Chinese Name: 瓊瑤
Birth Name: Chen Che (陳喆)
Born: Apr. 20, 1938
Died: Dec. 4, 2024
Birthplace: Sichuan Province, China
Did You Know That…?
Recognized by the BBC News as the world’s most popular Chinese-language romance novelist, Chiung Yao’s influence extends far beyond mere storytelling. One of her celebrated works, the period drama “My Fair Princess (還珠格格),” is not only a beloved television series but also a cultural phenomenon that has captivated audiences across the Sinophone world.
Born Chen Che in 1938, Chiung Yao was a well-known romance author, screenwriter, TV/film producer, and lyricist. She relocated from Sichuan, China to Taiwan with her family in 1949. Profoundly influenced by her parents, both Mandarin teachers, Chiung Yao’s passion for Chinese literature was ignited at a young age. She emerged as a writer when her articles, written during adolescence, began appearing in newspapers and magazines.
In 1963, Chiung Yao’s semi-autobiographical love story “Outside the Window (窗外)” was serialized in Crown Magazine (皇冠雜誌). This narrative, which portrays the complexities of a teacher-student romance, captivated readers and led to a standalone edition due to its immense popularity. The following year, 1964, marked a prolific period for Chiung Yao, as she released several bestsellers, including “Misty Rain (煙雨濛濛),” “Six Dreams (六個夢),” and “Many Enchanting Nights (幾度夕陽紅).” Notably, many of her early works are characterized by melancholic endings—a reflection of the personal adversities she endured throughout her life. From 1964 to 1971, Chiung continued to explore various styles through her short stories and novellas.
In 1965, director Li Hsing (李行) adapted two of Chiung Yao’s short stories into the films “Four Loves (婉君表妹)” and “The Silent Wife (啞女情深),” which marked the writer’s significant milestone in the realm of film adaptations. Both movies not only achieved impressive box-office success but also garnered critical acclaim.
Her novels and their film adaptations caused the “Chiung Yao fever,” gripping audiences across generations. In 1976, growing demand for her stories on screen prompted Chiung to co-found Superstar Motion Picture Co. (巨星影業公司) with Ping Hsin-tao (平鑫濤), the publisher of Crown Magazine and her future husband. As the company specialized in adapting her novels into films, she ended her collaboration with director Li Hsing in 1977.
Chiung Yao’s cinematic journey began with two films: “Cloud of Romance (我是一片雲)” and “The Love Affair of Rainbow (奔向彩虹).” Both were adapted from her novels and transformed into screenplays by Chang Yung-hsiang (張永祥). Featuring Brigitte Lin (林青霞), Chin Hsiang-lin (秦祥林), and Chin Han (秦漢), the film “Cloud of Romance” became a blockbuster, propelling its cast to stardom. Leading actresses in Chiung’s films were even dubbed “Chiung’s girls.”
In 1986, Chiung Yao made her entrance into the television industry with her adaptation of “Many Enchanting Nights.” This series not only captivated viewers but also set the stage for her prolific involvement in TV drama productions. In 1990, Chiung adapted four of her literary pieces into television dramas: “Wan Chun (婉君),” “The Silent Wife (啞妻),” “Three Flowers (三朵花),” and “Xue Ke (雪珂).” Each of these adaptations aired during prime time, drawing large audiences.
From 1982 to 1985, Chiung Yao began to address contemporary social issues in her works. The lifting of martial law in Taiwan in 1987 heralded a new era of openness, allowing diverse values to flourish and challenging traditional norms. She shifted her narrative focus from the familial generation gap and emotional entanglements that characterized her earlier works. Instead, she delved into the dynamics of class conflict and the constraints imposed by hierarchical systems. Her works at this period often illuminated the supremacy of love, portraying the protagonists who grappled with inner turmoil and external struggles.
In 1987, Chiung Yao ventured to China, shortly after the Taiwanese government lifted restrictions on cross-straits travel. Two years later, as film and television productions were permitted to be filmed in China, she seized the opportunity by organizing a production crew there—becoming one of the first Taiwanese producers to do so.
Chiung Yao’s dramas, which uphold the idea that love conquers all, were well received in the 1990s Taiwan—a period marked by the fluidity and complexity of romantic relationships. In China, where civilians suffered social repression, her narratives resonated with viewers who longed for freedom and personal liberation. In Vietnam, her television series faced initial censorship due to their portrayals of homewreckers and extramarital affairs. However, as the Vietnamese government adopted reform and opening-up policies , these once-suppressed stories regained popularity.
In 1998, Chiung released the comedy drama “My Fair Princess,” a refreshing departure from her usual repertoire of classical tragedies. In 2013, she retired from the film and television industry.
Over her half-century career, Chiung published more than 60 novels. With abundant creative energy and undiminished enthusiasm, she established a pioneering model for Chinese-language romance fiction, transcending traditional literary boundaries and seamlessly intertwining literature with visual media. Her innovative approach not only enriched the genre but also amplified the global presence of Taiwanese literature.