#incorrect han dynasty
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Sima Qian: I keep a protrait of His Majesty in my drawer. Whenever I face difficulties, I take it out and stare at the picture.
Sima Qian: And I tell myself: "If I survived this asshole, then I can survive anything."
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A Compilation of Chinese Period drama OSTs that are inspired by Classical Poetry- Part 3
Part 1, Part 2
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More in Confirmed List
8. The Long River
"Life Passes Like a Dream (浮生若梦)" (Ending theme) by Li Bai, performed by Wang Zhenhua
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9. Oh My General (2017)
Yang Lin [杨蔺] - Pride of the Fishermen [渔家傲] by Fan Zhongyan
I couldn't find a way to share an mp3, but you can find it here and listen from there.
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10. Dream of the Red Chambers (1987)
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Sadly I couldn't find any other songs he composed based on the original poems for the drama, except the one below. If you know more, please do share! 🥺 🙏
Burial of Flowers
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A famous cover by Tong Liya
I highly recommend listening to this chilling cover done for the kiddie drama version of Red Chambers as well.
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11. Romance of the Three Kingdoms (1994)
滚滚长江东逝水 Gǔngǔn Chángjiāng Dōngshì Shuǐ (The Billowing Yangtze River Flows East) by Ming Dynasty poet Yang Shen, performed by Yang Hongji
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短歌行 Duǎngē Xíng (A Short Song) by Cao Cao; performed by Yang Hongji
Extra: Rendition of the same scene in Three Kingdoms (2010) with Eng translation and in Advisors Alliance (2017)
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子夜四时歌 Zǐyè Sìshí Gē (The Midnight Song) Lyrics adapted from a Southern Dynasties era poem; performed in a Wu accent. Played during Liu Bei and Sun Shangxiang's wedding scene in episode 43. Source
A translated fanvid
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七步诗 Qībù Shī (The Seven Steps Poem) by Cao Zhi; performed by Liu Huan
(Aka the Bean Poem. Here's a nice comparison of the same scene in different dramas by another Tumblr user!)
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丈夫歌 Zhàngfū Gē (A Song for Men) by Luo Guanzhong; performed by Lü Jianhong
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There are more but this is all I was able to find :(
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12. The Advisors Alliance (2017)
In the same spirit (their version of Duan Ge Xing is already shared above),
十五从军征 At Fifteen I Joined the Army on Expedition by unknown Han dynasty poet, performed by Jin Yushan (金语衫) (not sure, Wikipedia says Jin Yubin) Here's a cartoon version as well.
The thumbnail of the vid is incorrect for some reason btw. It's from AA not 3K.
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怨歌行Yuan Ge Xing (Song of Regret) by Ban Jieyu, performed by Yeung Tung & Lu Moyi
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13. My Fair Princess (1998)
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14. Shaolin Wendao (2016)
Not a poem, but the ost is made out of the Mahayana Buddhist Sutra Da Bei Zhou/Great Compassion Mantra/Nilakantha Dharani.
This was one of the first songs I have listened on YouTube, even before I started watching Cdramas etc. It has always brought me great sense of calm and peace. Only recently, more than like 5 years later I finally found out where it is from.
Da Bei Zhou (大悲咒) by Jing Shan Yuan (敬善媛)
The scene from drama
Full ost:
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15. Journey to the West (2011)
Similarly, the opening ost was taken from the mantra of the Mahayana Buddhist scripture Heart Sutra.
Xin Jing (心经) performed by Yang Xiaolin
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My other posts
#Youtube#My goodness I am so tired#classical Chinese poetry#drama osts#Cdrama#Chinese drama#gufeng#guofeng#The Long River#romance of the three kingdoms#oh my general#dream of the red chamber#my fair princess#shaolin wendao#journey to the west#three kingdoms#the advisors alliance#poetry
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The Suppression of Information About Imperialism and Uyghur Genocide Within China
The tragedies of the Uyghur genocide are being investigated by foreign officials; however, suppression and erasure of Uyghur culture has been happening since China’s establishment as an imperial empire (starting in the Qin Dynasty). The Uyghurs were conquered by China officially in 1949 under the People’s Republic of China, the new communist government, led by Mao Zedong. (SIDE NOTE to not make this post a capitalism vs. communism debate but a call to advocate for the Uyghurs in China). Mao Zedong threw away the notions of these conquered people to be able to have self-determination and be able to choose whether or not to be a part of China.
Before his decision, the right for conquered people by China to have self-determination was illustrated in Article 14 of the draft constitution created by the Chinese Communist Party (CCP) in the 1930s (here you can read more about this + a (not so) brief history of Chinese imperialism and how it relates to the present day) However, instead of recognizing the Uyghurs as a separate culture from the Han Chinese majority, they trapped the Uyghurs in China and created new ethno-political legislation. This legislation defined the Uyghurs, and every one of the 55 ethnic minorities in China as Chinese, claiming that all these minority groups have always been a part of China. This has political, historical, and even biological implications for the erasure of Uyghur culture and heritage. Uyghurs have not always been under China’s rule, so to put in law that they originated from the Chinese empire is absurd and factually incorrect.
Since every piece of Chinese propaganda treats all ethnic minorities in China under the assumption that they have always been a part of China, it is extremely difficult to have a genuine discussion about Chinese imperialism within China. This was highlighted in fall of 2026 when Qin Hui’s, a Chinese historian, new book, Leaving Behind the Imperial System: From the Late Qing to the Early Republic was removed from all Chinese bookstores.
The Chinese government is also currently resisting any claims that they are committing genocide against the Uyghurs…by denying that this violence is even occurring. Meanwhile, the UN human rights office released a report in 2022 urging China to release those unjustly incarcerated and disclose the whereabouts of missing persons. In reaction to this, several Western countries and the UN considered a motion against China. In January of 2021, The United States was the first country to declare the treatment of the Uyghurs as a genocide and eventually impose sanctions on trade with China. While the European Union (EU) also sanctioned Chinese officials in 2021, greater international intervention is needed if there is any chance of this genocide stopping.
Keeping this in mind, this sets the stage for Uyghur pop to connect generations of Uyghurs together (with a blend of traditional folk music and modern pop), while simultaneously being a subversive genre. According to “Singing Muqam in Uyghur Pop: Minority Modernity and Popular Music in China”, while Uyghur pop helps drive Uyghur culture, the greater Chinese government still keeps a tight grip on the genre itself. Most Uyghur-language audiovisual products are required to be released under the state’s “audiovisual publishers”, allowing the state to regulate and censor what messages are released into the mainstream. However, in order to keep their culture alive outside of state control, many Uyghurs have learned how to sidestep these restrictions. Thriving underground markets of pirated and home-made audiovisual media allow Uyghurs to access more up-to-date music. Not to mention, when Uyghur musicians perform in more private venues such as nightclubs, they have more freedom to perform without being censored.
However, within mainstream Uyghur pop, popular names such as Abdulla Abdurehim and Shireli Eltiken, have great influence within Uyghur and Chinese culture. Abdulla Abdurehim is a judge on The Voice of the Silk Road, and is crowned as the “King of Uyghur Pop”. While Shireli Eltiken is a pop musician and a conservatory trained vocalist of the state-sponsored Xinjiang Muqam Art Troupe. Both of these mainstream artists have to operate within the constraints of Chinese censorship because of their proximity to state-controlled institutions. Not to mention, I suspect the extent of their influence does not extend far beyond China.
Again, while I was trying to find information on these artists, I got even less information than I did on Qetiq (look at last post). Beyond “Singing Muqam in Uyghur Pop: Minority Modernity and Popular Music in China”, I only found a small Wikipedia article for Abdulla Abdurehim, and no information on Shireli Eltiken. Both of their music can be found on Youtube, but without any context, it is close to impossible to recommend any songs. I will link where both artists' music is available; however, it may be easier to set a time to listen to the music in bulk rather than trying to pick out certain songs. If you have more relevant information to add, feel free to add it in the comments (with sources if possible).
In Review:
Recommended Artists:
Abdulla Abdurehim
Shireli Eltiken
Song(s) of Choice:
????
Streaming Platforms:
Abdulla Abdurehim: Youtube, Spotify, SoundCloud
Shireli Eltiken: Youtube
Social Media Platforms:
????
Additional Information (feel free to add more in the comments):
https://www.tandfonline.com/doi/full/10.1080/03007766.2012.756653
https://en.wikipedia.org/wiki/Abdulla_Abdurehim
https://livingotherwise.com/2013/07/15/older-brother-abdulla-the-king-of-uyghur-music-his-voice/
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Zhang Fei: I don't wear pants during a battle.
Liu Bei: It's true, he doesn't.
Guan Yu: He has so much hair we don't realize.
Zhang Fei: I'm like a satyr, down here.
#source: critical role#quote#incorrect quote#zhang fei#guan yu#liu bei#dynasty warriors#shu#shu han#kingdom of shu#dynasty warriors 2#dynasty warriors 3#dynasty warriors 4#dynasty warriors 5#dynasty warriors 6#dynasty warriors 7#dynasty warriors 8#dynasty warriors 9
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Yellow as the Emperor’s Color
In China, the yellow color has long been associated with the Center - one of the five directions, along with the four cardinal points. Yellow started to be perceived as the Emperor’s color during the Tang era (618-907), but not any yellow - just one particular hue: 赤黄, literally "reddish-yellow". This rich and vibrant color was associated with the sun, and the sun was the symbol of the Emperor.
Initially, under the Tang, “reddish-yellow” was not forbidden for ordinary people to wear, and was not set by law as the Emperor’s color: wearing it was just the personal preference of some emperors. Then, during the reign of Emperor Gaozong, “reddish-yellow” was forbidden to be worn by commoners. In the Tianbao era (the second half of the reign of Emperor Xuanzong), the Emperor's bedding, formerly purple, was replaced with “reddish-yellow”, and the officials were forbidden to wear this color. It’s can be said that in China the perception of yellow as the Emperor’s color began from that time on.
However, figurines and frescoes from the Tang era show that yellow was still very popular among people of the Tang empire.
Also, during the Tang era, yellow, together with white, was one of the colors assigned by law to the lowest-level officials, soldiers, commoners and the like. Most yellow dyes are cheap, easy to produce and easy to apply to fabric, so in general yellow was considered a commoners' color.
The Emperor’s yellow ("reddish-yellow") vs the commoners’ yellow (from The Longest Day in Chang’an):
The color of the Emperor's ceremonial dress under the Tang was not “reddish-yellow” - it was, in accordance with the ancient custom, deep black, combined with scarlet. This type of garment, worn exclusively by emperors, kings and princes, is called mianfu.
Tang Emperor in mianfu with his retinue, a mural from the Dunhuang caves:
Only in the Ming era (1368-1644) another variant of yellow - ocher 赭黄 - became the official color of the Emperor’s “official" dress, and both officials and commoners were forbidden to wear any shade of yellow:
The ceremonial dress mianfu retained the ancient black-and-red palette and was still basically the same as during the Tang, with some minor changes:
Under the Manchurian Qing Dynasty (1644-1912), ocher in the Emperor’s costume was replaced by a lighter and brighter hue - 明黃 “bright yellow”. The Manchu emperors didn’t wear the ancient black-and-red garment of the Han emperors.
Now this particular hue is still the one most strongly associated with the Emperor. In many dramas and movies, emperors of the pre-Qing dynasties wear “bright yellow”, however, this is historically incorrect.
I’d like to add that the fact that some color was considered the Emperor's color didn’t mean that the Emperor was obliged to wear only it. While the Emperor’s ceremonial and official garments strictly followed the color regulations, in their daily life emperors were free to wear any color they liked.
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Hello! I have a question; Did hanfu exist after the Han dynasty? I know they're making a resurgence now but more like. Were they still worn after the Han?
Hi, thanks for the question!
Yes, of course! Hanfu existed and was worn as mainstream clothing before, during, and after the Han dynasty, for a long period of time!
Your question addresses one of the most common misunderstandings about Hanfu that people have. A lot of people assume that the “Han (漢/汉)” in Hanfu (漢服/汉服) refers to the Han dynasty, but that is incorrect. The “Han” in Hanfu refers to the Han Chinese people, not the Han dynasty!
In other words, Hanfu refers to the traditional clothing of the Han Chinese people, which includes clothing worn from the beginning of Chinese civilization (and yes, that covers time periods before the Han dynasty) to present day. Hanfu as mainstream clothing waned after the Ming dynasty (due to new fashions brought/enforced by the Manchu rulers during the Qing dynasty), but even so, it didn’t completely disappear, having survived in religion, theater, and art.
For more information on the timeline of Hanfu and how it changed throughout different time periods in Chinese history, please refer to this post. Hope this helps! ^^
(lady in hanfu via)
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An Overview of Comparative-Historical Chinese Dialectology (II.i): Old Chinese
Let’s imagine a world in which the modern Romance languages are all extant and written in the Latin alphabet; however, Latin is not attested. If you were collecting cognates of the word for “middle” or “medium”, you’d get [mɐi.u] from Portuguese, [mitʃ] from Catalan, [med.dzo] from Italian and so on and so forth. You don’t have any Latin to compare with, but it’s not that difficult to determine that Proto-Romance had a form *mɛdjʊ or something like that.
Now imagine that you dig up a 2700-year-old tablet in southern Italy, and it has the word mefiú on it. It’s clear that it’s pretty close to your Proto-Romance, but it’s not quite the same. Some tokens of /p/ in the tablet-language correspond to *p in Proto-Romance, and some of them correspond to Proto-Romance *kw. On the other hand, it seems to have some distinctions Proto-Romance doesn’t, such as a diphthong ou which seems to fall together with Proto-Romance *u. You can read it, and it’s clear it’s closely related, but it isn’t Proto-Romance.
Imagine a different world. Here, the Romance languages are written with logograms and have been for three millennia. Thus the character 中 is read [mɐi.u] in Portugal, [mitʃ] in Catalonia, [misu] in Sardinia and [med.dzo] in Italy. You can reconstruct a Middle Romance reading *mɛdjʊ for this character.
One day a 2700-year-old tablet is found in southern Italy. The characters have strange, archaic forms and the syntax is really unusual, but it can be read. It includes an early form of the character 中. Is it Latin? Or Oscan?
Keep this analogy in mind as we dive into Old Chinese.
Old Chinese is attested from about 1250 BC in the form of inscriptions on oracle-bone tablets, followed shortly thereafter by longer texts during the Zhou era. Archaeological excavations are turning up lots of texts on wood and bamboo strips from the early and mid-first millennium BC, so we have much more raw material from the Old Chinese period to work with than we did even two or three decades ago.
Here the trouble begins. Every other script from antiquity, with the possible exception of Mayan (whose basic structure I still find entirely inscrutable), includes considerable phonological information: the cuneiform syllabary, Linear B, even Egyptian hieroglyphs. Many of these scripts can be underspecifying to the point of ambiguity for modern scholars, like Linear B or hieroglyphs, but the basic organizing principle is phonemic. If you see wa-na-ka on a Linear B tablet, you have automatically narrowed the reading of the word down to a handful of possible phonemic interpretations.
With Old Chinese, all this goes out the window. Oh, it’s not that there’s no phonological information available to us about the period; there’s plenty if you know where to look. But Old Chinese, and the script in particular, only reveal their phonological secrets through smoke and mirrors. It’s a difference of kind, not of degree, compared with such relative walks-in-the-park as a cuneiform syllabic with two possible readings or an unvocalized scrap of Semitic.
Thus, reconstructing Old Chinese requires drawing on a vast amount of rather disparate evidence, which includes (but is not necessarily limited to):
the phonetic clues in the actual script, particularly the rebus principle used to create phono-semantic compound characters;
rhymes in ancient poetry;
the recoverable historical phonology of the modern varieties of Chinese;
early borrowings into neighboring languages such as Korean, Japanese, Vietnamese and Hmongic and, to a lesser extent, borrowings into Sinitic from foreign languages such as Tocharian;
comments on “rustic” or “incorrect” forms of speech in early sources;
unusual character usage (before the Han dynasty or so, many words are found written with more than one character, and some characters are used to write multiple words; usually these conflations involved some degree of phonetic similarity)
last and (for the most part) least, evidence from non-Sinitic relatives such as Tibetan and Burmese. This is the most fraught and least reliable source of evidence, because Sinitic doesn’t seem to have any particularly close relatives within Sino-Tibetan and the state of Proto-Sino-Tibetan is still quite hazy.
Now, Baxtar and Sagart conclude that attested Old Chinese is so vanishingly close to the last common ancestor of all attested varieties of Sinitic that “Old Chinese” and “Proto-Sinitic” can be conflated except in the most pedantic and exacting of contexts. It’s tempting, therefore, to assume that we can just throw Min, Mandarin, Cantonese and maybe a few borrowings into Korean into the comparative method and collect Old Chinese as it comes out through the grinder. But this is wrong. Old Chinese was almost identical to, indeed for almost all purposes was, the last common ancestor of attested modern Chinese varieties, but it doesn’t look much like modern varieties of Chinese and the comparative method alone will give you a highly incomplete picture. It should therefore serve as a cautionary tale for overly optimistic comparativists; the comparative method is usually lossy even with a wide range of languages to work with, but in the absence of contemporaneous attestation we simply can’t know what we don’t know.
So what did Old Chinese look like?
First and foremost, no tones. Tones do not begin to develop in Chinese until sometime in the Han period. As far as I know every single modern variety of Chinese is tonal (barring fringe cases like Wutun that have lost tone under the influence of unusual contact situations), and I believe the tonal system of every modern variety can be derived through various twists and turns from the “four-tone” (really three-tone; we’ll get to it later) system of Middle Chinese.
How does this work? Essentially, what’s going on is that the comparative method can reconstruct distinctions and developments that occurred at different times. Tone in Chinese is somewhere around two thousand years old and develops at the very end of the Old Chinese period (you could make a case for its development being the Old Chinese-Middle Chinese boundary). Every single modern variety has it, because it spread across and encompassed the entirety of what must have been the dialect patchwork of Han-dynasty China. But that dialect patchwork was not uniform, and traces of its nature from before the rise of tonal distinctions are still with us. For example, there must have been an allowed Old Chinese coda consonant *-r which merges, in Middle Chinese and in almost all conservative dialect groups such as Min, with *-n. However, a small corner of Shandong has -j for Old Chinese *-r despite the fact that dialects that preserver the *-n/*-r distinction are otherwise completely unexceptional varieties of Mandarin--coda stop loss, tonal and sibilant developments, the whole nine yards. Zhou- and Han-era dialects of Shandong, see footnote at end of post.
Does this mean that we have to revise the phylogeny of Chinese to look like this?
No!
It simply means that “Old Chinese” was not uniform, resembling in important ways the dialect continuum of Iron Age Italy more than the standard Latin of Cicero, and while the Old Chinese patchwork developed as a single unit in important ways (such as tonogenesis) during the transition from Old to Middle Chinese and into modern varieties, there are still glitches in the matrix.
To beat a nearly-dead analogy, we can imagine a variety spoken in a village in Umbria which is mutually intelligible with standard Italian and has undergone identical developments for two thousand years, but which happens to reflect Proto-Italic *f *þ medially as /v/. It would be incorrect to say that this variety is modern Oscan and more separate from its neighbors, to whose speakers it is merely an odd accent, than its neighbors are from Portuguese or French. At the same time, its conservation of a distinction that not even Ciceronian Latin maintains introduces complications into our sense of what “proto-Romance” or “the Romance languages” or “Italian” actually mean. And since, grammatically, this variety has developed along with the Vulgar Latin and Italian dialects that surround it, we would be unable to recover the Latin passive or the case system from it. The “last common ancestor” that maintained all the distinctions of the Romance-languages-plus-Italian-with-Oscan-characteristics was Proto-Italic, but vast swaths of Proto-Italic have still been lost to time, and the comparative method will deliver you a language that was never spoken by anybody (Vulgar Latin, except with a four-way medial distinction *-f-/*-þ-/*-b-/*-d- rather than a two-way *-b-/*-d- distinction).
As a final note on this topic, nobody appears to have noticed that the *-r/*-n distinction was carried on in modern Chinese until Sergei Starostin in 1981, and even he did not identify which dialects had the distinction, only that some did*. This is another reason it’s important to do fieldwork and descriptions of Chinese varieties spoken in rural areas; cities are easier to get to, but they don’t usually have the really unusual varieties that you need access to find distinctions from this. It is possible, for example, that there’s still a corner of Sichuan that speaks Ba-Shu Chinese, an old dialect group that is thought to have been completely replaced by Mandarin during the Ming period and extinct except as a substrate. But we don’t know, because an exhaustive dialect survey of Sichuan has not (to my knowledge) been done.
(This post is long enough to publish at this point and so I’m going to cut it off here and turn Old Chinese into a subseries of posts.)
*It’s not clear on a second reading whether or not Shandong dialects still reflect *-r as -j, because the sources cited are contemporaneous complaints about Shandong speakers. Apparently though the *-ar rhyme is reflected as -i in some Min varieties and “Chǔ-Qú”, which seems to be a group of Wu dialects spoken on the Zhejiang-Fujian border, so the above analogy holds except that it’s Chǔ-Qú Wu that plays the part of Oscan-flavored Italian. I do recall reading somewhere though that there are definitely varieties of “Mandarin” that maintain distinctions not even found in Min, so...
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Liu Ju: Mother, I've found out that Father's ears tends to flush when he lies!
Wei Zifu: What do you mean?
Liu Ju: Look at this.
Liu Ju: Your Majesty! Do you still love me?
Liu Che, covering his ears: Yes, but of course. What a silly question.
Wei Zifu: ...
#incorrectbcchina#incorrect han dynasty#liu ju#liu che#wei zifu#they're so dysfunctional god help them
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“Love and Humility are the sweet bonds of our marriage:” A Book of Hours owned by the wife of a French Catholic propagandist of the 16th century, and the Governor of Pennsylvania!
Fifty-two discoveries from the BiblioPhilly project, No. 7/52
Book of Hours, Use of Paris, Philadelphia, Philadelphia Museum of Art, 1924‑19‑1, fol. 24r (miniature of the Annunciation from the Hours of the Virgin)
Books of Hours are highly mobile objects that can often accrue fascinating later histories. Because of their deeply personal nature, they can become associated with historical persons either through legend or fact (or a combination of the two). Only relatively rarely, however, does one later owner purchase a book on account of its earlier ownership history. One such example is a fairly modest Parisian Book of Hours acquired by the Philadelphia Museum of Art in 1924 (accession number 1924‑19‑1). Unlike the later ensembles of illuminated manuscripts donated to the museum by Samuel and Vera White or Philip S. Collins, this manuscript was not published or described upon its entry into the collection.[1] Its only existing description comes from Seymour de Ricci’s Census of Medieval and Renaissance manuscripts in the United States and Canada and its later Supplement, produced by C.U. Faye and W.H. Bond.
In both Census volumes, the manuscript’s early provenance with the Duderé family in France is briefly recorded, as is its later ownership in the United States by Samuel W. Pennypacker, 23rd Governor of Pennsylvania (1843–1916), who served from 1903 to 1907 (and to whom we shall return). The Duderé provenance is evident through two unequivocal inscriptions within the manuscript. The first, on folio 1r, reads:
1924‑19‑1, fol. 1r, with ownership inscription of Michelle Duderé dated to 1577
Ces heures apartiennent a damoyselle Michelle du Deré femme de Me Loys Dorleans aduocat en la court de Parlement et lesquelles luy sont echeues par la succession de feu son pere Me Jehan Duderé conseiller du roy & auditeur en sa chambre des comptes, 1577; Amour & Humilité sont les doux liens de nostre mariage.
(“This Book of Hours belongs to Lady Michelle du Deré wife of Mr. Louis d’Orléans advocate in the court of Parliament and it descended from her deceased father Mr. Jean Duderé counsellor of the King and auditor in his chamber of accounts. 1577. Love and Humility are the sweet bonds of our marriage.”)
It thus transpires that the book was in the possession of Michelle Duderé, wife of the noted French Catholic League pamphleteer Louis Dorléans (1542–1629).[2] In addition to being known for authoring numerous religious tracts, Dorléans was also an occasional poet, and wrote some bucolic verses replete with thinly-veiled references to his beloved wife, but also to his former mistress Catherine de la Sale![3] Interestingly, some of his writings also show an unusual knowledge of Middle French poetry; he even donated a fourteenth-century French translation of the Golden Legend to a Minim convent in Paris in 1561 (Paris, Bibliothèque Mazarine, ms. 1279). Michelle Duderé, as she herself tells us in the inscription, had inherited the Book of Hours from her father, Jean Duderé, notary and secretary to the French king, whose principal historical importance seems to have been his invocation in a seventeenth-century lawsuit concerning the inheritance of such royal appointments. It appears that the manuscript was then gifted by Michelle Duderé’s blind son to a cousin once-removed, a certain G. Duderé, for on the verso of the first folio we read another French inscription, written some seventy-three years later:
1924‑19‑1, fol. 1r, with ownership inscription of G. Duderé dated to 1650
Ce présent livre m’a esté donné par feu monsieur d’Orléans, fils de mademoiselle d’Orléans nomée Michelle Duderé lequel estoit aveugle et qui estoit digne de cette affliction, mon cousin germain, G. Dudere 1650… les figures qui sont à genoux dans les ymages de ce livre sont de feu damoiselle Michelle de Sauslai [?] mère de deffunct mon frère.
(“This present book was given to me by the late Monsieur D’Orleans son of Madame D’Orleans named Michelle Dudere. He was blind and worthily bore this affliction, my cousin once removed. G. Dudere 1650… the figures which are on their knees in the pictures of this book are portraits of the deceased demoiselle Michelle de Sauslai [?], mother of my deceased father.”)
1924‑19‑1, fols. 124r and 130r (miniature of the Virgin and Child with Angel with a female donor; miniature of the Trinity with an Angel holding the Crown of Thorns with a female donor)
The supposition that the two donor portraits (on folios 124r and 130r; illustrated above) contained in the book depict a certain “Michelle de Sauslai” (?), grandmother of the owner alive in 1650 is manifestly incorrect, since the book dates from the fifteenth century. But there is no reason to doubt the other pieces of evidence situating the book with the Duderé family early in its history.
Governor Samuel W. Pennypacker (1843–1916)
This is all fine and well, but how did the manuscript come to be owned by the Governor of Pennsylvania, Samuel Pennypacker? Pennypacker was a noted jurist, trustee of the University of Pennsylvania, president of the Historical Society of Pennsylvania, and local history enthusiast who collected a large amount of material related to the early German and Dutch settlement of South-Eastern Pennsylvania, most of which is today preserved at the Pennypacker Mills house museum. Other manuscripts once owned by Pennypacker that are still in Philadelphia include another Book of Hours (Lewis E 116) and a series of astronomical tables followed by a short text concerning astrology and planetary movements (Lewis E 3), both of which are today in the Free Library. These manuscripts were all auctioned off in the Pennypacker sale in 1906, together with a small number of other manuscripts. Additionally, for the present manuscript, the Faye and Bond supplement to de Ricci’s Census includes the name of an additional owner, the noted Chestnut Hill philanthropist, John Story Jenks (1839–1923). Jenks was a great supporter of the Pennsylvania Museum and School of Industrial Art (the precursor of the Philadelphia Museum of Art), as a short obituary confirms.[4] It was he who left the manuscript to the museum upon his death.
Portrait of John Story Jenks (1839–1923) by Alice Mumford Roberts
So why did Governor Pennypacker purchase this particular French Book of Hours, prior to its acquisition and donation by Jenks? The answer is provided in an all-but-forgotten issue of a regional historical journal, The Perkiomen Region, Past and Present, published in March of 1901 by Henry S. Dotterer (1841–1903). The short article, entitled “A Sumptuous Devotional Book,” vividly describes the book and asserts that the Governor:
…purchased it because he felt convinced that the family of Duderé mentioned in the inscription was identical with an old Pennsylvanian family—that of Doderer, Dotterer, Dudderer, Duttera, Dudderow. This conviction induced him to pay the large sum quoted for it by the foreign bookseller [i.e. James Tregaskis of London], and to bring it, after a service of more than three centuries, from its native France to the New World.
To find the connecting links from the Duderés of the Sixteenth century to the Dotterers of the Twentieth century would be a great genealogical achievement. Doderers and Dotterers appear in various parts of Europe prior to the date of the arrival, about 1722, of George Philip Dodderer, or Dotterer, in Pennsylvania. Tradition, in some instances, asserts that the Pennsylvania immigrants were of French origin; but not uniformly so, for Alsace, Baden, Wurtemberg and Austria are also named as the place of their nativity. We have unbounded respect for Judge Pennypacker’s insight into genealogy, ethnology, and the kindred sciences, and it will therefore not be a surprise to us if research shall ultimately prove that his intuitions are correct.[5]
The prominent Dotterer family of Pennsylvania was established by George Phillip Dotterer (ca. 1676–1741), who was born in Baden-Württemberg and died in Montgomery County, Pennsylvania, in 1741. George’s father Hans is thought to have been born in the same region of Germany as his son around 1650. However, this family’s link to the prominent Catholic Duderés of France remains tenuous. As such, Governor Pennypacker’s assumption remains unlikely; perhaps his doubts led him to sell the book on in his 1906 sale. In any case, both G. Duderé’s misattribution of the portraits in the book and the dubious linkage to the Dotterer dynasty made by Governor Pennypacker demonstrate the extent to which an unsuspecting manuscript can become the subject of historical wishful thinking.
[1] Henry G. Gardiner, “The Samuel S. White, 3rd, and Vera White Collection,” Philadelphia Museum of Art Bulletin 63, no. 296/297 (1968): 71–150, http://bit.ly/2Hc3lI4; Carl Zigrosser, “The Philip S. Collins Collection of Mediaeval Illuminated Manuscripts,” Philadelphia Museum of Art Bulletin 58, no. 275 (1962): 3–34, http://bit.ly/2Vt3u3u.
[2] See the entry by Christophe Bernard in Dictionnaire des lettres françaises: le XVIe siècle, ed. Michel Simonin (Paris: Fayard-La Pochothèque, 2001), 370–71.
[3] Anne-Bérangère Rothenburger, “L’Eglogue de la naissance de Jésus-Christ pas Louis Dorléans: datation et filiation poétiques,” in Le poète et son œuvre: de la composition à la publication, ed. Jean-Eudes Girot (Geneva: Droz, 2004), 259–87.
[4] Pennsylvania Museum Bulletin 18, no. 77 (May 1923): 16.
[5] Henry S. Dotterer, “A Sumptuous Devotional Book,” The Perkiomen Region, Past and Present 3, no. 2 (March 1901): 166–7.
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Sun Shangxiang: What're you guys gonna be for Halloween?
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WTF is cultural appropriation?
Just based on a Twitter account, I'm not sure whether Asian-American Jeremy Lam is really in touch with his Chinese roots. But I for one, am. I can read and write in Chinese, speak Mandarin, watch Mandarin programmes, listen to Chinese songs. I'm not knowledgeable about the full history of China, but I know enough for cultural background. And I am not offended by white qipao girl. She pulled it off! Looks pretty! Good for her! Do you know how hard it is to fit into a qipao and look gorgeous? Difficult! So much so that most Chinese girls don't really dare to tackle a qipao! So what are people going to argue next? Non-Asians are not allowed to speak any Asian language (the current popular ones would be Mandarin, Japanese and Korean)? Because their incorrect intonation is gonna sully 5000 years of Chinese culture? That non-Asians are not allowed to tattoo "I love soup" in Chinese characters on their bodies? WHAT IS THIS?! The world is getting smaller and smaller and so are people's mindsets. Also sidenote, a qipao, or cheongsam, is not even a Han Chinese invention. It came from a minority ethnic group in China called the Manchus, who ruled China during the Qing Dynasty (last dynasty of China) which is why modern Chinese clothing inherited its characteristics. Jeremy Lam, who has a Han Chinese surname, what is he offended about? But I can tell you what I'm really annoyed at! An English Hollywood animated film called Kungfu Panda (one of my favourite animated films btw). So much eff-ing ignorant orientalism peppered throughout the movie! 1. Po. The most commonly used "Chinese" name for Chinese characters in Hollywood. By the way. It is Cantonese, a Chinese dialect. The Chinese version of this word, is Bao, which means "treasure". Think of new names, PLEASE. 2. Panda - China's national treasure who is Chinese martial artist. What more stereotypical can this get. 3. The other characters in the movie does not have names. (Tigress, Viper, Mantis, Crane are nouns.) What, you ran out of words to use?? 4. "Shifu" literally means "teacher", or "master" (depending on the context). Master Shifu = master master. Doesn't make sense. 5. Oogway is really spelt "wu gui". And means tortoise. Not a real name either. 5. Not Kungfu Panda, but Mulan. Mulan's full name is Hua Mulan. Not Fa Mulan (as most would pronounce in the movie). "Fa" is the Cantonese version of "Hua". Cantonese and Chinese are two different languages, just written on the same Chinese pictorial character system. If you want to make movies based off Chinese culture and history, at least put in some effort! Gah.
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