Cheng Yanqiu (1904–1958) was one of the "Four Great Dan" actors of Peking Opera and the founder of the Cheng school of Qingyi (female lead) roles. Renowned for his tragic vocal style and theatrical theory, he was also accomplished in calligraphy, painting, and the guqin, making outstanding contributions to the development of Peking Opera in China. His artistic career was filled with legend, and his BaZi (Ba Zi) chart carries profound significance for both his art and his life.
BaZi Chart
Verification of Birth Hour
The birth time is determined to be the Yin hour (4:00 a.m.). A Jia Wood Day Master born in the Zi month and a Mao year is strongly supported by Direct Resource, and the foundation is stabilized by the assistance of Friend. However, artistic expression requires an element that can "produce a voice." In the Yin hour, the Heavenly Stem Bing serves as the Eating God (Shi Shen), which favors artistic vocal style and creativity. The hidden Jia within Yin reinforces the Friend while also signifying a path of independent enterprise and lineage transmission. This perfectly corresponds to his early experience of being sold to learn opera, his later founding of the Cheng school, and his tireless pursuit of vocal innovation. The Yin-Wu-Xu Fire frame gains momentum, strengthening his stage presence and profound tragic emotion. It also explains his overseas study tours, his theatrical theories, and his later official positions. By comparison, the Zi or Chou hours carry heavy Resource that stifles the expression of talent. The Wu hour carries Seven Killings (Qi Sha) energy that favors authority but tends toward impulsiveness, which does not match the graceful and restrained style of the Cheng school. Alternatives like Ding Mao or Yi Hai each have their own advantages, but none balance expression, independence, and stability as well as Bing Yin. Therefore, the Yin hour is taken as the most fitting.
Core Analysis
The central focus of Cheng Yanqiu's chart is the Jia Wood Day Master, presenting an artistic structure of Hurting Officer (Shang Guan) paired with Resource: the Year Branch Gui Mao, Month Branch Jia Zi, and Hour Branch Bing Yin form a supportive flow of Water generating Wood and Fire generating voice, giving him both a drive for expression and the protective embrace of Resource. In his early years, the Luck Pillars (Da Yun) entered the heavily Resource Gui Hai and Ren Xu periods, which favored learning and receiving instruction. Starting in 1931, he entered the Direct Officer (Zheng Guan) Luck Pillar of Xin You, where fame and social responsibility advanced in parallel. During the War of Resistance, the Seven Killings Luck Pillar of Geng Shen manifested as pressure and a forced retreat from public life. The Direct Wealth (Zheng Cai) Luck Pillar of Ji Wei, beginning in 1951, brought official recognition and honors.
Trait Analysis
- Artistic Creativity: The chart shows a configuration of Hurting Officer generating Eating God, bringing an innovative capacity for vocal melodies and musical tunes. His destiny favored the transformation of deep emotion into artistic expression.
- Learning and Transmission: The Year and Month Branches show Water Resource (Gui and Ren), providing the protective embrace of Resource. This favored receiving lineage transmission and systematic education, explaining his early training and the subsequent formation of the Cheng school style.
- Resilience and Fame: As the Luck Pillars entered Direct Officer and Direct Wealth periods such as Xin You and Ji Wei, they favored reputation and official recognition. However, the restraining influence of Direct Officer and Direct Wealth also brought responsibility and pressure.
- Emotion and Interpersonal Relations: The concurrent presence of Friend, Rob Wealth (Jie Cai), and Hurting Officer indicates an independent personality and profound emotional depth, making him prone to loneliness or competition with peers.
Life Timeline
In 1917, at age 14, he first displayed his brilliance, his voice shaking the Dan Gui Garden. Due to overexertion, he suffered a voice break, encountering the first major test of his career.
In 1918, at age 15, a benefactor redeemed his contract, opening a new era in his artistic path. With the devoted assistance of his mentor Luo Yinggong, he was able to break free from the constraints of his old apprenticeship. He began to receive systematic and comprehensive artistic and cultural education, fundamentally altering the trajectory of his life.
In 1919, at age 16, he adopted the surname Cheng and became a disciple of Mei Lanfang, setting sail on his artistic journey. With the help of his patron Luo Yinggong, he changed his Manchu surname "Cheng" to the Han surname "Cheng." He was accepted as a disciple under the great Peking Opera master Mei Lanfang, beginning to perform supporting roles in plays such as The Lady of the Shangyuan Festival and The Heavenly River Match, officially launching his professional acting career.
In 1922, at age 19, the Harmony Society was founded, marking the independent voyage of his artistic career. Cheng Yanqiu officially established the "Harmony Society" and began leading his own troupe for performances. Under the careful guidance of seniors like Wang Yaoqing, Mei Lanfang, and Luo Yinggong, he gradually explored and established his unique artistic style, opening a new chapter in his personal artistic career.
In 1923, at age 20, the star of romance stirred, and he joyfully tied the knot. Matched by Mei Lanfang and his wife, Cheng Yanqiu happily married Guo Xiuying (later renamed Guo Suying), a daughter from a distinguished theatrical family. After the wedding, the couple chose to establish their own independent household, beginning a new family life.
In 1924, at age 21, a new voice bloomed in The Jade Hairpin, establishing the foundation for an independent vocal style and school. He premiered The Jade Hairpin at the Hua Le Garden, playing the role of Zhang Yuzhen. The vocal composition and staging of this play were independently completed by Cheng Yanqiu. His unique artistic style was firmly established in this work, making it the cornerstone of the Cheng school of art.
In 1925, at age 22, his brilliance first shone forth, and Wenji Returns to Han settled the cosmos. He premiered the historical Peking Opera Wenji Returns to Han at the Sanqing Garden, playing the role of Cai Wenji. The play profoundly expressed the emotions of national separation and displacement. The performance was widely acclaimed and stood as an important milestone in his artistic career.
In 1931, at age 28, a single performance of Tears of the Barren Mountain poured out the suffering of the people. He premiered Tears of the Barren Mountain at the Zhonghe Garden. Through tragedy, the play revealed the theme of oppressive government harming the people, reflecting a strong sense of social consciousness and the responsibility of an artist.
In 1932, at age 30, diligently cultivating the inkstone field, the autumn harvest earned its name. He officially announced in a newspaper that his stage name was changed from 'Cheng Yanqiu' (different character for 'Yan') to 'Cheng Yanqiu', with the courtesy name 'Yushuang' (Driving Away Frost). This act symbolized 'diligently cultivating the inkstone field to reap the autumn harvest,' marking a more mature and restrained new stage in his artistic thought and personal cultivation.
In 1933, at age 30, Western learning spread eastward, and he returned with honors. Cheng Yanqiu concluded his European theatrical study tour lasting over a year, returning to Shanghai laden with Western dramatic materials and concepts for innovation, injecting new vitality and direction into his artistic career.
In 1940, at age 37, a single play cemented his legendary status, as The Lock Purse took Shanghai by storm. He premiered the newly written Peking Opera The Lock Purse at the Shanghai Golden Theater, playing the lead role of Xue Xiangling. He performed for ten consecutive shows, with every seat sold out, achieving tremendous success and securing his preeminent status in the world of Peking Opera.
In 1942, at age 39, his proud bones defied the enemy invaders, and he concealed his edge in Qinglong Town. Because he upheld national integrity and refused to perform for the Japanese puppet government, he was surrounded and beaten by military police at Qianmen Station. Subsequently forced to leave the stage, he went into seclusion in Qinglong Town in the suburbs of Beiping, making a living as a farmer and using his silence to protest the aggression.