Japanese Nô theatre is often deemed as the theatre of aesthetic par excellence with religious-oriented themes often centered on attaining enlightenment. Terms such as political drama and cultural propaganda are seldom associated with Nô theatre. However, there are plays that portray a negative image of China while celebrate Japanese culture. The Nô play 'Hakurakuten' tells a fictitious story of Chinese poet Bai Juyi's visit to Japan. Although his works were highly praised and influential in Heian Japan, the Nô play presents a very different assessment of the Chinese poet. In the play, Bai Juyi is defeated by Sumiyoshi Myôjin, the deity of Japanese poetry, and is blown away from the land of Japan by the power of Japanese deities. What are the significances of such an ultimate reversal of Japan's longtime appreciation of the Chinese poet? This paper juxtaposes earlier portrayals of Bai Juyi from Heian to Muromachi periods with that of the Nô play and examines the theatricality of Nô theatre in presenting a culturally sensitive subject. In the light of the sociopolitical climate of Muromachi Japan, I will propose the rationales for such a strong declaration of Japan's cultural superiority over China. Finally, based on surviving performance records, I will trace the reception of the play and evaluate socio-cultural sentiments that it reveals.