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February 24, 2009

Li River

A well-known part of the Guilin River, it flows from the Piled Festoon Hill to "Bilian Peak" in Yangshou, covering a distance of 83 kilometres. This green ribbon-like river runs zigzag through a multitude of hills against a backdrop of steep peaks, luxuriant flowers and green hills along the shores are mirrored in the blue water, giving the visitor a poetic inspiration. In drizzly days, the peaks embraced by clouds and mists and river.

Blanketed over by light fog make people feel like in a fairyland. Sailing from Yangdi downstream to the south, one will soon see a hill with nine peaks and steep precipices by the riverside. This is the "None Horse" Hill. Viewed from afar, it looks like a colourful mural, examined at a close distance; it presents a vivid image of nine horses in different postures: standing, drinking, neighing and galloping….In misty or rainy days, the image of the horses are even more vividly outlined as if they were galloping through a curtain of clouds and mists. As the old saying goes, "Since an ancient time a mountain is as beautiful as painting; at present day, a painting is just as pretty as a mountain". If one really wants to count the number of horses a folk ballad gives a hint:" a man who can find seven horses will come second in the highest imperial examination; a man who can see all nine horses well come first in the highest imperial examination." 

Further trip downstream after a right turn well soon bring one to see swift currents and clusters of strange rock. Looking through the crystal-clear water, one will soon find a yellow stone plate at the bottom, like a piece of yellow cloth, hence the name "Yellow Cloth Shoal". Then, one will see along the shores seven peaks in various shapes like seven gentle and sweet young girls standing gracefully. The mirror-like river gives a clear reflection of the beautiful scenery. "I see the green peaks clearly mirrored in the river, yet, my boat sails through as if just over the peaks". The Famous "Reflection of the Yellow Cloth Shoal" is here. Further downstream, one will see "Xingping Scenery", Yangshou Landscape", etc. After making a sightseeing trip on the Lijiang River, a head of a foreign said: "I have been to many famous foreign cities; none of them is as beautiful as Guilin." Tourists say: "A visit to Guilin is incomplete without a trip on the Lijiang River".


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Peking Opera

Peking Opera has it s origin in primitive songs and dances of ancient times. The music, singing and costumes are products of its origins. The movements and techniques of the dance styles of Peking Opera today are similar to those of the Tang Dynasty. The Anhui Opera troupes were characterized by their dialects and styles of singing, but when these troupes converged on Beijing , they started a style of musical drama called Kunqu which developed during the Ming Dynasty, along with a more popular variety of play-acting with pieces based on legends, historical events and popular novels. Titles like “Pilgrimage to the West” (better known in the west as “The Monkey King”) and “A Drunken Beauty” are typical. These styles gradually merged by the late 18 th and early 19 th centuries into the Peking Opera we see today.

In the past, Peking Opera was performed mostly on the open-air stage in markets, streets, teahouses or temple courtyards. The orchestra had to play loudly and the performers had to develop a piercing style of singing, which could be heard over the throng. The costumes are a garish collection of sharply contrasting colors because of the fact that the stages were originally only lit by oil lamps.

Classical Peking Opera combines many forms, which was separated in western dramas. It is a harmonious combination of Grand Opera, Ballet, acrobatic display and historic play. It is an exciting panorama including the performing arts of singing, dancing, dialogue and monologue, acrobatic combat and mine. All these arts may be woven into one play, or some may be emphasized. The result is that there are song plays in which the emphasis is on singing, acting plays in which dance is predominant, or combat plays where acrobatic combat is the chief means of expression.

The different emphasis has led the Peking Opera to acquire characteristics different form other performing arts. The musicians usually sit on the stage in plain clothes and play without written scores. The erhu is a two-stringed fiddle, which is tuned to a low register, has a soft tone and generally supports the huqin, another two-stringed fiddle tuned to a high register. The yueqin, a sort of moon-shaped four-stringed guitar, has a soft tone and is used to support erhu. Other instruments are the sheng (reed pipes) and pipa (lute), as well as drums, bells and cymbals. Last but not the least is the time clapper, which virtually directs the band, beats time for the actors and gives them their cues.

There are four main roles in Peking Opera: sheng, dan, jing and chou. The sheng are the leading male actors and they play scholars, officials, generals, etc. They are divided into laosheng who wear beards and represent old men, and the xiaosheng who represent young men. The wusheng are the scholars and the civil servants. The wuheng play soldiers and other fighters, and because of this, they are specially trained in acrobatics.

The dan are the female roles. Formerly, the term meant female impersonator. In feudal China , men and women were forbidden to play on the same stage to maintain strict segregation. The laodan are the elderly, dignified ladies such as mothers, aunts and widows. The qingyi are aristocratic ladies in elegant costumes. The huadan are ladies, maids, usually in brightly colored costumes. The daomadan are the warrior women. The caidan are the female comedians.

The jing are the face-painted roles, and they represent warriors, heroes, statesmen, adventurers and demons. Their counterpart is the fujing, ridiculous figures who are anything but heroic.

The term for clowns in Peking Opera is chou. Their task is the same as that of the western clown—to keep the audience laughing and to improvise equips at the right moments of ease tension in some serious plays.

Apart from the singing and music, the opera also uses acrobatics and mime. Few props are used, so each move, gesture or facial expression is symbolic. Everything the actor does ---entrances, exits, and gestures and movements—is done according to a stylized routine. A whip with silk tassels indicates that an actor is riding a horse; riding a carriage is represented by an attendant holding flags painted with a wheel design on either side of the performer; walking in a circle indicates a long journey. Lifting a foot may mean going through a doorway.

The language is hard to understand, often archaic Chinese, but the costume and make-up are magnificent. The action that really catches the Western eye is a swift battle sequence—the woman warriors involved are trained acrobats who leap, twirl and somersault into attack.

Nowadays, Peking Opera is still very popular with elderly people. Also noteworthy is the fact that this traditional Chinese art has been somewhat modernized. Anyhow, Peking opera is looked upon as an art of China and draws a lot of attention from both Chinese and people of other countries.

 


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China fights to stop sale of looted relics

China Tuesday demanded the auction of two looted historic bronze sculptures in Paris be canceled, saying it broke international conventions.

The auction seriously violates the country's cultural rights and interests, and hurts national sentiment, it said.

A Paris court on Monday ruled against stopping the sale of the sculptures, rejecting an appeal filed by the Association for the Protection of Chinese Art in Europe.

The sculptures, of rat and rabbit heads, are part of an art collection from the estate of French fashion designer Yves Saint Laurent, which went on sale at a Christie's auction that started in Paris on Monday.

The heads were taken from Beijing's Old Summer Palace when it was razed by invading French and British forces in 1860 during the Second Opium War.

"The State Administration of Cultural Heritage (SACH) has formally informed the auctioneer of our strong opposition to the auction, and clearly demanded its cancellation," Foreign Ministry spokesman Ma Zhaoxu told a news conference.

"The Western powers have plundered a great amount of Chinese cultural relics including many precious items robbed from the Old Summer Palace. All these should be returned to China," Ma said

SACH said Tuesday that it "strongly objected" to the auction and had written to Christie's asking it to stop the auction.

"We believe there is a common understanding in the international community that looted cultural objects should be returned to their countries. This is a basic cultural right of people in the origin countries," the SACH statement said.

"We requested they stop the auctions and hope the parties (to the auction) understand and respect this proper request from Chinese people," it said.

Song Xinchao, director of the SACH museum department, reiterated Tuesday that China would not buy back the bronzes that rightfully belong to the country.

The auction comes at a time when both China and France are cautiously trying to improve bilateral relations which suffered a setback after French President Nicolas Sarkozy met the Dalai Lama late last year.

Ren Xiaohong, a Chinese lawyer involved in the bid to stop the auction, said the lawsuit aims to "raise awareness among the public in Europe" about the fate of the numerous looted Chinese relics.

Chinese netizens are furious about the planned auction. An online survey conducted by ifeng.com showed more than 90 percent of the netizens want the bronzes back.

According to the UNESCO Convention on Stolen and Illegally Exported Cultural Objects, any cultural relics looted or lost during wars should be returned without any limitation of time span.

Meanwhile, Chinese lawyers will "make every effort" to halt the auction despite the unfavorable court ruling, said Li Xingfeng, one of the 81 lawyers involved in the bid to stop the auction. But he refused to elaborate on what they would do.

"If they are sold, we will start legal proceedings against the buyer," he said.


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February 09, 2009

Emperor Qin's terracota army of Xi An

Our flight to Xi'an was about two hours followed by a 30 to 45-minute bus ride from the airport to the hotel. By the time we arrived at the hotel we were all pretty beat from the long day. It was after midnight and we had an early date the next morning to visit Emperor Qin's tomb and see the wonderful 8,000+ strong Terracotta army that he assembled over two thousand years ago. Anne and I, having seen an exhibit of what the tomb was like in Singapore a number of years before, were very anxious to now have the change to view the real thing.

Chinese civilization has its roots in Shaanxi and Henan provinces where the Huang He, or Yellow River, winds its way through its fertile valleys. The Han Chinese settled this area in the 3rd century BC. Xi'an, the capital of Shaanxi Province, lies just a few miles to the west of where the Wei and Huang He converge. From Xi'an the China we know today would be formed thanks to China's first emperor, Qin Shi Huangdi. It was Emperor Qin who unified all of the warring clans into a unified nation.

Emperor Qin's tomb lies about 20 miles east of the city and is a vast and wonderful treasure to visit and explore. Peasants accidentally discovered the tomb's terracotta army in 1974 while digging a well. Today modern buildings cover the unearthed treasures and provide a protected environment for them.

Qin's terracotta army consists of life-size figures of warriors, depicted in battle dress according to rank an unit, and numerous figures of horses and chariots, and this is only part of what is believed to be his grand tomb. The terracota army lies approximately a mile east of Qin's main tomb which is said to contain spectacular objects. To date only trial digs of the main tomb site have been completed and they have yet to find the main entrance to the tomb.

Emperor Qin ordered the construction of his tomb when he was only 13 years old, an order that involved hundreds of thousands of workers and thirty-six years to complete. It is also believed that Qin ordered that the tomb workers and supervisors involved in its design be buried alive to protect its secrets.

Anyone wanting a good idea of Emperor Qin's life should rent a copy of The Emperor and The Assassin. It's a long movie, 2 hours and 41 minutes, with English subtitles, so it's not easy to follow at times, but it presents a fairly accurate history of Qin's efforts and struggles to unite China.

To date three underground pits, totaling 22,000 square meters, have been discovered with 8,000 life-size terracotta figures of warriors and horses. Each pit lies 15 to 20 feet below current ground level and was constructed with the figures placed in corridors or rooms. These corridors, separated by earthen walls, are paved with pottery bricks on which the warriors and horses stand. Large wooden planks placed over the corridors between the earthen walls and covered by layers of mats made from fibers formed the roofing. This was then covered by earth to conceal the the army's location. In the 2,000 years since its construction the roofing collapsed damaging the figures and there is evidence of fires indicating the presence of tomb robbers also.

Construction of the terracotta warriors is interesting and, considering they're over 2,000 years old, very high-tech for the period. Prior to Emperor Qin Chinese pottery was relatively small and fired at low temperatures. Studies of these life-size pottery figures, weighing between 242 and 660 pounds, indicate they were fired at much higher temperatures, between 950 and 1,050 degrees centigrade, resulting in a much harder pottery figures. Constructed from local clay all of the figures were constructed essentially using the same methods. The head, arms and bodies of the soldiers are all hollow with the legs being solid pottery. The same is true of the horses, their head and body are hollow with solid legs. Archaeologist believe that separate molds were used to make the various body parts, with these parts being glued together prior to firing the pottery. The human heads were made from a two-piece mold that were joined together later on. The ears, nose, hair and other facial features were individually sculpted and added prior to firing. In addition to the facial features the armor, belt hooks, shoe ties and costume details were also independently sculpted. As a result each warrior has a different and unique appearance, no two are exactly the same. The names of the craftsmen creating each figure was inscribed on the warrior's robe, leg or armor. Similar practices were also employed for sculpting the horses making them unique also.

Looking at the great attention to detail that these artisans had, It's evident that they took great pride in their work. We are indeed fortunate today to be able to stand before Emperor Qin's mighty army and behold its beauty.

         

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China completes motion picture law, banning porn, violence contents

Chinese authorities have completed drafting the country's long-discussed motion picture industry law which includes a movie rating system, a government official said.

    "A film rating system is very essential in China, but it will not allow to screen movies rated Level Three," Tong Gang, director of Motion Picture Bureau with the State Administration of Radio, Film and Television (SARFT) was quoted as saying by a report on Web site of Ministry of Culture.

    Level Three, or III, is one of the three-tier ratings used for movies containing sex or violent contents in China's Hong Kong Special Administrative Region. No one under 18 years old is permitted to rent, purchase or watch such a film in movie theater.

    A movie rating system in China has been discussed for years since the people have begun to an enjoy an increasing number imported films and a booming domestic film market.

    The system was expected to launch in 2005 as a part of the draft law, but the National People's Congress, top legislature, had not passed such a law.

    The director said the draft of the law had recently been finished and was submitted by the SARFT to the State Council, China's cabinet. He did not reveal that whether the NPC's annual session this year would review or approve the draft law.

 "The government has been conducting discussion, investigation and opinion solicitation to establish a rating system," Tong said, "but our system will be definitely different from those in other countries or regions."

    Tong said he had supported a movie rating system in China when he was interviewed by a TV program in Singapore and he expressed a will to take Hong Kong's rating system as a reference during a visit to the SAR.

    "However, my utterance has been overexplained and even distorted by some media reports," Tong said.

    "A rating system in China will not mean that we will allow depictions of porn or violence in the movies for sales and screen," he said.

    Without a rating system in the movie industry, the SARFT censors all domestic or imported movies applying for public sales or screening in China by issuing licenses for movies that do not contain politically sensitive contents.

    Even the homegrown movie director Zhang Yimou has failed censorship standards for his production To Live in 1994, which contains content depicting the Cultural Revolution. It was mostly rated PG in overseas markets.

    According to Tong, the SARFT will work out a specific regulation of the rating system within this year. "The system is not an easy issue in China and must be adapted to the characteristics of the country."

    Chinese movie's total box office in 2008 reached 4.34 billion yuan (629 million U.S. dollars), a more than 30 percent increase over the previous year, according to the movie bureau.

    Chinese home-produced movies contributed around 60 percent of the total box office, one of the top ten in the world.


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Chinese new year (photo of real China)


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Shanghai attracts one fourth of students returning to China

The biggest destination for Chinese students who have studied abroad and returned to China is Shanghai -- attracting one fourth of returning students, according to local authorities on Wednesday.

    Figures from the Shanghai Municipal Bureau of Human Resources and Social Security showed that about 75,000 returning students now work for -- or have started their own -- business in Shanghai.

    Currently, Shanghai boasts some 4,000 enterprises founded by returned students, with the total investment exceeding 500 million U.S. dollars.

 Among the academicians of the Shanghai Academy of Sciences and Shanghai Academy of Engineering, 102, or 60 percent, are returning students.

    A booming business hub, Shanghai has launched a project to gather the talents returning from overseas studies. It has vowed to provide better services in medicare, education, social security, among others.


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