Fig. 1. Wang Zhaojun: “May I ask for a cup of wine to make a libation to the South and to bid farewell to the Han, before I go on my long journey?” Moments before her suicide in Autumn in the Han Palace (Hangong qiu 漢宮秋) by Ma Zhiyuan 馬致遠 of the Yuan dynasty. From a facsimile (Shanghai: Hanfenlou, 1918) of the original The Selected Yuan Plays (Yuanqu xuan 元曲選) by Zang Jinshu [Zang Maoxun], published in 1615–1616. Courtesy of Stanford Auxiliary Library.

Fig. 2. Wang Zhaojun: “How unbearable is today’s sorrow!” 這一天愁，怎生發付我也! Moments before her border crossing in Zhaojun Leaving the Pass Behind (Zhaojun chusai 昭君出塞) by Chen Yujiao 陳與郊 of the Ming dynasty. From a facsimile (Wujin: Songfenshi, 1918) of the original Zaju of the High Ming Period (Shengming zaju 盛明雜劇, edited by Shen Tai, 1629). Courtesy of Stanford Auxiliary Library.

Fig. 3. “Fighting between barbarian and Han soldiers” in Appeasing the Barbarians (Herong ji 和戎記, anonymous). Note the clean-shaven Han soldier (left) and the barbarian soldier (right) with facial hair and pheasant feathers. From a facsimile of the original Fuchuntang version, printed 1573–1619.

Fig. 4. Wang Zhaojun dreams of recrossing the border, in The Dream of Zhaojun (Zhaojun meng 昭君夢) by Xue Dan 薛旦. Note that both the sleeping Zhaojun (below) and the fleeing Zhaojun in dream (above) wear pheasant feathers, which indicate her new ethnic identity. From a facsimile (Wujin: Songfenshi, 1941) of Newly Edited Zaju (Zaju xinbian 雜劇新編, edited by Zou Shijin, ca. 1661).

Fig. 5. The Little Prince: “Mother, you are dressed like this. Where are you going?” Moments before her reversed border crossing in Wenji Entering the Pass (Wenji rusai 文姬入塞) by Chen Yujiao 陳與郊. From a facsimile (Wujin: Songfenshi, 1918) of Zaju of the High Ming Period (Shengming zaju 盛明雜劇, edited by Shen Tai, 1629). Courtesy of Stanford Auxiliary Library.

Fig. 6. Cai Yan continues her father’s unfinished scholarship in The Daughter of Zhonglang 中郎女 by Nanshan Yishi 南山逸史. Seated in the middle, wearing an official cap as the male clerks do, she hands her writing to the maids to be passed on to the male scribes, observing the Confucian rule of proper separation between men and women. From a facsimile (Wujin: Songfenshi, 1941) of Newly Edited Zaju (Zaju xinbian 雜劇新編, edited by Zou Shijin, ca. 1661).

Fig. 7. Cai Yan visits the tomb of Zhaojun and the spirit of Wang Zhaojun appears. Mourning the Pipa 弔琵琶 by You Tong 尤侗. Cai Yan is kneeling in front of the Green Mound with offering; the zither is carried by her maid. From a facsimile (Wujin: Songfenshi, 1941) of Newly Edited Zaju (Zaju xinbian 雜劇新編, edited by Zou Shijin, ca. 1661).

Fig. 8. Li Ling (bottom left corner) communicates with Chinese troops with archery. “Victory at the Pass,” Returning to Heliang (Heliang gui 河梁歸) by Zhou Leqing 周樂清 (fl. 1801–1830), in The Chuanqi of the Sky-Mending Stone (Butianshi chuanqi 補天石傳奇, 1830).

Fig. 9. Su Wu (right side with official cap and gown) and Li Ling (next to him in martial outfit) happily meet again at Heliang. “Enfeoffing the Tomb,” Returning to Heliang (Heliang gui 河梁歸) by Zhou Leqing 周樂清 (fl. 1801–1830), in The Chuanqi of the Sky-Mending Stone (Butianshi chuanqi 補天石傳奇, 1830).

Fig. 10. The wild behavior of drunken French soldiers. “An Accident Caused by the French Soldier” (法兵肇事 Fabing zhaoshi) from The Pictorial News Journal from Lithography Studio (點石齋畫報 Dianshizhai huabao, 1884–1908). Courtesy of Stanford Auxiliary Library.

Fig. 11. The obsession for Western novel oddities “backfires.” “Self-Killing by the Western Gun” (洋槍自斃 Yangqiang zibi) from The Pictorial News Journal from Lithography Studio (點石齋畫報 Dianshizhai huabao, 1884–1908). Courtesy of Stanford Auxiliary Library.

Fig. 12. The spectacular border crossing of the modern Wang Zhaojun. Zhaojun Leaving the Pass Behind (Zhaojun chusai 昭君出塞) by Li Yugang 李玉剛 (Beijing, 2015). Courtesy of Zhang Nan 張楠 (photographer).

Fig. 13. The heart-to-heart dialogue between Wang Zhaojun (right) and Cai Yan (left). Cai Yan (on horse) visits the Zhaojun Tomb, and the spirit of Zhaojun (with her pipa) appears. Both clad in the Xiongnu outfit (pheasant feather and fur) and traveling clothes (cape). The Dialogue at the Green Mound (Qingzhong qiande duihua 青塚前的對話, 2006). Courtesy National Center for Traditional Arts GuoGuang Opera Company.

Fig. 14. The legendary meeting between Su Wu (left) and Li Ling (right). Li Ling (young) is luxuriously dressed (in Xiongnu outfit, indicated by the pheasant feathers and fur), while Su Wu (old) is in plain Han clothes, holding his envoy staff. From Hero of Half a Lifetime, Li Ling (Banshi yingxiong: Li Ling 半世英雄, 李陵, 2008) by ½ Q Theatre. Courtesy of ½ Q Theatre.

Fig. 15. Wang Zhaojun, appearing in a manner of a goddess (along with Goddess of Mercy and Mazu), holds a pipa. Zhaojun Temple (Zhaojun miao 昭君廟, also named Xinlian Temple [Xinlian si 新蓮寺], Miaoli, Taiwan, 2017). Courtesy of Lu Peng-Chung 盧本中 (photographer).