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William Purdom (10 April 1880 – 7 November 1921) was a British plant explorer sent by Veitch and the Arnold Arboretum of Harvard University to the northern provinces of China in 1909. He collected and photographed plants for the Arboretum along China’s Yellow River for three years, 1909–1911.<br/><br/> In 1914 Purdom and a companion Reginald Farrer set out on an ambitious expedition to Tibet and the Province of Kansu province of North-west China. These two years of exploring and plant collecting are described in Farrer's 'On the Eaves of the World' (2 vols) (1917), and Farrer's posthumous 'The Rainbow Bridge (1921).
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
The Kingdom of Khotan was an ancient Buddhist kingdom that was located on the branch of the Silk Road that ran along the southern edge of the Taklamakan Desert in the Tarim basin. The area lies in present day Xinjiang, China.<br/><br/> The ancient capital was originally located to the west of modern day Hotan (Chinese: 和田) at Yotkan. From the Han Dynasty until at least the Tang Dynasty it was known in Chinese as Yutian (Chinese: 于闐, 于窴).<br/><br/> The kingdom existed for over a thousand years until it was conquered by Muslim invaders in 1006.
Ma Hongbin was born in Linxia, Gansu, China. He was a cousin of Hui Muslim warlord Ma Hongkui. He fought hard and well against the Japanese, and joined the communists in 1949. He died in Lanzhou in 1960.
Ma Hongkui (Wade–Giles: Ma Hung-kwei) (1892–1970) was a prominent warlord in China during the Republic of China era, ruling the northwestern province of Ningxia. His rank was Lieutenant-general. He was a key member of the ‘Three Ma’ (sometimes ‘Five Ma’) clique of Muslim Warlords who dominated Gansu, Qinghai and Ningxia between approximately 1927 and 1949. Ma Hongkui had a reputation as a good but brutal general who fought well against the Japanese.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
The Ma clique is a collective name for a group of Hui (Muslim Chinese) warlords in northwestern China who ruled the Chinese provinces of Qinghai, Gansu and Ningxia from the 1910s until 1949.<br/><br/> There were three families in the Ma clique (‘Ma’ being a common Hui rendering of the common Muslim name, Muhammad), each of them respectively controlled one area. The three most prominent members of the clique were Ma Bufang, Ma Hongkui, and Ma Hongbin, collectively known as the Xibei San Ma, (The Three Ma of the Northwest).<br/><br/> Some contemporary accounts, such as Edgar Snow's, described the clique as the ‘Four Ma’, adding Ma Bufang's brother Ma Buqing to the list of the top warlords. Other prominent Mas included Ma Anliang, Ma Qi, Ma Lin, Ma Hu-shan and Ma Zhongying.
Ma Hongkui (Wade–Giles: Ma Hung-kwei) (1892–1970) was a prominent warlord in China during the Republic of China era, ruling the northwestern province of Ningxia. His rank was Lieutenant-general. He was a key member of the ‘Three Ma’ (sometimes ‘Five Ma’) clique of Muslim Warlords who dominated Gansu, Qinghai and Ningxia between approximately 1927 and 1949. Ma Hongkui had a reputation as a good but brutal general who fought well against the Japanese.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Ma Hongkui (Wade–Giles: Ma Hung-kwei) (1892–1970) was a prominent warlord in China during the Republic of China era, ruling the northwestern province of Ningxia.<br/><br/> His rank was Lieutenant-general. He was a key member of the ‘Three Ma’ (sometimes ‘Five Ma’) clique of Muslim Warlords who dominated Gansu, Qinghai and Ningxia between approximately 1927 and 1949. Ma Hongkui had a reputation as a good but brutal general who fought well against the Japanese.
Ma Bufang and Ma Buqing were prominent Ma clique warlords in China during the Republic of China era, controlling armies in the northwestern province of Qinghai. Their father Ma Qi formed the Ninghai Army in Qinghai in 1915, and received civilian and military posts from the Beiyang Government in Beijing in that same year confirming his military and civilian authority in Qinghai.
Ma Fuxiang , a Hui Muslim, was born in Linxia, Gansu, China. He was named the military governor of Xining, and then of Altay, in Qing times. He held a large number of military posts in the northwestern region after the founding of the republic. He was governor of Qinghai in 1912, Ningxia from 1912 to 1920, and Suiyuan from 1920 to 1925. Having turned to Chiang Kai-shek in 1928, he was made chairman of the government of Anhui in 1930. He was elected a member of the National Government Commission, and then appointed the mayor of Qingdao, special municipality. He was also the president of the Mongolian-Tibetan Commission and a member of the Central Executive Committee of the Kuomintang. He died in August 1932.
Ma Hongkui (Wade–Giles: Ma Hung-kwei) (1892–1970) was a prominent warlord in China during the Republic of China era, ruling the northwestern province of Ningxia.<br/><br/> His rank was Lieutenant-general. He was a key member of the ‘Three Ma’ (sometimes ‘Five Ma’) clique of Muslim Warlords who dominated Gansu, Qinghai and Ningxia between approximately 1927 and 1949. Ma Hongkui had a reputation as a good but brutal general who fought well against the Japanese.
Ma Lin, chairman of the government of Qinghai (1931–38); brother of Ma Qi. A Muslim born in 1873, Linxia, Gansu, China, he mainly succeeded to the posts of his brother, being general of southeastern Gansu province, as well as councillor of the Qinghai provincial government and acting head of the Construction Bureau of Qinghai province. He was the great uncle of the Ma Clique warlord Ma Zhongying.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Ma Bufang and his older brother Ma Buqing (1901–1977) were born in Monigou Township in what is today Linxia County, some 35 km west of Linxia City. Their father Ma Qi formed the Ninghai Army in Qinghai in 1915, and received civilian and military posts from the Beiyang Government in Beijing in that same year confirming his military and civilian authority in Qinghai.
Sir Marc Aurel Stein (usually known as Aurel Stein) KCIE, FBA (Hungarian: Stein Márk Aurél) (26 November 1862 – 26 October 1943) was a Hungarian-born British archaeologist, mainly concerned with exploring ancient Central Asia. He was also a professor at various Indian universities.
Ma Qi was a warlord in early 20th century China. A Muslim Hui, he was born in 1869 in Daohe, now part of Linxia, Gansu, China. He was senior commander in the Qinghai-Gansu region since the late Qing period, and was the father of Ma Family warlords Ma Buqing and Ma Bufang.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Alice Mildred Cable 蓋群英 (21 February 1878-30 April 1952) was born in Guildford, she was a British Protestant Christian missionary in China, serving with the China Inland Mission.<br/><br/> Francesca Law French 馮貴石 (alternative name: Feng Guishi 馮貴石), (12 December 1871-2 August 1960) was a British Protestant Christian missionary in China. She served with the China Inland Mission.<br/><br/> Evangeline Frances 'Eva' French 馮貴珠 (Alternative name: Feng Guizhu 馮貴珠) (1869-8 July 1960) was a British Protestant Christian missionary in China. She served with the China Inland Mission (CIM)
Ma Fuxiang , a Hui Muslim, was born in Linxia, Gansu, China. He was named the military governor of Xining, and then of Altay, in Qing times. He held a large number of military posts in the northwestern region after the founding of the republic. He was governor of Qinghai in 1912, Ningxia from 1912 to 1920, and Suiyuan from 1920 to 1925. Having turned to Chiang Kai-shek in 1928, he was made chairman of the government of Anhui in 1930. He was elected a member of the National Government Commission, and then appointed the mayor of Qingdao, special municipality. He was also the president of the Mongolian-Tibetan Commission and a member of the Central Executive Committee of the Kuomintang. He died in August 1932.
Hui Muslim general and scion of the Ma Clique of Northwest Muslim warlords during the Chinese Republic (1911-1949).
Hui Muslim general and scion of the Ma Clique of Northwest Muslim warlords during the Chinese Republic (1911-1949).<br/><br/> The Ma clique is a collective name for a group of Hui (Muslim Chinese) warlords in northwestern China who ruled the Chinese provinces of Qinghai, Gansu and Ningxia from the 1910s until 1949.<br/><br/> There were three families in the Ma clique (‘Ma’ being a common Hui rendering of the common Muslim name, Muhammad), each of them controlling one area respectively. The three most prominent members of the clique were Ma Bufang, Ma Hongkui and Ma Hongbin, collectively known as the 'Xibei San Ma', (The Three Ma of the Northwest).<br/><br/> Some contemporary accounts, such as Edgar Snow's, described the clique as the ‘Four Ma’, adding Ma Bufang's brother Ma Buqing to the list of the top warlords.
Hui Muslim general and scion of the Ma Clique of Northwest Muslim warlords during the Chinese Republic (1911-1949).<br/><br/> The Ma clique is a collective name for a group of Hui (Muslim Chinese) warlords in northwestern China who ruled the Chinese provinces of Qinghai, Gansu and Ningxia from the 1910s until 1949.<br/><br/> There were three families in the Ma clique (‘Ma’ being a common Hui rendering of the common Muslim name, Muhammad), each of them controlling one area respectively. The three most prominent members of the clique were Ma Bufang, Ma Hongkui and Ma Hongbin, collectively known as the 'Xibei San Ma', (The Three Ma of the Northwest).<br/><br/> Some contemporary accounts, such as Edgar Snow's, described the clique as the ‘Four Ma’, adding Ma Bufang's brother Ma Buqing to the list of the top warlords.
The ethnic Hui people are mostly concentrated in northwestern China and have an estimated population of about 10 million. They are ethnically similar to the Han, except for their practice of Islam. Many Hui are direct descendants of Silk Road travelers.
Zuo Zongtang (November 10, 1812 - September 5, 1885), spelled Tso Tsung-t'ang in Wade-Giles was a Chinese statesman and military leader of the late Qing Dynasty. He was born in Wenjialong, north of Changsha in Hunan province. He served in China's northwestern regions, quelling the Dungan revolt and various other disturbances.<br/><br/> He served with distinction during the Qing Empire's civil war against the Taiping Rebellion, in which it is estimated 20 million people died. After this military success, he marched west with his 120,000 strong army, winning many victories against the rebellious Muslims of Northwestern China including today's Shaanxi, Ningxia, Gansu and Qinghai provinces and Xinjiang in the 1870s.<br/><br/> In 1878, he successfully suppressed Yakub Beg's uprising in Xinjiang and helped to negotiate an end to Russian occupation of the border city of Ili. He was vocal in the debate at the Qing Imperial court over what to do with the Xinjiang situation, advocating for Xinjiang to become a province.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
The Boxer Rebellion, also known as Boxer Uprising or Yihetuan Movement, was a proto-nationalist movement by the Righteous Harmony Society in China between 1898 and 1901, opposing foreign imperialism and Christianity.<br/><br/> The uprising took place in response to foreign spheres of influence in China, with grievances ranging from opium traders, political invasion, economic manipulation, to missionary evangelism. In China, popular sentiment remained resistant to foreign influences, and anger rose over the 'unequal treaties', which the weak Qing state could not resist.<br/><br/> Concerns grew that missionaries and Chinese Christians could use this decline to their advantage, appropriating lands and property of unwilling Chinese peasants to give to the church. This sentiment resulted in violent revolts against foreign interests.