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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. -
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. -
The Eight Immortals
Ta l e s o f A d v e n t u r e s Dear Collectors, Let me offer you a journey among the wonderful world of Chinese tales which are very . popular among Chinese snuff bottles I especially want to thank you Gayle Laverlochere for letting me use her researches. Laurence Souksi ,, , The story of Zhong Kui In Chinese folklores, Zhong Kui is a god who exorcises ghosts and evil spirits. As legend has it, he lived in Zhongnan Mountain in the early Tang Dynasty. He was born with a panther-like head, ring-like eyes, an iron face and curly whiskers. Tough very ugly, he was a profoundly learned and talented fgure. As a man of integrity, he always upheld justice and feared no evil or mischievous being. In 712 when Emperor Xuanzong of the Tang Dynasty ascended the throne, Zhong Kui went to Chang'an to take the imperial civil examination. Impressed by Zhong's fve poems entitled Holding Banquets in Yingzhou, the chief examiner praised him as a prodigy and enrolled him top of all examinees. During the palace examination, however, a treacherous minister named Lu Qi judged Zhong Kui by the appearance, and repeatedly spoke ill of him before the emperor. As a result, Zhong Kui failed to claim championship in the exam. Infuriated, he bumped his head against a pillar in the palace and thus killed himself. Te entire court was shocked. Ten Emperor Dezong issued an imperial edict, conferring upon Zhong Kui the title of Demon Queller who traveled all over the world to kill the evil and expel the wicked. -
6. Tradition, Culture, Belief, Shrine, Chinese Gods and Feng Shui Chinese People Have a Strong Belief in Gods Combined With
6. Tradition, Culture, Belief, Shrine, Chinese Gods and Feng Shui Chinese people have a strong belief in gods combined with the teachings of Confucianism, Taoism and Buddhism. These are the source of Chinese traditions and rituals which will be discussed further. 6.1 Traditions of Chinese People 6.1.1 Chinese New Year Chinese New Year is the New Year tradition in Chinese Lunar New Year. It starts on the first day of the first month in Chinese lunar month. Then, Lantern Festival is celebrated on the fifteenth day of and traditionally ends the Chinese New Year period. Chinese New Year is considered to be one of the most important holidays of Chinese people. Thai- Chinese people normally celebrate the tradition for 3 days; buying day, worshiping day and traveling day. One of the symbols of Chinese New Year is Ang pow (a red envelope), an envelope of money that adults will give to minors and exchange the envelops with each other. This also called as Tae Ea (tie the waist). As the Chinese coins have holes in the middle, Chinese adults will string the coins together with red ropes into bunches and bring them to children. The children will tie bunches of coins to their waist. Greetings and Blessing Words in Chinese New Year In Chinese New Year, people will say blessing or greeting words to others including putting up red couplets (ห่ออ่วย) to celebrate Chinese New Year. The popular terms include: 新正如意新年發財 / 新正如意新年发财 X īn zhēng rúyì xīnnián fācái/ xīn zhēng rúyì xīnnián fācái Good luck and be prosperous in New Year 恭喜發財 / 恭喜发财 Gōngxǐ Fācái Congratulations and be prosperous 6.1.2 Lion Dance Tradition At present, the traditions of Thai-Chinese descents in Ratchaburi province gradually disappeared. -
Sicilian Chinese Art Collections and Chinoiserie
ARCHITETTURA, ARTI E PIANIFICAZIONE DIPARTIMENTO DI ARCHITETTURA L-ART 04 – MUSEOLOGIA E CRITICA ARTISTICA E DEL RESTAURO SICILIAN CHINESE ART COLLECTIONS AND CHINOISERIE IL DOTTORE IL COORDINATORE Mei Xiaoxue Prof. Marco Rosario Nobile IL TUTOR CO TUTOR Prof. Pierfrancesco Palazzotto Dr. Alexander Auf der Heyde CICLO XXX 2018 ABSTRACT L'Europa ha creato uno stile unico di design decorativo nei secoli XVII-XVIII che è stato profondamente ispirato allo stile orientale di Cina, Giappone e India. Lo stile europeo è rimasto sconosciuto alla Cina in quel momento, ed è anche raramente menzionato nella storia dell'arte moderna e del design cinese. Tuttavia, la Chinoiserie ha rappresentato un tema ricorrente all'interno degli stili artistici europei, che non si presenta come una moda regionale, ma bensì come un movimento d'arte complesso e variabile in tutta Europa. La significativa ricerca sul design Chinoiserie è stata intrapresa nei XX-XXI secoli, con centinaia di monografie e articoli pubblicati in inglese, francese, tedesco e italiano, discutendo direttamente e indirettamente della Chinoiserie. La Sicilia, la più grande isola del Mediterraneo, ha un brillante patrimonio storico e culturale. Nella prima metà del XIX secolo, la Sicilia e il Regno di Napoli furono uniti nel Regno delle Due Sicilie dalla Casa di Borbone. La Chinoiserie fu introdotta in Sicilia un po' più tardi come stile decorativo ben sviluppato dopo essere stato influenzato in un certo grado negli altri paesi europei. Nonostante il numero limitato di prodotti orientali in Sicilia, le opere d'arte uniche qui sono encomiabili. Questa tesi interpreta la Chinoiserie Siciliana in quattro aspetti principali: le opere d‘arte tradizionali della Cina, i prodotti cinesi di esportazione, i prodotti mimetici dell‘Europa e la Chinoiserie siciliana all'interno del movimento d'arte europeo. -
Chinese Taoist Robes and Textiles January 13, 2012-April 22, 2012
From the Land of the Immortals: Chinese Taoist Robes and Textiles January 13, 2012-April 22, 2012 This exhibition highlights a group of painstakingly worked 18th- and 19th-century silk priest robes and textiles made in China for practitioners of the Taoist religion. The robes on display were worn by Grand Masters, the leaders of Taoist communities, for the performance of Grand Rituals, elaborate public ceremonies associated with honoring gods or with funerary rites. Taoism, China’s primary indigenous religion and philosophy of life, took shape in the late pre- imperial period (5th to 3rd centuries BCE) and remains influential in Chinese culture today. With origins rooted in earlier nature cults and health practices, Taoism is concerned with both the position of humanity in the cosmos and the attainment of longevity and immortality, physical or otherwise. The focus of Taoism is the Tao (dao). Translated literally, Tao means “the way”; by extension it may be interpreted as “the principle” that orders the cosmos. But since the Tao is by definition not meant to be explained, any explanation is misleading. Words cannot match the Tao. The Daodejing, the sacred text of Taoism, begins with the statement, “the Tao that can be discussed is not the eternal Tao.” Over the centuries practitioners have nonetheless developed a complex symbolic language that gives concrete form to the metaphysical abstractions of the religion’s tenets. Whether performing Grand Rituals or one of a variety of private rituals to improve the health of individuals or to exorcise evil spirits, Taoist priests (daoshi) garbed in ceremonial robes appear as one with the cosmos and therefore as powerful spiritual intermediaries acting on the part of their community. -
The Chinese Art of Monochrome | Live Online (18 Nov 2020 A) Lot 21
The Chinese Art of Monochrome | Live Online (18 Nov 2020 A) Wed, 18th Nov 2020 Lot 21 Estimate: £3000 - £5000 + Fees A CHINESE PEKING GLASS RED 'EIGHT IMMORTALS' GLASS VASE. A CHINESE PEKING GLASS RED 'EIGHT IMMORTALS' VASE. Qing Dynasty, 19th Century. The faceted octagonal ovoid body with a tall flared neck raised on a splayed foot, each face of the body decorated in turn with Zhang Guolao holding a tube-shaped bamboo drum, Lü Dongbin with a sword over his shoulders, Zhong Liquan holding a large fan, Han Xiangzi playing his flute, Cao Guojiu standing in flowing robes, Lan Caihe with his basket, He Xiangu holding a sprig of lotus and Li Tieguai with a gourd on his back, the glass of a vivid orange red colour with marbled streaks in simulation of agate, 22cm H. 清十九世紀 紅料八仙圖紋瓶 The Eight Immortals have been popular figures since the Yuan Dynasty in the Chinese decorative arts since the Yuan Dynasty, when examples of octagonal section faceted vases may be found, for example, a vase in the Philadelphia Museum of Art illustrated by Mino and Tsiang, 1986, Ice and Green Clouds: Traditions of Chinese Celadon, pp 202-3, no 82. The facetted form is thought itself to derive from Tang dynasty metalwork. The construction of the present vase is a feat of glass-making skill and is an exceptionally rare example. A very closely related example may be found in Claudia Brown and Donald Raibner, 1987, The Robert H Clague Collection: Chinese Glass of the Qing Dynasty 1644-1911, Phoenix Art Museum, cat no 42. -
The Relationship of Myth and Cult in Chinese Populär Religion: Some Remarks on Han Xiangzi
ts r?.« & m • AfLÜ * flrffl-T - fttt < m^. - 5l ^t ^ ^^tPI^S • W IS -479- The Relationship of Myth and Cult in Chinese Populär Religion: Some Remarks on Han Xiangzi Philip Clart* Abstract The paper explores the narrative tradition focussing on Han Xiangzi, one of the Eight Immortais (Baxian). This tradition began in the Tang dynasty and evolved to include dramatic pieces, vernacular novels, and various forms of populär literature such äs precious scrolls and bailads. Its main themes are Han Xiangzi's efforts to achieve immortality through internal alchemy and his subsequent deliverance of his relatives, including most prominently his uncle Han Yu, the famous Tang dynasty scholar, and his wife Lin Ying (or Luying). Mixing Daoist proselytizing and anti-Confucian polemic, the Han Xiangzi story merges religious and literary concerns in a manner that throws an interesting light on the interplay of religion and literature in late Imperial China. In addition to analyzing the key themes in the Han Xiangzi literature, the paper addresses instances of populär worship of Han Xiangzi and the degree to which his perception in this context was shaped by his literary images. Professor, Department of East Asian Studies, University of Leipzig, Germany -480- • Given the often close relationship between cult and narrative literature in the cases of other deities, the question needs to be asked why the fairly well-developed Han Xiangzi lore does not correspond with an equally developed religious cult. As a number of interpretive options are explored in tackling this problem, general issues of the relationship of religion, myth, and literature in late Imperial and modern China are addressed. -
The Popular Religion of Female Employees in Cantonese Opera by Tuen Wai Mary Yeung M.A. the University of Lancaster 1993 a THESI
The Popular Religion of Female Employees in Cantonese Opera by Tuen Wai Mary Yeung M.A. The University of Lancaster 1993 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Asian Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITJ8H COLUMBIA April 1999 © Tuen Wai Mary Yeung, 1999 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of AiTctft StUd^eS The University of British Columbia Vancouver, Canada Date April Xi . Iffl DE-6 (2/88) ABSTRACT Cantonese opera (Yueju is one of the most common regional operas performed in the Guangdong province. Within Cantonese cultural areas, before the establishment of the government of the People's Republic of China (PRC) in 1949, most Cantonese opera actresses had to endure the triple burdens of economic hardship and social immobility as well as religious prejudice. In order to obtain blessing for successful performances and to fight against life uncertainty, they often worshipped patron deities and ancestors, and observed occupational taboos. After the early 1950s, the Chinese Communist Party severely attacked the traditional patriarchal system and the popular religious activities, especially during the 1960s.