The Rise and Fall of Confucian Arts in the Hanshu: From Political Maneuvering to Institutional Consolidation

Brief Introduction

In the history of Chinese thought, the evolution of "Confucian Arts" (Rushu) is a crucial thread for understanding the political logic of the Han Dynasty. "Confucian Arts" here does not refer to mere philosophical speculation, but rather a systematized, officialized framework of Confucian political practice. Records in the Hanshu (Book of Han), particularly in the Biographies of Dou, Tian, Guan, and Han (Dou-Tian-Guan-Han Zhuan), illustrate how Confucian Arts emerged as a nascent political force, engaging in fierce conflict with "Yellow-Old [Tao] Studies" (Huanglao), which had dominated ruling ideology for a century. High-ranking officials such as Dou Ying, Tian Fu, and Zhao Wan championed Confucian Arts, advocating for the establishment of the Bright Hall (Mingtang) and the relocation of Marquises to their fiefs. These measures not only reflected a shift in academic trends but also mirrored the deep historical drivers behind the transition of Han centralization from "governance through non-action" to "active governance."

Core Knowledge Points

1. Core Political Proposals of Confucian Arts
Driven by figures such as Dou Ying, Tian Fu, and Zhao Wan, Confucian Arts translated into specific policies: "Establishing the Bright Hall" and "Commanding Marquises to Return to Their Fiefs."
* Establishing the Bright Hall: The Bright Hall was the imperial palace for promulgating policies. It symbolized governance through Confucian rituals and education, establishing the Emperor as the supreme cultural authority, distinct from rule based solely on legal statutes.
* Commanding Marquises to Return to Their Fiefs: This was a critical maneuver to weaken feudal princes and strengthen central authority. Confucianism emphasized "reverencing the Son of Heaven and repelling barbarians" and strict hierarchical order, requiring Marquises to return to their territories to perform their duties. This aimed to sever their direct entanglements with the central bureaucratic system’s interests, thereby strengthening vertical imperial control over localities.

2. Fundamental Conflict Between Confucian Arts and Yellow-Old [Tao] Studies
In the early Han Dynasty, prime ministers like Xiao He and Cao Can sequentially promoted Yellow-Old "governance through non-action" (Wu Wei), advocating for rest and recuperation, and the simplification of punishments. However, as the social economy recovered, feudal princes grew powerful, and in-laws monopolized power. The "laissez-faire" approach of Yellow-Old Studies could no longer resolve the increasingly complex contradictions between the center and the periphery. Confucian scholars (or Confucian sympathizers) like Dou Ying argued that only by establishing clear rituals and legal codes (Confucian Arts) could power be regulated and officialdom be reformed. This conflict was essentially a clash between two governing philosophies: "Natural Laissez-Faire" versus "Constructed Order."

3. *The Political Context in the Hanshu***
While Sima Qian hinted at these dynamics in the Shiji (Records of the Grand Historian), Ban Gu more systematically documented the process in the Hanshu. Figures such as Zhao Wan and Wang Zang were appointed as Shangshu (Imperial Secretaries) and recommended the Lu native Han An as Prime Minister, attempting to replace legal codes inherited from the Qin with Confucian classics. Dou Ying, though originally known as a "harsh official" (kuli), turned to the study of classics and rituals, promoting Confucian Arts—a major shift in political stance at the time. Tian Fu exploited this ritualistic reform to purge political rivals, ultimately leading to Zhao Wan’s suicide and the dismissal of Dou Ying.

Connection to the Content of the Hanshu

In the Biography of Dou Ying, Tian Fu, Guan Zhong, and Han An, Ban Gu depicts this political storm in detail: “When Dou Ying was established, those he favored were all renowned scholars of the realm... and Ying sought to govern the state through Confucian Arts.” The text records that Dou Ying and Tian Fu “deliberated on the Bright Hall and commanding Marquises to return to their fiefs.” This move directly touched the nerve of vested interest groups—namely, the noble powers who had long resided in the capital and interfered in court politics.

Through this conflict, the Hanshu reveals that the "Exclusively Respecting Confucian Arts" was not an overnight achievement but experienced violent turbulence as it evolved from a marginal trend to a core political instrument. The failure of Zhao Wan and others did not terminate Confucian Arts; instead, it demonstrated the immense appeal of Confucian concepts in addressing real-world political crises. Subsequently, Dong Zhongshu’s "Three Strategies on Heaven and Man" served as the institutionalized summary of this unfinished endeavor. This section of the Hanshu is not merely an embellishment for the biographies of individuals; it is a crucial background for explaining the political transformation of the mid-to-late Western Han, the rise of prophecies and apocalyptic texts (Chenwei), and the embryonic stage of the investigation and recommendation system (Chaju). It tells us that the victory of Confucian Arts was not just a victory of morality, but primarily a victory in the restructuring of political power.