1 Unit 2 Topic 2 Deities in Chinese Myths and Legends
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Making the State on the Sino-Tibetan Frontier: Chinese Expansion and Local Power in Batang, 1842-1939
Making the State on the Sino-Tibetan Frontier: Chinese Expansion and Local Power in Batang, 1842-1939 William M. Coleman, IV Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2014 © 2013 William M. Coleman, IV All rights reserved Abstract Making the State on the Sino-Tibetan Frontier: Chinese Expansion and Local Power in Batang, 1842-1939 William M. Coleman, IV This dissertation analyzes the process of state building by Qing imperial representatives and Republican state officials in Batang, a predominantly ethnic Tibetan region located in southwestern Sichuan Province. Utilizing Chinese provincial and national level archival materials and Tibetan language works, as well as French and American missionary records and publications, it explores how Chinese state expansion evolved in response to local power and has three primary arguments. First, by the mid-nineteenth century, Batang had developed an identifiable structure of local governance in which native chieftains, monastic leaders, and imperial officials shared power and successfully fostered peace in the region for over a century. Second, the arrival of French missionaries in Batang precipitated a gradual expansion of imperial authority in the region, culminating in radical Qing military intervention that permanently altered local understandings of power. While short-lived, centrally-mandated reforms initiated soon thereafter further integrated Batang into the Qing Empire, thereby -
Full Spectrum of Selves in Modern Chinese Literature: from Lu Xun to Xiao Hong
UCLA UCLA Electronic Theses and Dissertations Title Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong Permalink https://escholarship.org/uc/item/5022k8qv Author Ho, Felicia Jiawen Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in East Asian Languages and Cultures by Felicia Jiawen Ho 2012 © Copyright by Felicia Jiawen Ho 2012 ABSTRACT OF THE DISSERTATION Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong by Felicia Jiawen Ho Doctor of Philosophy in East Asian Languages and Cultures University of California, Los Angeles, 2012 Professor Shu-mei Shih, Chair Despite postcolonial theory’s rejection of legacies of Western imperial dominance and cultural hierarchy, the superiority of Euro-American notions of subjectivity remains a persistent theme in third world cross-cultural literary analysis. Interpretations of the Chinese May Fourth era often reduce the period to one of wholesale westernization and cultural self- repudiation. Euro-American notions of the self often reify ideologies of individuality, individualism, rationalism, evolution, and a “self-versus-society” dichotomy, viewing such positions as universal and applicable for judging decolonizing others. To interrogate this assumption, I examine the writing of Lu Xun and Xiao Hong, two May Fourth writers whose fictional characters present innovative, integrated, heterogeneous selves that transcend Western ii critical models. This “full spectrum of selves” sustains contradicting pulls of identity—the mental (the rational, the individual), the bodily (the survivalist, the affective), the cerebral (the moral), the social (the relational, the organismic), as well as the spiritual and the cosmic. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Ancient Emaki "Genesis" Exploration and Practice of Emaki Art Expression Tong Zhang Digital Media and Design Arts College Beijing University of Posts and Telecommunications Beijing, China 100876 Abstract—The ancient myths and legends with distinctive generation creators such as A Gen, sheep and others, and a Chinese characteristics, refers to myths and legends from dedicated serial picture book magazine "Paint Heart", Chinese Xia Dynasty until ancient times, it carries the origin of "STORY" appears, the delicate picture and vivid story make Chinese culture and it is the foundation of the Chinese nation, it Chinese picture book also developing rapidly and has formed a influence the formation and its characteristics of the national national reading faction craze for outstanding picture books. spirit to a large extent. The study explore and practice the art expression which combines ancient culture with full visual 1) Picture book traced back to ancient Chinese Emaki: impact Emaki form, learn traditional Chinese painting China has experienced a few stages include ancient Emaki, techniques and design elements, and strive to make a perfect illustrated book in Republican period and modern picture performance for the magnificent majestic ancient myth with a books. "Picture book", although the term originated in Japan, long Emaki. It provides a fresh visual experience to the readers and promotes the Chinese traditional culture, with a certain but early traceable picture books is in China. In Heian research value. Kamakura Period Japanese brought Buddhist scriptures (Variable graph), Emaki (Lotus Sutra) and other religious Keywords—ancient myths; Emaki form; Chinese element Scriptures as picture books back to Japan, until the end of Middle Ages Emaki had developed into Nara picture books. -
Rebuilding the Ancestral Temple and Hosting Daluo Heaven and Earth Prayer and Enlightenment Ceremony
Cultural and Religious Studies, July 2020, Vol. 8, No. 7, 386-402 doi: 10.17265/2328-2177/2020.07.002 D DAVID PUBLISHING Rebuilding the Ancestral Temple and Hosting Daluo Heaven and Earth Prayer and Enlightenment Ceremony Wu Hui-Chiao Ming Chuan University, Taiwan Kuo, Yeh-Tzu founded Taiwan’s Sung Shan Tsu Huei Temple in 1970. She organized more than 200 worshipers as a group named “Taiwan Tsu Huei Temple Queen Mother of the West Delegation to China to Worship at the Ancestral Temples” in 1990. At that time, the temple building of the Queen Mother Palace in Huishan of Gansu Province was in disrepair, and Temple Master Kuo, Yeh-Tzu made a vow to rebuild it. Rebuilding the ancestral temple began in 1992 and was completed in 1994. It was the first case of a Taiwan temple financing the rebuilding of a far-away Queen Mother Palace with its own donations. In addition, Sung Shan Tsu Huei Temple celebrated its 45th anniversary and hosted Yiwei Yuanheng Lizhen Daluo Tiandi Qingjiao (Momentous and Fortuitous Heaven and Earth Prayer Ceremony) in 2015. This is the most important and the grandest blessing ceremony of Taoism, a rare event for Taoism locally and abroad during this century. Those sacred rituals were replete with unprecedented grand wishes to propagate the belief in Queen Mother of the West. Stopping at nothing, Queen Mother’s love never ceases. Keywords: Sung Shan Tsu Huei Temple, Temple Master Kuo, Yeh-Tzu, Golden Mother of the Jade Pond, Daluo Tiandi Qingjiao (Daluo Heaven and Earth Prayer Ceremony) Introduction The main god, Golden Mother of the Jade Pond (Golden Mother), enshrined in Sung Shan Tsu Huei Temple, is the same as the Queen Mother of the West, the highest goddess of Taoism. -
Social and Political Criticisms Embedded in Chinese Myths and Legends
https://doi.org/10.7592/FEJF2019.75.xiyao SOCIAL AND POLITICAL CRITICISMS EMBEDDED IN CHINESE MYTHS AND LEGENDS HE Xiyao School of English Studies Zhejiang International Studies University Hangzhou, China e-mail: [email protected] Abstract: Chinese myths and legends, as popular cultural products, may be subjected to the analytical methods of cultural studies, which is the approach this study adopts when investigating their complex relationship with Chinese society and history. In particular, the social and political criticisms embedded in these myths and legends are studied, and this is done through exploring the reasons for the prominence of the embedded criticisms in Chinese myths and legends, and sorting out the general trend of their development. The prominence is accounted for by the harsh censorship and the influence of the Chu spirit and Taoism on Chinese culture.1 In the development of these criticisms, four stages are marked, each (cor)responding to the historical circumstances and with its own distinct feature. The study concludes with the historicity of Chinese myths and legends; the criticisms are embedded in them and they, in turn, are embedded in Chinese society and history. Keywords: censorship of culture, Chinese myths and legends, Chu spirit, cultural studies, social and political criticisms, strategies and tactics, Taoism APPROACH ADOPTED IN THIS STUDY Among the various approaches to the study of Chinese mythology – and of mythology in general – an important one that has persisted throughout the last century and has remained influential to this day is to study the complex relationship between mythology and society, i.e., how the two have affected, structured, and shaped each other. -
What Is Chinese New Year
THE YEAR OF THE OX The Year of the Ox begins on January 26, 2009, and runs until February 13, 2010. It is calculated according to the Chinese Lunar Calendar that is based on the phases of the moon. This calendar dated from 2600 BC, when the Emperor Huang Ti introduced the 恭 first cycle of the zodiac. There are 12 years in each cycle of the zodiac, with each year named after an animal. Preceded by the rat, the ox is followed by the tiger, rabbit, dragon, snake, horse, ram, monkey, rooster, dog and boar. In Chinese ancient legends, the ox is the second animal in the Chinese zodiac. There are many versions of the legends: the Buddha invited the animals to celebrate his 喜 departure from this world; the Jade Emperor invited the animals to attend a birthday celebration; the race of the animals in which the rat arrived first as it crossed the river on the back of the ox, and jumped ahead once the river is crossed. The Chinese zodiac animals symbolize twelve types of personality. People born in the Year of the Ox are reliable, diligent, tenacious, conscientious, with strong and 發 sound judgment, though they may also be obstinate and stubborn. People born in 2009, the year of the Earth Ox, are successful, diligent, reliable, modest and sincere. Previous Years of the Ox include 1889, 1901, 1913, 1925, 1937, 1949, 1961, 1973, 1985 and 1997. Famous Oxen: Charlie Chaplin (1889) and Walt Disney (1901). CHINESE NEW YEAR 財 In Chinese, “New Year” is literally “xin nian”, with “xin” meaning “new” and “nian” meaning “year”. -
Mythical Image of “Queen Mother of the West” and Metaphysical Concept of Chinese Jade Worship in Classic of Mountains and Seas
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 21, Issue11, Ver. 6 (Nov. 2016) PP 39-46 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Mythical Image of “Queen Mother of the West” and Metaphysical Concept of Chinese Jade Worship in Classic of Mountains and Seas Juan Wu1 (School of Foreign Language,Beijing Institute of Technology, China) Abstract: This paper focuses on the mythological image, the Queen Mother of the West in Classic of Mountains and Seas, to explore the hiding history and mental reality behind the fantastic literary images, to unveil the origin of jade worship, which plays an significant role in the 8000-year-old history of Eastern Asian jade culture, to elucidate the genetic mechanism of the jade worship budded in the Shang and Zhou dynasties, so that we can have an overview of the tremendous influence it has on Chinese civilization, and illustrate its psychological role in molding the national jade worship and promoting the economic value of jade business. Key words: Mythical Image, Mythological Concept, Jade Worship, Classic of Mountains and Seas I. WHITE JADE RING AND QUEEN MOTHER OF THE WEST As for the foundation and succession myths of early Chinese dynasties, Allan holds that “Ancient Chinese literature contains few myths in the traditional sense of stories of the supernatural but much history” (Allan, 1981: ix) and “history, as it appears in the major texts from the classical period of early China (fifth-first centuries B.C.),has come to function like myth” (Allan, 1981: 10). While “the problem of myth for Western philosophers is a problem of interpreting the meaning of myths and the phenomenon of myth-making” as Allan remarks, “the problem of myth for the sinologist is one of finding any myths to interpret and of explaining why there are so few.” (Allen, 1991: 19) To decode why white jade enjoys a prominent position in the Chinese culture, the underlying conceptual structure and unique culture genes should be investigated. -
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. -
An Chengri an Chengri, Male, Born in November, 1964.Professor. Director
An Chengri , male, born in November, 1964.Professor. Director of Institute of International Studies, Department of Political Science, School of philosophy and Public Administration,Heilongjiang University. Ph. D student of Japanese politics and Diplomacy History, NanKai University,2001.Doctor(International Relations History), Kokugakuin University,2002. Research Orientation: Japanese Foreign Relations, International Relation History in East Asia Publications: Research on contemporary Japan-South Korea Relations(China Social Science Press,October,2008);International Relations History of East Asia(Jilin Science Literature Press,March,2005) Association: Executive Director of China Institute of Japanese History , Director of China Society of Sino-Japanese Relations History Address: No.74 Xuefu Road, Nangang District, Haerbin, Heilongjiang, Department of Political Science, School of philosophy and Public Administration,Heilongjiang University. Postcode: 150080 An shanhua , Female, born in July,1964. Associate Professor, School of History, Dalian University. Doctor( World History),Jilin University,2007. Research Orientation: Modern and contemporary Japanese History, Japanese Foreign Relations, Political Science Publications: Comparative Studies on World Order View of China Korea and Japan and their Diplomatic in Modern Time ( Japanese Studies Forum , Northeast Normal University, 2006); Analysis of Japan's anti-system ideology towards the international system ( Journal of Changchun University of Science and Technology , Changchun University,2006) -
Yu-Huang -- the Jade Emperor
יו הואנג يو هوانج https://www.scribd.com/doc/55142742/16-Daily-Terms ヒスイ天使 Yu-huang -- The Jade Emperor Yu-huang is the great High God of the Taoists -- the Jade Emperor. He rules Heaven as the Emperor doe Earth. All other gods must report to him. His chief function is to distribute justice, which he does through the court system of Hell where evil deeds and thoughts are punished. Yu- huang is the Lord of the living and the dead and of all the Buddhas, all the gods, all the spectres and all the demons. According to legend he was the son of an emperor Ch'ing-te and his wife Pao Yueh-kuang who from his birth exhibited great compassion. When he had been a few years on the throne he abdicated and retired as a hermit spending his time dispensing medicine and knowledge of the Taoist texts. Some scholars see in this a myth of the sacred union of the sun and the moon, their son being the ruler of all Nature. "The good who fulfill the doctrine of love, and who nourish Yu-huang with incense, flowers, candles and fruit; who praise his holy name with respect and propriety -- such people will receive thirty kinds of very wonderful rewards." --Folkways in China L Holdus. http://www.chebucto.ns.ca/Philosophy/Taichi/gods.html Jade Emperor The Jade Emperor (Chinese: 玉皇; pinyin: Yù Huáng of the few myths in which the Jade Emperor really shows or 玉帝, Yù Dì) in Chinese culture, traditional religions his might. and myth is one of the representations of the first god (太 In the beginning of time, the earth was a very difficult 帝 tài dì). -
Mongol Invasions of Northeast Asia Korea and Japan
Eurasian Maritime History Case Study: Northeast Asia Thirteenth Century Mongol Invasions of Northeast Asia Korea and Japan Dr. Grant Rhode Boston University Mongol Invasions of Northeast Asia: Korea and Japan | 2 Maritime History Case Study: Northeast Asia Thirteenth Century Mongol Invasions of Northeast Asia Korea and Japan Contents Front piece: The Defeat of the Mongol Invasion Fleet Kamikaze, the ‘Divine Wind’ The Mongol Continental Vision Turns Maritime Mongol Naval Successes Against the Southern Song Korea’s Historic Place in Asian Geopolitics Ancient Pattern: The Korean Three Kingdoms Period Mongol Subjugation of Korea Mongol Invasions of Japan First Mongol Invasion of Japan, 1274 Second Mongol Invasion of Japan, 1281 Mongol Support for Maritime Commerce Reflections on the Mongol Maritime Experience Maritime Strategic and Tactical Lessons Limits on Mongol Expansion at Sea Text and Visual Source Evidence Texts T 1: Marco Polo on Kublai’s Decision to Invade Japan with Storm Description T 2: Japanese Traditional Song: The Mongol Invasion of Japan Visual Sources VS 1: Mongol Scroll: 1274 Invasion Battle Scene VS 2: Mongol bomb shells: earliest examples of explosive weapons from an archaeological site Selected Reading for Further Study Notes Maps Map 1: The Mongol Empire by 1279 Showing Attempted Mongol Conquests by Sea Map 2: Three Kingdoms Korea, Battle of Baekgang, 663 Map 3: Mongol Invasions of Japan, 1274 and 1281 Map 4: Hakata Bay Battles 1274 and 1281 Map 5: Takashima Bay Battle 1281 Mongol Invasions of Northeast Asia: Korea and -
2004 Illustrated Parade Notes
© 2004, School of Design 1 - REX, KING OF CARNIVAL, MONARCH OF MERRIMENT Rex’s float carries Rex and his pages through the streets of New Orleans on Mardi Gras day. 2 - HIS MAJESTY’S BANDWAGON A band rides on this permanent float to provide music for Rex and for those who greet him on the parade route. 3 - THE KING’S JESTERS Even the Monarch of Merriment needs jesters in his court. Rex’s jesters dress in Mardi Gras colors—purple, green, and gold. 4 - THE BOEUF GRAS This is one of the oldest symbols of Mardi Gras, symbolizing the great feast on the day before Lent begins. 5 - TITLE FLOAT: “THE WINGED WORLD” Throughout time, in all the diverse cultures of the world, people have watched and marveled at the miracle of flight. Winged figures are prominent in the myths, legends, and pantheons of ancient civilizations— from the Greeks and Romans to the Assyrians and Japanese. The Rex Procession of 2004 presents a parade filled with these beautiful, powerful, and sometimes terrifying winged wonders. 6 - FENG HUANG This colorful bird, with a pheasant’s head and a peacock’s tail, is the phoenix of Chinese mythology. It represents not only the glory of the emperor and empress, but also the primordial force of the universe, and the union of yin and yang. Feng Huang lives in the Kingdom of the Wise, and is known for its song, which encompasses all five notes of the traditional musical scale. Feng Huang, the protector of the emperor, is presented before a magnificent palace, rising above stylized mountains and clouds.