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Li Xingba was a minor character from the classic Ming Dynasty novel 'Fengshen Yanyi'. He was one of the four holy men who served under Grand Tutor Wen Zhong, King Zhou of Shang's head of civil affairs. Li Xingba fought for the Shang army against the Zhou army, and was eventually killed by Muzha.
Luo Xuan was a character from the classic Ming Dynasty novel 'Fengshen Yanyi', and was one of the chinese gods of fire. Also known as Huo De Xing Zhun, the Stellar Sovereign of Fire, Luo Xuan served in the heavenly Ministry of Fire, with a red face, red hair and beard, and red robes. He was also said to have had three eyes, and rode a horse that could shoot flames from its nostrils and hoofs.<br/><br/> Luo Xuan came down from the heavens to fight Emperor Zhou of Shang, due to his tyranny, transforming into a giant with three heads and six arms. However, as he descended onto the battlefield, his flames spread rapidly, threatening to burn everything down. Only the intervention of Princess Longxi, daughter of the Queen Mother of the West Xiwangmu, stopped the fire from consuming everything, her magical water and rain powers putting the fire out.<br/><br/> Luo Xuan immediately fled from the battlefield for the mountains, but he was intercepted and stopped by Heavenly King Li, who dropped his pagoda on Luo Xuan and broke his skull.
Shanghai's Urban Planning Museum was designed by Shanghai architect Xing Tonghe who was also responsible for the excellent Shanghai Museum.<br/><br/> Shanghai began life as a fishing village, and later as a port receiving goods carried down the Yangzi River. From 1842 onwards, in the aftermath of the first Opium War, the British opened a ‘concession’ in Shanghai where drug dealers and other traders could operate undisturbed. French, Italians, Germans, Americans and Japanese all followed. By the 1920s and 1930s, Shanghai was a boom town and an international byword for dissipation. When the Communists won power in 1949, they transformed Shanghai into a model of the Revolution.
Shanghai Museum holds more than 120,000 artifacts representing almost five millennia of continuous Chinese civilization. The Building was designed by Shanghai architect Xing Tonghe to represent a ding, or ancient three-legged bronze vessel. It also incorporates the sacred geometry of Yuanqiu, the circular altar at the Temple of Heaven (Tiantan) in Beijing, with a square base (representing the earth) surmounted by a circular superstructure (representing heaven). It was completed in 1996, and has five floors with a total area of more than 39,200sq.m (420,000 sq ft).<br/><br/> Shanghai began life as a fishing village, and later as a port receiving goods carried down the Yangzi River. From 1842 onwards, in the aftermath of the first Opium War, the British opened a ‘concession’ in Shanghai where drug dealers and other traders could operate undisturbed. French, Italians, Germans, Americans and Japanese all followed. By the 1920s and 1930s, Shanghai was a boom town and an international byword for dissipation. When the Communists won power in 1949, they transformed Shanghai into a model of the Revolution.
Shanghai Museum holds more than 120,000 artifacts representing almost five millennia of continuous Chinese civilization. The Building was designed by Shanghai architect Xing Tonghe to represent a ding, or ancient three-legged bronze vessel. It also incorporates the sacred geometry of Yuanqiu, the circular altar at the Temple of Heaven (Tiantan) in Beijing, with a square base (representing the earth) surmounted by a circular superstructure (representing heaven). It was completed in 1996, and has five floors with a total area of more than 39,200sq.m (420,000 sq ft).<br/><br/> Shanghai began life as a fishing village, and later as a port receiving goods carried down the Yangzi River. From 1842 onwards, in the aftermath of the first Opium War, the British opened a ‘concession’ in Shanghai where drug dealers and other traders could operate undisturbed. French, Italians, Germans, Americans and Japanese all followed. By the 1920s and 1930s, Shanghai was a boom town and an international byword for dissipation. When the Communists won power in 1949, they transformed Shanghai into a model of the Revolution.
Shanghai's Urban Planning Museum was designed by Shanghai architect Xing Tonghe who was also responsible for the excellent Shanghai Museum.<br/><br/> Shanghai began life as a fishing village, and later as a port receiving goods carried down the Yangzi River. From 1842 onwards, in the aftermath of the first Opium War, the British opened a ‘concession’ in Shanghai where drug dealers and other traders could operate undisturbed. French, Italians, Germans, Americans and Japanese all followed. By the 1920s and 1930s, Shanghai was a boom town and an international byword for dissipation. When the Communists won power in 1949, they transformed Shanghai into a model of the Revolution.
Japan: Demon Face Du Xing or Kikenji Tokyo, one of the 'One Hundred and Eight Heroes of the Water Margin', testing his strength against a rock in a cave by water, fish surfacing next to him. Woodblock print by Utagawa Kuniyoshi (1797-1863), 1827-1830. The Water Margin (known in Chinese as Shuihu Zhuan, sometimes abbreviated to Shuihu, known as Suikoden in Japanese, as well as Outlaws of the Marsh, Tale of the Marshes, All Men Are Brothers, Men of the Marshes, or The Marshes of Mount Liang in English, is a 14th century novel and one of the Four Great Classical Novels of Chinese literature. Attributed to Shi Nai'an and written in vernacular Chinese.
Water Margin (known in Chinese as Shuihu Zhuan, sometimes abbreviated to Shuihu), also known as Suikoden in Japanese, as well as Outlaws of the Marsh, Tale of the Marshes, All Men Are Brothers, Men of the Marshes, or The Marshes of Mount Liang, is a 14th century novel and one of the Four Great Classical Novels of Chinese literature.<br/><br/> Attributed to Shi Nai'an and written in vernacular Chinese, the story, set in the Song Dynasty, tells of how a group of 108 outlaws gathered at Mount Liang (or Liangshan Marsh) to form a sizable army before they are eventually granted amnesty by the government and sent on campaigns to resist foreign invaders and suppress rebel forces.<br/><br/> In 1827, Japanese publisher Kagaya Kichibei commissioned Utagawa Kuniyoshi to produce a series of woodblock prints illustrating the 108 heroes of the Suikoden. The 1827-1830 series, called '108 Heroes of the Water Margin' or 'Tsuzoku Suikoden goketsu hyakuhachinin no hitori', made Utagawa Kuniyoshi's famous.
Shanghai Museum holds more than 120,000 artifacts representing almost five millennia of continuous Chinese civilization. The Building was designed by Shanghai architect Xing Tonghe to represent a ding, or ancient three-legged bronze vessel. It also incorporates the sacred geometry of Yuanqiu, the circular altar at the Temple of Heaven (Tiantan) in Beijing, with a square base (representing the earth) surmounted by a circular superstructure (representing heaven). It was completed in 1996, and has five floors with a total area of more than 39,200sq.m (420,000 sq ft).<br/><br/> Shanghai began life as a fishing village, and later as a port receiving goods carried down the Yangzi River. From 1842 onwards, in the aftermath of the first Opium War, the British opened a ‘concession’ in Shanghai where drug dealers and other traders could operate undisturbed. French, Italians, Germans, Americans and Japanese all followed. By the 1920s and 1930s, Shanghai was a boom town and an international byword for dissipation. When the Communists won power in 1949, they transformed Shanghai into a model of the Revolution.
Shanghai Museum holds more than 120,000 artifacts representing almost five millennia of continuous Chinese civilization. The Building was designed by Shanghai architect Xing Tonghe to represent a ding, or ancient three-legged bronze vessel. It also incorporates the sacred geometry of Yuanqiu, the circular altar at the Temple of Heaven (Tiantan) in Beijing, with a square base (representing the earth) surmounted by a circular superstructure (representing heaven). It was completed in 1996, and has five floors with a total area of more than 39,200sq.m (420,000 sq ft).<br/><br/> Shanghai began life as a fishing village, and later as a port receiving goods carried down the Yangzi River. From 1842 onwards, in the aftermath of the first Opium War, the British opened a ‘concession’ in Shanghai where drug dealers and other traders could operate undisturbed. French, Italians, Germans, Americans and Japanese all followed. By the 1920s and 1930s, Shanghai was a boom town and an international byword for dissipation. When the Communists won power in 1949, they transformed Shanghai into a model of the Revolution.
Dream of the Red Chamber (pinyin: Hóng Lóu Mèng; Wade–Giles: Hung Lou Meng), composed by Cao Xueqin, is one of China's Four Great Classical Novels. It was composed sometime in the middle of the 18th century during the Qing Dynasty. It is a masterpiece of Chinese vernacular literature and is generally acknowledged to be the pinnacle of classical Chinese novels.<br/><br/> Red Chamber is believed to be semi-autobiographical, mirroring the fortunes of author Cao Xueqin's own family. As the author details in the first chapter, it is intended to be a memorial to the women he knew in his youth: friends, relatives and servants. The novel is remarkable not only for its huge cast of characters and psychological scope, but also for its precise and detailed observation of the life and social structures typical of 18th-century Chinese aristocracy.
Zhu Youyuan (22 July 1476 – 13 July 1519), was the fourth son of the Chenghua Emperor (Zhu Jianshen, 1447 - 1487), the 9th emperor of the Ming Dynasty.<br/><br/> He was also known as Prince Xian of Xing and his fief was near today's Zhongxiang, in Hubei Province. He and his wife were posthumously honored by his son after he became the Jiajing Emperor in 1521.