Qin Zhong
Qin Zhong is a legendary Divine General of Emperor Taizong's era, commemorated in the Pavilion of Ascending Mist and later as one of the empire's traditional door guardians. (Chapters 190 and 195)
Biography
Loyalty to Taizong
Qin Zhong firmly supports Emperor Taizong during the Hundred Herb Garden crisis and remains one of the sovereign's celebrated generals. Old wounds eventually leave him bedridden, and Daoist Ji treats him while investigating the deaths of the Pavilion of Ascending Mist's subjects. Before dying, Qin reveals that he understands Taizong has used the lives of loyal ministers and generals as offerings to the stars. He nevertheless dies peacefully and without complaint, accepting the sacrifice as part of the loyalty he had already chosen. (Chapters 190 and 195)
Appearance and personality
The living Qin Zhong receives no detailed physical description in the supplied evidence; later generations know him through a formal portrait and protective iconography. His defining trait is unwavering loyalty, maintained even after he understands the fatal cost of Taizong's design. (Chapters 190 and 195)
Abilities and cultivation
Qin Zhong is remembered for boundless might and military reputation, enough for his image to become a symbolic guardian beside Yu Gong. His old injuries ultimately confine him to bed, and the corpus does not preserve a named technique, exact realm, or specific battle mechanic. (Chapters 190 and 195)
Relationships
- Emperor Taizong: Qin supports Taizong's rise and accepts becoming one of the lives offered to alter the empire's fate. (Chapters 190 and 195)
- Yu Gong: Later tradition pairs the two Divine Generals as protective door guardians and fellow subjects of the Pavilion of Ascending Mist. (Chapter 190)
- Shang Xingzhou: Acting as Daoist Ji, Shang treats Qin's old injuries and learns that the general knows the truth behind the deaths. (Chapters 195 and 730)
Items
- Pavilion portrait: Daoist Wu paints Qin Zhong among the celebrated subjects of the Pavilion of Ascending Mist; the portrait is a state memorial, not his personal possession. (Chapter 195)
