DATE

7/11/25

TIME

4:02 PM

LOCATION

Oakland, CA

General Tso and His Muskteers(iii): Opium Wars

左宗棠和他的朋友们(ii):鸦片战争们

在18世纪末到19世纪初,中英之间的贸易基本是中国赚、英国亏。中国向英国出口的茶叶、丝绸、瓷器极受欢迎,尤其是茶叶成为英国人日常生活必需品。英国向中国出口方面,英国几乎没有竞争力的商品。而清政府只允许以白银进行交易。这导致英国白银大量流入中国,形成严重贸易逆差,损害了英国的经济利益,特别是东印度公司的利润。

为了扭转逆差,英国东印度公司从其殖民地印度大规模种植罂粟,制造成鸦片,然后通过民间商人、走私渠道,非法输入中国市场。英国在印度种植鸦片 ,然后贩运至中国沿海,尤其是广东,用鸦片换中国的茶叶、丝绸、瓷器。中国商人将鸦片倒卖内地,获得白银再购英货或进口品,完成洗钱式的资本循环。

这直接导致1820年代开始,每年中国流失白银超过450万两。白银紧缩影响了清朝的税收体系、农民负担加重、物价波动。鸦片泛滥成灾,吸食群体从达官显贵扩展到军人、商贩、农民。劳动力下降、士兵战力崩溃、社会风气颓废。这引发清廷内部争议,有林则徐等人主张禁烟,也有人主张“开禁纳税”,即合法化鸦片贸易,以换取收入。1839年,林则徐赴广州禁烟,销毁两万多箱鸦片,也就是虎门销烟,被英国视为“侮辱国格与商权”,以此为由发动战争,和波士顿茶party如出一辙。鸦片不是单纯的毒品问题,而是中英贸易结构不平等、帝国主义掠夺、殖民经济全球化三重交汇的产物。

1840年6月,英国派出远征军舰队,从印度出发,封锁珠江口。清廷也不是什么些靠谱的人,前脚让林则徐去硝烟,后脚急忙罢免林则徐,改派主和派琦善赴广州与英方谈判,但谈判未果。舰队转而北上,攻打厦门、宁波、舟山群岛,并驶入渤海湾,逼近天津口岸,威胁北京。

1841年1月,英军攻击广州要塞虎门炮台,清军被击溃。琦善与英方签订《穿鼻草约》,which 因为未获皇帝批准,导致他被撤职。英军不断南北推进,攻占厦门、宁波、定海等地。朝廷更换将领多次,耆英、奕山等人相继主战主和。战局愈发不利,英军兵锋直逼江南。1842年夏,英军溯江而上,攻占上海吴淞 ,攻下江苏镇江,彻底切断京杭大运河交通线,对清廷构成毁灭性战略压力。

1842年8月,清政府派出耆英、伊里布代表,与英方在南京江面英舰“康华丽号”上签订《南京条约》,赔款2100万银元,割让香港岛。开放广州、厦门、福州、宁波、上海,五口通商,并给予英国“最惠国待遇”。鸦片战争至此宣告失败,清政府在百姓心中失去“天命之威”。《南京条约》签订后,赔款、通商、割地香港等让普通百姓首次认识到“天朝上国”神话破灭,许多人对清廷彻底失望。


而第二次鸦片战争,又称英法联军之役,起因比第一次更加复杂,不再仅仅是鸦片贸易本身,而是牵涉到外交特权、通商权益、宗教传教、帝国主义扩张等一系列矛盾

《南京条约》签了,但问题没解决。鸦片贸易并未真正被禁止,反而更加猖獗。英国虽然获得了“五口通商”,但仍不满意。他们希望驻京外交使节,希望通商城市扩大到内地,希望“传教自由”,更希望鸦片贸易合法化。清廷在条约执行上极为消极,英国觉得该得的利益没得到,处处受限。

1856年,一艘名叫Arrow的小船,挂着英国旗帜、实为中国船只,在广州被清朝水师查缉走私时登船搜人。清军拘捕了12名华人船员,并摘下了英国旗帜。英国领事巴夏礼Harry Parkes指责清军“侮辱国旗、非法抓人”,要求赔礼道歉。清廷未及时回应,英国随即用炮舰轰击广州,掀起战端。这是英国故意挑起矛盾:这艘船的英国旗照理已无效,英国知道这一点,却故意炒作为“外交羞辱”,以此为借口重启战争。

于是法国也借口出兵:马神甫事件。1856年,法国传教士Maistre在广西被当地人杀害。法国以“传教士遇害”为由,加入英国阵营,组成“英法联军”。

1857年,战争爆发。英法联军联合进攻广州,俘虏两广总督叶名琛。1858年北上威胁天津,迫使清廷签订《天津条约》,承认西方使节可驻京,开放更多通商口岸,宗教自由,巨额赔款。没写明鸦片合法化,但暗含默许。然而,条约签了之后,清廷拒绝批准、拒绝让使节进京,引发第二阶段冲突。

1860年,英法联军北上至通州,与清军激战。谈判期间,清军诱捕英法使节与随从共39人。英国谈判代表 Harry Parkes一度被囚,虽幸存,但其中20余名西方人士,包括记者、士兵等,被酷刑折磨致死。英国特使额尔金为“惩罚清廷的野蛮行径”,最终决定不袭击紫禁城、不伤害皇帝,而是焚毁圆明园,作为“象征性的文明惩罚”。

圆明园是清代皇家三园之一,其他两个是长春园、绮春园,总称“圆明三园”。它不仅是皇家行宫,更是文化艺术与园林建筑的集大成者。内藏大量珍宝、书籍、书画、文物,是“万园之园”。联军先抢掠、后焚毁,火烧持续了三天,绝大部分建筑被毁,文物流散全球。下次去大英博物馆看看,都抢了些啥。

1860年,英法再度联军北上,在通州八里桥战役中清军再次惨败。联军直逼北京,焚毁圆明园作为报复。咸丰皇帝逃往热河避难。清廷被迫签订《北京条约》,承认《天津条约》所有条款,割让九龙半岛一部分,正式承认传教自由,默认鸦片贸易合法化,开放更多港口,包括内陆城市。


第一次鸦片战争之后爆发了太平天国运动,十四年后被左宗棠和他的朋友们平定。为了平定太平天国成立的湘军、淮军,以及后来的北洋军,也成为了后来和清朝抗争的军阀。而湘军和北洋军成为了共产党和国民党的内战的先行。历史总是这么环环相扣,实在是太有意思了。

In the late 18th and early 19th centuries, trade between China and Britain was essentially in China’s favor and to Britain’s loss. Chinese exports—particularly tea, silk, and porcelain—were immensely popular in Britain. Tea, especially, had become a daily necessity in British life. On the other hand, Britain had almost no competitive goods to offer China. Moreover, the Qing government only accepted silver as payment. As a result, large amounts of British silver flowed into China, creating a severe trade imbalance that harmed British economic interests—especially the profits of the East India Company.

To reverse this deficit, the East India Company began cultivating opium on a large scale in its colony of India, manufacturing it and then smuggling it into the Chinese market through private traders and illegal channels. The British grew the opium in India and shipped it to China’s coastal regions, especially Guangdong, where it was exchanged for Chinese tea, silk, and porcelain. Chinese merchants then resold the opium inland, acquired silver, and used it to purchase British or imported goods—completing a capital cycle that was essentially a form of money laundering.

This directly led to the outflow of over 4.5 million taels of silver from China annually, starting in the 1820s. The resulting silver shortage destabilized the Qing Empire’s tax system, increased the financial burden on peasants, and caused price fluctuations. Meanwhile, opium addiction spread like wildfire: from officials and aristocrats to soldiers, merchants, and farmers. Labor productivity declined, military effectiveness collapsed, and social morale deteriorated. This gave rise to heated internal debates within the Qing court. Officials like Lin Zexu advocated for strict prohibition, while others proposed “legalization and taxation”—that is, regulating the opium trade in exchange for much-needed revenue.

In 1839, Lin Zexu was sent to Canton (Guangzhou) to carry out a crackdown. He destroyed over twenty thousand chests of opium—an event known as the Destruction of Opium at Humen. Britain regarded this as an affront to national dignity and commercial rights, using it as a pretext for war. The situation echoed the Boston Tea Party in many ways. Opium, after all, was not simply a matter of drug addiction—it was the product of an unequal trade structure, imperialist exploitation, and the forces of globalized colonial capitalism converging upon China.

In June 1840, Britain dispatched an expeditionary fleet from India to blockade the Pearl River estuary. The Qing court, showing little consistency, first sent Lin Zexu to burn the opium, then quickly dismissed him in panic, replacing him with the appeasement-minded Qishan to negotiate with the British in Guangzhou. When talks broke down, the fleet sailed north, attacking Xiamen, Ningbo, and the Zhoushan Islands, and then entered the Bohai Gulf, approaching the port of Tianjin and threatening Beijing itself.

In January 1841, British forces assaulted the Humen fortresses guarding Canton. The Qing troops were decisively defeated. Qishan signed the Convention of Chuanbi with the British—but because it lacked imperial approval, he was dismissed. The British forces continued their advance both north and south, capturing Xiamen, Ningbo, Dinghai, and other key cities. The imperial court repeatedly changed commanders—Qi Ying, Yishan, and others—oscillating between hawkish and conciliatory strategies. The war steadily turned against the Qing. By the summer of 1842, British forces had sailed up the Yangtze River, seized Wusong near Shanghai, and captured Zhenjiang in Jiangsu province—effectively severing the Grand Canal, China’s vital north-south artery, and placing the Qing dynasty under immense strategic pressure.

In August 1842, the Qing government sent representatives Qiying and Yilibu to negotiate. Onboard the British warship HMS Cornwallis, anchored off the coast of Nanjing, they signed the Treaty of Nanking. Under its terms, China was to pay an indemnity of 21 million silver dollars, cede Hong Kong Island to Britain, and open five ports—Canton, Xiamen, Fuzhou, Ningbo, and Shanghai—to British trade. Britain was also granted Most-Favored-Nation status.

Thus ended the First Opium War. For the Chinese people, the Qing government’s defeat marked the collapse of its perceived “Mandate of Heaven.” The terms of the Treaty of Nanking—indemnities, forced trade, territorial concessions—shattered the long-standing myth of China as a superior “Celestial Empire.” For many, it was the first time they truly lost faith in the Qing court.


The Second Opium War, also known as the Anglo-French Expedition to China, had causes far more complex than the first. It was no longer merely about the opium trade, but also entangled with issues such as diplomatic privilege, commercial rights, missionary activity, and imperial expansion.

Though the Treaty of Nanking had been signed after the First Opium War, many of the core problems remained unresolved. The opium trade was never truly banned—in fact, it only grew more rampant. Britain, though granted access to five treaty ports, was far from satisfied. The British demanded the right to station ambassadors in Beijing, expand trade into the Chinese interior, ensure freedom of missionary work, and above all, legitimize the opium trade. The Qing court was reluctant and passive in implementing the treaty, and Britain felt that its entitled interests were being denied at every turn.

In 1856, a small ship named Arrow, which had once flown the British flag but was actually Chinese-owned, was boarded by Qing naval forces in Guangzhou during an anti-smuggling operation. Twelve Chinese crew members were arrested, and the British flag was reportedly taken down. British Consul Harry Parkes accused the Qing of “insulting the British flag and illegally detaining British subjects,” and demanded an apology. When the Qing government failed to respond promptly, Britain bombarded Guangzhou, thus igniting the conflict. It was a deliberately manufactured crisis: Britain knew full well that Arrow no longer had the legal right to fly its flag, but chose to portray the incident as a diplomatic humiliation and used it as a pretext to resume hostilities.

France soon joined the conflict, citing its own excuse: the Father Maistre incident. In 1856, a French missionary, Father Maistre, was killed in Guangxi by local inhabitants. France invoked the murder of a clergyman as justification to join Britain, and the two formed the Anglo-French alliance.

In 1857, war officially broke out. The Anglo-French forces launched a joint attack on Guangzhou, capturing the Qing governor-general of the two provinces, Ye Mingchen. In 1858, they advanced northward, threatening Tianjin and forcing the Qing court to sign the Treaty of Tientsin, which: permitted foreign envoys to reside in Beijing, opened additional treaty ports, granted religious freedom, and imposed large indemnities.

Although the treaty did not explicitly legalize opium, it tacitly permitted the trade. However, after signing, the Qing court refused to ratify the treaty and denied foreign envoys access to the capital, triggering a second wave of conflict.

In 1860, Anglo-French forces marched north again, reaching Tongzhou on the outskirts of Beijing, where they engaged Qing troops in fierce battles. During the negotiation phase, Qing forces captured 39 members of the British and French delegations—including diplomats and their staff. British envoy Harry Parkes was imprisoned and narrowly survived, but more than twenty others—including soldiers, journalists, and support staff—were tortured to death.

In retaliation for what was deemed a barbaric act, British High Commissioner Lord Elgin decided not to assault the Forbidden City or harm the emperor, but instead to burn the Old Summer Palace (Yuanmingyuan) as a symbolic act of “civilized punishment.”

Yuanmingyuan was one of three imperial gardens of the Qing dynasty, along with Changchun Garden and Qichun Garden—together known as the “Three Gardens of Yuanmingyuan.” It was not just an imperial residence but a vast cultural and architectural masterpiece. Inside were countless treasures, books, paintings, and artifacts—earning it the name “the Garden of All Gardens.” The Allied forces first looted the complex, then set it ablaze. The fires raged for three days, destroying nearly all of its buildings. Its artworks and treasures were scattered across the globe. If you ever visit the British Museum, you can still see what they took.

Later that year, the Anglo-French forces pushed further into northern China. In the Battle of Baliqiao near Tongzhou, Qing troops suffered another crushing defeat. The Allied armies marched toward Beijing. The Old Summer Palace was burned as an act of retribution. The Xianfeng Emperor fled to Rehe (present-day Chengde) for refuge. The Qing government was forced to sign the Convention of Peking, which: ratified all terms of the Treaty of Tientsin, ceded part of the Kowloon Peninsula to Britain, formally recognized freedom of religion and missionary activity, tacitly accepted the legalization of opium, and opened more ports to foreign trade—including cities in the Chinese interior.

After the First Opium War, the Taiping Rebellion broke out—a massive civil war that lasted fourteen years. It was ultimately suppressed by Zuo Zongtang and his allies. To quell the rebellion, the Qing court sanctioned the formation of local armies such as the Xiang Army and later the Huai Army, which in turn led to the rise of the Beiyang Army. These regional armies, once loyal to the empire, would later evolve into semi-independent warlords, eventually challenging the Qing dynasty itself.


In a sense, the Xiang Army and the Beiyang Army were the precursors to the military forces that later fought in the civil wars between the Communist Party and the Nationalists. History, it seems, is always tangled in its own web—every thread leads to another. How fascinating it all is.

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。