Kat_o_nine_Tails

Writer sideblog | Kat_o_nine_Tails on AO3

[catbellybuttons]

writing the first half of a fic: yaaaay! wooo!!! 🌈💝 fun ideas 😊💖✨️~

writing the second half of a fic: I am in a fight with god himself and he is winning

[lodgerlodger]

QingJing & the Role of the Scholar Peak

You don’t usually see this directly mentioned in Chinese texts (such as svsss) because it’s so deeply ingrained and taken for granted as a basic element of society, but the function and status of scholars are inherently different in Eastern and Western cultures in both subtle and significant ways.

In China at least, for thousands of years the scholar caste (士) had been synonymous with power itself. The literati, by its very nature, is seen as part of the ruling class of the highest order. Due to the nature of imperial Chinese government and bureaucracy, it’s commonly understood that the pursuit of scholarly achievements is (more often than not) the pursuit of power, and not the pursuit of knowledge for its own sake, since the end goal of this insanely arduous process is almost always to pass the imperial exams and serve the emperor as an government official. (You even see this reflected in Chinese mythology; e.i. in tgcf you cultivate your ass off and pass some sort of divine tribulation just so you can go work in the heavenly court, which is basically a mythical version of the actual imperial court.) The scholar caste, or literati, were not just seen as the cultural or intellectual elite, but the political and social elite.

This brings us to the sort of paradoxical understanding of power and social hierarchy in both Chinese history and popular belief. Unlike in the West™️ where historically, political power is believed to have come directly from god in the form of noble lineage (massive oversimplification I know), China (depending on the time period) was simultaneously obsessed with pedigree and deeply enamored with the idea of meritocracy. Somebody like tgcf’s He Xuan (had he actually ascended and not been thoroughly fucked over) would have been seen as a heroic and inspirational figure. Of course we also see how easily someone like He Xuan gets fucked over, which is why such inspirational figures are relatively rare. Still, the fantasy of the meritocratic ideal persists in a powerful and pervasive way.

To bring things back to svsss and Qingjng, aka the scholar peak, I think a lot of western readers don’t fully realize just how much clout and prestige is associated with a scholar peak and its peak lord. The fact it ranks second is not an arbitrary decision on the author’s part; the text doesn’t really go into this other than a few offhand jokes about it being posh because it doesn’t need to; the original target audience (Chinese readers) would more or less implicitly understand this.

Anyway, all this is to say that the position of og sqq as a Qingjing peak lord would be highly revered; I find it extremely unlikely that the rest of the peak lords would openly challenge him in any meaningful way. (Lqg lives in his own world because lqg.) To give airplane’s writing the benefit of doubt, there is presumably a reason that nobody further investigates lqg’s death or tries to publicly implicate og sqq before bingge comes along and does his thing. They may have suspicions, but it seems that none of the peak lords even attempts to go up against the combined might of sqq’s status and yqy’s guilt-simping, and are shocked and dismayed when finally presented with “proof” of foul play. I think it’s even mentioned in one of the opening chapters that a big part of why og sqq’s fall is so brutal is that he falls from such an unthinkable height. I remember reading something along the lines of “the more lofty/respected he was on the outside, the scummier he was in secret” (I haven’t read the English translation, please excuse my attempt).

Another thing about og sqq is that it’s absolutely nuts how he manages to become the leader of the scholar peak. The fact he’s mastered the four arts despite having an insanely late start is honestly far more impressive than his cultivation/combat prowess, because it’s something you’re really expected to start in your toddler years. Had it not been for his trauma/insecurities and the fact he’s committed mass murder, his humble background could have been leveraged in his favor. In fact, it’s unclear (afaik) if yqy has even attempted to hide his own origins. He was much younger when he joined and it would be very obvious that he had no family backing and was barely literate. He could have become the kind of heroic figure that embodied the meritocratic ideal: a slave boy who becomes the leader of the foremost sect, and I don’t think we know for sure if this isn’t exactly what actually happened. The popular-ish idea that yqy has also been desperately hiding his humble origins has never quite made sense to me, because one how could he have possibly pulled it off, and two why would he even bother. Even if it comes to light that he’s a runaway, a powerful sect can conceivably look the other way in order to protect a beloved disciple.

The same can’t be said for being a mass murderer, in sqq’s case. This is unrelated to the topic of Qingjing peak, but I think it’s equally improbably that upon revealing the truth of og sqq’s childhood abuse, his crime of murdering his master and razing his house to the ground can be lessened or forgiven in the eyes of whatever passes for a legal system in pidw. As far as historical context is concerned, a slave/servant committing mass murder has no legal or moral leg to stand on, no matter how badly he’s treated. His owner could literally attempt to murder him and it’d still not fully justify what he did within the vaguely Confucian value system that seems to be the status quo in his world. His only recourse would have been to say fuck it and declare war on the whole tribunal, which would also drag his sect into the conflict, and we all know how that would go with op bingge around.

Speaking of bingge, I think it’s noteworthy that despite having grown up on Qingjing peak, pidw doesn’t portray him as having notable scholarly achievements. There’s no mention of his prowess in painting, poetry and the like, even though he’s presumed to be good at everything he attempts. In many ways, pidw and the novels it’s inspired by sell by creating a “rail against the system” kind of power fantasy, in which existing systems of power are dismantled with great violence and gratification.

To circle back to the beginning of this embarrassingly long post, it’s telling that bingge is explicitly not a scholarly type. His interests are everyman interests: cooking, dating attractive women, beating up baddies, being badass in physical combat. He’s shown to have a street-smart kind of genius, and instead of studying the Art the War and being a brilliant general, he’s out there personally kicking ass with a big sword. OP antihero bingge raven way does not need archaic modes of erudition and power. In fact, he’s stronger because he rejects them. (The fact he turns out to be royalty is sort of a way to have the cake and eat it too, something you often find in this kind of story). The act of torturing his own shizun to death, no matter his crimes, is also nearly sacrilegious if we’re going by the vaguely Confucian values that govern the pre-bingge world, but I think that’s precisely why this kind of narrative is so popular. While og sqq tries to embody existing power structures and ends up subsumed by it, bingge tears it all down and creates a new world order.

I think I better stop here for now. If you’ve read the whole thing I admire you and I salute you 🫡

[definitely-not-an-alb]

Fascinated by everyone's but especially American's desire to give medieval keeps, especially in colder regions, central heating (and I think Winterfell is to blame for this trope, where, to it's defence, the hot springs were not a matter of comfort but survival wrt the deadly fantasy Winter that's not real irl), because I'm always like. okay I know they told you in middle grade that castles were all cold and drafty but like ... no also what

There's generally going to be rooms dedicated to and build for warmth, the living quarters, both for nobles and their servants. This will be the central living tower, or parts of it called a Kemenate (literally 'room with a stove'), the great hall and work spaces around the kitchen. You can put the Kemenate on top of the hall to catch the big fires' and daily living's heat through the wooden floor, but you often can't put wooden stuff on top of the kitchens (that's a fire risk). If you have the money and space, you build a whole separate comfy place for living because you don't have to stay in the most defensible part of the castle all the time. These separate living buildings are also called Kemenate and are often build from wood, cob, brick etc.

People used to wear much more clothes indoors, including while sleeping, and those clothes were much thicker and sturdier than what we largely wear today. Every time you think of how cold those stone walls are, think about everyone wearing a linen shift + two-ish layers of wool on all body parts except hands and head + stockings and shoes + some kind of head-covering. In Ye Old Middle Ages, women are probably wearing a wimple, which is kind of like a modern Hijab in terms of coverage. People wear shifts, socks, and a head-covering to bed.

I think people used to radiators also really underestimate how much a large open fire/tiled stove heats up a room. Also, middle and northern Europe (as well as parts of Northern China) had and to this day have beds and benches build into tiled and cob stoves. Those fuck.

Beds are enclosed so you stay warm in them, either by curtains, in wall niches or with wood. There's also a type of bed that's inside a chest (like a coffin) so you can stuff your stuff inside during the day and put down the lid to use it as a bench. That's also another reason for people to always sleep in groups. Depending on the era, one of the jobs of a lady's maid or a retainer might literally be warming their master's bed. In early times and among servants, people also sleep in large groups in rooms together in general even outside a farming context, often with animals like pet dogs, too, which further warms everything up.

Walls are not bare, cold stone, but covered with a layer of plaster or cob, tiles or wooden panels, sometimes layered, and believe me, this makes such a difference. Source: I lived in a Ye Olde German Farmhouse with 70 cm thick stone walls and flag stone floor and all that converted to modern flats for a while.

On top of that you hang tapestries on the wall, which are not like modern printed cloth but basically wall rugs, sometimes several inches thick, and rugs or rushes (like a light cover of hay) on the floor on top of stone, tile, wooden panelling or a cob floor cover that goes over the heave flag stone. Pillows and blankets on all sitting surfaces, often on top of panelling (in the case of benches build into the stone). The roof of a room is also tiled, panelled or plastered. Upper stories will generally have wooden floors. Stories in a tower heat each other upwards, so the nicer rooms are further up.

The inner stone walls of a castle, even if stone and very thick, will heat up a few degrees in comparison to the outside walls if the castle is continually heated/lived in, and also trap heat inside, and this will make a difference. Inner walls might also be thinner and made of wood, cob or brick. You're defending against the outside, after all.

You put stuff in the windows. Holy shit. Screens of wood, horn, cloth or leather/hide, often treated for extra insulation. Why are these fantasy castles all so drafty.

Like, idk, I know Americans especially can't pop down to their nearby castle museum to have a look around, but even with people who can and do: The castles you'll see, even the ones who aren't 'ruined' are ruins. They're stripped down. I remember touring Norman towers in England, and those places do look dire and are cold because even if they're still standing, they're ruins. It makes such a difference to get to look at a castle that is still lived in, has been inhabited until recently, or has been historically restored where these amenities are preserved. The exact amenities will depend on the era, of course, but they'll be there. The publicly accessible parts of Burg Eltz are a great example to google, especially since I promise you, you have seen this specific castle before. They have pictures on their English language website here, and the German National Geographic has a few further inside pictures here. Seeing a place like that that isn't a ruin with bare, stripped walls, nothing in the windows, no decorations and furniture etc. makes you realise that yeah actually. My characters are probably just gonna go grab a pillow if their ass is cold on the window's stone bench. Blankets are a pretty old technology, humans (elves, dwarves, whatever) can figure that one out.

[overfedvenison]

Oh these links are a FANTASTIC reference!

[shellyfirebug]

When you put it all together like this, you quickly realize how insane these people are.

[memecucker]

Invention of bread is weird bc it’s like some Neolithic ppl were like “hey you know that tall grass thing that’s sorta edible but not really how about we take it and grind it into a very very fine powder which is extra backbreaking right now bc the wheel won’t be invented for awhile and then we mix it with water and heat it up and you know what let’s also toss some mold in there just to see what happens”

[quoms]

there are a number of distinct steps though, each of which can be observed in isolation. “grind tough seeds to make them edible” is practiced with other foods besides grains (like acorns). the natural next step after that is to add water, which gives you porridge: a common ancient roman meal was puls, very similar to modern cream of wheat. once you have that you also have a simple dough, and baking it to preserve it is a logical experiment (as is baking some you forgot about and left out for a few days, just so you don’t waste it... voila, leavened bread)

there could have been, and probably was (though i’m not an archaeologist) a substantial time between each of these innovations. it’s not too hard to imagine people being chill with “grind seeds for soup, select plants for bigger seeds” for a good while

[quasi-normalcy]

Do you ever wonder how many amazing things are fated to go forever uninvented because each step necessary to invent them is a completely unintuitive thing to do?

[noctumsolis]

Okay, that's not how bread was invented. I wrote a potted history, I could try to dig that out if anyone is interested?

[quasi-normalcy]

Please do

[panecultus]

I'm putting this on my bread blog, because of course I am. Also tagging @appendingfic who I think expressed interest.

Tens of thousands of years ago people foraged and hunted for their food and ate whatever they could. Among their forage were wild cereals, which included the ancestors of modern cultivated wheat, barley and others.

People like sweet things. Grains are starchy, but if sprouted they start converting those starches to sugars, so people would've left grains in water to sprout. These sprouts are also easier to digest, thus more nutritious, which bestowed an invisible advantage on those sprouting their grains.

If grains are left in water too long, however, they begin to ferment. Alcohol is produced. People like alcohol.

In ancient Mesopotamia the fermented grains were experimented with, resulting in an early form of beer. The process of making that beer was quite complicated and involved a combination of sprouted and mashed grains.

People wanted beer all year round, but early beers did not have long shelf lives and the grain could only be harvested at certain times. So the ancient Mesopotamians invented a way of storing the ingredients for beer.

It was made of the grain mash, honey, dates and spices that were fermented to make beer. For storage, prior to fermentation, the mixture was baked dry, cut into smaller pieces and baked again to remove all water. This produced bapir, a product very much like biscotti, which could be stored for later rehydration and fermentation. Sometimes it was eaten instead.

I've made bapir, and I've eaten it. It is brittle but delicious. It's also a form of unleavened bread.

Bread was invented as a way to store the ingredients for beer, which was most likely a development from a chance discovery. Leavened bread (that is, with bubbles) may well have been discovered when a mixture like that for bapir was accidentally allowed to ferment before baking. Yeast is responsible for both alcohol production and leavening.

There's a lot more to it, in terms of the cultivation of grains and the development of milling, than I've written here. It's been a process of millennia to go from chewing sprouts to eating soft white bread like that pictured. But every step along the way was small and simple.

[quasi-normalcy]

I never would have guessed that beer pre-existed bread. I've always just assumed that beer was an accidental discovery by breadmakers.

[jenniferrpovey]

Nope, beer came first. Mead is also very old.

[headspace-hotel]

Thanks, ancient humans!

[thirtyknives]

Australian First Nations people developed their own bread making culture independent of the beer-base route. As far as I'm aware, pre colonial Australia had little to nothing by way of fermented drinks at all, so the likelihood of beer being part of the evolution of native breads is unlikely. Their breads, made from native grasses, are both leavened and unleavened. There's also different bread making practices using different grains, dependent on location - Australia is big and Indigenous culture over here is no more a monolith than it is anywhere else. Kamilaroi bread is different to Yuin bread, for example.

The colonization of Australia actively suppressed Indigenous knowledge, and creating an image of the idle wandering tribes was required to justify taking Aboriginal lands. This means a lot of the archeology of how First Nations people developed their breads has not just been lost but deliberately suppressed. The idea that they were settled enough to have ovens, let alone a bread-making tradition, is only now really being examined. I wouldn't be surprised if the grains-porridge-bread route was true for Aussie breads, though.

[fuckyeahchinesefashion]

How to make traditional Chinese portable lighter huozhezi (cr 扇子有画)

[tokkibean]

nothing reveals typos better than the ao3 publish button. who needs spellcheck honestly

[alexaloraetheris]

So, I never thought we would get to this point, but here we are.

This little guy here is Remus. A year ago, he contracted Feline Leukemia Virus from Baby Kitten, who passed it on to him and Caramel.

Baby kitten passed away before we even knew what was wrong. When Caramel got sick, she got really really sick. We tried everything, from Virbagen to blood transfusions, but nothing worked. Two weeks of running to the vet every day, and all we were left with are broken hearts.

And now Remus is sick. He has a limphoma in his chest and he's probably going to need surgery. We can't afford to not try to save him.

Quite frankly, the treatment isn't cheap. Just the ultrasound, the blood panels and the biochemistry analysis cost 600€. The CT scan is going to cost more. And all of our credit cards and savings are thinning out.

And listen, I know we're all broke here. But if I can trade some cute cat pictures for a few bucks, even that will help.

My brand new Kofi account.

And some pictures of my poor, beloved, idiot son doing what he does best: sleeping.

[katoninetailswrites]

I usually try to keep my writing and main blog separate, but I know I have a bit of an audience here (probably wondering why I'm not writing, and, well...) so I thought I'd put it here as well.

I would also be happy to post snippets and meta of my stories for any donors, if they want them. And little bit helps.🩷❤️🩷❤️

[fuckyeahchinesefashion]

The levels of traditional Chinese architecture by 扇子有画

[katoninetailswrites]

This is a literal godsend for fanfic writers

[squeeegs]

新年快乐，恭喜发财！

[fuckyeahchinesefashion]

Someone asked me about shengxiao(chinese zodiac), but it’s not easy to explain in just a few words. So here's a proper explanation—it might be a bit dry, but it can serve as a reference and should make things clearer. You can also check which shengxiao you belong to. I think some people might get it wrong, because shengxiao follows the traditional Chinese calendar aka nongli, not the Gregorian calendar (the person who asked me did make this mistake.)

The twelve shengxiao took shape in the Han Dynasty, a time when divination and astrology were thriving. They're closely tied to China's unique sexagenary cycle—each shengxiao animal has its own heavenly stem and earthly branch based on the year. Archaeological evidence from a Qin tomb (217 BCE) in Shuihudi, Yunmeng County, Hubei Province, supports this. The earliest complete record of the twelve shengxiao is found in Wang Chong's Lunheng论衡 (1st century CE), which lists basically the same twelve animals and their earthly branch matches we use today. The system first emerged in the pre-Qin period, became largely fixed and widespread in the Eastern Han, and has stayed stable for over 2,000 years.

First, you need the core formula: A complete gan-zhi year = heavenly stem + earthly branch. Its five-element property = stem's five-element + branch's five-element.

The ten heavenly stems: 甲 (jiǎ), 乙 (yǐ), 丙 (bǐng), 丁 (dīng), 戊 (wù), 己 (jǐ), 庚 (gēng), 辛 (xīn), 壬 (rén), 癸 (guǐ).

The twelve earthly branches: 子 (zǐ), 丑 (chǒu), 寅 (yín), 卯 (mǎo), 辰 (chén), 巳 (sì), 午 (wǔ), 未 (wèi), 申 (shēn), 酉 (yǒu), 戌 (xū), 亥 (hài).

The five-element properties of the ten heavenly stems are divided into two types: Yang and Yin. This determines the strength or nature of the element's energy.

Wood: 甲 (jiǎ)= Yang Wood, 乙 (yǐ)=Yin Wood Fire: 丙 (bǐng)= Yang Fire, 丁 (dīng)=Yin Fire Earth: 戊 (wù)= Yang Earth, 己 (jǐ) =Yin Earth Metal: 庚 (gēng)=Yang Metal, 辛 (xīn) =Yin Metal Water: 壬 (rén)= Yang Water, 癸 (guǐ) =Yin Water

The five-element properties of the earthly branches are more complex, because each branch, besides its main energy, also hides other heavenly stems. But when determining the main five-element property of a shengxiao year, we usually just look at its "main energy" (本气). The main energy of 午 (wǔ) Horse is Fire.

The main five-element energies of the twelve earthly branches are as follows:

Water: 子 (zǐ)=Yang Water, 亥 (hài)= Yin Water Earth: 丑 (chǒu)=Yin Earth, 辰 (chén)=Yang Earth, 未 (wèi) =Yin Earth, 戌 (xū)=Yang Earth Wood: 寅 (yín)=Yang Wood, 卯 (mǎo)=Yin Wood Fire: 午 (wǔ)=Yang Fire, 巳 (sì) =Yin Fire Metal: 申 (shēn)=Yang Metal, 酉 (yǒu) =Yin Metal

The correspondence between the Twelve Shengxiao and the Twelve Earthly Branches is like this:

子 (zǐ) = Rat 丑 (chǒu) = Ox 寅 (yín) = Tiger 卯 (mǎo) = Rabbit 辰 (chén) = Dragon 巳 (sì) = Snake 午 (wǔ) = Horse 未 (wèi) = Goat 申 (shēn) = Monkey 酉 (yǒu) = Rooster 戌 (xū) = Dog 亥 (hài) = Pig

(If you’re already confused at this point, just skip to the part below. These lists are only for your future reference and easy lookup.)

These are the major Horse years(manian马年) from the early 20th century to the late 21st century, based on the Gregorian calendar (starting from the Chinese New Year)(Note: The Gregorian calendar is used to make it easier for you to look up. These dates have been converted from the Chinese nongli calendar system):

20th Century

1906 (丙午bǐng wǔ year, 1906.1.25 – 1907.2.12) 1918 (戊午wù wǔ year, 1918.2.11 – 1919.1.31) 1930 (庚午gēng wǔ year, 1930.1.30 – 1931.2.16) 1942 (壬午rén wǔ year, 1942.2.15 – 1943.2.4) 1954 (甲午jiǎ wǔ year, 1954.2.3 – 1955.1.23) 1966 (丙午bǐng wǔ year, 1966.1.21 – 1967.2.8) 1978 (戊午wù wǔ year, 1978.2.7 – 1979.1.27) 1990 (庚午gēng wǔ year, 1990.1.27 – 1991.2.14)

21st Century

2002 (壬午rén wǔ year, 2002.2.12 – 2003.1.31) 2014 (甲午jiǎ wǔ year, 2014.1.31 – 2015.2.18) 2026 (丙午bǐng wǔ year, 2026.2.17 – 2027.2.5) 2038 (戊午wù wǔ year, 2038.2.4 – 2039.1.23) 2050 (庚午gēng wǔ year, 2050.2.1 – 2051.2.18)

Friendly reminder: Since the Chinese New Year usually falls between late January and mid-February in the Gregorian calendar, people born in early or late years must determine their shengxiao based on their exact Chinese calendar birth date, rather than simply by the Gregorian year. For example, those born between January 1, 2003 and January 31, 2003 are still in the Year of the Horse (Renwu 壬午 Year) according to the Chinese calendar. Only those born on or after February 1, 2003 (Chinese New Year) belong to the Year of the Goat. Chinese people refer to newborns born in a particular shengxiao year as “[Shengxiao Animal] + baby”. Many even plan their pregnancies and childbirth carefully to ensure their baby is born in a specific shengxiao year. For example, babies born in the Year of the Horse are called mabaobao(Horse babies), and those born in the Year of the Dragon are called longbaobao(Dragon babies). (So go figure out which baobao you are…

Now let's look at the three closest Horse years, including 2026. First thing to be clear: every 午wu (Horse) year has the earthly branch element of Yang Fire. So the main difference comes from the heavenly stem's five-element property.

First example: 2026 (2026.2.17 – 2027.2.5). According to the table above, it's a bǐng wǔ (丙午) year. 丙bing= Yang Fire, 午wu = Yang Fire. So the five-element combo is heavenly stem Fire + earthly branch Fire. Both are Fire, both are Yang. That makes the energy very pure and strong. That's why 2026 is called a "Fire Horse year." Plus, we have entered the Nine Purple Li Fire period starting in 2024 (from February 4, 2024, Start of Spring, to before Start of Spring in 2043), making it fire on top of fire. Many feng shui commentators believe that starting this year, all pretense will be burned away, and a lot of truth will be revealed to the world.

2002 — rén wǔ year (2002.2.12 – 2003.1.31) Heavenly stem "rén": from the table above, rén = Yang Water. Earthly branch "wǔ": wǔ = Yang Fire. Five-element combo: stem Water + branch Fire. This combination is known as "heaven overcoming earth", indicating an inherent tension and conflict in the energy of the year. Since the earthly branch Wu Fire represents the core nature of the shengxiao, we generally still refer to this as a Water Horse year (led by the heavenly stem), while recognizing its internal characteristic of "Water and Fire in conflict".

1990 — gēng wǔ year (1990.1.27 – 1991.2.14) Heavenly stem "gēng": from the table above, gēng = Yang Metal. Earthly branch "wǔ": wǔ = Yang Fire. Five-element combo: stem Metal + branch Fire. The heavenly stem is Metal, and the earthly branch is Fire; Fire restrains Metal. This combination is called "earth overcoming heaven" or "refining true metal through fire", meaning the environment (earthly branch) serves to temper and test the dominant energy of the year (heavenly stem). We refer to this as a Metal Horse year.

When people see terms like "Water and Fire conflict," they might feel a bit apprehensive and wonder what about someone born in the 2002 Water Horse year? Is there something to be concerned about? Actually, no need to worry. According to traditional Chinese metaphysics, Ren Water is the ceaseless, rushing water of rivers, lakes, and seas (Yang Water), and Wu Fire is the blazing noonday sun (Yang Fire). This creates a balance and tug-of-war between two potential dynamics: "Water and Fire in harmony" (水火既济) and "Water and Fire in conflict" (水火相战). It gives Water Horse people a complex, tension-filled character and fate.

Personality-wise, Water Horse people are outwardly calm but inwardly active, outwardly gentle but inwardly strong. They're quick-thinking: Water rules intelligence and flow, so they're usually smart, flexible, adaptable, good at communicating and improvising. They're not as flashy as Fire Horses in terms of shengxiao—instead, they might seem quiet and easygoing on the outside. But inside, they burn with the Horse's natural passion, competitiveness, and impatience. They're like "deep, still water with a strong current"—calm on the surface, but clear goals and strong drive underneath.

Water's cool-headed planning combined with Fire's action-oriented intuition means they tend to think before they act. Unlike pure Fire Horses (like Bing Wu), who act impulsively, or Earth Horses (Wu Wu), who are overly steady, they find a good balance between thought and action.

Also, in terms of temperament, Water's inclusiveness and Fire's infectious energy make them natural team lubricants and motivators. They understand different perspectives and use their passion to get others going.

The "Water and Fire conflict" dynamic also means they're prone to inner contradictions—clashes between reason and emotion, long-term planning and urgent action. Their emotions may ebb and flow like the tide. They feel more internal pressure and tension than other shengxiao Horses, so they need to learn how to channel their emotional energy. If they can perfectly blend Water's wisdom and Fire's passion—achieving that state of "Water and Fire in harmony"—then they've really mastered their path in life, and things will go smoothly for them in just about every way.

If you want to know the traits of other Horse types, here's a quick reference:

Fire Horse(huoma) – Image: blazing sun at noon / wildfire. Passionate leader type. Extremely energetic, confident, and dazzling, but may be too impulsive and blunt.

Earth Horse(tuma) – Image: volcano / fire brick. Practical and steady type. Fire produces Earth, so their actions are sustained—more grounded and enduring, but may lack the Water Horse's flexibility.

Wood Horse(muma) – Image: forest fire / burning pillar. Pioneering and devoted type. Wood feeds Fire, so their energy has constant support. They're generous and have leadership skills, but may burn themselves out.

Metal Horse(jinma) – Image: steel furnace / sword being forged. Achiever through tempering. Fire overcomes Metal, meaning they grow strong through pressure and forging—great perseverance, but the process is tough.

But none of this is absolute. Once you add in other factors—like your birth month, day, hour and minute, as well as your birth location and true solar time—the picture becomes pretty complex.

Many people believe in the compatibility and conflict of shengxiao, with sayings like "Rat and Dragon are compatible, Horse and Ox clash". In fact, these are the results of traditional Chinese culture being simplified, symbolized, and even entertainmentized during its spread among the public. They are easy to remember and share, but are far removed from real metaphysical analysis. Put simply, it ignores many other variables, so the idea of shengxiao compatibility and conflict is open to debate.

In China, some superstitious people avoid those born in the Year of the Goat. This makes no sense at all in traditional Chinese metaphysics and is just a baseless rumor passed down through generations. Besides, countless people were born in the Year of the Goat, so avoiding them is totally pointless. On a side note, quite a few of my friends are Goat shengxiao—and I think they’re the GOAT.

Yet Chinese metaphysical systems such as Five Elements & Bazi, Plum Blossom Divination, Six Yao, Liu Ren, Qi Men Dun Jia, and Tai Yi are truly remarkable. They have been shown to resonate perfectly with cosmic energies. When you consult a genuine expert—someone who truly understands and can practice these arts—they can give you astonishingly accurate readings.

That said, Chinese tradition also advises against fortune-telling casually. It is acceptable to consult for major life events or to find lost items, but you should not do it constantly or obsessively. And all this only applies to Chinese metaphysical arts, because they’re on the level of heavy artillery—you wouldn’t use a cannon to kill a bug. Many bloggers think that with Tarot and similar tools, you can read as you please because tools like Tarot also align with cosmic energy, but they are relatively lighter in nature (of course, becoming too obsessed with anything is never healthy.

The difference is roughly this: tools like Tarot focus more on the present moment. They rarely give rigid outcomes such as “something will definitely happen on a specific month and day.” Instead, they act more like a mirror reflecting your current state, showing you the likely outcome if you take one path, and how things might change if you choose another. Strictly speaking, therefore, they do not predict a fixed future.

However, the internal logic of traditional Chinese metaphysics is completely different. It is a system of time patterns and life trajectory deduction, based on the Heavenly Stems and Earthly Branches calendar, Yin-Yang and Five Elements, and cyclical timing. It calculates fluctuations in fortune, types of events, and their timings corresponding to specific time periods. It can often determine things like: which years bring financial risks, which years bring major life changes, and which periods are suitable for marriage or business. It is closer to a cyclical projection of one’s life path, which is why many people experience it as actually “seeing the future.”

Tools like Tarot are light, gentle, and suitable for daily guidance. Chinese metaphysics is a vast, logically rigorous system for life analysis. Neither is inherently superior—they simply serve different purposes. Neither can lock in one’s life 100%, as a person’s mindset, choices, and environment always shape the final outcome.

Speaking of which, there is a Chinese blogger in New York who offers free fortune-telling, I think his name is Ni Haifan. You can check him out—he should be on YouTube. A friend shared his videos with me, and I found them quite interesting. Several times after he made an accurate prediction, external signs appeared in his surroundings. In Chinese metaphysics, this is called “yingzhao应兆 (responsive omens)”. In his most viewed video, he was warning someone that a certain way of making money might attract the attention of regulators, and right then a police siren blared in the background. That was no coincidence.

[katoninetailswrites]

hii, sorry if this is weird, but when I was reading your amazing fics I got a bit curious about the author. I adore how much effort you put into world building and/or real life accuracy and I can see how much effort you put into your work. I hardly have to suspend my disbelief at fantasy stuff when you make it seem so plausible lol…What got you into writing/writing fanfiction? What kind of education do you have? Do your personal experiences influence what direction you take your fics?

Hi! I assume this is about God's Favorite Problem Child, and it's perfectly alright! Thank you for reading and sharing your thoughts!

What got me into writing fanfic can best be described by that Calvin and Hobbes strip 'I must obey the inscrutable exhortations of my soul'. I have a scenario in my head that brews and percolates until it drives me insane, and the only way to quiet it is to put it out into the world. I call them brain demons. Writing is sort of the easiest way to do that. I also used to do fanart but I turned out to be a better writer than artist. The rest is just practice. After over a million words written/typed, you get better whether you like it or not.

As for my education, I have a bachelor's in biology and am one thesis away from a degree in Phisio-imunology (terms translated to the best of my ability). Due to the fact that I stretched out my education for nearly twice as long as I should, I also have aproximately one william additional electives to my resume, and also friends who are smarter than me and attained degrees in other scientific areas, and are all very good people who do not mind being poked and prodded for radmon words of wisdom. So I know a bit about nearly everything, or at least have a general idea which direction to go in to attain more knowledge. Ofc, the only place that much random stuff is actually useful is trivia nights and fanfiction, and pub crawls have become expensive. We make do.

In regards to my personal experience and influence on my fics... well, I can't say that I don't, because you can't really separate the artist's worldview from their works so easily, but I try to really consider what the character's experiences and culture would influence them to do, rather than my own. But an author is, nevertheless, the god of the world they write, and a tyrant I might be, I try to at least be a benevolent one.

I'm currently stretched in between Girl Genius and SVSSS fandoms, and GFPC has hit a transition point in the narrative that I don't know how to bridge to get where I want, so it's currently percolating. Fermenting, more like.😅 But once it's done, and I actually get over that hump, we're back in business!

[peekofhistory]

Pssst do you have any other fun facts about Chinese opera for people who haven’t been exposed to much of it?

（Peking Opera performance at the 2014 Chinese New Year Gala)

Hellooooooo~

Oh, goodness, that's a deep well to dive into xD There's a lot to know about Chinese opera.

Chinese opera incorporates every kind of opera that exists in China, pretty much every local region has their own style of Opera, there's about 360 different ones. There's Peking Opera, Huangmei Opera, Yue Opera (Shanghai/Shaoxing), Yue Opera (Guangdong province), Yu Opera, Chuan Opera, Kunqu Opera, Ping Opera, the city I'm in (Yangzhou) has Yang Opera, etc.

Out of all of these, the most famous would be Peking Opera (京剧/Jingju), it's recognized nationally as 国粹/Guocui meaning it originated in China and has deep cultural roots, representing a cultural heritage of the people. It has also been recognized by UNESCO as an international Intangible Cultural Heritage.

I'll focus on Peking Opera (my favourites are Peking Opera, Yue Opera (Shanghai/Shaoxing), and Huangmei Opera).

Peking Opera was created in the Qing Dynasty (last imperial dynasty of China). Back then, people in the performing arts were viewed as the lowest tier of society, parents did everything they could to prevent their kids from entering into a profession performing. Only when households were incredibly poor, did kids get "sold" into opera troupes. Yes, sold, like property. These kids would learn various skills like singing, acting, martial arts skills that would be used on stage. It was very brutal, getting up at dawn to practice splits, flips, and teachers back then would hit if you didn't meet their standards. No such thing as child labour laws back then.

There's a saying in China, "台下十年功，台上十分钟", behind the scenes ten years work, on stage ten minutes. Meaning For ten minutes on stage, a performer needed to work and practice for ten years, and this absolutely applied for Opera performers. Even today in China, it's well known that opera performers need decades of work before being able to perform on stage (yes, most opera performers even today got into it as children, not sold into a troupe like in the past, but being signed up for classes when they're very young to practice all the skills needed, kind of like ballerinas, there are certain skills that you just need to practice from young to learn for this artform).

Currently there's several major schools of Peking Opera. This refers to their singing style for particular characters. For example, for characters in the "Dan" category (旦角/Danjue - referring to young woman of wealthier families, elegant and well-mannered) there are 4 major schools: - Mei School (梅派) - Cheng School (程派) - Xun School (荀派) - Shang School (尚派)

The names refer to the person who created each school:

Mei Lanfang (梅兰芳)

Cheng Yanqiu (程砚秋)

Xun Huisheng (荀慧生)

Shang Xiaoyun (尚小云)

You'll notice these are all men. Back then, women weren't permitted on stage with men, so men took on all roles, include female. This has changed today, so women are able to perform Peking Opera as well. (Shanghai/Shaoxing Yue Opera (越剧) is the opposite, all the actors are women. Even today, a distinct aspect of Yue Opera is almost all actors are still women, I think there's just 1 or 2 men in the entire country who perform Yue Opera today).

Here's my favourite Yue Opera actor, Wu Fenghua (吴凤花), she plays male roles. Not gonna lie, first time I saw her I thought, "Maybe I'm bi..." xD

Anyway! Back to Peking Opera.

Chinese Opera in general has a lot of rules. How each movement is made, how to walk, talk, sit, etc. There's a lot of mime acting without props. Once you get familiar with the movements, it gets easier to understand stories onstage, otherwise it can be a bit confusing.

The clothing and makeup also have a lot of rules. There are certain characters who always wear similar clothing regardless of which troupe is performing.

For Peking Opera, characters are also split into categories based on gender, age, societal rank, etc. For example:

Dan characters (旦角) are young women, married or unmarried. Dan characters facial make up are pale-faced, black brows, full black eyeliner around the eyes slanted upwards, red lips.

Within the Dan category there's a further breakdown:

Qingyi (青衣) or Zhengdan (正但) are young women coming from wealthy families, they hold themselves elegantly and are well-mannered.

This is Yang Yuhuan (杨玉环), a Qingyi/Zhengdan. She was a famous concubine of the Tang Dynasty. That large headpiece along with the elaborate robes depicts she's part of the royal family. The white sleeves are called "water sleeves" (水袖) and can be unfolded to emphasize movements, emotions, etc.

Wudan (武但) are young women who are skilled at fighting.

This is Mu Guiying (穆桂英), a famous female general of the Song Dynasty. Those two long feathers on her headpiece, the 4 flags on her back, the flag she's holding, all depict she's a general. As an audience, even if you don't know the character, this outfit would clue you in that she's high-ranked in the military.

Next we have a Huadan (花旦), young women who are lively, slightly younger than Qingyi/Zhengdan maybe, not quite as elegant. She's flamboyant, has her hair in an updo, lots of vibrant accessories, etc. This character is Hongniang (红娘), a maid who plays matchmaker for the family's young daughter. Because the daughter fell in love with a poor scholar, her mom refuses to let them meet, but Hongniang skillfully finds ways to get them together. She's outgoing, fun, lots of energy.

Here we have a Qingyi/Zhengdan character. She's wearing all black, minimal hair accessories, very simply clothing, this tells us she's a widow.

Next to her, is a Laosheng (老生), a man who's usually middle-aged (middle-aged in this case being like...~30 and up). Laosheng's makeup looks very similar to the Dan makeup, pale-faced, black brows, black full eyeliner slanted upwards, they have this pink area right in between the eyes going up the middle of their forehead, and always has a long beard.

(In this show, this dude is actually her husband. She thought he was ded, that's why she's wearing the widow outfit, he sneaks back home but she doesn't recognized him and he starts flirting with her to see if she's still faithful to him -__- Like dude, you're supposedly ded, leave her alone.)

Here we have another Laosheng, same make-up as the guy above, with the beard. That fan in his hand tells me this character is Zhuge Liang (诸葛亮), a famous Prime Minister during the Three Kingdoms period. His character always has that fan, and pretty much always wears this outfit.

Next we have a Xiaosheng (小生), these are young men, married or unmarried. Their makeup is similar to Laosheng except no beard.

Here we have a Wusheng (武生), a male character skilled at fighting. Again, you can see he's got the 4 flags on his back, he has a spear in one hand, and that thing in his other hand with all those tassles that symbolizes a horse whip. So he's riding a horse here.

The next category is Hualian (花脸), super recognizable xDD Their makeup is all colours of the rainbow, and it always covers the entire face. They also always have a long beard.

Hualian characters are usually quick-tempered, boisterous, not the scholarly type. The colours and patterns depict the personality of the characters.

Pic 1) Baogong (包公), a famous judge of the Song Dynasty, famed for being just and unbending to attempts at bribery or pressure from the rich and powerful. His face is mostly patterned with black. Black depicts fierce honesty, righteousness, incorruptable.

Pic 2) Guanyu (关羽), a famous general of the Three Kingdoms period (you might've seen statues of him in shops in Chinatown, he's always red-faced with a long beard). His face pattern is mostly red, red depicts loyalty, honesty, a fierce warrior.

Pic 3) Caocao (曹操), a famous...I don't know how to categorize him but he's from the Three Kingdoms period too. His facial pattern is mostly white, white depicts villainy, treachery, paranoia/suspiscious.

So through the colours and patterns of someone's Hualian we know what kind of character they are, even if you don't know the story.

These guys are Choujue (丑角), their makeup is always a patch of white in the centre of the face. These characters are usually for comedic effect.

There's other character categories too, but these are some of the main ones ^^;;

I love going to watch Opera in theatre, everytime it's super exciting. Around Chinese new year they tend to have a lot of performances, and I was in Beijing this past CNY, so I managed to catch 4 shows in the span of 3 weeks xD

I already have 2 more tickets for May, lollllllll. I've loved Chinese Opera since I was really young, like...elementary school I remember going to Chinatown to buy VHS tapes of Chinese Opera movies. Back then I didn't know much about them, just though the songs sounded nice and the clothing and set designs were pretty. I really got into it when I turned 13. An older Chinese friend of my mom's heard I liked watching Chinese Opera and lent me a VHS of the Chinese New Year Chinese Opera Gala. It's a gala they hold every year on CNY with just Chinese Opera performances of all different types. That was the first time I got exposed to the different styles (I still have that tape).

Unfortunately I never found any live performances outside of China, so this time when I came back I decided to get my fill xDD

Anyway, I hope that was helpful!! If you have any other questions, feel free to let me know :D

[mikkeneko]

Fun connections for westerners: Bruce Lee's dad was a Chinese opera singer!

[guzhuangheaven]

hi! i'm relatively new to Cdramas and I watch in chinese, subbed in english, because i dont speak chinese, but i do notice recurring words from time to time, and I wondered if you knew/could explain to me what's the difference between (sorry for crude romanisation) "huangdi" and "huangja" (or "huoja"?) which are both used to speak to / of the emperor.

No worries if you dont want to answer this or if you have no clue what i'm talking about because of how badly i wrote the words.

There are...a lot (too many) ways you can use to address an emperor or refer to an emperor. For the sake of not confusing you, here are the most basic/common.

Huangdi 皇帝: Literally is the title 'emperor' but this is usually only used to refer to the position of emperor in general, and rarely to refer to the person currently holding that position, or to address them. The only exception is the empress dowager (the emperor's mother) might use huangdi as a form of addressing the emperor, or to refer to him specifically in the third person. This is because all other words used to refer to the emperor or to address him with usually carries connotation of the emperor being in superior position to the speaker, which he is, to everyone, except his mother, so his mother uses 'huangdi' as a more neutral form of address.

Huangshang 皇上: This is the most common way everyone else would address and refer to the emperor. This word consists of 皇 (imperial) and 上 (above), and it's usually translated as Your Majesty. Basically, by using huangshang to refer to the emperor or address him, the speaker is acknowledging that the emperor is in a superior position to them.

Bixia 陛下: This is a word used to address the emperor directly. As in "Bixia, please do XYZ." Bi 陛 refers to the dias on which the throne is placed/the steps leading up to the throne, and xia 下 means 'lower'. By using bixia to address the emperor, the speaker is positioning themselves as being below the throne, or implying that the emperor is speaking from the throne down to them.

(Now that I break it down like this...it feels like the word would be better used to refer to the subject than the emperor but...I guess not?)

(Dianxia 殿下, used to address princes/princesses, use the same principle, where dian 殿 means palace.)

There are also other ways to refer/address the emperors, varying across different dynasties, but these are the basic.

The only thing I can think of that might be close to huangja is huangjia 皇家 which literally just means the royal/imperial family and refers to the emperor's family. It's not a form of address or a way to refer to the emperor.

[ubercharge]

look. look at this beautiful sword meme. i’m going to cry

[literallybyronic]

@petermorwood

[petermorwood]

I saw and reblogged this one a while back, but it’s always worth repeating, and this time I’m adding a bit of background info comparing common fantasy sword features to the Real Thing (with pictures, of course.)

Leaf-bladed swords are a very popular fantasy style and were real, though unlike modern hand-and-a-half longsword versions, the real things were mostly if not always shortswords.

Here are Celtic bronze swords…

…Ancient Greek Xiphoi…

… and a Roman “Mainz-pattern” gladius…

Saw or downright jagged edges, either full-length or as small sections (often where they serve no discernible purpose) are a frequent part of fantasy blades, especially at the more, er, imaginatively unrestrained end of the market.

Real swords also had saw edges, such as these two 19th century shortswords, but not to make them cool or interesting. They’re weapons if necessary…

…but since they were carried by Pioneer Corps who needed them for cutting branches and other construction-type tasks, their principal use was as brush cutters and saws.

This dussack (cutlass) in the Wallace Collection is also a fighting weapon, like the one beside it…

…but may also have had the secondary function of being a saw.

A couple of internet captions say it’s for “cutting ropes” which makes sense - heavy ropes and hawsers on board a ship were so soaked with tar that they were often more like lengths of wood, and a Hollywood-style slice from the Hero’s rapier (!!) wouldn’t be anything like enough to sever them. However swords like this are extremely rare, which suggests they didn’t work as well as intended for any purpose.

I photographed these in Basel, Switzerland, about 20 years ago. Look at the one on the bottom (I prefer the basket-hilt schiavona in the middle).

A lot of “flamberge” (wavy-edge) swords actually started out with conventional blades which then had the edges ground to shape - the dussack, that Basel broadsword and this Zweihander were all made that way.

The giveaway is the centreline: if it’s straight, the entire blade probably started out straight.

Increased use of water power for bellows, hammers and of course grinders made shaping blades easier than when it had to be done by hand. This flamberge Zweihander, however, was forged that way.

Again, the clue is the centre-line.

Incidentally those Parierhaken (parrying hooks - a secondary crossguard) are among the only real-life examples of another common fantasy feature - hooks and spikes sticking out from the blade.

Here are some rapiers and a couple of daggers showing the same difference between forged to shape and ground to shape. The top and bottom rapiers in the first picture started as straights, and only the middle rapier came from the forge with a flamberge blade.

There’s no doubt about this one either.

The reason - though that was a part of it - wasn’t just to look cool and show off what the owner could afford (any and all extra or unusual work added to the price) but may actually have had a function: a parry would have been juddery and unsettling for someone not used to it, and any advantage is worth having.

However, like the saw-edged dussack, flamberge blades are unusual - which suggests the advantage wasn’t that much of an advantage after all.

Here’s a Circassian kindjal, forged wiggly…

…and an Italian parrying dagger forged straight then ground wiggly…

There were also parrying daggers with another fantasy-blade feature, deep notches and serrations which in fantasy versions often resemble fangs or thorns.

These more practical historical versions are usually called “sword-breakers” but I prefer “sword-catcher”, since a steel blade isn’t that easy to break. Taking the opponent’s blade out of play for just long enough to nail him works fine.

NB - the curvature on the top one in this next image is AFAIK because of the book-page it was copied from, not the blade itself.

The missing tooth on that second dagger, and the crack halfway down this next one’s blade, shows what happens when design features cause weak spots.

So there you go: a quick overview of fantasy sword features in real life.

Here’s a real-life weapon that looks like it belongs in a fantasy story or film - and this doesn’t even have an odd-shaped blade…

Just a very flexible one…

If you want more odd blades, Moghul India is a good place to start…

[ubercharge]

i could not ask for a better addition to my meme post than blade education thank you so much

[fantasy-anatomy-analyst]

It’s not fantasy anatomy, but knowing stuff about the objects you put in your fantasy world is also very important

[zarithial]

@ncat

[nondelphic]

writing isn’t hard. i just have to extract 80,000 words from my brain using sheer psychic force

[alexaloraetheris]

And brother, my brain has been neglecting its gym membership

[peekofhistory]

宋朝 - 裤子 - 裈, 袴 (1/2) Song Dynasty - Pants (1/2)

Pants were a popular garment to wear during the Song Dynasty, both as inner and outer wear for men and women. From artefacts currently discovered, there were 3 main types of pants:

1) Inner pants (close-crotched) (裈 (读鲲))

worn against the body

2 styles found: a) Half-pants (犊鼻裈/Dubikun) b) Full pants

can be worn by men and women

2) Outer pants (mostly open-crotched)（袴 (读库)）

worn layered over the inner pants

open-crotched version did not expose private area due to large amount of fabric and the way it draped around the hips

can be multi-layered for colder weather

can be worn by men and women

some even have foot straps (吊敦裤/Diaodunku)

Demo of how to wear open-crotch pants (1st part of video):

[city-of-ladies]

"Huang daopo, b. c. 1240 (Southern Song-Yuan dynasties), most probably came from a place called Wunijing, in the Shanghai District of Songjiang. Her given names are not known. She gained fame for her innovations in cotton-textile technology, and later generations honored her with the folk title daopo (crone of the Dao). 

According to the late Yuan-early Ming scholar Wang Feng, Huang daopo was born into penury. While still young she traveled to Yazhou on Hainan Island (the present-day city of Sanya), far from her home village. There she engaged in the flourishing cotton industry, becoming involved in both growing and spinning cotton. Around 1295–1296, when she was possibly about fifty years old, she returned to her home village, bringing with her the specialist techniques in cotton textile manufacture she had mastered in Yazhou.

The soil in Wunijing, which was on the eastern seaboard by the Yellow Sea, was very poor, so that with no agriculture to speak of the people did not have enough to eat. Nor were there any who were skilled in spinning cotton. There was no treadle system, and the cottonseeds were extracted by hand by beating the cotton buds on a long table with a bamboo bow and string to separate the fibers from the seeds, an extremely difficult task. 

Huang daopo adopted a revolutionary approach, starting with improving the seed used in Wunijing cotton production. She had returned from Hainan with a very fine grade cottonseed that could be adapted for local cultivation, and she proceeded to make both machines and tools more efficient, teaching the local people all she had learned of textile technology in Hainan. Instead of discarding the cottonseeds by hand, she used a cotton gin, possibly the kind of dual-roller gin said to have appeared in India and China between the twelfth to the fourteenth centuries; for fluffing the cotton, instead of a small bow measuring less than a meter (over 3 feet) long, she used wooden clappers over a meter-and-a-half (almost 5 feet) long and tied to a large wooden bow to hit the string; instead of twisting the yarn by hand or using an old-style single-spindle hand-turned spinning wheel, she built a three-spindle treadle spinning wheel.

The special Wunijing fabric that this area began to produce was a direct descendant, through Huang daopo, of Hainan cloth. It was exquisite, due to the skillful interlocking, color matching, healding of the thread, and printing techniques used. The cotton was made into padded mattresses, belts, and handkerchiefs with a range of patterns, including what is described as “cut flowers, circular phoenixes, checks, and Chinese characters” referred to as “cloud cloth,” which became the most sought-after fabric of that time. With Wunijing cotton cloth in such demand, the lives of the workers and families in the region were much improved. Villages and towns in the area soon became known as rich and populous, with over a thousand families making their living from the cloth. 

The methods Huang daopo had devised were passed on in their entirety to neighboring Songjiang and Qingpu near Shanghai, so that the cotton industry in the whole region thrived. Songjiang very quickly became the national center of the cotton industry—Songjiang cloth was worn by everybody—and remained the national center of the textile industry in China until well into the Ming dynasty. Huang daopo’s innovative technology for the manufacture of textiles was passed down from generation to generation so that her production methods were still used for the extremely expensive cotton material featuring dragons, phoenixes, fighting bulls, and unicorns that was in vogue during the Ming and Qing dynasties.

Not long after passing on her skills, Huang daopo died from illness. The local people felt such gratitude to her that there was much shedding of tears. Money was collected to erect a monument and shrine to her, incense was burned in front of her statue, and sacrifices were made to her spirit as though she were a deity."

From: Xu Shiduan, "Huang daopo" in: Biographical Dictionary of Chinese Women, Volume II.