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The Chinese Workers' and Peasants' Red Army (Zhongguo Gongnong Hongjun), also known as the Chinese Red Army, or simply the Red Army, was a group army under the command of the Communist Party of China.<br/><br/> The Chinese Workers' and Peasants' Red Army was created on May 25, 1928 in the First Chinese Civil War. Between 1934 to 1935, the Red Army survived several campaigns against the Nationalist forces who were led by the Generalissimo Chiang Kai-Shek and engaged in the Long March.<br/><br/> By the time of 1934 Long March, numerous small units had been organized into three unified groups, the First Red Army, the Second Red Army and the Fourth Red Army. When the anti-Japanese war broke out on July 7, 1937, the communist military forces were nominally integrated into the National Revolutionary Army of the Republic of China forming the Eighth Route Army and the New Fourth Army units.
The Chinese Workers' and Peasants' Red Army (Zhongguo Gongnong Hongjun), also known as the Chinese Red Army, or simply the Red Army, was a group army under the command of the Communist Party of China.<br/><br/> The Chinese Workers' and Peasants' Red Army was created on May 25, 1928 in the First Chinese Civil War. Between 1934 to 1935, the Red Army survived several campaigns against the Nationalist forces who were led by the Generalissimo Chiang Kai-Shek and engaged in the Long March.<br/><br/> By the time of 1934 Long March, numerous small units had been organized into three unified groups, the First Red Army, the Second Red Army and the Fourth Red Army. When the anti-Japanese war broke out on July 7, 1937, the communist military forces were nominally integrated into the National Revolutionary Army of the Republic of China forming the Eighth Route Army and the New Fourth Army units.
Zhang Guo, better known as Zhang Guolao, is a Chinese mythological figure and one of the Eight Immortals in the Taoist or Daoist pantheon.<br/><br/> His existence is said to have begun around the middle or end of the 7th century, and ended approximately in the middle of the 8th.
Guanshiyin or Avalokitesvara is the bodhisattva associated with compassion as venerated by East Asian Buddhists, usually as a female. The name Guanyin is short for Guanshiyin which means 'Observing the Sounds (or Cries) of the World'.<br/><br/> Some Buddhists believe that when one of their adherents departs from this world, they are placed by Guanyin in the heart of a lotus then sent home to the western pure land of Sukhavati. It is generally accepted (in the Chinese community) that Guanyin originated as the Sanskrit Avalokitesvara, which is her male form. Commonly known in English as the Goddess of Mercy, Guanyin is also revered in Daoism as an Immortal.In Japan, Guanyin is called Kannon.
The Chinese Workers' and Peasants' Red Army (Zhongguo Gongnong Hongjun), also known as the Chinese Red Army, or simply the Red Army, was a group army under the command of the Communist Party of China.<br/><br/> The Chinese Workers' and Peasants' Red Army was created on May 25, 1928 in the First Chinese Civil War. Between 1934 to 1935, the Red Army survived several campaigns against the Nationalist forces who were led by the Generalissimo Chiang Kai-Shek and engaged in the Long March.<br/><br/> By the time of 1934 Long March, numerous small units had been organized into three unified groups, the First Red Army, the Second Red Army and the Fourth Red Army. When the anti-Japanese war broke out on July 7, 1937, the communist military forces were nominally integrated into the National Revolutionary Army of the Republic of China forming the Eighth Route Army and the New Fourth Army units.
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.
Yan Xishan, (Wade–Giles: Yen Hsi-shan, 8 October 1883 – 22 July 1960) was a Chinese warlord who served in the government of the Republic of China. Yan effectively controlled the province of Shanxi from the 1911 Xinhai Revolution to the 1949 Communist victory in the Chinese Civil War. As the leader of a relatively small, poor, remote province, Yan Xishan survived the machinations of Yuan Shikai, the Warlord Era, the Nationalist Era, the Japanese invasion of China, and the subsequent civil war, being forced from office only when the Nationalist armies with which he was aligned had completely lost control of the Chinese mainland, isolating Shanxi from any source of economic or military supply.<br/><br/> Yan has been viewed by Western biographers as a transitional figure who advocated using Western technology to protect Chinese traditions, while at the same time reforming older political, social, and economic conditions in a way that paved the way for the radical changes that would occur after his rule.
Yan Xishan, (Wade–Giles: Yen Hsi-shan, 8 October 1883 – 22 July 1960) was a Chinese warlord who served in the government of the Republic of China. Yan effectively controlled the province of Shanxi from the 1911 Xinhai Revolution to the 1949 Communist victory in the Chinese Civil War. As the leader of a relatively small, poor, remote province, Yan Xishan survived the machinations of Yuan Shikai, the Warlord Era, the Nationalist Era, the Japanese invasion of China, and the subsequent civil war, being forced from office only when the Nationalist armies with which he was aligned had completely lost control of the Chinese mainland, isolating Shanxi from any source of economic or military supply.<br/><br/> Yan has been viewed by Western biographers as a transitional figure who advocated using Western technology to protect Chinese traditions, while at the same time reforming older political, social, and economic conditions in a way that paved the way for the radical changes that would occur after his rule.
Yan Xishan, (Wade–Giles: Yen Hsi-shan, 8 October 1883 – 22 July 1960) was a Chinese warlord who served in the government of the Republic of China. Yan effectively controlled the province of Shanxi from the 1911 Xinhai Revolution to the 1949 Communist victory in the Chinese Civil War. As the leader of a relatively small, poor, remote province, Yan Xishan survived the machinations of Yuan Shikai, the Warlord Era, the Nationalist Era, the Japanese invasion of China, and the subsequent civil war, being forced from office only when the Nationalist armies with which he was aligned had completely lost control of the Chinese mainland, isolating Shanxi from any source of economic or military supply.<br/><br/> Yan has been viewed by Western biographers as a transitional figure who advocated using Western technology to protect Chinese traditions, while at the same time reforming older political, social, and economic conditions in a way that paved the way for the radical changes that would occur after his rule.
Mount Wutai (Chinese: Wǔtái Shān; literally 'Five Plateau Mountai'), also known as Wutai Mountain or Qingliang Shan, located in Shanxi, China, is one of the Four Sacred Mountains in Chinese Buddhism. The mountain is home to many of China's most important monasteries and temples. Mount Wutai's cultural heritage consist of 53 sacred monasteries, and they were inscribed as a UNESCO World Heritage Site in 2009. Each of the Four Sacred Mountains are viewed as the abode or place of practice of one of the four great bodhisattvas. Wutai is the home of the Bodhisattva of wisdom, Manjusri or Wenshu in Chinese. Mount Wutai also has an enduring relationship with Tibetan Buddhism.
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.
Foot binding (pinyin: chanzu, literally 'bound feet') was a custom practiced on young girls and women for approximately one thousand years in China, beginning in the 10th century and ending in the first half of 20th century. There is little evidence for the custom prior to the court of the Southern Tang dynasty in Nanjing, which celebrated the fame of its dancing girls, renowned for their tiny feet and beautiful bow shoes.<br/><br/> What is clear is that foot binding was first practised among the elite and only in the wealthiest parts of China, which suggests that binding the feet of well-born girls represented their freedom from manual labor and, at the same time, the ability of their husbands to afford wives who did not need to work, who existed solely to serve their men and direct household servants while performing no labor themselves. Bound feet were considered intensely erotic in traditional Chinese culture. Qing Dynasty sex manuals listed 48 different ways of playing with women's bound feet.<br/><br/> Some men preferred never to see a woman's bound feet, so they were always concealed within tiny 'lotus shoes' and wrappings. Feng Xun is recorded as stating, 'If you remove the shoes and bindings, the aesthetic feeling will be destroyed forever' - an indication that men understood that the symbolic erotic fantasy of bound feet did not correspond to its unpleasant physical reality, which was therefore to be kept hidden. For men, the primary erotic effect was a function of the lotus gait, the tiny steps and swaying walk of a woman whose feet had been bound.
The term 'Warlordism' was coined to describe chaos at the end of the Qing Dynasty and at the birth of the Republic of China, especially after the death of Yuan Shikai in 1916.
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.
In mid Imperial China, characters in theatrical performances wore elaborate costumes and stereotyped facial makeup, shown here in a large Yuan Dynasty (1279-1368 AD) mural in a hall of the Guangsheng temple in Hongtong, Shanxi province.
In mid Imperial China, characters in theatrical performances wore elaborate costumes and stereotyped facial makeup, shown here in a large Yuan Dynasty (1279-1368 AD) mural in a hall of the Guangsheng Temple in Hongtong, Shanxi province.
The Mogao Caves, or Mogao Grottoes (Chinese: mò gāo kū), also known as the Caves of the Thousand Buddhas and Dunhuang Caves, form a system of 492 temples 25 km (15.5 miles) southeast of the center of Dunhuang, an oasis strategically located at a religious and cultural crossroads on the Silk Road, in Gansu province, China.<br/><br/> The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years. The first caves were dug out 366 CE as places of Buddhist meditation and worship. The Mogao Caves are the best known of the Chinese Buddhist grottoes and, along with Longmen Grottoes and Yungang Grottoes, are one of the three famous ancient sculptural sites of China. The caves also have famous wall paintings.