Madam Gao’s Ancestry, physical appearance, suspected embroidery crafts and zither arts, suspected romantic passion with Chen Zi-Ang, and suspected tragic end 高夫人祖源、形貌、疑似繡娘與琴士身分、疑似與陳子昂之間淒美熱戀、疑似悲劇結局
Creators: name: 陳瀟玉, Rivolia Chen Xiao-Yu
Publisher: name: Eliva Press 愛麗娃書局
Year: 2024

description: Madam Gao (late 669–c.700 CE) was suspected to be a medieval Chinese embroiderer zither artist, in addition to a noblewoman and the wife of Chen Zi-Ang. She possessed numerous Xianbei (at least to a large extent, proto-Mongolian) ancestries and some northern Han Chinese bloodlines. “The Mandarin Duck Couple” is suspected to depict Chen and Madam Gao’s marital and romantic space based on Chinese living arts and magnificent and exquisite nature, in addition to their harmonious, beautiful, fine marriage and romantic passion. “A Heart of Romance on This Moonlit Night” appears to depict the sorrowful romantic fervor between Chen and Madam Gao. She was suspected of esteeming Chen’s career themes, activities benefiting others, positive qualities, and life significance while having a sorrowful and fervent romantic passion with him. Her physical appearance had considerable proto-Mongolian elements and some northern Han Chinese elements. In “The Mandarin Duck Couple” and “A Heart of Romance on This Moonlit Night,” Chen Zi-Ang is suspected of referring to her as the “beauty.” Sun Xiuhua, a scholar, author, and educator, has indicated that in “The Mandarin Duck Couple,” the romantic couple “have demonstrated an obsessive and profound romantic passion toward each other.” At the same time, “their two hearts united.” Han Li-Zhou has asserted that the subject of Chen’s “A Heart of Romance on this Moonlit Night” was “thinking of and missing the wife.” Fu Daobing, a scholar, author, and education, as well as Chen Yonghong, a scholar and author, have asserted that “A Heart of Romance on This Moonlit Night” “has cursively reflected Chen Zi-Ang’s romantic partner who was a beauty and who appreciated him. At a time of solitude, with romantic fervor, she played her zither with melodies that consoled and healed. … When tormented by his ordeals, he intensely yearned for his ally who appreciated him and could console him gently; besides his personality aspect of being a bold and chivalrous warrior and his possession of a determined ferocity, he demonstrated his inner heart of his profound and passionate romantic devotion.” This “romantic partner who was a beauty and who appreciated him” has been suspected to be Madam Gao. Shortly after Chen was “harmed to death” (Du Fu) in prison while severely ill, Madam Gao was suspected to have passed away. Specifically, she either passed away from her extreme grieving and agonies, or she first grieved and agonized terribly. Then — similar to Empress Consort Zhangsun, who for a long time brought poison with her, saying, “Shall there be a violent death [of my husband], it is my righteousness and honorable duty not to live alone” (Empress Consort Zhangsun’s self-explanation of her motivation of bringing poison with her for a prolonged time) — she refused all medications while bearing her illness (in a similar way to Xu Hui), or she took her own life more quickly in her devotion to her husband. When Madam Gao was in this world, women faced numerous restrictions and oppression. At the same time, her inheritance of the Chinese embroidery heritage, zither arts, and living arts, as well as her esteem and romantic devotion to Chen Zi-Ang, a Chinese hero and a universal martyr, seemed to deserve reverence. Not every spouse of great male historical figures appeared to have this level of appreciation, support, and esteem toward their husbands’ career themes, learning, skills, and competencies. 高夫人（公元669年底－約700年）疑似中世（又稱中古）中華繡娘與琴士，亦為貴族及陳子昂妻。高夫人頗具鮮卑（至少在大程度上，乃原始蒙古）祖源，亦有一些華北漢人血脈。〈鴛鴦篇〉疑似描摹陳子昂與高夫人基於中華生活藝術以及瑰麗自然的婚戀空間、和諧美好的感人婚戀。〈月夜有懷〉像在描摹陳子昂與高夫人淒美熱戀。高夫人疑似敬重陳子昂之事業主題、利他活動、正面特質、人生意義。高夫人形貌頗具原始蒙古元素，亦有些華北漢地元素。在〈鴛鴦篇〉與〈月夜有懷〉中，陳子昂疑似稱高夫人為「美人」。學者、文人、教師孫秀華指：〈鴛鴦篇〉中戀人「眷戀情深」、「兩心如一」。這對戀人像陳子昂與高夫人。韓理洲表示：〈月夜有懷〉旨在「思念妻子」。學者、文人、教師傅道彬，與學者、文人陳永宏指：〈月夜有懷〉「依稀隱映著一位陳子昂的紅顏知己。寂寞時，她殷勤地彈起琴瑟，曲慰人情。⋯⋯他遭逢坎坷後渴望知音能款款相慰，於豪俠剛烈的性格外，別顯一種柔腸百結的內心世界。」這位「紅顏知己」疑似高夫人。陳子昂病重期間，在獄「遇害」（杜甫語）後不久，高夫人疑似隨之而去。具體而言，高夫人若非由於悲慟至極而去，就是先悲慟至極，後如長期隨身帶毒之長孫皇后，「若有不諱，義不獨生」（長孫皇后自詮長期隨身帶毒動機），負病而拒醫藥（如徐惠），或以更快方式，自裁殉夫。高夫人在世時，女子面臨許多侷限與壓迫。與此同時，高夫人對於中華刺繡、中華琴藝、中華生活藝術的傳承，以及對於中華英雄、普世烈士陳子昂的敬重與深情，像是值得禮敬。不是每位史上偉大男子的配偶，對於其夫的事業主題、知識、技能，都像有這程度的欣賞、支持、敬重。