ABSTRACT
Archetypes have long been a part of Chinese biographical writing. Prominent characters throughout the ages have been set up as models of extreme virtue for others to emulate. Their biographies are idealised to the point of hagiography. In every aspect their character and actions are represented as beyond reproach. In traditional China iconisation took the form of a place in the approved histories, imperial commemoration, an official temple or a commemorative arch. By such means historical figures became part of the Confucian pantheon, in recognition of eternal moral principles that transcended particular political causes. Thus the Ming Dynasty hero Koxinga eventually became apotheosised as a symbol of loyalty by the Qing Dynasty, though the source of his fame had been his fight against the Manchu invasion.1 Apotheosis was usually conferred from above, although it was not unusual for exceptional historical figures to acquire a position in folklore, fiction and popular religion that also amounted to apotheosis.2 Asceticism was a necessary part of the image of a model figure in dynastic China. Chinese traditional heroes put love and marriage secondary to public interests. Sexual relations were usually associated with negative models, while romantic love was seen to be in conflict with the status of a hero.3
