Empress Gongsheng

Empress Yang (30 June 1162 – 18 January 1233), formally titled Empress Gongsheng and also known as Yang Meizi, was a Chinese empress consort whose political acumen enabled her to serve as de facto empress regnant for years. She is considered "one of the most powerful empresses of the Song dynasty and...[possibly] the Southern Song dynasty's most powerful Empress."

Yang is generally described as intelligent, ruthless and, at times, malicious, while outwardly maintaining a saintly and liberal image. She was the second Song empress after Empress Dowager Liu to come from a humble background and, like Liu, was an astute wielder of power both at court and in the palace. Her later claim to be from a distinguished military family is believed by modern historians to be a fabrication for political reasons. Zhang Shansheng (d. 1170), who became an actress in the service of Empress Dowager Wu.

As imperial concubine In 1195, Yang married Zhao Kuo, the future Emperor Ningzong, and was named the Lady of Pingle Commandery (平乐郡夫人). She was promoted to the title jieyu (婕妤) in 1197 when her mentor and advocate, Grand Empress Dowager Wu, died at the age of 82. Needing a new way to shore up her position, Yang had the palace eunuchs find an official who was willing to be her accomplice in changing her family history, and with his cooperation, she claimed to be the sister of the official Yang Cishan, and assumed his surname. After this, she invited him to the palace for a "reunion feast" to celebrate the discovery of her long lost family,

Consolidation of power Sources:

Although Empress Yang enjoyed political favour, she made a point of acting with self restraint on a number of occasions, seemingly to avoid negative comparisons with previous Song Empress Liu E, as well as Wu Zetian of the Tang Dynasty. Nonetheless, a balance of power existed at the Imperial Court between the bureaucracy and the Inner Palace, and a relationship which was mutually beneficial ensued.

Yang's foster son and crown prince designate, Zhao Kai, loved and respected her as though she were his mother, leading her to support his claims and grant him political counsel. Furthermore, Emperor Ningzong grew to trust her enough to make her his secret chief advisor, a post in which she revised his petitions and suggested appointments and dismissals of officials in the Court. Her powers reached their height when she had the Imperial Seal, previously misused by Han Touzhou, returned to the palace and specifically to her care.

For fifteen years she experienced little opposition, as Shi Miyuan controlled the Grand Chancellory. However in 1220 the new crown prince, Zhao Hong, began to argue against her involvement in political affairs. Shi, also threatened by Hong, then found a new candidate in Zhao Yuju, who would be proclaimed as Emperor Lizong on Ningzong's death. Yang was apparently reluctant to do this, although if accounts are to be believed Shi persuaded her, allegedly by threatening to massacre her adopted family. Zhao Hong was deposed and forced to accept the situation, after which he was exiled to the country.

As empress dowager and regent In gratitude for giving him the throne, Emperor Lizong invited Yang to reign as his co-regent behind a lowered silk and pearl screen. Shengping poetry, a style created by Emperor Taizong when he was admiring spring blossoms with members of his court, focused primarily on the celebration of court life and the prospect of a peaceful and prosperous world under imperial rule. Around fifty surviving poems of Empress Yang were collected by Mao Jin in the Ming dynasty and included in the Er Jia Gong Ci (三二家宫詞), alongside those of Emperor Huizong. Empress Yang was one of the only four female poets of the Song Dynasty whose works have survived, which makes her works even more valuable. Formatted mainly in the style of Qi Jue (七绝), Yang's Gong Ci poems depict the rich beauty of the imperial court, focusing on the elaborate lives of court figures as well as courtesans and ministers of the inner court, and celebrate the peace and stability of the Southern Song Dynasty perceived from the standpoint of Empress. Similar to her poetic inscriptions, Empress Yang also regularly utilized the metaphor of flowers or other natural subjects as a metaphor for celebrating people or general characteristics of the royal family. For example, in the thirteenth entry of her Gong Ci, the description of lotus flowers in bloom is in fact an allegory for the lively peace of imperial court:

The curtains of the water hall are hooked to the wind, the rich blossoms of the lotus flowers have reddened people's reflections. My Emperor has finished his song on the flowery strings, and all earthly annoyance have trickled away.

Utilizing the imagery of a naturalistic water hall and blooming lotus, the first two lines of the poem highlight the beauty of the Imperial garden, signifying the free-flowing and vibrant spirit of the royal family. The subsequent two lines then demonstrate the artistic talent of the emperor for being able to transcend "all the vulgarities" with his instrument, implying the main theme of celebrating the harmony of the court and the pursuit of literary elegance.

Painting Some scholars believe that Holding Wine Cups under the Moon (Tianjin Museum) and Cherry Blossoms and Oriole (Shanghai Museum) are painted by Empress Yang. It is also widely believed that the Hundred Flowers Scroll, which may be the oldest surviving painting by a female artist in Chinese art history, should be attributed to Empress Yang. However, there are many controversies surrounding this issue. Specifically for his work with Empress Yang, light imagery and illustrations of the graceful facets of natural Chinese landscapes - blossoms, bamboo, and mountains - are among the most commonly-featured images.

A typical example of such a collaboration is Ma Yuan's Night Banquet, currently housed in Taipei's National Palace Museum. It depicts the title event in the characteristic details of Emperor Ningzong's administration while staying true to the painter's style and the demands of Song artistic culture. In the background, large mountains rise above the horizon, while fog and low clouds occupy the vertical center. Far below a palace is pictured, with several ministers and court patrons exchanging pleasantries. The arrangement of the features in the work give room above the palace for Empress Yang's calligraphy, which emphasizes the feelings of a warm, damp summer night in Hangzhou, the capital of the Song dynasty. Further connecting the poem and the painting are the former's details about the Han Hall, presumably the palace pictured, and descriptions of a banquet.

Inscriptions (attributed) Sources:

Legacy

Empress Yang was an intelligent and strong-willed Empress Dowager, who reformed and strengthened the Southern Song Dynasty while safeguarding it from the Mongols and the Jurchens. Ultimately, she had a hand in the destruction of the Jurchen Empire that had long terrorized the Song Empire, and earned her place as the most politically adept empress of her time. As a testament to her status, her funeral was conducted no different from that of an Emperor. Even the Ming Dynasty scholars, while censuring her for her unfeminine conduct, concede that she was a very capable monarch. While the true extent of her power cannot be known due to incomplete records, it cannot be doubted that she is one of the most influential women in Chinese history.

It is held that, of the Song Dynasty's Nine Great Empresses, Empress Yang ranks alongside Empress Liu, Empress Gao, and Empress Wu as the most politically shrewd, capable, and broad-minded of the group.

Titles

During the reign of Emperor Ningzong (1194–1224)

Yang Cairen - 1194 Lady of Pingle Commandery - 1195 Jieyu - 1197 Wanyi - 1199 Guifei - 1200 Empress Consort - 1202

During the reign of Emperor Lizong (1224–1233)

Empress Dowager Yang - 1224–1226 Empress Dowager Shouming - 1226–1228 Empress Dowager Shoumingcirui - 1228–1231 Empress Dowager Shoumingrenfucirui - 1231–1233

Posthumously Empress Gongshengrenlie - 1233

Family

Father: Unknown Mother: Zhang Shansheng, Yang Cairen Spouse: Emperor Ningzong Issue: Zhao Zeng (biological) Zhao Jiong (biological) Zhao Xun (adopted) Zhao Hong (adopted) Zhao Yun (adopted) Brother: Yang Cishan Daughters-in-law: Empress Shouhe of the Xie Clan Guifei of the Jia Clan Guifei of the Yan Clan Grandchildren: Princess Zhouhan Duanxiao Princess Zhenzhu Emperor Duzong (adopted) Zhao Ji, Prince Yongchong'an Zhao Yi Prince Zhaochongchun