Da Ji has long been associated with the image of a beauty whose “charming looks brought disaster,” leading to the downfall of the Shang Dynasty. However, researchers have discovered that her true character is vastly different from what we have traditionally believed.
In numerous films and popular works of literature from China, the character Da Ji – the second queen of Emperor Zhou, the last ruler of the Shang Dynasty in Chinese history, is often depicted as a stunning beauty who captivates the king, representing a great calamity for the nation.
A prime example is the historical novel “Fengshen Yanyi” by Xu Zhonglin and Liu Xijing, written during the Ming Dynasty, which claims that Da Ji was actually transformed from a nine-tailed fox spirit, using her beauty to enchant King Zhou and commit numerous evils, including the construction of a wine lake and a meat forest, ultimately leading to the Shang Dynasty’s demise.
Image of Da Ji in the movie “Fengshen Deyi: Chao Cao Fengyun (Fengshen 1)”.
However, researcher Huang Mingsong from the Institute of Chinese History and Language has shown through his studies that the historical character of Da Ji is entirely different from the ingrained perceptions of many people. He states that Da Ji was not merely a queen confined to the palace; she bore the weight of national responsibility, fighting alongside her husband in battles on the frontline.
Huang Mingsong further informs us that from historical records, archaeological cultural sites, and related research, it is evident that the status of women during the Shang Dynasty was quite high, particularly for those from noble families, who were expected to demonstrate their abilities across various fields.
For instance, the queen of King Wu Ding of the Shang Dynasty – Fu Hao not only presided over rituals and participated in governance but also led troops into battle alongside her husband. When her husband and the soldiers pursued the enemy, Fu Hao would encircle them, capturing and escorting them to Yin Xu (the Shang Dynasty’s capital) as sacrificial offerings. Based on this historical context, not only Fu Hao but also Da Ji and many other women of the Shang era likely had to undertake similar responsibilities.
Moreover, after the defeat at the Battle of Muye – a pivotal conflict that led to the “Fall of the Shang and Rise of the Zhou” (the fall of the Shang Dynasty and the establishment of the Zhou Dynasty), King Zhou and Da Ji chose to self-immolate in their jade robes while being escorted. Although only two charred corpses remained after the flames were extinguished, the Zhou followed the proper rituals, beheading the bodies and hanging the heads on flags as they continued their march to the capital.
Image believed to be closest to the true appearance of Da Ji, created by the Institute of Chinese History and Language.
The researcher also noted that the reason Da Ji has been “smeared” is primarily tied to the descendants of Confucianism wanting to elevate the images of King Wu of Zhou and Duke Jiang. They intentionally portrayed Da Ji as meddling in politics, manipulating the court, causing King Zhou to become a tyrant and leading the people to suffering, thus justifying the Zhou’s overthrow of the Shang Dynasty.
Later, under the narrative in “Fengshen Yanyi,” Da Ji transitioned from a queen who led armies in battle to the embodiment of “a beauty who brought disaster.” Not only Da Ji but also Huang Mingsong shared that many women in Chinese history have had their reputations tarnished because most historians believed they should not interfere in politics, claiming that if a country fell, the blame would surely fall on women.
“It is often said that to see a smile from Bao Zi, King Wu of Zhou set fire to the beacon tower (a warning signal for enemy attacks) to trick vassal lords into coming, which indirectly caused the loss of Caojing (one of the two settlements including the capital of the Western Zhou Dynasty) when the Quanrong invaded. However, historical research indicates that there were no beacon towers at that time,” researcher Huang Mingsong added.
Based on these research perspectives, the historical and cultural relics exhibition room at the Institute of Chinese History and Language sought the help of artist Xi Yu, attempting to use various methods to create a painting that closely resembles Da Ji’s original appearance.
Drawing from historical documents and ancient bronze masks, Da Ji has been depicted with phoenix-like eyes in a dignified pose, holding a bronze shield of a great noble from the Shang Dynasty, engraved with patterns of fierce beasts and a bronze dagger (a type of weapon made from bronze).
