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Sunnahmuakada.Wordpress.Com Sayyid Rami Al Rifai Issue #4
Issue #4 The Islamic Journal SunnahMuakada.wordpress.com Sayyid Rami al Rifai Table Of Contents Foward 1) Man Is Always In A State Of Loss In The Universe 2) Ablution (Wudu) Is Worth Half Of Our Iman (Faith) and It's Af- fects On The Unseen (Subatomic) World 3) The Role Of Wudu (Ablution) In Being Happy 4)The Spiritual Imapct Of Perfecting The Self And The Impor- tance of Spiritual Training 5) Allah Himself Is The One Who Categorised The Nafs (Self) 6)The Accupunture Of Asia The Lataif Of Islam and Their Origin Related Material 1) 1001 Years Of Missing Islamic Martial Arts 2) Tariqah's Existed Among The First Generations Of Muslims (Sa- laf) 3) Imam Ibn Kathir and Sufism 4)The Debate Between Ibn Ata Allah and Ibn Taymiyah On Tasaw- wuf i Foward Bismillahi rahmani raheem Assalamu Alaikum, The Islamic Journal is a unique Journal in that it doesn’t follow the usual methods of other academic journals. It came about as a re- sult of a book I was writing called “The Knowledge Behind The Terminology and Concepts in Tassawwuf and It’s Origin”, the title is as descriptive as possible because the book was written in the same style as classical islamic texts, a single document without any chapter’s since they were a later invention which hindered the flow of the book. That book looked into the Islamic science of Ihsan, Human perfec- tion, were it’s terminology and concepts came from, what they mean and the knowledge and science they were based on. -
The Historical Origin of the Chinese Taoist and Tai Chi
DOI: 10.7763/IPEDR. 2012. V58. 25 The Historical Origin of the Chinese Taoist and Tai Chi Jian-sheng Wen1and Min Su Department of Physical Education of Northwestern Polytechnical University, ShaanxiXi´an, 710072 Abstract. Chinese martial arts and Taoism has a long historical origin, this article reveals that the formation of tai chi means traditional Chinese Taoist culture having a clear external expression form, at the same time having bidirectional authentication method (inward regimen validated and outward fighting verified). When Chinese Taoists to Zhang Sanfeng, Inner life cultivation and life formed holographic deduction in the universe had been completed. Marking the Taoist introverted experience practicing was already clear and maturation. But the Taoist within the practice also needs external practicing avenue and intuitive form. Finally in the right historical period, Taoism and the martial art met. Keywords: Taoism, Chinese Martial Art, Tai Chi, Life Cultivation, Zhang San-feng. 1. Introduction Yang style, etc. every style tai chi respects Zhang San feng for the founder. Either from tai chi name or from the statue of the founder, Taoist and tai chi both have a deeply historical origin,and means that The two value orientations are convergence. In modern times, many tai chi practitioners, tai chi has become one of the world's most widespread categories of traditional Chinese culture. People can generally feel the the Taoist culture behind it, but the Taoist culture system is still to make people feel mysterious. What the intrinsic link is between the two? Whether can have a glimpse of the true face of the Taoist culture through tai chi? This article reveals that the formation of tai chi means traditional Chinese Taoist culture having a clear external expression form, at the same time having bidirectional authentication method (inward regimen validated and outward fighting verified). -
Introduction
INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined. -
The Imperial Tomb Tablet of the Great Ming
The Imperial Tomb Tablet of the Great Ming 大明皇陵之碑 With translation into English, annotations and commentary by Laurie Dennis October 2017 The town of Fengyang 凤阳, to the north of Anhui Province in the heart of China, may seem at first glance to be an ordinary, and rather unremarkable, provincial outpost. But carefully preserved in a park southwest of the town lies a key site for the Ming Dynasty, which ruled the Middle Kingdom from 1368 until 1644. Fengyang is where the eventual dynastic founder lost most of his family to the plague demons. This founder, Zhu Yuanzhang 朱元璋, was a grieving and impoverished peasant youth when he buried his parents and brother and nephew on a remote hillside near the town that he later expanded, renamed, and tried (unsuccessfully) to make his dynastic capital. Though Zhu had to leave his home to survive in the aftermath of the burial, he was a filial son, and regretted not being able to tend his family graves. Soon after becoming emperor, he transformed his family’s unmarked plots into a grand imperial cemetery for the House of Zhu, flanked by imposing statues (see the photo above, taken in 2006). He ordered that a stone tablet be placed before the graves, and carved with the words he wanted his descendants to read and ponder for generation after generation. The focus of this monograph is my translation of this remarkable text. The stele inscribed with the words of Zhu Yuanzhang, known as the Imperial Tomb Tablet of the Great Ming 大明皇陵之碑, or the Huangling Bei, stands over 7 meters high and is borne on the back of a stone turtle. -
Jin Yong's Novels and Hong Kong's Popular Culture Mr Cheng Ching
Jin Yong’s Novels and Hong Kong’s Popular Culture Mr Cheng Ching-hang, Matthew Jin Yong’s martial arts novel, The Book and the Sword, was first serialised in the New Evening Post on 8 February 1955. His novels have been so well received since then that they have become a significant and deeply rooted part of Hong Kong’s popular culture. Jin Yong’s novels are uniquely positioned, somewhere between part literature and part plebeian entertaining read. That is why they have a wide readership following. From serials published in newspapers to films and hit TV drama series, they are at the same time acknowledged by academics as home-grown literature of Hong Kong, and take pride of place in the genre of Chinese novel-writing. The origins of the martial arts novel (also known as the “wuxia novel”) can be traced back to the ancient Shiji (The Records of the Grand Historian), specifically to chapters such as the “Biographies of Knight-errants” and “Men with Swords”. However, the genre draws inspiration from many parts of Chinese history and culture, including the Tang dynasty novels about chivalry, such as Pei Xing’s Nie Yinniang and Du Guangting’s The Man with the Curly Beard; The Water Margin, which was written between the Yuan and Ming dynasties; and the Qing dynasty novels about heroism, such as The Seven Heroes and Five Gallants and Adventures of Emperor Qianlong. In 1915, Lin Shu (Lin Qinnan) wrote a classic Chinese novella, Fumei Records, and its publication in the third issue of the periodical Xiao Shuo Da Guan was accompanied by the earliest use of the term “martial arts novel”. -
Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff. -
Imperial Tombs of the Ming and Qing Dynasties
WHC Nomination Documentation File Name: 1004.pdf UNESCO Region: ASIA AND THE PACIFIC __________________________________________________________________________________________________ SITE NAME: Imperial Tombs of the Ming and Qing Dynasties DA TE OF INSCRIPTION: 2nd December 2000 STATE PARTY: CHINA CRITERIA: C (i) (ii) (iii) (iv) (vi) DECISION OF THE WORLD HERITAGE COMMITTEE: Criterion (i):The harmonious integration of remarkable architectural groups in a natural environment chosen to meet the criteria of geomancy (Fengshui) makes the Ming and Qing Imperial Tombs masterpieces of human creative genius. Criteria (ii), (iii) and (iv):The imperial mausolea are outstanding testimony to a cultural and architectural tradition that for over five hundred years dominated this part of the world; by reason of their integration into the natural environment, they make up a unique ensemble of cultural landscapes. Criterion (vi):The Ming and Qing Tombs are dazzling illustrations of the beliefs, world view, and geomantic theories of Fengshui prevalent in feudal China. They have served as burial edifices for illustrious personages and as the theatre for major events that have marked the history of China. The Committee took note, with appreciation, of the State Party's intention to nominate the Mingshaoling Mausoleum at Nanjing (Jiangsu Province) and the Changping complex in the future as an extention to the Imperial Tombs of the Ming and Qing dynasties. BRIEF DESCRIPTIONS The Ming and Qing imperial tombs are natural sites modified by human influence, carefully chosen according to the principles of geomancy (Fengshui) to house numerous buildings of traditional architectural design and decoration. They illustrate the continuity over five centuries of a world view and concept of power specific to feudal China. -
A Fun Gongfu: the Story of the Deer and the Cauldron
This is a repository copy of Survival through Laughter: A Fun Gongfu: The Story of the Deer and the Cauldron. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/137875/ Version: Accepted Version Book Section: Ma, H (2016) Survival through Laughter: A Fun Gongfu: The Story of the Deer and the Cauldron. In: Ruru, L, (ed.) Staging China: New Theatres in the Twenty-First Century. Chinese Literature and Culture in the World . Palgrave Macmillan , Basingstoke, Hampshire, UK , pp. 141-158. ISBN 978-1-137-56747-5 https://doi.org/10.1057/9781137529442 Selection and editorial content © Li Ruru 2016. Individual chapters © their respective contributors 2016. This is an author produced version of a paper published in Staging China: New Theatres in the Twenty-First Century. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Chapter 7 Survival through Laughter-- A Fun Gongfu: The Story of the Deer and the Cauldron Ma Haili The Story of the Deer and the Cauldron (Lu ding ji, 2009; Deer and Cauldron hereafter), set in the early Qing dynasty, is a theatrical adaptation of a gongfu (or “Kung Fu”) story. -
Huangling Bei Monograph April 2020
The Imperial Tomb Tablet of the Great Ming 大明皇陵之碑 With translation into English, annotations and commentary by Laurie Dennis April 2020 The town of Fengyang 凤阳, to the north of Anhui Province in the heart of China, may seem at first glance to be an ordinary, and rather unremarkable, provincial outpost. But carefully preserved in a park southwest of the town lies a key site for the Ming Dynasty, which ruled the Middle Kingdom from 1368 until 1644. Fengyang is where the eventual dynastic founder lost most of his family to the plague demons. This founder, Zhu Yuanzhang 朱元璋, was a grieving and impoverished peasant youth when he buried his parents and brother and nephew on a remote hillside near the town that he later expanded, renamed, and tried (unsuccessfully) to make his dynastic capital. Though Zhu had to leave his home to survive in the aftermath of the burial, he was a filial son, and regretted not being able to tend his family graves. Soon after becoming emperor, he transformed his family’s unmarked plots into a grand imperial cemetery for the House of Zhu, flanked by imposing statues (see the photo above, taken in 2006). He ordered that a stone tablet be placed before the graves, and carved with the words he wanted his descendants to read and ponder for generation after generation. The focus of this monograph is my translation of this remarkable text. The stele inscribed with the words of Zhu Yuanzhang, known as the Imperial Tomb Tablet of the Great Ming 大明皇陵之碑, or the Huangling Bei, stands over 7 meters high and is borne on the back of a stone turtle. -
'Like a Good Kid' Competes at 2 Festivals
Art & Culture October 21, 2018 3 This Day in History ‘Like a Good Kid’ (October 21) Today is Sunday, 29th of the Iranian month of Mehr 1397 solar hijri; corresponding to 11th of the Islamic month of Safar 1440 lunar hijri; and October 21, 2018, of the Christian Gregorian Calendar. Competes at 2 Festivals 1683 solar years ago, on this day in 335 AD, Roman Emperor Constantine I, following TEHRAN (Dispatches) – Iranian consideration in the Animated Short his conversion to Christianity – the cult invented by Paul the Hellenized Jew and falsely short film “‘Like a Good Kid” directed Film/Live Action Short Film category attributed to Prophet Jesus (AS) – enacted rules against Jews. One of the laws stated that if a Jew buys and circumcises a Christian slave (or of any other sect), he shall on by Arian Vazir Daftari has been . no account retain the circumcised in slavery, but he who suffered this shall acquire the accepted into the competition program Directed by Arian Vazir Daftari and privileges of liberty. It is forbidden for a Jew to harass or attack on anyone who converts of two festivals in Ireland and Albania. produced by Majid Barzegar, the film to Christianity from Judaism. The insult should be punished according to the nature of the “Like a Good Kid” will take part in is about Sara who babysits Matin (a 6 crime committed. the 29th Foyle Film Festival in Ireland, year old boy) whilst his mother is at 1402 lunar years ago, on this day and the subsequent night in 38 AH, the famous Battle scheduled for 16-20 November 2018. -
Curriculum Vitae
CURRICULUM VITAE Personal Information Name Liu Yong-Zhong Gender Male Position Title Working Department College of HortiPcurlotuferes&soFrorestry Sciences Email [email protected] Address Shizishan Road 1#, Hongshan District,Wuhan, P.R. China Tel (086)15347103401 Fax 086-02787282010 Research Interest 1) Mechanism for the regulation of fruit mastication, citrate and sugar accumulation in (citrus) fruits. 2) Research to improve fruit quality from practice level. 3) To develop labor-saving, safe and profitable planting model for citriculture. 4) To develop cultural practices for citrus healthy production in Huanglongbing (citrus greening)-infected region. Education & Working Experience Education: 2002 – 2006 Ph.D. Huazhong Agricultural University, Fruit Science, Wuhan, China 1996 – 1999 M.S. Southwest Agricultural University, Fruit Science, Chongqing, China 1996 – 1999 B.A. Southwest Agricultural University, Fruit Science, Chongqing, China Working Experience: 2016 – present Professor, Huazhong Agricultural University 2009 – 2010 Postdoctoral research in Agricultural Research Organization (Volcani Center), Israel 2007 – 2015 Associate professor, Huazhong Agricultural University 2002 – 2006 Lecturer, Huazhong Agricultural University Publications Long‑ Fei Jin,Da‑ Yong Guo,Dong‑ yuan Ning,Syed Bilal Hussain, Yong‑ Zhong Liu*. Covering the trees of Kinokuni tangerine with plastic film during fruit ripening improves sweetness and alters the metabolism of cell wall components. Acta Physiologiae Plantarum (2018) 40:182.doi.org/10.1007/s11738-018-2761-1 Shi C-Y, Hussain SB, Guo L-X, Yang H, Ning D-Y, Liu Y-Z* (2018) Genome-wide identification and transcript analysis of vacuolar-ATPase genes in citrus reveal their possible involvement in citrate accumulation. Phytochemistry 155:147-154. Syed Bilal Hussain, Cai-Yun Shi, Lin-Xia Guo, Hafiz Muhammad Kamran, Avi Sadka & Yong-Zhong Liu*. -
Jin Yong's Novels
Jin Yong’s Novels Jin Yong (Louis Cha Leung-yung) was an internationally well-known writer in the literary world. His 15 martial arts romance novels have been so popular that they have a widespread following in Chinese communities worldwide. It is said that “Where there are Chinese people, there are Jin Yong’s novels”. In the academic world, Jin Yong was regarded as one of the “20th-century Chinese Literary Masters”. Each of his novels has been adapted many times into films and TV series. And some have been adapted into Chinese and Western shows such as dance dramas, symphonies, dramas, cartoons, comics, acrobatics, narrative singings, and puppet theatres. Others have even been adapted into video games and others cultural creative products. They have a far-reaching influence, for decades, in the popularization and development of culture in the various social quarters on both sides on the Taiwan Straits, namely Hong Kong, Macao, Taiwan and mainland China. The stamp issue “Jin Yong’s Novels” is designed by Lio Man Cheong, the famous painter in Macao. The souvenir sheet is based on Jin Yong’s debut novel “The Book and the Sword” and the four stamps are originated from one of Jin Yong’s masterpieces, “The Legend of the Condor Heroes”. The Book and the Sword The creation of “The Book and the Sword” was originated from a martial arts competition held in Macao in 1954. In the following year, Jin Yong was entrusted to publish a series of martial arts romance novels on the “New Evening Post”, which later won him the great fame and made him the leader of “new faction” martial arts romance novels.