Top 10 Famous Beauties in Chinese History

Xi Shi, also known as Thi Di Quang, daughter of a woodcutter from Thi family in Trữ La mountain, Gia Lãm, during the Spring and Autumn period. Xi Shi was a renowned beauty during the Spring and Autumn period, leading the Four Great Beauties in Chinese history. Legend has it that her beauty was so captivating that fish would stop swimming and dive to the bottom of the water, a phenomenon known as Trầm ngư. The story of Xi Shi is widespread in East Asian cultures. She followed the footsteps of Phạm Lãi, from Vietnam to the state of Wu, enchanting King Fuchai of Wu, aiding Vietnamese King Câu Tiễn in defeating the state of Wu, leading to its demise. The story became a legend of mesmerizing beauty and is frequently mentioned in Chinese folklore. Her celestial beauty is widely recognized in both poetry and folk culture, symbolizing extraordinary beauty in Chinese and influenced cultures. The tale of Xi Shi is a prime example of the 'Beauty causing the downfall of a nation' image in ancient feudalism, particularly depicted in the Dong Chu historical novel and poems by Tang Dynasty poets Li Bai and Wang Du.

The beauty of Xi Shi is described as exceptionally graceful. The story of Xi Shi embodies the image of a great beauty and is often cited to describe exceptionally beautiful women in Chinese culture and some influenced countries. Her story is a typical example of the 'Beauty causing the downfall of a nation' image in ancient feudalism, particularly depicted in the Dong Chu historical novel and poems by Tang Dynasty poets Li Bai and Wang Du. Xi Shi was considered a precious gem shining with an incomparable brilliance in the Moon Palace. Whether Xi Shi was a real historical figure or a mythical creation remains a subject of debate. Though the mystery of Xi Shi's beauty and her impact on the history of China is not clearly verified, the legend of Xi Shi's beauty remains famous to this day.

Diao Chan is a beauty in the Four Great Beauties of China and a famous character in the novel Romance of the Three Kingdoms. Her beauty is likened to a 'moon embraced' that even the moon feels ashamed and hides behind the clouds. Legend has it that Diao Chan worshiped the moon in the rear garden of Tu Du's mansion - a great minister of Emperor Hien of the Three Kingdoms era. Unexpectedly, a gentle breeze blew, a light cloud drifted, obscuring the moon. Right then, Vuong Doan saw it, praising his foster daughter's beauty to the point that even the moon had to seek refuge behind the clouds. Thus, Diao Chan became renowned as the 'moon embraced.' With her beauty and clever talents, according to the novel's plot, Diao Chan changed the course of history by manipulating Dong Zhuo's downfall at the hands of Lu Bu, all to repay her foster father Vuong Doan's kindness.

In the Romance of the Three Kingdoms novel, La Quan Trung used existing elements to create the character of Diao Chan that is widely known today. In the novel, Diao Chan is an orphaned girl from the slave class who, unfortunate from a young age, sells herself into the palace. Later, during the chaos of the Ten Eunuchs, she manages to escape the palace and eventually seeks refuge in the mansion of Tu Du Vuong Doan - a high-ranking minister loyal to the Han dynasty. During this time, living in the mansion but witnessing her master Vuong Doan constantly worrying about the Hien Emperor's dynasty being manipulated by Dong Zhuo, Diao Chan feels heartbroken. One night, under the moonlight, she prays to the heavens, vowing to alleviate her master's concerns. Vuong Doan coincidentally sees this, moved by Diao Chan's beauty and adopts her as his foster daughter, asking her to execute a plan he calls the 'Chain of Beauties' with the aim of causing Dong Zhuo and Lu Bu's self-destruction.

Undoubtedly, when discussing Chinese history, one cannot overlook the Four Great Beauties. Their 'overturning nations and cities' beauty not only captivated many emperors but also altered the fate of entire dynasties. One such individual is Lady Wang Chiu Quan. She is hailed as one of the Four Great Beauties of ancient China. Her beauty is compared to that of a 'lost swan,' meaning her beauty is so captivating that even flying birds would be stunned to the point of halting mid-air and falling to the ground. Legend has it that when Chiu Quan passed through a vast wilderness, her heart carried the sorrow of destiny, akin to being far from her homeland. Seated on her horse, melancholic, playing the 'Farewell to Geese' tune, a wild goose flying by, hearing the mournful melody, was so moved that its heartstrings broke, and it plummeted to the ground. The term 'Lost Swan' in the phrase 'Drowning swan, lost geese' (bird falling, fish diving) originates from this.

Lady Wang Chiu Quan was a political figure during the Han dynasty, initially a palace maid of Emperor Hien of Han, and later the wife of the military general Hsu Han Ta. Lady Wang Chiu Quan entered Chinese history as a beauty associated with peace, becoming one of the Four Great Beauties in Chinese history. Wang Chiu Quan is also known as Ming Fei. She was born into a scholarly family during the Western Han era under the rule of Emperor Hien of Han. Chiu Quan not only possessed extraordinary beauty but was also intelligent and skilled in the four arts: playing musical instruments, chess, calligraphy, and painting. Because of her exceptional beauty, she was selected to enter the palace to serve the king. It is said that her beauty symbolizes peace, and her character represents the high virtue of a beautiful woman. Her soul is likened to a flower always emitting a fragrant scent to the world. Since then, Lady Wang Chiu Quan became the goddess of peonies, a symbol of purity, nobility, and prosperity.

Lady Trieu Phi Yen is regarded as the foremost beauty of the Han dynasty alongside the beauty Lady Wang Chiu Quan, one of the Four Great Beauties of China. She is renowned for her exquisite appearance, with a figure as delicate as a swallow, hence the name Phi Yen (meaning flying swallow). She is known as 'one of the three most outstanding women in ancient China.' The beauty of Lady Trieu Phi Yen can be described as 'the first under heaven,' unparalleled, but the cunning of this great beauty is also unmatched. She is one of the two great beauties of the Han dynasty, alongside Lady Wang Chiu Quan. Lady Trieu Phi Yen and her younger sister, Trieu Hop Duc, after being brought into the palace as consorts of Emperor Han Thanh, worked together to overthrow Queen Hua. However, both Trieu sisters were unable to bear children, so to solidify their positions, they began plotting against other favored consorts.

The two sisters, Lady Trieu Phi Yen, employed schemes, false accusations, and witchcraft. In the end, one person was dethroned as empress, and another was deposed as a consort. Of course, Phi Yen ascended to become empress, the mother admired by the world. Knowing that she could not bear children, Lady Trieu Phi Yen sought every means to have a child. At that time, the scandalous affairs of Lady Trieu Phi Yen became widely known. Emperor Han Thanh knew well but had no way to punish her. The Tieu sisters defended each other, making Emperor Han Thanh infatuated and believing their sweet words. A consort from the Tao family, after giving birth to a son, was murdered by the Trieu sisters, causing a tragic incident in the palace. A year later, a similar scene occurred with the beauty Hua, a woman who had also just given birth to a son.

Lady Duong Quy Phi is one of the four beauties in China. If Lady Trieu Phi Yen has the beauty of Tran Ngu (diving fish), Lady Vuong Chieu Quan makes birds pause in mid-air (Lac Nhạn), Dieu Thuyen is so beautiful that even the moon hides behind the clouds (Be Nguyet), then Lady Duong Quy Phi makes flowers wither in shame every time she admires them (Tu Hoa). Legend has it that one day, Quy Phi went to the flower garden to enjoy the flowers and dispel her sadness. Seeing the Mau Don and Nguyet Quy blossoming, she, feeling confined in the palace, wasting her youth in vain, couldn't help but sigh, 'Oh, flower, oh, flower! Every year you age, and when will I have that day?' Before finishing her words, tears flowed, and as she touched the flower, it suddenly withered, its green leaves curling back. It turned out that she touched a type of virgin flower (shameplant). A palace maid saw it and spread the news everywhere. Since then, people called Duong Thai Chan 'Shameplant.'

Lady Duong Quy Phi, also known as Duong Ngoc Hoan or Duong Thai Chan, was a highly favored concubine of Tang Huyen Tong Ly Long Co. In Chinese culture, she is classified as one of the Four Beauties of ancient China, her beauty compared to a shameplant making flowers curl in shame. The love story between Lady Duong Quy Phi and Tang Huyen Tong is often mentioned with a dreamy and extravagant scene from the flourishing period of the Tang Dynasty. The excessive favoritism of Tang Huyen Tong towards Lady Duong Quy Phi is considered by many as the reason for the decline of the Tang Dynasty. The beauty of Lady Duong Quy Phi is noted to be full and often contrasted with Han Dynasty's Lady Trieu Phi Yen. While Trieu Phi Yen is known for being light as a swallow, able to stand on a person's palm, Duong Quy Phi is famous for her full and somewhat plump figure, with smooth and glamorous skin.

Lady Ngu Co, born in the late Qin Dynasty in Thuat Duong district, Jiangsu province (China), possesses not only exquisite beauty but also exceptional talents in singing and dancing, earning her the title of the Beauty of Ngu. Lady Ngu Co is the wife of West Chu Ba Vương Hạng Vũ - a renowned general during the Han Shu period. Known for her loyal love and unwavering commitment to her husband Hạng Vũ, she sacrificed her life to uplift his spirits. Her death in Cai Ha became a famous story passed down through many generations in Chinese history. She is a prominent figure in both historical records and Chinese folklore, with her life closely tied to Hạng Vũ. Lady Ngu Co is first mentioned in the text of Tu Ma Thien's Historical Records, later in Han Shu, gradually becoming a legend in normal life. Folklore idealized her story, associating it with the tale known as 'Ba Vương Biet Co,' a famous story of deep emotions that resonates through various periods, expressed in arts, poetry, prose, painting, and even modern cinema.

In contemporary folklore, remembering legendary figures, Lady Ngu Co along with Bạch Nương Tử, Mạnh Khương Nữ, and Vương Bảo Xuyến are called the Four Great Women - symbols of deep affection in Chinese women. The love between Lady Ngu Co and Hạng Vũ is widespread in folk culture and has become a popular theme in many theatrical plays, films, and television dramas. In these works, Lady Ngu Co is always portrayed as a faithful woman, even though there is not much historical information recorded about her. The scene of West Chu Ba Vương Hạng Vũ bidding farewell to Lady Ngu Co before going to battle for the last time has been dramatized into a Peking Opera, most notably in the play 'Ba Vương Biet Co.' A novel of the same name by Ly Bich Hoa was adapted into a highly acclaimed film by Tran Khai Ca.

Lady To Dat Ky, a beautiful maiden resembling a celestial being, possessed a notorious dark heart since ancient times. Among the famous Four Beauties in ancient China, the most renowned, shrouded in numerous legends, is Lady To Dat Ky, a great beauty with an angelic appearance but a sinister personality akin to a venomous snake. According to records, To Dat Ky was an unparalleled beauty during the Thương Dynasty. Alongside Muoi Hi of the Ha family, Bao Tu of the Chu family, and Ly Co of the Tan family, they are typical examples of 'beautiful faces causing calamities,' stunningly beautiful women who brought disaster to the emperors, leading to the downfall of dynasties. Numerous accounts describe the beauty of To Dat Ky, all emphasizing her charming, radiant beauty that one cannot forget. Her eyes sparkled like morning dew, her skin was smooth as silk, with rosy complexion, a straight and high nose, small cherry-like mouth, graceful walk, melodious voice, and exceptional skills in singing and dancing. To Dat Ky's beauty even made people unwittingly follow her in ways beyond imagination.

To Dat Ky is a famous figure in Chinese mythology during the Thương Dynasty. She is known as the second queen of Emperor Tan (Tru Vuong), the last ruler of the Thương Dynasty in Chinese history. The most common depiction of Dat Ky is associated with the story of a fox spirit transformation. In many ancient stories, novels, and stage plays, she is always described as a seductive beauty captivating people's hearts, ranking among the great beauties of China. However, due to her nature as a fox spirit and her involvement in actions directly or indirectly causing the deaths of many people, folklore often refers to her as a demon. The novel Feng Shen Yan Yi, a widely-read fiction, depicts To Dat Ky as a member of the To family, the daughter of To Ho, a commoner. On the path of offering herself to Tru Vuong, she was possessed by a fox spirit to fulfill the mission assigned by Nu Oa to make Tru Vuong infatuated and cause the downfall of the Thương Dynasty, paving the way for Chu to unify the realm. Legend has it that Dat Ky's beauty was so captivating that even her anger mesmerized Tru Vuong.

Lady Chan Cơ (Chan Lac), also known as Empress Van Chieu Chan, lived from 183 to 221. She was the mother of Wei Ming Emperor Tào Duệ, who succeeded the Wei dynasty. Lady Chan Cơ is renowned in folklore for her dazzling beauty, captivating the hearts of notable figures such as Cao Cao. During her lifetime, she was titled Lady Chan and only posthumously honored as Empress by Emperor Tào Duệ. She possessed large bright eyes, dimples like coins, rosy lips with white teeth, and a slender waist. Lady Chan was also a talented poet, and it is said she wrote 'Ascending the Pavement' after being cold-shouldered by Empress Tào Phi. The poem expresses deep emotions and has been passed down through generations.

Famous for many legends surrounding her, Lady Chan is remembered in folklore for her radiant beauty, enchanting figures like Cao Cao, Empress Tào Phi, and Tào Thực. A folk saying from the Three Kingdoms period describes her beauty: 'South of the Yangtze, there are Two Beauties, North of the River, Lady Chan Shu smiles.' Additionally, the reason why Empress Tào Phi ordered her death after proclaiming herself Emperor remains a subject of controversy. Two main theories suggest that Tào Phi was jealous of Lady Chan's affection from Tào Thực or that Queen Dowager Quách sought favor, resulting in her unjust demise. Both theories are often utilized in cinematic depictions of her story.

Trương Lệ Hoa, born between 559 and 589 in Nam Trieu during the Trần Dynasty, was also known as Trần Trieu Trương Quý Phi, hailed as the unparalleled beauty of ancient China. Originally from a military family, skilled in poetry, she entered the palace at the age of 10, later becoming the Queen of Nam Trieu under Trần Hậu Chủc Bảo. In 589, as the Trần Dynasty fell, Trương Lệ Hoa faced accusations and was sentenced to death. Trương Lệ Hoa came from a military family that fell into poverty in Jiangnan due to unforeseen circumstances. To make a living, her father and brother wove mats. Despite the hardships of farm life, Lệ Hoa in her twenties possessed an extraordinary beauty described as having 'snow-white skin, round black eyes, and an elegant figure.' The name 'Lệ Hoa' was given by her parents based on these distinctive features.

Trương Lệ Hoa had seven-inch-long hair, shining like a mirror, and well-defined eyebrows resembling a painted portrait. In addition, she had a remarkable memory and was quick-witted in daily life. Trương Lệ Hoa entered the palace at an early age, showcasing her exceptional eloquence and, combined with her unparalleled beauty, earned the trust and favor of the Trần monarch. Once endowed with the authority to overshadow Empress Thẩm thị, everyone in the palace respected and flattered her, seeking her favor. Lệ Hoa possessed knowledge of mystical arts, superstitions, often inviting female scholars to the palace for occult rituals, captivating the Emperor with mysterious practices. Consequently, the Emperor increasingly entrusted Lệ Hoa with state affairs. As time went on, the Emperor neglected governance, and both Thai Lam Nhan and Ly Thien Do, officials under Lệ Hoa's influence, took control. The Emperor allowed Lệ Hoa to make decisions, and afterward, she would inform him. Consequently, with Lệ Hoa in charge, titles were arbitrarily granted or revoked, bribes were accepted, and factions were formed, leading to rapid chaos and decline in the southern kingdom.

Bao Tự, the second queen of Chu U King, the last celestial ruler of the late Western Chu period in Chinese history. Bao Tự is often listed among the most famous and influential beauties in Chinese history. Beyond possessing exquisite beauty, she was linked to the title of 'beauty causing national disasters,' often the reason for the downfall of dynasties. The first time Chu U King saw Bao Tự, he was spiritually captivated. In the bedroom, his infatuation grew as Bao Tự exuded an irresistibly pleasant fragrance that no concubine in the palace could match. As a passionate emperor frequently sending emissaries to find beautiful girls, Chu U King abandoned this practice upon meeting Bao Tự.Bao Tự was the most favored by Chu U King. She was the one who captured Chu U King's heart, as her laughter had never been seen. Chu U King commanded that anyone making her laugh would be rewarded with a thousand gold pieces.

Perhaps due to this, Bao Tự was given the aforementioned title. Legend has it that Bao Tự was an incredibly beautiful and enchanting woman. To see Bao Tự smile, Chu U King followed the advice of a flatterer, lit a fire on the tower to deceive the feudal lords into running to it. This prank caused the loss of Cao Jing when the Khuyen Nhung army actually attacked. The Chu dynasty began to decline from this point. This famous incident is called 'Setting Fire to Attract Feudal Lords.' Bao Tự is one of the Ten Beauties of China, standing alongside beauties like Xi Shi, Diao Chan, Zhao Feiyan, Zhang Lihua, Ngu Cơ, etc. The later reputation of Bao Tự is transmitted as a 'beauty causing national disasters,' often listed among the most famous and influential beauties in history. She, along with Muoi Hi, Dat Ky, and Ly Co, is considered one of the Four Enchanting Beauties, causing the downfall of the careers of the rulers during the Qin Dynasty (Hạ, Thương, Chu, and Tấn).