Hassen 八仙 Or Eight Daoist Immortals Below Text from Japan Architecture and Art Net User System (JAANUS) Chn: Baxian
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Chinese Folk Art, Festivals, and Symbolism in Everyday Life
Chinese Folk Art, Festivals, and Symbolism in Everyday Life PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY Written and Designed by Nicole Mullen with contributions by Ching-chih Lin, PhD candidate, History Department, UC Berkeley. Additional contributors: Elisa Ho, Leslie Kwang, Jill Girard. Funded by the Berkeley East Asia National Resource Center through its Title VI grant from the U.S. Department of Education. Special thanks to Ching-chih Lin, for his extraordinary contributions to this teaching guide and the Taipei Economic and Cultural Office in San Francisco for its generous print and electronic media contributions. Editor: Ira Jacknis Copyright © 2005. Phoebe A. Hearst Museum of Anthropology and the Regents of the University of California. All rights reserved. 103 Kroeber Hall. #3712, Berkeley CA 94720 Cover image: papercut, lion dance performance, 9–15927c All images with captions followed by catalog numbers in this guide are from the collections of the Phoebe A. Hearst Museum of Anthropology. All PAHMA objects from Beijing and Nanking are from the museum's Ilse Martin Fang Chinese Folklore Collection. The collection was assembled primarily in Beijing between 1941 and 1946, while Ms. Fang was a postdoctoral fellow at the Deutschland Institute working in folklore and women's studies. PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY CHINA The People’s Republic of China is the third largest country in the world, after Russia and Canada. It is slightly larger than the United States and includes Hong Kong and Macau. China is located in East Asia. The capital city is Beijing, which is in the northeast part of the country. -
Eva Wong Taoism an Essential Guide
Eva Wong Taoism An Essential Guide Donn still outsmarts gladsomely while inframaxillary Nickey poking that surety. Damoclean Roarke sometimes beacons any ephemeron clogs shily. Dimitri dribbles tritely while pilose Shlomo pents unexpectedly or treadle definitively. Magritte is my fave artist! Please select the tabs below to change the source of reviews. Sms or may need the rest and eva wong taoism an essential guide to new york city to the pursuit of heaven originally created. Taoist guide and eva wong taoism an essential guide to. This subtle concepts of taoism as monkey became one, eva wong taoism an essential guide ta taoism is imported from each other foot, the trip shortly, and shows or expired. Here is an essential guide to the spiritual essence of eva wong london and chuang tzu. Sun style and political theory: the essential guide to save you an item to get an illustration of eva wong taoism an essential guide you really think the. See your business and eva wong is magical theories from which will my items such as the shandong province of eva wong taoism an essential guide is the polluted air from the osher jcc marin in. Chinese religion and masculine side represent a formal definition would say that time were regarded by eva wong taoism an essential guide to student of learned with the bank for it stands for the arts was disillusioned that is. Wer mehr im detail, for specific arrangement of an essential guide to your inputs and many different powers and spirit stones can we will use. You want power in your desires summoned specifically for a yen for soul stones, revealing the fulfillment of taoism through asia, eva wong taoism an essential guide. -
A Cantonese Opera Based on a Midsummer Night's Dream
A Dream in Fantasia — A Cantonese Opera Based on A Midsummer Night's Dream Loretta Ling Yeung, Hong Kong and Augusta, Georgia USA Abstract This review discusses an appropriation of A Midsummer Night's Dream by the Hong Kong Young Talent Cantonese Opera Troupe. While retaining most of Shakespeare's characters and his basic plot structure, the new opera, A Dream in Fantasia, aimed to expand the audience for Cantonese opera. At the same time it proved to be transparently entertaining to its Cantonese audience. A Dream in Fantasia (adapted from William Shakespeare's A Midsummer Night's Dream), with a new script by Keith Lai. Hong Kong Young Talent Cantonese Opera Troupe. Director, Lee Lung. Cast: Lam Tin-Yao as Linghu Feng (Demetrius); Doris Kwan as Xiahou Jun (Lysander); Lam Tsz-Ching as Yuwen Piaopiao (Hermia); Cheng Nga-Kei as Murong Xiangxiang (Helena); guest artist Kwok Kai-Fai as Crown Prince Gongyang (Oberon); guest artist Leung Wai-Hong as the Crown Princess (Titania); Hong Wah as the Forest Fairy (Puck); Wong Kit-Ching as Shangguan Chan (Peter Quince); Yuen Seen-Ting as Zhuge Zi (Bottom); Keith Lai as Chanyu Xiong 2 Borrowers and Lenders (Egeus); and Wong Po-Hyun as Queen Xuanyuan (Hippolyta). Tsuen Wan City Hall Auditorium, Hong Kong, 14 December 2013. As I enter the theater at the City Hall of Tsuen Wan, a suburb of Hong Kong, the audience — predominantly elderly people and women — is eagerly waiting to watch A Midsummer Night's Dream in a Cantonese version, entitled A Dream in Fantasia (figure 1).1 At stage right, a small Chinese orchestra is about take us to Fairyland, where four confused young lovers will try to find true love, while a group of villagers prepare a show for the Queen's birthday. -
The Daoist Tradition Also Available from Bloomsbury
The Daoist Tradition Also available from Bloomsbury Chinese Religion, Xinzhong Yao and Yanxia Zhao Confucius: A Guide for the Perplexed, Yong Huang The Daoist Tradition An Introduction LOUIS KOMJATHY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 175 Fifth Avenue London New York WC1B 3DP NY 10010 UK USA www.bloomsbury.com First published 2013 © Louis Komjathy, 2013 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Louis Komjathy has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Academic or the author. Permissions Cover: Kate Townsend Ch. 10: Chart 10: Livia Kohn Ch. 11: Chart 11: Harold Roth Ch. 13: Fig. 20: Michael Saso Ch. 15: Fig. 22: Wu’s Healing Art Ch. 16: Fig. 25: British Taoist Association British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 9781472508942 Library of Congress Cataloging-in-Publication Data Komjathy, Louis, 1971- The Daoist tradition : an introduction / Louis Komjathy. pages cm Includes bibliographical references and index. ISBN 978-1-4411-1669-7 (hardback) -- ISBN 978-1-4411-6873-3 (pbk.) -- ISBN 978-1-4411-9645-3 (epub) 1. -
The Dictionary of Chinese Deities
THE DICTIONARY OF CHINESE DEITIES HAROLD LIU For everyone who love Chinese myth A Amitabha Amitabha is is a celestial buddha described in the scriptures of the Mahayana school of Buddhism. Amitabha is the principal buddha in the Pure Land sect, a branch of Buddhism practiced mainly in East Asia. An Qisheng An immortal who had live 1.000 year at he time of Qin ShiHuang. According to the Liexian Zhuan, Qin Shi Huang spoke with him for three entire days (including nights), and offered Anqi jade and gold. He later sent an expedition under Xu Fu to find him and his highly sought elixir of life. Ao Guang The dragon king of East sea. He is the leader of four dragon king. His son Ao Bing killed by Nezha, when his other two son was also incapitated by Eight Immortals. Ao Run The dragon king of West Sea. His crown prine named Mo Ang and help Sun Wukong several times in journey to the West story.His 3th son follow monk XuanZhang as hisdragon horse during Xuan Zhang's journey to the West. Ao Qin The dragon king of South sea AoShun The dragon King of North sea. Azzure dragon (Qing Long) One of four mythical animal in China, he reincanated many times as warrior such as Shan Xiongxin and Yom Kaesomun, amighty general from Korea who foiled Chinese invasion. It eleemnt is wood B Bai He Tongzhu (white crane boy) Young deity disciple of Nanji Xianweng (god of longevity), he act as messenger in heaven Bai Mudan (White peony) Godess of temptress Famous prostitute who sucesfully tempt immortal Lu Dongbin to sleep with her and absorb his yang essence. -
The Eight Great Taoist Spiritual Chants
The Eight Great Taoist Spiritual Chants Ba Da Zhen Zhou Te Eight Immortals 51 Taoist Chanting & Recitation First Chant Spiritual Chant for Purifying of the Heart Jing Xin Shen Zhou1 Recite in Chinese:2 !•Tai • • •• "•Shang • • • • • • • • " Tai " " •• Tai Shang 3 of the • • • • " Xing Star Terrace, !"•Ying • • •• "•Bian • • •# • • • • • " Wu " " •• # without cease responds • " Ting! to all transformations, •Qu •Xie •Fu •Mei eradicates all demons by binding them with magic charms. •Bao •Ming •Hu •Shen Protecting a person’s body, he defends life. •Zhi •Hui •Ming •Jing His wisdom is pure and illuminating, •Xing •Shen •An •Ning and brings spiritual peace to the mind. 52 The Eight Great Taoist Spiritual Chants •San •Hun •Yong •Jiu Forever eternalizing the Three Heavenly Spirits, •Po •Wu •Sang •Qing and so defeating and causing all the Earthly Po Spirits to flee. "•Ji •Ji "•Ru •Lu "•Ling These mandates I will expediently follow. 1 Purifying the Heart chant and the next two chants, Purifying the Spirit and Purifying the Body, are essentially meant to attract good spirits to help protect the body, mouth, and mind from malignant influences. This particular chant protects against external negative influences from entering. 2 Wooden fish symbols show the chanting pattern for the first two lines of each chant, as well as the beats for the remaining lines. Listen to the Eight Great Taoist Spiritual Chants at the Sanctuary of Tao’s website: sanctuaryoftao.org. 3 Honorific deity title for Lao Zi. 53 Taoist Chanting & Recitation Second Chant Spiritual Chant for Purifying the Mouth Jing Kou Shen Zhou1 !•Dan • • •• "•Zhu • • • • • • • • " Kou " " •• Dan Zhu (Cinnabar • • • • " Shen Elixir), the spirit of the mouth. -
Daoism and Daoist Art
Heilbrunn Timeline of Art History Daoism and Daoist Art Works of Art (19) Essay Indigenous to China, Daoism arose as a secular school of thought with a strong metaphysical foundation around 500 B.C., during a time when fundamental spiritual ideas were emerging in both the East and the West. Two core texts form the basis of Daoism: the Laozi and the Zhuangzi, attributed to the two eponymous masters, whose historical identity, like the circumstances surrounding the compilation of their texts, remains uncertain. The Laozi—also called the Daodejing, or Scripture of the Way and Virtue—has been understood as a set of instructions for virtuous rulership or for self- cultivation. It stresses the concept of nonaction or noninterference with the natural order of things. Dao, usually translated as the Way, may be understood as the path to achieving a state of enlightenment resulting in longevity or even immortality. But Dao, as something ineffable, shapeless, and conceived of as an infinite void, may also be understood as the unfathomable origin of the world and as the progenitor of the dualistic forces yin and yang. Yin, associated with shade, water, west, and the tiger, and yang, associated with light, fire, east, and the dragon, are the two alternating phases of cosmic energy; their dynamic balance brings cosmic harmony. Over time, Daoism developed into an organized religion—largely in response to the institutional structure of Buddhism—with an ever-growing canon of texts and pantheon of gods, and a significant number of schools with often distinctly different ideas and approaches. At times, some of these schools were also politically active. -
Origin Narratives: Reading and Reverence in Late-Ming China
Origin Narratives: Reading and Reverence in Late-Ming China Noga Ganany Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Noga Ganany All rights reserved ABSTRACT Origin Narratives: Reading and Reverence in Late Ming China Noga Ganany In this dissertation, I examine a genre of commercially-published, illustrated hagiographical books. Recounting the life stories of some of China’s most beloved cultural icons, from Confucius to Guanyin, I term these hagiographical books “origin narratives” (chushen zhuan 出身傳). Weaving a plethora of legends and ritual traditions into the new “vernacular” xiaoshuo format, origin narratives offered comprehensive portrayals of gods, sages, and immortals in narrative form, and were marketed to a general, lay readership. Their narratives were often accompanied by additional materials (or “paratexts”), such as worship manuals, advertisements for temples, and messages from the gods themselves, that reveal the intimate connection of these books to contemporaneous cultic reverence of their protagonists. The content and composition of origin narratives reflect the extensive range of possibilities of late-Ming xiaoshuo narrative writing, challenging our understanding of reading. I argue that origin narratives functioned as entertaining and informative encyclopedic sourcebooks that consolidated all knowledge about their protagonists, from their hagiographies to their ritual traditions. Origin narratives also alert us to the hagiographical substrate in late-imperial literature and religious practice, wherein widely-revered figures played multiple roles in the culture. The reverence of these cultural icons was constructed through the relationship between what I call the Three Ps: their personas (and life stories), the practices surrounding their lore, and the places associated with them (or “sacred geographies”). -
Appendix 2 Chinese Deities and Spirits
Appendix 2 Chinese deities and spirits This appendix includes a selection of the most common and important gods, goddesses, Buddhas, bodhisattvas, ancestors, and spirits that one can find in reli- gious sites across China. For each major religion, I present the most important deities of the pantheon as people would encounter them in a temple or other sacred space. Of course, there are many other deities presented in temples across China; yet, these are some of the most common of the range of deities – which ultimately cover all aspects of people’s physical and spiritual lives. Animistic ideas (referring to the idea of having or expecting mutually recip- rocal relationships of respect, gift-exchange, and communication; see Harvey 2013) in China stem at least as far back as the proto-Daoist text, the Zhua¯ngzi 庄子, from around 300 BCE, the first seven, inner chapters of which scholars think were written by Zhua¯ ng Zho¯u 庄周 (c. 369 BCE – c. 286 BCE). This text explains ideas about carefree living, naturalness, and relativity of perceptions, and Zhua¯ ngzi seems to attempt to get people to recognize that they live in a multi- species symbiotic community in which each aspect is in relationship and that each deserves respect. The Zhua¯ ngzi continues to be a widely-read and influential book among contemporary Chinese readers. Other popular literary texts include religiously-informed animistic ideas as well. Journey to the West (Xı¯yóujì 西游记), The Investiture of the Gods (Fe¯ngshén Yaˇnyì 封神演义), Dream of the Red Chamber (Hónglóu mèng 红楼梦), and the Water Margin (Shuıˇ huˇ zhuàn 水浒传; aka., Outlaws of the Marsh), all contain examples of some natural phenomenon such as a rock, animal, or flower, which has absorbed the essence of the cosmos for so long that it becomes a spirit being and chooses to incarnate in the human world to experience life in a human form. -
The Eight Immortals
The Eight Immortals Gallery Objects: The ivory chess set and the carved elephant tusks. The eight immortals are legendary beings who lived at various times and attained immortality through their studies of nature’s secrets. They can be male or female, young or old, shown together or separately. Any man or woman appearing in a landscape with pine trees, cranes, deer and the fungus of immortality may be considered an immortal. The most important, Zhongli Chuan is generally shown as a fat man with a bare belly, always holding a fan with which he is believed to revive the souls of the dead. According to many stories, he married a young and beautiful wife and retired to his native place to life the life of a philosopher. One day he was walking in meditation and came upon a young woman in deep mourning, sitting near a fresh grave and fanning the upturned soil. When asked why she was fanning the ground, she said that her late husband had begged her not to remarry until the soil on his grave was dry. She had found someone she wanted to marry and wanted the grave to dry quickly. Zhongli offered her his help. Taking her fan, he invoked spirits to his aid, struck the fan to the tomb and the soil instantly dried. The widow thanked him gaily, and walked away without her fan. When Zhongli’’s young wife saw the fan, she demanded to know all about it. When she heard the story she became very indignant, saying she would never behave like that. -
God Is Transgender
GOD IS TRANSGENDER In what was an intellectual high for the New York Times, the Gray Lady printed an op- ed article titled “Is God Transgender?” by a New York rabbi named Mark Sameth. Related to a man who “transitioned to a woman” in the 1970s, Sameth contends that “the Hebrew Bible, when read in its original language, offers a highly flexible view of gender.” He puts forward many historical examples of gender fluidity in the Hebrew scriptures, in order to maintain that religion should not be put in service of “social prejudices” against transgendering. His treatment of the Bible amounts to excellent scholarship. Proposing that the God of Israel was worshipped originally as “a dual-gendered deity,” the rabbi asserts, that the etymological derivation of Yahweh is “He/She” (HUHI). His argument requires that the Tetragrammaton be read, not from right to left (as Hebrew always is), but from left to right: The four-Hebrew-letter name of God, which scholars refer to as the Tetragrammaton, YHWH, was probably not pronounced “Jehovah” or “Yahweh,” as some have guessed. The Israelite priests would have read the letters in reverse as Hu/Hi—in other words, the hidden name of God was Hebrew for “He/She.” Some biblical scholars say that “Yahweh” is derived from the third-person singular of the verb “to be” (hayah), whether a qal imperfect (“he is” or “he will be”) or the causative hiphil imperfect (“he causes to come into being, he creates”). This view is confirmed by numerous lines of evidence: the interpretation given in Exod 3:14 (“Say to the sons of Israel, ‘ehyeh [‘I am’ or ‘I will be’ (who I am/will be)] sent me to you”); the use of shortened forms of Yahweh at the end (“Yah” or “Yahu”) or beginning (“Yeho” or “Yo”) of Hebrew names; the spelling “Yabe” known to the Samaritans; and transliterations “Yao,” “Ya-ou-e,” and “Ya-ou-ai” in some Greek texts. -
Proquest Dissertations
TO ENTERTAIN AND RENEW: OPERAS, PUPPET PLAYS AND RITUAL IN SOUTH CHINA by Tuen Wai Mary Yeung Hons Dip, Lingnan University, H.K., 1990 M.A., The University of Lancaster, U.K.,1993 M.A., The University of British Columbia, Canada, 1999 A THESIS SUBIMTTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA September 2007 @ Tuen Wai Mary Yeung, 2007 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-31964-2 Our file Notre reference ISBN: 978-0-494-31964-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these.