene and went, "Wow, I really wasn't expecting this level of acting and nuance." It has something for everyone. Elements of wuxia, struggle for social justice and basic dignity, poetry slams, family drama on steroids, betrayals and murders, diplomatic incidents provoking war. You'll never be bored.

https://preview.redd.it/c0rkzruymx0h1.png?width=5574&format=png&auto=webp&s=6e32802e9ed98acdf4ed120653aa478f9931324d

5. Swords into Plowshares: You know you're watching some seriously bleak stuff when 10 minutes into episode 1 there is >!filicide and cannibalism. !<It's brutal, gorgeously cinematographic, continuously struggles with morality, tender in places, and acted really well.

https://preview.redd.it/z58jmyjz4y0h1.png?width=736&format=png&auto=webp&s=2ca002036bd544e66ff89def47c5d3dc42467656

6. Ming Dynasty in 1566: A slow, measured, and quietly violent drama. There's a great deal of historical accuracy in the characters (just not the costumes and props though), seriously Chen Baoguo's performance as the Jiajing emperor scares and impresses me even today. You slowly come to the crushing realization that the system is rotten to the core and does not care if common people live or die.

https://preview.redd.it/mrz3lo12mx0h1.png?width=2048&format=png&auto=webp&s=1b6ffeee77c3c85380de6730d75add55b576cd57

7. Ripe Town: a short, dark, grimy thriller in the late Ming dynasty. You can literally taste the decay in the air; the lighting is that superb. I watched this within 2 days because it is rather well paced and compelling. Ripe Town does not pretend to cast a blanket on cruelty, corruption, or betrayal. It tells it as it is and there is little closure or true justice in the end despite the case officially being solved.

https://preview.redd.it/vc7nojxwlx0h1.png?width=540&format=png&auto=webp&s=a0dd7babb77eccc5af3eec540cfc6905868ca079

8. Kangxi Dynasty: Siqin Gaowa as the regal Empress Dowager and later grand empress dowager is reason enough to watch this one. Also kudos to all the actors who have played Kangxi, they've done a wonderful job. Part of a three drama series, I'm now pumped to watch Yongzheng and Qianlong dynasty.

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9. The longest day in Chang'an: one of the most period accurate dramas ever. Lush and gorgeous lighting, great acting by a varied cast, I ended up falling in love with the Tang dynasty and it's beautiful poetry. It does stretch a bit more than what's strictly necessary, but I loved every minute of it.

https://preview.redd.it/8wgy4wwclx0h1.png?width=1500&format=png&auto=webp&s=045f6590974c8030cb9d52ccbf6147bcfe24f7b2

10. The Rise of Phoenixes: a thrilling, intelligent succession drama marred by a terrible number of cuts and choppy editing. I first saw Ni Dahong in this and was beyond impressed by his portrayal of a cruel but brilliant emperor. Revenge, secrets that cost you everything, family politics, witchcraft, again a drama that has everything, and you won't be bored for the most part.

https://preview.redd.it/9x2lx1b9lx0h1.png?width=764&format=png&auto=webp&s=e4c72d4be13c2d9d4de930194a2f18f1eab63f4d

11. Sha Er Shi Zhang/ The Naive Leader: a rather humorous republican era drama. No, that's not a contradiction. Acted almost entirely in Sichuanese dialects, it has a folk element to it in the tale of a wise fool who climbs the ranks of the army to be a great general. There's quite some serious stuff going on though and a lot is being said in the guise of humor.

https://preview.redd.it/rjuz1bvlox0h1.png?width=736&format=png&auto=webp&s=da5e6b0f4e72bc5a361a6383c70348030f82c64c

Dramas I've yet to see (I'm restricting myself to only 10 because otherwise this list will never end):

1. Nirvana in Fire

2. Ruyi's royal love in the palace

3. The rise of the Tang empire

4. The emperor in Han dynasty/ Han wu da di

5. Fearless blood

6. The eloquent Ji Xiaolan

7. The king's war

8. Qin empire series

9. All quiet in Peking

10. Palace of desire

This has been on my mind for a while and u/Initial_Surround6623 pushed the idea further. I've only been watching Cdramas for a little over 2 years, and there a great many dramas I haven't yet watched, but these are the male actors I admire the most. I'll probably watch anything featuring them and have analyzed and even obsessed over them at 3am because they are that interesting. They're all serious, veteran actors past 40; I'll make a separate post for female actors.

Chen Daoming

https://preview.redd.it/195galm0dqyg1.png?width=812&format=png&auto=webp&s=a62ec557f83e1bfb3309293aa65dc714f57b458b

He was the first one I thought of and for good reason. I remember being electrified when I saw him as the emperor in Joy of Life and thought, "He is what a capable and brilliantly terrifying emperor ought to be". This man is the reason I wrote literal thesis level analysis and character justifications for Joy of Life. He embodies subtle menace, charisma, and a presence that, when encountered, you will ignore everyone else in the room. I have never been disappointed in anything he stars in.

His role as the Kangxi emperor and King Goujian of Yue are other highlights for me. But when I dug up one of his old, unsubbed dramas, I saw him gaze at the female lead with such adoration and tenderness … every straight woman wants to be looked at like that. It probably says something about me that he is on my phone screen.

Bao Guo'an

https://preview.redd.it/802yl1aiiqyg1.png?width=480&format=png&auto=webp&s=0e4e811cff0a30f06fef259243d30db717b4bb46

One of the most veteran actors on the list and responsible for bolstering my interest in Classical Chinese poetry. I cannot imagine anyone else playing Cao Cao better, he embodied that role. He also played the abbot in the Shaolin monk series quite well. His role as Emperor Yang of Sui was also interesting; so far, I had only read of him as a terrible, one-dimensional, cruel ruler, but Bao Guo'an made him achingly human. Incredibly expressive, wonderfully clear, and sonorous.

Chen Baoguo

https://preview.redd.it/aqsd5ulqiqyg1.png?width=600&format=png&auto=webp&s=7a5fb0b89eff10c73206adfc9246c31a5c4aa324

Another actor I was lowkey terrified of when I first saw him laughing as the Jiajing emperor in Ming Dynasty in 1566. I remember noting how his eyes looked so cold and merciless even when his lips curved into a smile, it's one of the finest pieces of acting I've seen in that great drama. It's a pity that much of his work is unsubbed and rarely broadcast for international audiences.

Ni Dahong

https://preview.redd.it/s8dqj9b4iqyg1.png?width=640&format=png&auto=webp&s=a958142b884a24826c0092cedbaad5eb9ed221e0

A method actor par extraordinaire, this man keeps surprising me the more I see of him. I first saw him as the cruel but brilliant emperor in The Rise of Phoenixes and immediately thought that he could rival Chen Daoming's Qing di in JoL in pitting his sons against each other or how he could make others run around in circles in Ming Dynasty in 1566.

His portrayal of Hu Jinsi in Swords into Plowshares was truly iconic and ngl I gulped in a couple of scenes. Lately, I've begun All is Well and his role as Su Daqing is another rage-inducing character, I've rarely been so damn angry with a character in modern dramas.

Tang Guoqiang

https://preview.redd.it/7htyd3e9pqyg1.png?width=736&format=png&auto=webp&s=b56c525e1dbe1e0f4a7d13250fbc67ba91b11b40

One of my most beloved actors on the list, cast as the mischievous and cunning Zhuge Liang was the first time I saw him. Like Bao Guo'an as Cao Cao, now I cannot imagine any other actor outshining him as Zhuge Liang, I honestly don't know how these actors have made these role iconic and unreplaceable but they have. His guest role as Genghis also struck me, he probably wasn't there for more than 3 or 4 episodes, but he made a mark felt episodes later.

Wang Xueqi

https://preview.redd.it/xuthvilsbqyg1.png?width=736&format=png&auto=webp&s=df8b342a111a911980f418507080a22e46c1685c

I have yet to see his best work, but his supporting role in War of Faith got me all interested. Amiable yet keen and sharp, he was one of the building blocks of what made that drama so memorable. But he was almost unrecognizable as the Yongle emperor in Ming Dynasty, almost as if they are two separate actors. Again, an emperor to be truly wary of, he gets up close and personal with the character he plays, and kept me in nail-biting tension for a long time.

Hu Jun

https://preview.redd.it/1pe7oz2shqyg1.png?width=500&format=png&auto=webp&s=07666f938deb87a6739eab45eb0f3e3eb302074a

I unashamedly admit that I was all over Hu Jun as Kublai Khan. My brain went, "Hell's bells, now that's a fit general. What a wide chest and strong waist." But my interest piqued when I saw how alternately expressive and controlled his eyes were, he's a great listener.

But his character as Fuchai in The Great Revival has made me a true fan. You can tell that he has understood and digested the historical Fuchai. His earnestness, transitioning to cold calculation, righteous anger, is heady and it certainly wasn't easy when your rival actor is Chen Daoming, but I am greatly appreciating Hu Jun.

Liu Yijun

https://preview.redd.it/6w01ahzipqyg1.png?width=800&format=png&auto=webp&s=bfed09909c312c9af780c137d720a07a5b278fd5

He's fast becoming one of my favourites. From his memorable guest role in Reset as the police chief who sees through people to the brown-nosing but mean and cunning Feng Deyi in Initiating Prosperity, I could barely recognize him sometimes in the sheer number of roles he's played. There's a certain stillness about him that you can recognize and it's one of the things I love about him.

Wang Yang

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A highly gifted character actor. I first saw him in Joy of Life and was impressed, he did a fabulous job as the jaded lawyer in Under the Microscope. But as Shen Tunan in War of Faith?!!! He really seemed like someone right out of 1930s Shanghai. There's a Clint Eastwood sort of tough guy air to him, which is why he gets interesting in his more vulnerable moments. Hopefully he'll keep picking more such projects.

Zhu Yawen

https://preview.redd.it/9xbmfwr1cqyg1.png?width=1080&format=png&auto=webp&s=0f62ef3ad0480ce422be6a363d2c707b41547205

A damn promising actor who's doing intense work. I stumbled upon Ming Dynasty (2019) by accident and was struck by his interpretation of the imperial grandson. He has a keen sense of timing and, like Hu Jun, has incredibly expressive eyes and is quite responsive. I was pleased to see him in Swords into Plowshares and his dynamic with Bai Yu and Yu Haoming was one of the high points of the series for me. Hope he continues doing better.

I've only seen or am currently watching one of their dramas, but Ding Yongdai, Wang Bing, Ge Zhijun, Jia Yiping (all in The Great Revival), Ning Li (Joy of Life 2 and Ripe Town), Chen Jianbin (Empresses in the Palace), Zhang Fengyi (Farewell my Concubine), Dong Yong (Swords into Plowshares), Zhang Guangbei (Romance of the Three Kingdoms), among others, have all made me sit up straight and go, "Omg, he acts so well, who's this guy? I need to see more of him"

Which serious veteran male actors are your favorites and which of their performances were particularly iconic?