Epang Palace

There are three common pronunciations of the name: Epang, Efang, and Afang.[2] Which pronunciation should be regarded as "correct" has been subject of much debate, with the Kangxi Dictionary advocating for Epeng, and the Guifan Dictionary advocating for Efang.[3][4][5]^: 161–2

The Han dynasty historian Sima Qian does not explain what the name means, but the later commentator Yan Shigu provides three possible explanations. The first is that the name refers to the broadness of the rooms (fang) of the palace. The second that e is a local name for a hill, and the name is meant to suggest the height of a room on a hill. The third is that the character fang is sometimes pronounced pang, meaning by the side, and the palace was named for being by the side of the Qin capital Xianyang.[5]^: 162

After Qin Shi Huang forcibly united the Warring States in 221 BCE, he took a number of measures to establish his authority, including giving himself a title – commonly translated into English as "Emperor" — that was previously used only for semi-divine figures. Among these efforts included a number of grand construction projects, such as building roads and defensive walls. One such project was to be the building of a grand palace on the south bank of the Wei River, outside the capital at Xianyang.[6]^{: 299–300} The layout of the palace was meant to reflect cosmological principles.[6][5]^: 162

Construction of the palace began in 212 BCE, and continued after Qin Shi Huang died two years later, although work had to be delayed for a year to focus on the construction of the late emperor's tomb at Mount Li. Qin Shi Huang's son and successor Qin Er Shi has been judged by history to be an ineffectual ruler, leading to a great weakening of Qin's power. After a complicated and bloody series of power struggles, Qin Er Shi was forced to commit suicide by his formerly trusted eunuch Zhao Gao, and thereafter the Qin dynasty collapsed. According to Sima Qian, when the anti-Qin rebel and Chu aristocrat Xiang Yu entered the already-surrendered capital Xianyang a year later in 206 BCE, the city was sacked and the palaces of Qin were burned to the ground. While Sima Qian does not mention it explicitly, it was long assumed throughout history that Epang Palace burnt with them.[5]^{: 160–166}

In his Records of the Grand Historian, Sima Qian described the dimensions of the palace as being 693m long × 116.5m wide, but modern studies of the ruins have shown that its rammed earth foundation platform measured 1,320m east to west, 420m north to south, and 8m in height.[6]^: 299 Archaeologists have suggested the dimensions in Sima Qian's account are meant to be understood as referring to plans for the eventual size of the palace, had its construction not been halted, hence the discrepancy.[5]^: 161

Location of the Palace, west of Xi'an (in blue)

Excavation of the western side of the rammed-earth platform

A gate of the Palace

Objects found at the site

The exact location of Epang Palace was not recorded in Sima Qian's Records of the Grand Historian, although a number of suggestions were made in other texts. The archaeological site was first discovered in 1923, based on local reports. After the interruption of World War Two and the subsequent civil war in China, Su Bingqi and He Shixing were able to confirm the location, and after many decades of excavations, it was confirmed that possibly only the front hall was constructed during the Qin dynasty, contradicting literary accounts of an opulent palace. Archaeologists believe that possibly only a wall was built upon the rammed earth foundations during the early period.[5]^: 163

Since 1961, the site of the palace has been listed as a Major Historical and Cultural Site Protected at the National Level (1-151).

Since Sima Qian's account of the destruction of the palace by Xiang Yu, the palace has been a symbol of the end of the Qin dynasty, with many writers emphasising the poignancy of its opulence being lost in the blaze.[5] The Tang poet Du Mu wrote a notable rhapsody on the palace, the end of which reads:

秦人不暇自哀 而後人哀之 後人哀之 而不鑒之 亦使後人 而復哀後人也	The people of Qin had not a moment to lament their fate Those who came after lamented it When those who come after lament But do not learn Then they too will merely provide Fresh cause for lamentation From those who come after them.[7]

The palace was also the subject of paintings by the Qing dynasty painter Yuan Yao and the Japanese painter Kimura Buzan, the latter of whom depicted the palace's destruction.

Fire Destroying the Epang Palace, by Kimura Buzan

Qing dynasty painting of Epang Palace by Yuan Yao

• Unfinished building
• Chinese palace

• Epang Palace Site (engl.)
• Zerstörte Legende vom Epang- Palast (engl.)
• Der Aufstand von Chen Sheng und Wu Guang Archived 2012-04-17 at the Wayback Machine
• Protected Sites:Epang Palace Site