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sapphicjackal · 1 month

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Bingyuan Soulmate au 4

Part 1 Part 2 Part 3

Life was brighter with Yuan-ge in it.

Luo Binghe woke up before dawn with a smile on his face, fading dreams of a tender touch and warm voice lingering on the edges of his awareness. Not even the cold dirt floor of the woodshed could diminish the light feeling that courses through his body. He writes to Yuan-ge before getting dressed for the day, pushing back his sleeves and dipping his brush into ink.

“Wishing Yuan-ge a happy day!” Binghe wrote carefully with a smile, filling the words with happiness.

He wishes he could talk to Yuan-ge more. Yuan-ge writes to him a couple of things during the day, but Binghe has to wait until night when he’s alone in the woodshed to have a conversation.

Binghe was surprised to feel the rasping scrape of Yuan-ge’s writing implement so quickly, especially when Yuan-ge seemed to wake up a couple of hours later than him.

“Good morning Bing-er.” Yuan-ge wrote beneath Binghe’s message before more was written.

“You told me you had trouble cultivating, I thought about it last night. The most important part of learning is cross referencing. Is there any way you could look at someone else’s manual?” Yuan-ge asked, his words were earnest but they held a faint sense of suspicion in them.

“Yuan-ge?” Binghe wrote, imparting it with his curiosity.

“Make sure your material is real. People could be trying to hurt Bing-er with fake material.” Yuan-ge wrote, full of worry and suspicion.

Binghe recoiled from the message, his eyes wide. A fake manual? Binghe had never even thought of his manual being fake. Why would they give him a fake manual?

‘Because they hate you.’ a part of him thought.

No.

Even if Binghe somehow disappointed Shizun and earned his ire, there’s no way a peerless immortal like Shizun would give his disciple a false manual. Binghe hadn’t been here long, but he knew that it was deadly to cultivate improperly. It was one of the first things they were told. To follow their manual carefully and faithfully because any deviation could result in damaging or even destroying your meridians.

Binghe fought back the urge to argue with Yuan-ge.

Yuan-ge wasn’t a cultivator, he didn’t know how serious his accusations were. He was looking at this from the view of a scholar. With scholars it’s important to check that the copy of what you are studying is genuine. If you aren’t careful you could learn false information.

Binghe would check just so that he could reassure Yuan-ge that nothing was wrong. Ning-shije would be happy to let him look over her manual when they hang out later today.

“This one will check.” Binghe wrote.

“Thank you, Bing-er. I hope I’m wrong.” Yuan-ge responded, his words full of relief and underlying anxiety.

Binghe felt warm inside. Yuan-ge was worried for his safety. Even if it wasn’t necessary, it had been years since Binghe had someone who cared like this. Just like how his A-Niang worried when he went out to beg for food. It’s a special kind of worry reserved solely for the safety of the one you love most.

It’s been so long since Binghe felt loved.

The streets were hostile and cold, and coming to Qing Jing Peak was not much different. People were still cruel or indifferent. Binghe still had to struggle and fight to keep his head above water. He still went hungry most days and still slept on the dirt ground.

But now he could read what Yuan-ge says, and that alone made coming here worth it.

Binghe finished getting ready with a smile, brushing his hair to pull it into a neat ponytail. He dusted off his uniform a final time before stepping out of the woodshed to get a head start on his chores.

The rest of the day passed by like usual. His Shixiong’s jeered at him and piled more work onto his plate, he attended the classes of the Hallmasters who let him inside, and he did his chores. In the afternoon, Ning Yingying came to find him to hang out, accompanying him as he did his chores.

Binghe decided to wait until he was done chopping wood to ask Ning Yingying his question. “Ning-shije, could this one look at your manual please? This one is having trouble understanding his own.” he asked, placing down the rusted and blunt axe.

Ning Yingying perked up, happy to be addressed after a sichen of one-sided chatter. “Of course A-Luo!” she chirped, bouncing over to him. She pulled her manual from her robes and offered it to him with a smile. “You can ask Shije for help wherever you got stuck.” she said.

Binghe gave her a grateful smile, “Thank you, Ning-shije.” he said. Binghe sat down and opened up the manual, flipping through the pages. With each page his smile grew stiffer and a heavy feeling brewed within his gut.

This…

Binghe forced himself to take in each page before flipping it, resisting the desperate urge to flip through it rapidly. The words and diagrams were completely different. Binghe had thought himself dumb to be unable to read or understand some parts of his manual. For finding the diagrams to be confusing and painful to execute.

Yuan-ge’s words flashed in his mind.

“People could be trying to hurt Bing-er with fake material.”

This…

Binghe’s manual is fake.

If Binghe kept trying to cultivate using his manual, he could have died.

His Shizun had handed him this manual with a sneer, telling him to learn it well. Binghe had dedicated himself to this manual, reading each word carefully with his growing literacy and following each diagram attentively.

At best he would have wasted his cultivation, ruining his meridians and his chance at cultivation. At worst he could have Qi deviated and died.

Binghe trembled, a mix of emotions brewing in him as he realized that his Shizun wanted him dead. He knew that he had offended his master to some extent, but Binghe always thought that if he worked hard enough he could change his Shizun’s mind. If he proved himself, maybe Shizun would call him by name rather than ‘Beast’.

Binghe’s smile felt brittle as he pasted it to his face. “Ning-shije, do you think this one could take notes from your manual tomorrow? It’s much easier for this lowly one to understand.” he asked.

Ning Yingying agreed easily with a smile, taking her manual back before returning to her earlier chatter with a bright grin. If Binghe told her that his manual was fake, she would undoubtedly go straight to Shizun about it. Ning Yingying means well, but her words have always gotten him into trouble. Binghe can’t let her know that anything is off.

So, he smiles back and talks with her, pushing aside the growing anguish and anger inside of him. Those feelings could wait until he was back in his woodshed and could talk to his Yuan-ge.

They part ways when it’s time for dinner, Ning Yingying towards the mess hall and Luo Binghe back to his woodshed. Normally at this time Binghe would work on his cultivation until dinner is over, then he would sneak some leftover scraps that the other disciples didn’t eat.

Today, he didn’t bother. Instead he rolled up his sleeve and dipped his brush into ink.

“You were right, Yuan-ge. It was fake.” Binghe wrote, furious tears burning at his eyes. All of the feelings he had been pushing aside in front of Ning Yingying rose to the surface. His body shook with the intensity of his helpless anger, bitterness, and pain.

It didn’t take long for Yuan-ge to respond.

“I’m so sorry, Bing-er. You deserve better.” Yuan-ge wrote, words soothing with their protective fury and gentle comfort.

Binghe choked on a sob, staring at the words with glassy eyes. When had anyone ever said that he didn’t deserve what was happening to him? The last person to say something like that was his A-Niang, who told him that he deserved more than she could provide. She urged him to become a cultivator, to find a better life for himself. Binghe stayed at Qing Jing Peak no matter what happened because he held onto her words.

Binghe knew they didn’t like him here. He knew they wanted him gone.

He thought that if he could just prove himself, maybe then he would be accepted.

His Shizun had been trying to kill him since the day he arrived. There was no way that Binghe would ever make himself worthy in the eyes of Shen Qingqiu. He would only ever be a wretched beast.

“Yuan-ge.” Binghe wrote, hardly able to see through his tears as he sobbed hard enough to shake his body. He wished desperately that his Yuan-ge was here with him. Yuan-ge would make everything better. Yuan-ge was the only person who truly cared about him.

Binghe couldn’t force himself to calm down enough to read the response that Yuan-ge wrote, but he desperately grasped at the message to feel what it said. Binghe gasped, soaking in the love and comfort that was imparted into Yuan-ge’s words. Binghe clutched at his forearm until the skin turned pale under the pressure, greedy to get as close to Yuan-ge as he could.

Binghe wishes he could crawl beneath his own skin to get even closer to Yuan-ge’s words. He wishes he could travel across their string of fate and see Yuan-ge’s face. He wishes that Yuan-ge was here to hold him and whisper in his own voice whatever words he wrote.

Binghe could feel Yuan-ge keep writing to him, slowly filling up his entire arm before he started writing on their legs as well. Yuan-ge kept up a steady stream of writing, every character filled with comfort and love. Binghe traces the words as they appeared, chasing after the path they took as they scrawled across his body.

He doesn’t know how long it took for his desperate sobbing to peter off into gasping hiccups and sniffling, but Yuan-ge didn’t stop his writing the entire time. Binghe could feel that Yuan-ge was writing the same few words over and over again on their legs, keeping his writing small and compact.

Binghe wiped away his tears and fought to steady his breathing, wanting to read Yuan-ge’s words. He started with his left arm.

“My Bing-er, I’m here. I’ll always be here.”

“We’ll figure this out, Bing-er, I’ll help you.”

“I’m so sorry Bing-er, you deserve better than this.”

“Bing-er deserves the world, I would give it to you if I could.”

“I’m here, Binghe.”

Yuan-ge had written. They threatened to send Binghe back into a heap of tears, but he held back so that he could look down at his legs.

Yuan-ge had only written one thing, repeating the same words countless times, enough to fill the space from his ankle up to his knee on both legs.

“Binghe is precious.”

Binghe couldn’t fight back the tears any longer. He wrote back to Yuan-ge through the blurry film of tears, his poor penmanship suffering even further from his unsteady hand.

“I wish Yuan-ge was here.” Binghe wrote, wishing with all his heart that it could come true. The woodshed was cold and alone, but his body was filled with words of unconditional love.

Binghe has never felt so alone, but at least he has Yuan-ge.

Even if the rest of the world wants to see him dead or suffering, Yuan-ge is there.

Yuan-ge is all Binghe needs.

Part 5

#svsss #bingqiu #luo binghe #shen yuan #soulmate au #mxtx #scum villian self saving system #binggeyuan #bingyuan

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liberty-or-death · 2 years

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Working on all these various translations has got to be the most educational fandom related thing that I’ve ever done. Now that I’ve pieced together a list of poetries that I’ve fully translated, and I’ve also translated an additional 18 more poems that aren’t posted yet, it’s quite interesting to see how different writers use these poems.

MXTX, for example, uses a lot of mainstream poems. She likes stuff from the Tang 300, with the occasional Song poem (example) on the side. For example, Wei Wuxian’s spell, Lan Zhan’s first appearance, Jiang Fengmian’s name, Yunmeng Jiang and Gusu Lan’s namesake poems are all derive from the Tang 300. She did use the Liang Dynasty’s Beauty of Nanyuan 南苑逢美人 in Wei Wuxian’s spell, but that’s a really popular poem that’s used everywhere. MXTX also uses Yuan Zhen’s Mourning in TGCF, and that’s a poem that kids learn in high school. I’m guessing that this probably because she was pretty young when she wrote MDZS and, it’s stuff that she learned in school.

SHL uses poems in a different way. Wen Kexing uses everything from the Qing Dynasty (1912AD) to the Zhou Dynasty (256 BC), but he uses predominantly Shijing (Zhou Dynasty - Waring States 221 BC) poetry to express his sorrow when he realises Zhou Zishu was dying. (SHL list of poetries) Shijing were basically folk poems during that time period, so essentially, he was sprouting poetry like a gentleman to flirt with Zhou Zishu, but spoke like a layman when he was mourning.

MXS (Thousand Autumns) also has a different choice of poetry. She uses stuff from 李商隐 Li Shangyin twice in Chapter 1 (Regret Peak’s one of them. I’ll post the second one on the 25/2), and his poems are notoriously difficult to understand. There’s also reference to a picture, and she also uses really obscure poetries that aren’t mainstream.

Here is the list of poems! Enjoy!

#reflections #mxtx #MXS #shl #mdzs #thousand autumns

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thepersonperson · 28 days

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How old do you think lived to be in the Heian era?

Also do you think the marks on his body are like birthmarks or tattoos to mark criminals?

Not a clue about Sukuna’s death age. The Buddha reached enlightenment at age 29. Sukuna is “enlightened” so I’m going to put him at 29+ years old at death.

I’ve been meaning to do a Sukuna Tattoo post so I guess I’ll use this as an excuse. They aren’t birthmarks that’s for sure.

Sukuna's Tattoos

Notes before we start.

1) I will be mainly using the TCB scans for the manga because of their accessibility.

2) Written as of JJK 267.

(Click images for captions/citations.)

Preface

I'm drawing from a lot of sources here because documentation of Heian Era specific tattooing customs is not something I could find. The reason I’m comfortable using non-Heian sources as a reference is due to Sukuna borrowing both language and arts from other periods.

For example, Sukuna scolds Yorozu for not using a Haiku properly. The form of Haiku that Yorozu uses did not exist until the late 17th century. A good 500+ years after the end of the Heian Era (794 to 1185). The Haiku is actually derived from Waka poetry that became popular during the Heian Era. (Very short summary: Waka (Sedoka specifically) -> Renga -> Haiku)

It should also be noted that Chinese influences greatly shaped the development of arts and social attitudes in early Heian Era Japan. These influences declined over the this era as Japan looked towards itself for cultural development. Since the Heian Era was from 794 to 1185, most of the Chinese influences came from the Tang Dynasty (618 to 907).

For all these reasons, most of this tattoo analysis draws from the Tang Dynasty in China and the Edo Period in Japan. However historical Chinese tattooing in general is referenced more due to its availability.

Anyone with more historical Japanese or Chinese knowledge are free to correct me if I get something wrong.

Facial Tattoos

Let's first compare the facial tattoos on Yujikuna Megkuna and OG Sukuna.

Yujikuna and Megkuna have identical facial tattoos, but OG Sukuna lacks the markings over his nose and forehead. I think this is because those markings have something to do with Kenjaku's vessel creation. When Kenjaku casts Idle Transfiguration to wake up the Incarnated sorcerers for the culling games, they also have markings on their foreheads.

Sukuna's vessel markings might be different because his incarnation occured outside of the culling games. It could also be from his cursed object’s division into multiple pieces instead of just one. Whatever the reason, these forehead and nose tattoos prpbably hold more information about Sukuna’s relationship with Kenjaku than his past in general. All 3 versions of Sukuna share the chinstrap markings, so those tattoos likely have significance outside of Kenjaku.

Now onto what they could mean…

Sukuna has already demonstrated that he knows his Chinese literature and wordplay via Enchain/契闊 (Keikatsu). (The person who brought this to my attention may or may not have their account nuked. A doctored version of the Tweets is screenshottes here). What's important for this analysis is knowing that Keikatsu comes from a Chinese Poem.

The poem referenced belongs to the Shijing or The Book of Odes. This book is a part of the Wujing or Five Classics, a series of documents believed to be compiled by Confucius that has greatly influenced both China and Japan. Amongst the Five Classics is the Shangshu or Book of Documents that cites the use of punitive tattooing. Quoted directly from Wikipedia:

"It lists the "Five Punishments": the five primary penalties employed by ancient Chinese officials on criminals. The first (and least severe) of these punishments was the tattooing of the criminal's face with indelible ink."

In the Edo Period of Japan, the criminal markings on the face seem to only appear on the forehead. These were given to any lawbreaker as a punishment and a warning because they didn't have prisons. (Source)

These sources both suggest the facial markings are for criminals. However, there are alternative meanings that should be considered.

Kenjaku’s vessel markings are on the forehead and many of the culling game players consider themselves to be manipulated by the promises of incarnation. It’s also odd that the strongest sorcerer is unable to incarnate properly due to Yuji acting as a cage. Kenjaku is all but outright confirmed to have done that on purpose.

For these reasons, I think the following historical tattoo practice from the Chinese Song Dynasty (960 to 1279) should be considered. Quoting directly from the source:

“Tattoos for slaves were things like a label of ownership, or a brand on the forehead. There are some examples of slaves, and concubines, receiving tattoos as punishment for things like trying to escape…”

Uro is a former slave, a military slave to be exact. I go more into detail about this in my Initial Sukuna Backstory Theory. There is also the fact that Kenjaku sees the incarnated and has access to their lives/bodies like this...

They're essentially toys with built-in tracking devices for Kenjaku to monitor and tinker with as needed. The forehead and nose tattoos on Yuji/Megkuna can therefore be seen as a mark of ownership by Kenjaku. And maybe this is why Choso has one across his nose too.

There is one more meaning I can propose for the facial tattoos, though it mostly applies to the chinstrap.

Within China there are tribes that used facial tattoos for other purposes. The Dulong women had their faces tattooed to make themselves look undesirable to invaders that would abduct them for slavery and rape. (If you've read that one revised Sukuna backstory of mine, this is significant.) But more commonly, these markings became a tradition for girls coming of age.

The Ainu women in Japan also used facial tattoos for coming of age, beauty, and preparing for death. I bring up the Ainu because they’re mentioned as a non-Japanese group of sorcerers. There's also this Yuji is of Ainu heritage theory to consider. (This could link Sukuna to the Ainu by blood.)

The tribal uses are discussed here because Sukuna’s tattoos are vaguely tribal in appearance. Though tribal tattoos tend to be more detailed, his feel like a simplified version of them. I think that works well with Sukuna being labeled an unwanted child at birth. Japan has wiped out a lot of its indigenous populations and customs (see the Emishi). After all, what minority group practices haven’t been demonized and associated with criminal activity by the majority?

So the facial tattoos for Sukuna may be a marker for his vessel status, a claim of ownership, a punishment for being a criminal, a deterrent for sexual assault, or a signifier of belonging to a tribe. You can come to your own conclusions about this, after all none of this is confirmed.

Chest and Belly Tattoos

Comparing the versions of Sukuna again. (All these sections are going to start like this.)

Yujikuna and Megkuna once again have the same tatts. OG Sukuna has “C” hooked markings over his pecs instead of the “S” hooks of the other two. He also lacks the belly markings entirely. Since his belly mouth seems to be replacing the belly tattos, I think those markings on Yuji/Megkuna are a stand in for that extra mouth. The pec style differences I have no explanation for.

Due to the chest tattoos extending over Sukuna’s shoulders and onto his back, I won’t looking for possible meanings until the back tatts are addressed.

Back Tattoos

The tattoos running down Sukuna’s back appear to be the same for all 3 versions. Differences are slight enough to be considered inconsistency in the art and not deliberate.

The neck tattoos between Yuji/Megkuna and OG Sukuna differ slightly however. The bands of Yuji/Megukuna remain separate while OG Sukuna’s fuse together and extend further down his back. I don’t really have an explanation for this difference, much like the hooks differing on his pecs.

Back and chest tattoos are associated with criminal activities in Japan rather than criminal punishments because they are hidden under clothing. (Well not in Sukuna’s case, but you know…) Most notably the Yakuza have very intricate chest and back tattoos.

But going back to China, tattoos were also used as dog tags for military members and could signify loyalty, mainly during the Song Dynasty (960 to 1279, which is still within the Heian Era). Despite this, cultural opinions at the time seemed to be conflicted due to tattoos sharing an association with criminals. Quoted directly from the source:

“According to Yue Fei’s biography, when the legendary general was slandered and interrogated for treason, he tore the shirt off his body, exposing four characters tattooed on his back: “Exhaust one’s loyalty in service of the state.” This study looks at two components of the Yue Fei story—patriotic tattoos, and tattooed generals—and examines their meaning in the broader stretch of Song dynasty history. Yue Fei was not the Song dynasty’s only tattooed general who came to a tragic end.”

“This study shows that underneath the nationalist historical narrative of the Song dynasty, of which Yue Fei is a famous example, there lies a different story of social conflict within the Song state. Rather than a story of Chinese fighting non-Chinese and of traitorous and cowardly officials struggling with loyal patriots, this study offers a narrative of a social conflict between high-born clear-skinned officials and low-born tattooed military men.”

Now that sounds a lot like how the higher ups clash with the Jujutsu Sorcerers who do all the actual work. This mentality existed even in the Heian Era, where Uro was exploited as a military slave by the Fujiwaras. And since Uro is a Sukuna parallel, these tattoos could also indicate a similar type of exploitation.

There are still tribal purposes to consider. Drawing more from Chinese sources, the Dai men had body tattoos as a symbol of strength that would accentuate their muscles. Sukuna’s chest and back tatts really draw attention his brawn. The Li women had body tattoos as a right of passage and as identifiers. Sukuna’s neck tattoos in particular are similar to these ones.

So my spattering of explanations this time around for the chest and back tattoos are criminal organization affiliation, military “loyalty” claims (this is a form a slavery), decorative pieces to accentuate the muscles, a right of passage, and an identifier.

Arm Tattoos

Remember how I theorized that the belly markings on Yuji/Megkuna were a stand in for OG Sukuna’s extra mouth? That’s what I think is going on with the arm tattoos as well. The double bands and circles on Yuji/Megukuna represent the extra limbs on OG Sukuna. When this fusion is pulled apart, you get the single bands and dots on the 4 limbs.

As for their meanings? There’s the criminal markings of the Edo Period that indicate where the particular criminal is from. (Courtesy of this Reddit post.)

Since Yuji/Megkuna tattoos are more related to Kenjaku’s vessel creations, this could hint that their deal took place in Nara, Oosaka, Koufu, or Edo. (Nara is most likely because of its significance in the Heian Era.) For OG Sukuna, this is more indicative of where he first got them.

However, the single band is not for a location but rather a status—Hinin. These are the undesirables and social outcasts that were marked for their uncleanness. Sukuna was born a conjoined twin and unwanted. It’s likely these markings directly correspond to that fact.

…

(An unserious suggestion. On queer men in the US, double rings on the arm can represent how far they can fist someone.

I don’t think Gege is referencing this at all. This is just an example of why cultural context is very important to consider.)

...

There are some other meanings to be drawn from armbands specifically, but those are easier to group with legs.

Leg Tattoos

Differing from the other sections, the leg tattoos have only been seen on Megkuna and OG Sukuna. As referenced in the image below, we have the ankle of Megkuna (top left), the upper thigh of Megkuna (right), and ankles of OG Sukuna (bottom left).

Instead of having the double rings, like on his arms, Megkuna only has a single band, which matches OG Sukuna. (It’s reasonable to assume Yujikuna is the same and that OG Sukuna has the upper thigh bands too.) This further supports the idea that the double bands and shoulder rings represent the fusion of the extra limbs. Sukuna never had extra legs so there’s no need represent missing limbs.

For what they mean? I have only the non-Japanese/Chinese sources to go by. Gege may be a fan of non-Japanese cultures, but I'm not sure if that means Sukuna's design elements would borrow from them.

In other cultures, armband tattoos can represent mourning. Which ones exactly I have no idea because all the sites making this claim don’t specify them in detail. (Source 1, Source 2, Source 3) It’s honestly pretty infuriating. If you’re going to “borrow” designs from “cultures” to sell, at least cite your got danged sources.

But if we are to read these as indications of mourning, I don’t believe they’re for a person. Throughout this analysis, tattoos recurrently are associated with some form of oppression—slavery, uncleanliness, social damnation. If Sukuna’s bands are to be read as mourning, I think it’s for the loss of his autonomy and personhood.

What does it all mean?

Sukuna's tattoos are permanent marks that appear to be directly linked to his soul. How he acquired them is currently unknown. Traditional means of application can be quite painful, using metal or bamboo rods to carve skin and fill the abrasions with ink. (Here's a video if you want to watch it be applied.)

If we consider Kenjaku’s use of brands to mark and control vessels, it could be assumed that Sukuna’s tattoos are ones others put on him through binding vows for his control. They could also be symbolic in nature, hinting at his heritage and origins, indicating that he was branded an outcast at birth or even blessed by deities for protection. Perhaps Sukuna wanted the tattoos himself as an act of rebellion against the changing social norms. Whatever the reason, one thing is clear, these tattoos separate him from other humans.

Existing on the Border

I think the ambiguity behind the purpose of these tattoos this fits nicely with Sukuna and other people not knowing how to categorize his personhood. He's so strong and different that he might as well be something other than human. But he's not a curse, he wouldn't be able to used Reversed Curse Technique if that were the case. Is he a monster? A natural disaster? A god? He's kind of all these things at once by way of projection. Other people assign these labels to him and Sukuna doesn't correct them. There's something profoundly gender about it all.

And if you noticed, tattoos in ancient China and Japan have purposes that differ by gender. For women they were used for beauty and protection, while with men they were used to mark ownership and criminality. Sukuna has a melding masculine and feminine elements which is why I consider the tattoo meanings for both with him.

That sounds kind of crazy given that Sukuna very much embodies strength born of toxic masculinity. However, he actively wears women’s clothing and seems to have no qualms with being associated with feminine things. (Godbless marketing team for leaning into that.) He may have a rough and masculine speaking style, but he loves poetry and flowers.

(Sukuna is lying when he tries to deny it. Megumi's hobbies have everything to do with animals, not flowers.)

The earrings he wears, though a direct reference to the Buddha (basically it’s shorthand for how Sukuna isn’t truly enlightened yet), are another symbol of Sukuna's non-conformity. Earrings are something the Japanese government went out of its way to ban for Ainu men during the Meji Restoration after it decided they were only for women.

Even the short hair both he and Uraume wear are quite rebellious for those times, if not an indication of their lower standing. Regardless of gender, long hair was seen as desirable, high-class, and attractive during the Heian Era. (Source for men and source for women.) Most of the Heian characters wear it that way.

Notice how the servant has her hair cut shorter. Sukuna and Uraume's is shorter than that. It would be considered ugly and possibly dehumanizing. And yet when Kashimo sees Sukuna's true form, he calls him beautiful. He uses 美しい (Utsukushii) to do that.

That kind of beauty is a bit deeper than the English language can get across. From the words of someone else, "...utsukushi can express the beauty of something that catches your heart."

Kashimo isn't really wrong, but he's also not entirely right. For every panel of Sukuna looking like an ethereal god, there's another of him being an amorphous creature or a rabid goblin. All of these types of faces for Sukuna occur within JJK 253 alone.

These contradicting elements that somehow fit together are what make Sukuna, Ryomen Sukuna. He both participates in and rejects beauty. He’s crude and classy, violent and merciful, masculine and feminine. That duality, that two-faced nature is Sukuna.

I think his tattoos reflect this. Directly quoted from the source:

“Tattoos have many different symbolic meanings in Japanese culture and can denote where an individual ranked in society or serve as a permanent means of defense against evil forces or perhaps members of the animal kingdom. With the arrival of the seventh-century, the idea of tattooing one’s body in order to make it more beautiful began to lose its appeal due to the strong influence of Chinese customs in Japan—specifically when it came to identifying and tracking criminal activity. Around 720AD during the Nara Period, it appears that tattooing as a form of punishment began to infiltrate Japanese culture. Once the dawn of the Edo Period began the art form was more widely used as a punishment for criminals as at the time there was really no such thing as a prison to send lawbreakers off to.”

The purposes and attitudes towards tattoos in the Heian Era morph in the way Sukuna morphs both physically and in perception. Since Sukuna is the Fallen One, that means he must have been Honored One first. What caused him to fall remains a mystery, much like the meanings behind his tattoos.

One last thing...

A small caveat in relation to everything else, Sukuna referring to himself as The Fallen is the only time he has introduced himself.

He’s not given someone his name nor identified himself as anything other than a former human (which was internal). Combined with the ambiguous nature of his form, tattoos, and origins, I don't think it would be wrong to read him as someone who has transcended gender.

#cactus yaps #Wow I went down a research rabbithole for this.#I don't think this counts as weeb posting. This is more in line with Erika Furudo. Yeah I'm Erikaposting now.#Beatoposting is when I suggest Sukuna lacks a gender.#Where's that one meme that's the enby flag but with a hyper masculine bearded dude in front of it going “Any Pronouns Lmao.” That's Sukuna.#I am once again asking what the hell happened to Sukuna and how much of it is Kenjaku responsible for.#Read Umineko btw.#ryomen sukuna #jujutsu kaisen #jjk asks #asks #jjk spoilers

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whencyclopedia · 4 months

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Qilin (Chinese Unicorn)

The qilin (麒麟, or simply lin 麟) is a Chinese mythical creature, frequently translated as "Chinese unicorn." While this term may suggest a one-horned creature, the qilin is often depicted with two horns. However, like the Western unicorn, the qilin was considered pure and benevolent. A rarely seen auspicious omen, the qilin heralds virtue, future greatness, and just leadership.

Throughout history, the qilin can be found in Chinese literature, art, and accounts of day-to-day life. As one of the Four Auspicious Beasts – alongside the dragon, phoenix, and tortoise – the qilin also embodies prosperity and longevity and has a heavenly status. References to the qilin date back to ancient Chinese texts, where this revered creature is regarded as a sign of good fortune and an indicator of a virtuous ruler. Its association with the philosopher Confucius (l. c. 551 to c. 479 BCE) underscores its significance as an auspicious symbol. Qilin imagery was favoured across various Chinese dynasties, and its popularity extends across other Asian countries, including Japan, Korea, and Vietnam.

The Qilin in Classical Texts

In the classic The Book of Rites (also known as the Liji, date uncertain), the qilin is listed as one of the four intelligent creatures along with the phoenix, dragon, and tortoise, often referred to as the Four Auspicious Beasts. Each of these divine creatures symbolizes different virtues considered essential for successful and harmonious coexistence. Broadly, the dragon symbolizes power and strength, the phoenix renewal and grace, the tortoise longevity and stability, and the qilin prosperity and righteousness. Together, these beings convey a collective message of good fortune and balance.

The Classic of Mountains and Seas (the Shanhai jing, 4th century BCE), a proposed mythological geography of foreign lands, mentions several one-horned beasts, but none are specifically identified as the qilin. The earliest known reference to the qilin in ancient texts can be traced back to the Western Zhou period (1045-771 BCE), which is the first half of the Zhou dynasty, the longest-lasting dynasty in Chinese history. The qilin also appears in the Shijing, also called The Book of Odes or Classic of Poetry, said to have been compiled by Confucius in the 4th century BCE, making it the oldest extant poetry collection in China. The Shijing contains just over 300 poems and songs, with some thought to be written between c. 1000 to c. 500 BCE. The piece in question, "The Feet of the Lin", appears at the end of the section that captures the voices of the common people. From Bernhard Kalgren's translation, The Book of Odes (1950):

The feet of the lin! You majestic sons of the prince! Oh, the lin!

The forehead of the lin! You majestic kinsmen of the prince! Oh, the lin!

The horns of the lin! You majestic clansmen of the prince! Oh, the lin!

Here, lin refers to the qilin, and its defining physical features are likened to regal offspring and relations. Karlgren calls this "a simple hunting song, and an exclamation of joy" (7) and suggests it was originally about a real but rare animal, such as a type of deer, which became a fantastical legend later. In James Legge's translation of the same poem, he notes that the qilin had a deer's body, ox's tail, horse's hooves, a single horn, and fish scales. The qilin's feet are not used to harm any living thing, even grass; it never butts with its head, and does not attack with its horn. As a popular and freely available translation, these notes are frequently cited and show the qilin as supremely peaceful and benevolent by choice.

In the 5th century BCE, we find the qilin, again mentioned as the lin, in The Spring and Autumn Annals, a historical record of events occurring in the state of Lu. This chronicle records that a lin was captured in the 14th year of Lord Ai's rule, 481 BCE. Later scholars analyzed and attributed great significance to this event, as Confucius himself, the compiler of The Spring and Autumn Annals, might have done.

From James Legge's translation of The Chinese Classics, volume V, 1872, page 832, (translator's square brackets):

In the hunters in the west captured a lin.

#History #Qilin #China #ChineseMythology

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dkniade · 10 months

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Contrast and Unity in the White/Black Imagery of Genshin Impact Quest Titles

Dragonspine 1.2 & 2.3 Events, Fontaine Act I

Game: Genshin Impact

Developer: HoYoverse

Fan Localization: Dusk

An aside from when I tried to explain the meaning of Kreideprinz’s Chinese term—

In Chinese, 白垩 is used to refer to Albedo with varying meanings but in the English version the term is even less consistent:

Concealed Talon item description 白垩层 (baie ceng) = “Cretaceous Layer” (of soil) localized as “Cretaceous”

Albedo’s Story Quest Chapter title 白垩之章 (baie zhi zhang) = “Cretaceous Chapter” localized as “Princeps Cretaceous Chapter”

Albedo’s second Ascension voiceline, 白垩 (baie) = “chalk”/“Cretaceous”, localized as “albedo”, the second stage of the alchemical magnum opus

(even though in the context of alchemy, the albedo (Latin: “whitening”) stage should be 白化 (baihua, whitening) in Chinese because the albedo stage does not refer to chalk/limestone)

Albedo’s title 白垩之子 (baie zhi zi) = possibly varies slightly depending on context that it appears in, localized as “Kreideprinz”

Xingqiu’s “About Albedo” voiceline, 白垩老师 (baie laoshi) = (teacher) “Mr. Cretaceous” (Latin) or “Mr. Chalk” (English) or “Mr. Kreide” (German) localized as “Mr. Kreideprinz”

Version 1.2’s name 白垩与黑龙 (baie yu heilong) = “The White Chalk and the Black Dragon” or “Cretaceous and the Black Dragon”

or one can localize it in German like how they did the 4.0 Chapter IV Act I “Prelude of Blancheur and Noirceur” (French: “Prelude of Whiteness and Blackness” or ”Prelude of Innocence and Darkness”)

though, officially, Version 1.2’s name 白垩与黑龙 is localized as “The Chalk Prince and the Dragon”

Speaking of black and white in titles, another aside—

Don’t you know that HoYoverse loves juxtaposing white/black or light/shadow in its quest titles

1.2 Dragonspine event

Chinese: 白垩与黑龙 (Baie yu Heilong) = “The White Chalk and the Black Dragon”

Official English: “The Chalk Prince and the Dragon”

2.3 Dragonspine event

Chinese: 皑尘与雪影 (Aichen yu Xueying) = “White Dust and Snowy Shadows”

Official English: “Shadows Amidst Snowstorms”

皑 from 白雪皑皑 (baixue aiai) usually refers the whiteness of snow specifically, so 皑尘 as “(snowy) white dust” is just their over-the-top way to say “snow”.

“Snowy Dust and Snowy Shadows” sounds too humorous though.

I’VE BEEN WANTING TO SAY THIS FOR A LONG TIME NOW: of course symbolism-wise it’s likely that “white dust” refers to Albedo, “snow” refers to the Cryo Whooperflower Albedo, and “shadow” refers to Primordial Albedo, with Durin encompassing all three as the shadow dragon that lies dead—like dust—in the snowy mountain.

HoYoverse being HoYoverse has found a way to say white and black without even using the hanzi for white (白) and black (黑) back in 2.3.

4.0 Fontaine Act I

Chinese: 白露与黑潮的序诗 (Bailu yu Heichao de Xushi) = Prelude of White Dew and Black Tides

Official English: “Prelude of Blancheur and Noirceur”

with French terms translated: “Prelude of Whiteness and Blackness” or “Prelude of Innocence and Darkness”

Given the information in 4.0, I would assume that “white dew” refers to Furina and “black tides” refers to Neuvillette seeing how Furina’s always at the front of key visuals and Neuvillette’s always looming ominously over the background, but you can also think of it as innocence vs guilt, I suppose.

POETIC ALLUSION UPDATE: 白露 alludes to the Chinese poem “蒹葭”(Jianjia) = “Reed”

from the ancient collection of poems, 诗经 (Shijing)

The poem is basically the narrator talking about not being able to reach their lover, who’s on the other side of the water (lake?)

The act’s Chinese title is already over-the-top—since most people would look at it and think “ah white and black and something about water, got it”—so localization’s aim is to match the fancy feel and not the accuracy ‘cause honestly if you localize all that into French it’d be too long. This makes sense…

Though, the implication that French holds such a high prestige that its mere presence is enough to balance out some loss of meaning from the Chinese title is… strange, now that I think of it.

白露与黑潮的序诗 (Prelude of White Dew and Black Tides) in French would be “Prélude de la rosée blanche et des marées noires”… I think. (Please correct me if I’m wrong.)

This time HoYoverse found another way to say white and black while using the hanzi characters AND STILL BE EXTRA BECAUSE THEY ALLUDED TO A CHINESE POEM OF COURSE THEY DID. ARCHONS, man…

New drinking game: take a shot whenever black/white or dark/light is juxtaposed in a Genshin title/name of any language, take another shot if they don’t actually use the word/character for black/white in the target language, take another if they alluded to a Chinese poem or literature in the original LOL

#dusk analysis #genshin translation #symbolism #dragonspine #albedo #durin #dorian #subject 3 #rubedo #fontaine #furina #neuvillette #kreideprinz #princeps cretaceous #the chalk prince and the dragon #shadows amidst snowstorms #prelude of blancheur and noirceur #genshin impact #genshin archon quest

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crepes-suzette-373 · 8 months

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Earlier, it occurred to me the possibility of Sanji having taken inspiration from Nezha, a divine entity from Chinese legends. The texts that mentions Nezha, Journey to the West and Feng Shen Yan Yi, are both texts that are fairly well known in Japan. Various anime and manga reference these stories, so I don't think this parallel is too outlandish.

I don't think this will predict anything in the future, since the parallels I saw mostly point to things that already happened, but I'll describe the similarities first.

The lore of Nezha varies slightly depending on the text you read (either Journey to the West, or Feng Shen Yan Yi), but the generic narrative goes like this:

Nezha was born the third son of a military commander. At a point in time, he had squabbles with deities, which angers Nezha's father. The father wants to kill Nezha, but he chose to kill himself before he gets killed. Nezha's mentor then revives Nezha into a new divine body, and gives him two items, a fire spear and flying wheels of wind and flames to ride on. The reborned Nezha initially wanted revenge on his father and defeated his older brother who tried to stop him. However, Buddha (and/or the mentor) intervened and made Nezha and his birth father make peace.

In Journey to the West, Nezha later helps Sun Wukong defeat some of the enemies they encounter in the journey (even though he doesn't actually join the group). In the other versions, Nezha and his brothers and father defeat the immortals of an evil king to help the good king ascend the throne.

Similarity:

Born as a third son in a military family

Birth father wants him dead.

Rescued/given new life and abilities by a mentor

Fire-based new powers/weapons (the fire wheels in modern imagery as shown above makes it look like Nezha's feet are on fire)

Difference:

Sanji didn't actually "die" for real. You can, however, say that he killed his "Vinsmoke" name.

Sanji's more powerful "divine body" (exoskeleton) was already there from birth, though it only awakened much later.

Sanji does not use actual weapons

Nezha has a godly form with three heads and six arms. In One Piece, the one who has this is Zoro.

Event parallels:

The mentor who revived Nezha and Zeff. While Diable Jambe developed much later, Sanji got all his fighting abilities from Zeff.

Assisting Sun Wukong and Sanji in the Straw Hat crew. This analysis in the first place was inspired by another comment that suggest Luffy's character has references/inspiration from Sun Wukong the Monkey King.

Defeating older brother = Sanji was able to kick down Niji and Yonji.

Flimsy parallel, but arguable:

Mentor steps in to cause father and son to make peace: Sanji saved the Vinsmokes because of his regard for Zeff. Very loose parallel, since they don't actually 100% make peace yet and Zeff's not even there, but similarity can be argued.

Working together to fight evil king and a new king ascends the throne: The escape from Whole Cake, when Germa assists the Straw Hats. After the Straw Hats escape Big Mum, the newspapers say that Luffy is the "fifth emperor".

Empress Shijing. There was an incident where Nezha fought with and led to the death of Empress Shijing, who is a spiritual entity/immortal. Arguably this might be the Sanji VS Queen fight, even though Queen is not female.

Possible predictors?

As I said in the start, I'm not certain the parallels predicts anything for the future. Maybe some kind of super god mode. Say, maybe Sanji's exoskeleton fully activating, but somehow without changing his personality. Or it connects to the Garuda/Lunarian theory I formulated, because of the "divine" connections.

One other thing is that in Nezha's narrative, which I gloss over earlier, Nezha's squabble that led to his death was killing the dragon king's son (or offending the dragon king in another way). Since I don't see this paralleling anything yet, it's not impossible for this to be a predictor of Sanji fighting an actual dragon, or even this might refer to the Celestial Dragon world noble. I'm not entirely counting on this happening, though, because I'm not certain sensei was just unloading the whole plot on Sanji like this.

#one piece #analysis #theory #sanji #black leg sanji #vinsmoke sanji #vinsmoke family

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