![]() This is true of modern popular culture as well as academic works, which tend to analyze particular representations in the story of the Three Kingdoms. All of these modern narratives of the rebellion draw predominantly from the Sanguo Yanyi, leading to a narrow and distorted understanding of the importance of the Yellow Turbans in Chinese imperial history. The author wrote this text as a form of moral education in the form of a novel, embellishing on the historical narrative present in the previous works. ![]() The last primary source used, the Sanguo Yanyi, written by Luo Guanzhong in the 14th century CE, marks another shift in the purpose of history. The study of the Zizhi Tongjian, an unofficial history written by Sima Guang in the 11th century CE, reveals a shift in the use of history from legitimization to political instruction for the ruling elite. These accounts show the typical style of official histories, providing political legitimation through the use of the historical record for the ruling dynasty. The early official histories that provide a narration of the rebellion are the San Guo Zhi, written by Chen Shou in the 3rd century CE, and the Hou Han Shu, written by Fan Ye in the 5th century CE. This study reveals the changing perceptions of the rebellion throughout various periods of imperial Chinese history, analyzing the causes and repercussions of this change. ![]() ![]() The Yellow Turban Rebellion was the catalyst that led to the end of the Han dynasty (206 BCE-220 CE) and began the period known as the Three Kingdoms (220-280 CE). This thesis uses historical analysis to examine the memory of the Yellow Turban Rebellion 184 CE in the works of elite Chinese from the Late Han dynasty to the Ming dynasty. Although these sentiments sound very appealing to some men and some women, we should remember that this kind of extremes are possible in the times of war, chaos, poverty and insecurity. This is the very essence of romantic novels, calling for the most traditional values, weak women unable to decide their fate other than committing suicide and strong men in charge of everything. But the answer granted by the old witch was not applicable to any of the woman of that time. Three Kingdoms stories are in a way is very similar to European Medieval tales about King Arthur and Knights of the Round table, where knights are brave, strong, skilled in armor, constantly challenging each other in battles, but ladies are subtle and beautiful, calling for the protection and deeds in the name of love and sometimes giving a valuable advice. He unsuccessfully seeked for an answer for a year, inquiring all wisards of all lands, until the old witch granted him correct response: “Is to be in charge for her own life”. One of the European Medieval fairy tales says that King Arthur has been imprisoned by the neighboring King, and in return for his freedom he had to answer the question: “What does any woman really want, above all?”. Therefore the influence of this period on later Chinese, Japanese and Korean cultural heritage cannot be underestimated. Despite the short term of its existence (officially from 220 to 265 A.D.), it has produced enormous amount of outstanding characters, both men and women and grounds for later development in art, poetry and writing works and painting masterpieces. One of the most renowned, romanticised and idealised chapters of Chinese history by all means is Three Kingdoms (三国 ) period.
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