Marriage
Okumaya devam et...
← Previous revision | Revision as of 08:13, 28 April 2024 |
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| In 641, Princess Wencheng left for Tibet with [[Gar Tongtsen Yulsung]].{{sfn|Pan|1997|p=238}} Both Chinese and Tibetan sources agree that Wencheng was not a daughter of the Chinese emperor.{{sfn|Powers|2004|p=169}} | In 641, Princess Wencheng left for Tibet with [[Gar Tongtsen Yulsung]].{{sfn|Pan|1997|p=238}} Both Chinese and Tibetan sources agree that Wencheng was not a daughter of the Chinese emperor.{{sfn|Powers|2004|p=169}} |
| ==Life in Tibet== | |
| According to the ''[[Old Book of Tang]]'', Princess Wencheng was married to Songtsen Gampo. Songtsen received the princess at Bohai Lake. A palace was built for the princess to live in. The princess did not like the Tibetans painting their face red so Songtsen banned this custom. In the ''Biography of Senior Monks Who Went to Western Regions for Scriptures'', written by Jing Yi, a Tang monk, Dharma Master Xuanzhao met the princess while passing through Tibet. She gave him a warm reception.<ref name="Wencheng"/> | |
| === Legacy === | === Legacy === |
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| === In Chinese literature === | === In Chinese literature === |
| In the first narrative, which is from Chinese classical literature, Princess Wencheng was treated as an insignificant figure and the text paid much more attention to the ceremony of the “peace-making marriage” than to the princess's individual traits. In the second narrative, which is from Tibetan ancient literature, the princess was portrayed as the incarnation of “Green Tara”, a tantric deity in Tibetan Buddhism, and supposedly possessed goddess qualities and magical powers. The third narrative, which was shaped by the nationalist discourse during the first part of the 20th century, depicted a new image of Princess Wencheng, gradually transforming her into a “transmitter of technology.”<ref>{{cite journal |last1=Wang |first1=J. |last2=Cedain |first2=D. |title=Princess Wencheng in historical writing: The difficulty in narrating ethnic history in multi-ethnic China |journal=Chinese Journal of Sociology |date=2020 |volume=6 |issue=4 |pages=615–645 |doi=10.1177/2057150X20963264|s2cid=225056789 }}</ref> | In the first narrative, which is from Chinese classical literature, Princess Wencheng was treated as an insignificant figure and the text paid much more attention to the ceremony of the “peace-making marriage” than to the princess's individual traits. In the second narrative, which is from Tibetan ancient literature, the princess was portrayed as the incarnation of “Green Tara”, a tantric deity in Tibetan Buddhism, and supposedly possessed goddess qualities and magical powers. The third narrative, which was shaped by the nationalist discourse during the first part of the 20th century, depicted a new image of Princess Wencheng, gradually transforming her into a “transmitter of technology.”<ref name="Wencheng">{{cite journal |last1=Wang |first1=J. |last2=Cedain |first2=D. |title=Princess Wencheng in historical writing: The difficulty in narrating ethnic history in multi-ethnic China |journal=Chinese Journal of Sociology |date=2020 |volume=6 |issue=4 |pages=615–645 |doi=10.1177/2057150X20963264|s2cid=225056789 }}</ref> |
| == In propaganda == | == In propaganda == |
Okumaya devam et...