Yuwen Kai, courtesy name Anle, was the younger brother of Yuwen Xin, the Duke of Qi. When he was in Northern Zhou, because his father was a distinguished official, he was granted the title of Duke of Shuangquan County at the age of three, and at the age of seven he was promoted to the Duke of Anping County, with a fief of 2,000 households. Yuwen Kai was very talented from a young age. His family had a long lineage of military generals, and his brothers had all achieved success through their skills in horsemanship and archery. However, he was particularly fond of learning, reading widely, writing essays, and excelling in various skills, earning him the reputation of a young nobleman. He initially served as the commander of the Qian Niu Guard, and later rose to the position of Imperial Secretary and the Three Excellencies. When Emperor Wen of Sui was the Prime Minister, he was appointed as a Grand Master of the Palace. After Emperor Wen ascended, many members of the Yuwen family were executed. Initially, Yuwen Kai was also on the list of those to be killed, but because of his distant relationship with the Northern Zhou imperial family and the meritorious service of his brother Yuwen Xin, someone urgently intervened on his behalf, allowing him to narrowly escape death. Later, he was appointed as the deputy supervisor of the construction of ancestral temples and the Left Attendant of the Crown Prince. After the completion of the ancestral temples, he was appointed as the Duke of Zengshan County, with a fief of one thousand households. When the Sui Dynasty decided to move its capital, Emperor Wen believed that Yuwen Kai was very talented and appointed him as the deputy supervisor of the construction of the new capital. Though Gao Feng oversaw the overall project, all the planning and design came from Yuwen Kai. Later, to excavate a waterway from the Wei River to the Yellow River for improved transport, Emperor Wen entrusted Yuwen Kai with this project. He was later appointed as the Governor of Laizhou, where he excelled and earned a strong reputation. After his brother Yuwen Xin was killed, his family was stripped of their titles and positions as well, and for a long time, they were unable to regain favor.
Later, the court discovered that the Luban Old Road had not been used for a long time, so they asked Yuwen Kai to repair it. Later, Emperor Wen of Sui wanted to build the Renshou Palace and searched for suitable candidates everywhere. Yang Su, the Right Deputy Director, said that Yuwen Kai was very talented. Emperor Wen agreed and appointed him as the supervisor of the chief architect's supervisor. Over a year later, he was appointed as the supervisor of the Renshou Palace, restored to the rank of Yitong San Si, and soon after promoted to the position of Deputy Chief Architect. After Empress Wenxian passed away, Yuwen Kai and Yang Su were responsible for the construction of the imperial tomb. Emperor Wen was very satisfied and restored his title as the Duke of Anping with a fief of a thousand households.
After Emperor Yang of Sui ascended the throne, he relocated the capital to Luoyang and appointed Yuwen Kai as the deputy supervisor of the construction of the Eastern Capital, soon promoting him to the chief architect. Yuwen Kai understood that the emperor liked luxury, so the architectural design of the Eastern Capital was extremely grand and magnificent. Emperor Yang was very pleased and further elevated him to the position of Kaifu, and later as the Minister of Works. Later, when they wanted to build the Great Wall, Emperor Yang appointed Yuwen Kai to design the plan. At that time, Emperor Yang went on a northern expedition and wanted to show off to the northern ethnic minorities, so he had Yuwen Kai build a huge tent that could accommodate thousands of people. Emperor Yang was very pleased and rewarded him with a substantial amount of fabric.
He also built a Wind-Watching Pavilion that could accommodate hundreds of guards. The pavilion could be disassembled and reassembled, with wheels underneath for mobility, moving swiftly as if by magic. The northern ethnic minorities were left in awe upon seeing it. Emperor Yang was even more pleased and rewarded Yuwen Kai with an abundance of gifts.
After the Yongjia Rebellion, the Mingtang had fallen into disrepair. The Sui Dynasty unified the country and wanted to restore the Mingtang, but opinions varied widely, and no consensus could be reached. Yang Su (Kai Bo was Yang Su's style name) consulted many books and composed a memorial titled "A Discussion on the Mingtang," in which he wrote:
I heard that the celestial phenomena correspond to earthly buildings, with the Purple Palace corresponding to the palace where political affairs are handled on earth; earthly buildings also correspond to celestial phenomena, with the position of Bingwu being the position of the positive yang. Observing celestial phenomena and following the laws of nature, the Five Rooms and Nine Palaces govern both the human and divine realms. When the emperor issues decrees and performs ancestral sacrifices, everything must be solemn and meticulous, striving for utmost perfection.
Your Majesty, you are wise and martial, pacifying the world, ending wars, allowing the people to live and work in peace, achieving peace throughout the land. As a result, auspicious signs have appeared in the heavens, all things are flourishing, the nation's borders are secure, and all ethnic groups have unified their cultures. In the solemn ancestral temple, ceremonies are held, playing music such as "Nine Shao" and "Six Jing," holding grand ceremonies. In order to build the Mingtang, we have chosen a location on the west side of the Chan River, near Luoyang, surveying the terrain, consulting ancient texts and records, dredging the river, seeking blessings for the people. According to the ancient saying, we have decided to build the Mingtang, and the emperor has entrusted me with this task, asking me to choose an auspicious day based on celestial phenomena.
To this end, I have collected various materials, consulted ancient texts and records, sought advice from some old experts, and even collected lost ancient documents, such as "Winter Officials." I have gathered and synthesized everyone's opinions to create a comprehensive plan. In the past, Zhang Heng made the armillary sphere, using three minutes as one degree; Pei Xiu made maps, using two inches to represent a thousand miles. The blueprint I created for the Mingtang uses a scale of one foot to one foot, hoping to build according to this blueprint in an orderly manner. However, there are differing opinions on the specific structure of the Mingtang, with some saying to use Qijing for the roof, and others saying to use circular eaves for the roof beams and pillars, lacking any substantiation. Now I will address each of these disputed areas in detail and provide evidence to support my arguments. The discussion is as follows:
Chen Kai carefully studied the "Huainanzi," which records: "In ancient times when Shennong governed the world, the rain was timely, the five grains thrived, spring was growing, summer was flourishing, autumn was harvesting, winter was storing, monthly evaluations were held, annual tributes were made, grains were sampled regularly, and sacrifices were made in the Mingtang. The Mingtang was structured with a roof but no walls, to keep out wind and rain, and neither dryness nor humidity could cause damage, allowing people to enter calmly." I believe this represents a simple yet effective system from ancient times that set a standard. The "Shangshu Emperor's Command Verification" records: "The emperor established five halls to honor the Heavenly Emperor, emphasizing the importance of yin and yang and the five elements. Red represents Wen ancestor, yellow represents Shen Dou, white represents Xian Ji, black represents Xuan Ju, and blue represents Ling Fu." The annotation says: "The Heavenly Hall of Tang Yao and Yu Shun, the World Hall of the Xia Dynasty, the Grand Hall of the Yin Dynasty, and the Mingtang of the Zhou Dynasty are all the same." The "Shizi" says: "During the period of Yu Shun, it was called the General Chapter." The "Zhou Guan·Kao Gong Ji" states: "The depth of the World Hall in the Xia Dynasty was fourteen steps, and the width was seventeen and a half steps." The annotation clarifies that "'Xiu' refers to the north-south depth." The unit of measurement in the Xia Dynasty was steps, so now the depth of the hall is fourteen steps, and the width exceeds the depth by a quarter, thus, the Mingtang's width measures seventeen and a half steps.
According to Min Kai's analysis, among the three generations, the Xia Dynasty is the oldest. It should have gradually evolved from simplicity to elegance and grandeur. However, careful comparison and deduction suggest this may not be the case. The "Record of Rites" states, "The depth of the hall is seven steps, and the width is one-fourth of the depth plus seven steps." If the unit of measurement in the Xia Dynasty is steps, then the depth should be seven steps. The annotation states, "The depth of the hall is fourteen steps," which is an addition to the "Record of Rites." However, the records of the Yin and Zhou Dynasties did not include additional words, indicating that their meanings are different from that of the Xia Dynasty. The version of the "Record of Rites" in Shandong province arbitrarily added the phrase "fourteen steps." Why didn’t the records of the Yin and Zhou Dynasties include additional words? Upon careful examination, the reason is likely different. I carefully checked the ancient books and found that there are no words such as "fourteen steps," that were likely added by later Confucian scholars lacking in knowledge. The "Discussion on the Yellow Diagram" records, "The Xia Dynasty increased the area of the main hall, and the main hall of the Zhou Dynasty is the distance between two beams." The statement from the Ma Palace only addresses one aspect of the main hall. If this is considered the standard, then the main halls of all three dynasties would be square with a circular roof. Various books state that it is below, with only Zheng Xuan's annotation in the "Zhou Guan" holding this view, which contradicts ancient customs and ritual etiquette. Despite careful study of the literature, the reasons are likely still not fully understood. The "Shizi" states, "The palace of the Yin Dynasty is called Yang Pavilion." The "Record of Rites" states, "The palace of the Yin Dynasty is called Chongwu, with a depth of seven xun and a height of three feet, with Chongwu structures on all four sides." The annotation states, "Seven xun is five zhang six feet. Based on the proportions from the Xia and Zhou Dynasties, its width should be nine xun, which is seven zhang two feet." It also states, "The main hall of the Zhou Dynasty is covered with a mat nine feet wide, with nine mats along the east-west axis and seven along the north-south axis. The hall has a height equivalent to one mat and contains five rooms, each covered with two mats."
"The Book of Rites - The Positions of the Hall of Light" states: "The Emperor's temple has double eaves." Zheng Xuan's commentary states: "Double eaves means a double-layered roof." The commentary in "Yu Zao" states: "The Emperor's temple and sleeping quarters are constructed the same as the Hall of Light." "The Diagrams of the Rites" states: "Above the inner chamber, a tower reaching the sky is built, with a height of eighty-one feet, corresponding to the number of palaces, producing a deep, resonant sound, symbolizing the monarch." "The Great Dai Rites" states: "The Hall of Light has existed since ancient times. It has nine rooms, each with four doors and eight windows. It has a thatched roof, round on top and square at the bottom, with a water channel known as Bi Guo around the perimeter. The doors are decorated in red, and the windows in white. The hall's height is three feet, nine ren in length from east to west, and seven yan in length from north to south. The palace covers an area of three hundred square paces. When people fall ill, livestock get sick, or there are poor harvests, it is all due to the disharmony of heaven's will. When heaven's will is not harmonious, it is because the Hall of Light is not well decorated. Therefore, in the event of natural disasters, the Hall of Light needs to be decorated." "The Book of Zhou - The Hall of Light" states: "The Hall of Light measures one hundred twelve feet on each side, with a height of four feet, and the steps are six feet three inches wide. Inside the room, the side length is one hundred feet, and the inner side length of the room is sixty feet. The door measures eight feet in height and four feet in width." "Zuo Luo" states: "The Hall of Light, the Grand Temple, and the Sleeping Quarters all have four-sided eaves, overlapping ridges, and corridors." Kong Yingda's commentary states: "The overlapping ridges consist of stacked beams, and the overlapping corridors are accumulated houses." "The Diagrams of the Rites" states: "The Qin Dynasty's Hall of Light features nine rooms and twelve steps, each serving a specific purpose." "The Annals of Lu Buwei" states: "There are twelve halls." This aligns with "The Monthly Ordinances," which does not specify their size.
Minister Kai's analysis indicates that although the twelve steps may not align with the "Book of Rites," taking one step each month is not unreasonable. The "Yellow Diagram" states: "The length of the Mingtang is one hundred and forty-four feet, representing the Kun hexagram, and the square represents the earth. The roof is circular with a diameter of two hundred and sixteen feet, representing the Qian hexagram, and the circle represents the heavens. The Taishi consists of nine palaces, symbolizing the nine provinces. The Taishi is six zhang in length, reflecting the variations of yin numbers. The twelve halls symbolize the twelve months, the thirty-six doors represent the extremes of yin variations, and the seventy-two windows represent the days associated with the movements of the five elements. The eight passageways represent the eight cardinal directions, conforming to the eight trigrams. The Tongtian Terrace has a diameter of nine feet, conforming to the numerical principles of the Qian hexagram (9 over 6). It is eighty-one feet high, corresponding to the value associated with the Huang Zhong (9-9). The twenty-eight pillars symbolize the twenty-eight constellations. The hall is three feet high, with three steps leading up to it, symbolizing the three unities. The Mingtang is four-sided and five-colored, symbolizing the four seasons and five elements. There are seventy-two steps from the gate to the hall, symbolizing the dynamics of the five elements. The gate hall measures four zhang in length, which is two-thirds of the Taishi. The courtyard walls are not high, without obstructing the view; the windows are six feet wide, twice the width of the outer windows. The courtyard walls are square and situated in the water, symbolizing the yin of the earth. The water surrounds the outside, symbolizing the four seas, with the circle representing the yang. The water is twenty-four zhang wide, symbolizing the twenty-four solar terms. The inner diameter of the moat is three zhang, conforming to the "Rites of the Grand Assembly." In the second year of Emperor Wu of Han, in Yuanfeng, the Mingtang was built at Wenshang, without any rooms. The exterior was constructed in accordance with this system. In August of 138 BC, construction of the Mingtang and Biyong began at the south gate of Chang'an City, following the specified specifications. It was a grand hall surrounded by walls on all sides, with eight observation gates and a moat outside, with embankments rising four feet above ground level. Everyone collaborated, and the project was completed in three weeks.
On the sixth day of the first month in 137 BC, Emperor Wu of Han began to offer sacrifices to the founding Emperor Gaozu outside the city, in order to pay homage to the heavens. On the twenty-second day of the first month, he also offered sacrifices to Emperor Xiaowen in the Mingtang, to pay homage to the gods, as well as to the sages, officials, and ministers who had contributed to the country, in accordance with their ranks. Emperor Wu personally assisted three elderly men, removed his upper garment, personally made the offerings, and then knelt down to make the offering. He also took this opportunity to issue decrees and announce blessings. Princes, royal family members, leaders of various minority ethnic groups, envoys from the Xiongnu, envoys from the Western Regions, and others all came to pay tribute and participate in the sacrificial activities.
The "Rites of Zhou" states: In the thirtieth year of the Jianwu era, the Mingtang was constructed with a circular roof and a square base, featuring twelve halls that correspond to the twelve earthly branches, and nine rooms corresponding to the nine provinces. Each room has eight windows, and eight times nine equals seventy-two, symbolizing the number of days in a year. Each room has two doors, and two times nine equals eighteen doors, symbolizing the eighteen days of the Earthly Sovereign. The main altar in the inner hall is three feet tall, featuring three tiers of earthen steps. Hu Bo first mentioned in the commentary "Han Officials" that ancient temples were once covered with thatch, but are now covered with tiles, with thatch underneath to maintain the ancient architectural style.
The "Tokyo Fu" describes that three palaces were built, the establishment of laws and promulgation of decrees. Temples were renovated, with eight passageways and nine rooms. Boats were crafted in the clear pond, with ripples dancing on the surface. Xue Zong notes that "复重廇覆," which refers to the overlapping of roof ridges, a traditional architectural feature. The "Continuation of the Book of Han: Sacrificial Rites" records that in the second year of Emperor Ming's Yongping reign, sacrifices were offered to the Five Emperors at the Mingtang. The seats of the Five Emperors were located in their respective directions, with the Yellow Emperor in the position of the northwest, following the same direction as the Southern Suburb sacrifices. Emperor Guangwu's seat was to the south of the Blue Emperor, slightly to the west, with each emperor having a calf before them, and the music played was the same as the Southern Suburb sacrifices. I thoroughly examined the "Book of Songs," which states: "I offer sacrifices in the Mingtang to King Wen, I offer my offerings, with oxen and sheep," suggesting that the highest quality offerings were prepared. However, only one calf is currently recorded, which may differ from ancient times.
Before the Jin Dynasty, there were no quail tail (a type of astronomical instrument), circular walls, or moats, all built following the original designs. In the "Daily Records of the Jin Dynasty," Pei Wei emphasized the importance of honoring ancestors and making offerings to heaven and earth, but the temple system had yet to be clearly defined. He proposed constructing a grand hall for solemn ceremonies, removing other extraneous elements. He believed that heavenly signs ought to be heeded, and the structure of the Jin Dynasty’s Mingtang was misaligned with astronomical principles since there were no tall buildings or moats. The vacant grand hall contradicted the significance of the Five Rooms, and the solitary hall violated the nine-tier system. This was a deception of the heavens and utterly unacceptable!
During the Northern Wei Dynasty, a circular wall was built south of Beitai City, outside the moat. The main gate stood isolated in the river, not connected to the wall. Above the Mingtang were nine rooms, stacked three high, which did not adhere to ancient architectural standards. There were passageways between the rooms, with numerous discrepancies. These rooms were all built with bricks, very narrow and simple. According to the Northern Wei's "Record of Music," in the second year of Xiaochang, the Mingtang was built. Some said there should be nine rooms, others said five. The emperor ordered the five-room design. Later, during Gao Yuancha's administration, it was changed back to nine rooms, but due to war, it was not completed. The "Song Jiuzhu" records: in the fifth year of Emperor Xiaowu's reign, the Mingtang was built, with walls and design specifications imitating the Grand Temple, featuring only twelve rooms to conform to specific numerical requirements. According to the "Wenshang Diagram" of the Han Dynasty, seats for the five emperors were set up. Emperor Taizu performed sacrifices using ritual vessels such as ding, zu, and gui according to the Grand Temple's etiquette. After Emperor Wu of Liang ascended the throne, he changed the Taiji Hall of the Song Dynasty into the Mingtang, with only twelve rooms. "Li Yiyi" states: during sacrifices, vessels made of pure lacquer and pottery jars were utilized. Only refined wine was used in the sacrifices. After pacifying the Chen Dynasty, I personally observed the Mingtang, measured its dimensions, and recorded its length and width. I could still see burnt pillars in the foundation, signs of damage buried about ten feet deep, which remained remarkably preserved. The pillars were set on camphor wood bases, over a zhang long and around four feet wide, arranged in pairs. The tiles were stacked several layers high. The palace was located inside the city. Despite its small size and simplicity, which did not conform to regulations, the spirits of the ancestors were honored with solemn sacrifices. Throughout the Zhou and Qi dynasties, the Mingtang remained unrenovated, resulting in the inability to hold grand sacrificial ceremonies.
Since ancient times, there have traditionally been only two types of designs for the Mingtang. One is from the Zhou Dynasty, made by Liu Xi, Ruan Zhen, and Liu Changzong, and these three drawings are similar. The other is from the thirtieth year of the Jianwu era of the Eastern Han Dynasty, which can be found in the "Ritual Diagram," but it remains unclear who created it. I scoured classical texts and historical records, sought out relevant information, examined various interpretations, and finally compiled this pattern. The model is made of wood, with a square palace below containing five rooms, and a circular observation platform above with four doors. The Emperor approved my memorial. Just as the Liaodong campaign was underway, the project ultimately did not come to fruition. However, due to my achievements in Liaodong, I was promoted to the position of Jinzi Guanglu Daifu. I passed away while in office that year at the age of fifty-eight. The Emperor was deeply saddened and posthumously bestowed upon me the title "Kang." I authored twenty volumes of "Dongdu Tuji," two volumes of "Mingtang Tuyi," and one volume of "Shiyi," which have been preserved through the ages. My son, Rutong, served as a cavalry commander, and my younger son, Wen, held a position in the Ministry of Works.
Yan Pi was from Shengle, Yulin. His grandfather, Yan Jin, served as the prefect of the Wei Kingdom; his father, Yan Qing, was the Grand Marshal of the Zhou Dynasty and the Governor of Ningzhou. When Yan Pi was seven years old, he inherited the title of the Earl of Shibao County, with a fief of one thousand households. As he grew up, he developed a dignified appearance, was very serious, and had a particular fondness for reading historical texts. He studied the "Han Shu" with Xiao Gai and gained a general understanding of its main content. He was skilled in seal, cursive, and clerical scripts, and he particularly excelled in painting, which was regarded as top-notch at the time. Emperor Wu of Zhou was very impressed with him and arranged for him to marry Princess Qingdu. After Emperor Xuan ascended to the throne, he appointed Yan Pi as Sima of the Three Excellencies and made him the commander of the imperial guards. After Emperor Gaozu ascended to the throne, Yan Pi used his skills to serve the Crown Prince in the Eastern Palace, often winning the Crown Prince's favor with exquisite and luxurious items, which also earned him praise from the Emperor. Once, the Emperor sent Gao Feng to review the troops at Longtaize, where many units were in disarray, but Yan Pi's troops stood out for their discipline and order. Gao Feng reported this to the Emperor, who rewarded Yan Pi with a large amount of silk. Shortly thereafter, he also served as the Chief Historian of the Crown Prince's Palace Guard and was later promoted to Sima. Most of the exquisite items used by the Crown Prince were crafted by Yan Pi. After the Crown Prince was deposed, Yan Pi was sentenced to one hundred lashes, and both he and his wife were demoted to official slaves. They were not released and restored to their status as free citizens until two years later. After Emperor Yang of Sui ascended to the throne, he initiated a large-scale weapons construction project, and due to Yan Pi's skill and familiarity with established practices, the Emperor appointed him to oversee it. Later, he was appointed as a court official. Yan Pi also participated in drafting plans for the imperial carriages, making numerous modifications, all of which were documented in "Yufuzhi." Ultimately, he was promoted to the position of Qibu Lang.
At that time, the emperor wanted to hold a large-scale procession, feeling that there were too many accompanying vehicles. He asked Yang Su, "During the Kaihuang era, there were only twelve accompanying vehicles, which were more than enough. Now there are eighty-one vehicles, some even pulled by oxen. This is not practical at all, and it appears undignified. I want to reduce the number of vehicles. What do you suggest we do?"
Yang Su replied, "When I originally determined the number of vehicles, I worked closely with Yuwen Kai to study the ancient texts, referring to the opinions of Hu Bo Shi and Cai Yong from the Han Dynasty. We ultimately decided on eighty-one. This number has been passed down from the Qin Dynasty to the present day. Zhang Heng wrote in his poem 'Ninety-nine chariots.' As for the emperor's ceremonial carriages, it should be one-third less, which is thirty-six vehicles, following the system of the Han Dynasty. In addition, I also looked into the memorials from the Xiaojian era of the Song Dynasty. When the Jin Dynasty moved its capital to the south, only five vehicles were used. Shangshu Ling, Prince Jianping, Hong said, 'The eighty-one vehicles were based on the system of nine kingdoms, while the thirty-six vehicles have no basis to follow. The five vehicles in the south are too simplistic and don't meet ceremonial standards. However, the processions of emperors throughout history, the number of flags, vehicle covers, and jade crowns, are all related to the number twelve. Therefore, we should follow this and set up twelve vehicles.' After the Chen Dynasty was pacified during the Kaihuang era, we have been following this system. Now we should adhere to the ancient system, using the Qin Dynasty system for large-scale processions, the Han Dynasty system for official processions, and the Song Dynasty system for smaller processions to signify different ranks."
The emperor said, "Why must we adhere to the system of the Qin Dynasty? For large-scale processions, we will use thirty-six vehicles; for official processions, we will use twelve; and for smaller processions, we will cancel them." Yang Su's meticulous research on historical references follows this method.
General Pi was in full charge of the war beyond the Great Wall. Later, when the emperor wanted to go to Mount Hengshan for a sacrifice, he ordered General Pi to oversee the construction of the altar. Not long after, General Pi was promoted to the position of Chamberlain, and he followed the emperor to Zhangye Commandery. The envoys from the Kingdom of Gaochang awaited the emperor's arrival along the route, and the emperor asked General Pi to bring the emperor's token to greet them, and then escorted the envoys to the Eastern Capital. Later, due to his mother's death, General Pi resigned and returned home to fulfill his mourning duties. After the mourning period, he was reinstated.
The emperor wanted to attack Liaodong, so he dug a canal from Luokou all the way to Zhuo Commandery to facilitate the transport of military supplies. General Pi was responsible for overseeing this project. The following year, he also served as the Chief of the Right Yǐ Guards, in charge of building the Lingshuo Palace. When it was time to march to Liaodong, he served as a military officer in his original position, in charge of the emperor's night guards. At that time, the army surrounded Liaodong City, and the emperor ordered General Pi to read the imperial edict at the foot of the city. The enemy's arrows were shooting wildly, and General Pi was hit by an arrow on his horse, but he remained unfazed, and in a steady and commanding voice, he finished reading the edict before leaving. He was later promoted to a Court Official, then to Minister of the Interior, and also served as Supervisor of Public Works. Later, he followed the emperor to campaign against Liaodong, but as Yang Xuangan rebelled, the emperor had to return to the capital. The Minister of War, Husi Zheng, fled to Liaodong, and the emperor ordered General Pi to lead two thousand cavalry to pursue him, but they did not catch up. Husi Zheng occupied Baiya City in Goguryeo, and General Pi attacked Baiya City for two days before receiving a recall order from the emperor. On the way to Gaoyang, he suddenly passed away at the age of fifty. The emperor was deeply saddened and posthumously conferred upon him the title of Minister of the Interior.
He Chou, also known by his courtesy name Guilin, is the nephew of the National Preceptor, He Tuo. His father, He Tong, was skilled in carving jade. He Chou was intelligent, detail-oriented, and highly dedicated. When he was in his teens, he witnessed the fall of Jiangling City and followed He Tuo to Chang'an. During the Northern Zhou dynasty, he held a minor official position in the Bureau of Decorative Objects. When Emperor Gaozu was Chancellor, he summoned He Chou to serve as a military officer while also overseeing the Bureau of Craftsmanship. During the Kaihuang era, he was appointed as a military governor and gradually rose to the position of supervisor in the Imperial Household, eventually rising to the position of Deputy Minister of the Imperial Household. He Chou was well-versed in a wide range of literature and had a deep understanding of ancient artifacts. Once, Persia presented an exquisitely crafted gold-threaded brocade robe. The Emperor asked He Chou to replicate it. The brocade robe He Chou wove surpassed the one presented by Persia, delighting the Emperor. At that time, China had not produced glassware in many years, and craftsmen were reluctant to attempt it. However, He Chou successfully created glassware from green porcelain that was nearly indistinguishable from the real thing. He was later promoted to the role of Assistant Cavalry Officer in the Imperial Guards.
Toward the end of the Kaihuang era, a man named Li Guang, a member of a minority ethnic group, led a rebellion in Guizhou. The court ordered the military to quell the uprising. When the army reached the Hengshan Mountains, they sent envoys to persuade the rebel leader, Mo Chong, to surrender. Wang Wentong, the Chief of Guizhou, brought Mo Chong to Yang Su. Yang Su feigned concern and said, "The local government's poor governance led to the rebellion of the border people, which was not Mo Chong's fault!" He then ordered Mo Chong's release, invited him to a feast along with his four followers, and then sent them away. Mo Chong was very happy and returned to the cave without taking any precautions. At five in the morning, Yang Su suddenly attacked their cave with his troops to confront the remaining rebels. The rebel leaders, Du Tiaoliao from Xiangzhou and Pang Jing from Luozhou, also surrendered one after another. Yang Su then sent Liang Ni from Jianzhou to subdue the rebellious Luo Shou and sent Feng Xuan, the governor of Luozhou, to suppress the bandit leader Li Datan, both of whom were subdued, and their heads were sent back to the military camp. Yang Su reappointed the leaders as county officials, and everyone was pleased and impressed.
Ning Mangli, the Governor of Qinzhou, led his troops to welcome the army. Initially, Ning Mangli took refuge in a steep mountain cave, plotting a rebellion. Overcome with fear, he requested to personally visit the court. Seeing that he was gravely ill, Yang Su chose to trust him, so he sent him back to Qinzhou and made an arrangement: "You can come to the capital to see me in the eighth or ninth month." When Yang Su returned to court to report, the emperor was displeased. In October of that year, Ning Mangli died, and the emperor said to Yang Su, "You didn't bring Ning Mangli here, and now he has died." Yang Su replied, "I had an agreement with Ning Mangli. Even if he died, his son should come to serve the emperor. The Yuezhi people are straightforward, and his son will definitely come." Before he died, Ning Mangli instructed his son, Zhang Zhen, "I had an agreement with Ambassador Yang, and we must honor our promise to the court. After you bury me properly, you should leave immediately." Obeying his father's wishes, Zhang Zhen came to court, and the emperor was very pleased, saying, "Yang Su managed to earn the trust of the barbarians, which is truly remarkable!" As a result of this achievement, Yang Su was appointed Kai Fu (Imperial Tutor).
At the beginning of the Renshou period, Empress Wenxian passed away, and Yang Su and Yu Wenkai participated in the establishment of the imperial tomb system. Yang Su was reserved and good at understanding the emperor's intentions, gradually gaining the emperor's trust. When the emperor was on his deathbed, he told Yang Su, "You were in charge of the empress's funeral before, and now that I am dying, you must arrange my funeral properly. What’s the point of all this? It’s just hard for me to let go. If my soul has awareness, we should meet again in the underworld." The emperor then pulled the crown prince close and said, "Yang Su is truly dedicated. I've entrusted him with everything concerning my affairs after I’m gone, and all decisions should be made in consultation with him."
Emperor Yang of Sui wanted to go to Yangzhou, so he said to Yang Chao, "Now the world is peaceful, I have inherited the legacy of the Sui Dynasty, but many rituals, clothing, and objects are not yet perfect. You are responsible for researching the classics, designing and making various ceremonial items, carriages, horses, and attire, and sending them to Jiangdu." That day, Yang Chao was appointed as the Junior Minister of the Imperial Household Department.
Yang Chao got to work on assembling a procession of thirty-six thousand people, as well as carriages for the emperor to ride in, the empress's procession, officials' clothing, and so on, all of which were completed on time and sent to Jiangdu. This project involved over a hundred thousand people and cost an unimaginable amount of gold and silver. Later, the emperor sent the Minister of War, Ming Ya, and the Minister of Selection, Xue Mai, to inspect the preparations. The inspection took several years, but ultimately, no errors were found. Yang Chao referred to ancient and modern sources and made many improvements. For example, during the Wei and Jin dynasties, officials' leather hats had hat straps but no hat ornaments. Yang Chao said, "This is a hunting attire from ancient times! It should be updated for court attire." Therefore, starting with Yang Chao, ivory hat ornaments were added to the leather hats.
Furthermore, officials' court attire previously did not include a waistband. Yang Chao said, "This is the attire for the minor court ceremonies held on the first and fifteenth days of each month. How can a high-ranking official meet the emperor without wearing an insignia belt or jade ornaments?" As a result, animal-head insignias and jade ornaments were added to the court attire. In the past, the carriage of the five-spoke carriage was built on the shafts, with the emperor and entourage all inside the carriage. Yang Chao thought, "It’s too cramped for the emperor and his attendants to be in such close quarters." So, he enlarged the carriage, added railings, allowed attendants to stand inside the carriage, added a low platform inside the carriage, and had the emperor sit alone on top. He also made numerous other adjustments to the ceremonial items, all of which are detailed in the "Book of Ceremonial Rites."
The emperor ordered Yang Chao to make ten thousand military vehicles and eight hundred linked vehicles. The emperor was very satisfied and allowed Yang Chao to continue as the Minister of Works. Three years later, Yang Chao also took on the role of the Minister of the Treasury. During the battle in Liaodong, Yang Chao was appointed as the Right Camp General, leading thirty thousand imperial crossbowmen. At that time, the Minister of Works Yu Wenkai failed to build a bridge over the Liao River, causing the army to be unable to cross, and the Right Camp General, Mai Tiezhang, was executed as a result. The emperor then ordered Yang Chao to construct a bridge, which he completed in just two days!
Earlier, Yang Chao designed and built a palace and Liuhe City. This time, the emperor used it when facing the enemy in Liaodong at night. The city was eight li in circumference, with a total height of the walls and battlements of ten zhang, crowded with soldiers and adorned with flags. There were watchtowers at each corner and three gates on each side of the wall, and it was completed before dawn. When the Goryeo people saw it from afar, they thought it was a miracle. That year, Yang Chao was given the title of Grand Master of Splendid Happiness. The following year, he was appointed as the General of the Left Camp and followed the emperor to the front lines in Liaodong.
Twelve years later, he was promoted to the rank of Grand Master of Splendid Happiness and accompanied the emperor to Jiangdu. When Yu Wenhuaji rebelled, he was forced to become the Minister of Works. After Yu Wenhuaji's failure, he was captured by Dou Jiande, who also made him the Minister of Works and granted him the title of Duke of Shuguo. After Dou Jiande's defeat, he sought refuge in the Tang Dynasty court and was appointed as the Master Craftsman, eventually dying there.
During the Kaihuang era, there was a man named Liu Long from Hejian. He was strong-willed, intelligent, and highly creative. The later emperor recognized his talent and had him build the Three Jue Terrace, which impressed the emperor and resulted in his rapid rise through the ranks. When Emperor Gaozu ascended the throne, he held Liu Long in high regard, appointing him as the General of the Right Guard and Chief Architect. When the capital was being built, he and Gao Feng were responsible for planning and construction, and everyone praised their exceptional skills.
During the Daye era, there was a man named Huang Gan, his origins are unclear. He and his brother Huang Gun were both exceptionally creative. Emperor Yang of Sui often had the two brothers work directly in the Ministry of Works. There were many new projects underway at that time, and Huang Gan and Huang Gun were always involved. Whenever something new needed to be created, He Chou would always have Huang Gan and Huang Gun create a prototype first. The craftsmen at the time believed their work was excellent and that no one could improve upon it. Huang Gan later rose to the rank of Court Gentleman, and Huang Gun became a Cavalier Attendant.
Historians note that Yuwen Kai was versatile and talented, thoughtful in his ideas, and extremely skilled in architectural design, comparable to Ban Gu and Yang Xiong. All the architectural systems at that time were based on his designs. He built the Ren Shou Palace, constructed the city of Luoyang, pursued extravagance, and indulged in excess, which contributed to the emperor's moral decay and ultimately the downfall of the dynasty. The root causes of the country's turmoil were indeed these factors. However, his study of classical texts and the establishment of the "Ming Tang Tu" were somewhat extreme, yet still worth examining. He Chou and the Huang Gan brothers were exceptionally creative and very familiar with previous architectural methods. They referenced the systems of the past, producing a legacy of cultural artifacts. While perhaps a bit too extravagant, their work remains worthy of study and emulation by future generations.
