Chinese Calligraphy and Painting 中国书画艺术
Calligraphy and Painting& 中国书画Chinese characters evolved from pictures and signs, and the Chinese art of calligraphy developed naturally from its unique writing system. Through the ages, great calligraphers developed representative calligraphic styles of their times. The love of calligraphy is deeply ingrained in Chinese scholars, and has been handed down to the present day.The roots of Chinese painting can be traced back to paintings on Neolithic pottery six or seven thousand years ago. Since similar tools and lines were used for the earliest painting and writing, painting is said to have the same origin as calligraphy. Thus, Chinese paintings usually integrate poetry or calligraphy with themes that include figures, landscapes, flowers, birds and other animals. Traditional Chinese painting remains a highly valued genre, often on exhibit in China as well as other countries. The contemporary art world in China is also very active. Some Chinese artists have become adept at Western-style painting, both oil and watercolor. Many Chinese painters have created works that combine traditional Chinese painting techniques with those of the West, enhancing both forms. The China Art Gallery and other art galleries hold individual or joint art exhibitions year in year out. Art expositions are held each year in Beijing, Guangzhou and Shanghai.
The four Treasures of the Study& 文房四宝Writing BrushAmong the various tools of calligraphy, writing brush is peculiar to China. The brushes are varied, and white goat's hair, black rabbit's hair and yellow weasel's hair are three major types. On the basis of the function of tip, the brushes are classified into three groups: "Hard", "Soft" and "Both". The handle is made of not only bamboo, wood, lacquer and porcelain, but also some precious materials including mother-of-pearl inlay, ivory and jade. Writing brush has such a long history that prehistoric painted pottery, inscriptions on oracle bones, bamboo slips and silks are all writing materials for brush. Some ancient writing brushes were also excavated in the graves of the Spring and Autumn Period, the Warring States, the Qin and Han Dynasties. In the Tang and Song Dynasties, Xuanzhou became the national writing-brush-producing center, whose products were called "Xuan-bi", and "Zhuge-bi" was the best in quality in Xuanzhou. After the Yuan Dynasty the brush-producing industry of Huzhou boomed, and "Hu-bi" replaced "Xuan-bi". The characteristics of "Hu-bi" were sharp, neat, round and tough.
Ink-StickThe ink-stick is the unique pigment of Chinese traditional painting and calligraphy. At the initial stage natural ink or half-natural ink was generally used. It was during the Han that artificial ink appeared. At that time the most famous ink-stick was "Yumi-mo" produced at Qianyang, Shaanxi. The raw materials of ink-stick were pine, oil and lacquer. Before the Five Dynasties the ink-producing center was in the North, then it reached the South. The most celebrated South ink-stick was "Hui-mo", which was produced in Huizhou of Anhui.
PaperPaper ( the background of this page you are reading now is a kind of writing paper made in Qing Dynasty) is one of the most famous Chinese inventions. It is widely accepted that paper was invented by Cai Lun in the Eastern Han. However the archaeologists have discovered paper of Western Han such as "Fang-ma-tan" paper, "Ba-quao" paper, "Xuan-quan" paper, "Ma-quan-wan" paper, "Ju-yan" paper and "Han-tan-po" paper. After the Eastern Jin Dynasty, paper was extensively used instead of traditional writing materials such as bamboo slips and silks. Various methods of producing paper emerged one after another. In the Tang and Song Dynasties, the paper producing industry was very thriving. Celebrated products in best quality appeared one after another. In the Qing "Xuan-zhi" produced in Jing Prefecture of Anhui (Xuanzhou), became the special paper for painting and calligraphy, and was regarded as "the king of the paper"
InkstoneInkstone is the most important of "four treasures of the study". Because of its solid texture inkstone can be handed down from ancient times. In the ruins of primitive society the archaeologists discovered simple stone ink-slab that needed a pestle to grind pigments. After artificial ink-sticks appeared in Han, pestle gradually disappeared. There were pottery ink-slab, lacquer ink-slab and copper ink-slab in the Han Dynasty as well as stone ink-slab. Among the stone ink-slabs, the round tripod pieces were the most typical. During the Wei, Jin and Northern-and-Southern Dynasties, round tripod porcelain ink-slabs were in vogue. It was in the Sui and Tang that "Piyong" inkstone having circular legs appeared.
* * * *Ancient tools of calligraphy included not only brush, ink-stick, paper and inkstone, but also some accessories such as penholder, brush pot, ink box, paperweight, seal, seal box. The raw materials of these tools were pottery, porcelain, copper, iron, lacquer, wood, bamboo, stone, jade, jadeite, agate and coraI.
名家名作 CelebrityGu Kaizhi -- Originator of PaintingChinese painting came a long way during the 300-year period that saw the rise and fall of the Three Kingdoms (220-280), Jin Dynasty (265-420) and Northern and Southern Dynasties (420-581). Apart from the chaos of war and dynastic changes during this period, active intellectual life of different schools also provided a great impetus for artistic development. Well-known grotto murals, tomb paintings, stone carvings, brick carvings and lacquered paintings were produced at the time, and a number of virtuosos emerged in Chinese calligraphy and painting. Certain painting theories, such as the Graphic Theory and the Six-Rule Theory that form the theoretical basis for present-day Chinese painting, were also put forward. Gu Kaizhi, known as the founder of traditional Chinese painting, and his scroll paintings, represented the painting style of the period.Gu was born into an official family in Wuxi, Jiangsu Province and served as a government officer at a young age. Having toured many beautiful places, Gu was proficient in writi Chinese art history abounds in anecdotes about him.When the construction of a temple was planned for Jiankang (Nanjing) and the monks and abbot could not collect enough money to build it, a young man offered to donate a large sum of money. He suggested he would draw a picture of the Buddha on the wall and, in the process, collect donations from curious passersby. For three consecutive days, thousands of people flocked to see the young man at work. By adding the final touches to the picture, the Buddha seemed to come alive, and the viewers cheered and applauded the young man's artistry. Hence, the money needed for the consummate construction of the temple was obtained.The young man who paid great attention to the details that revealed the characteristics of his subjects was none other than Gu Kaizhi.Gu was once was asked to paint Pei Kai's portrait, a man with three, long, fine hairs on his face that had been ignored by other painters. Gu laid great emphasis on the three hairs, and Pei was very satisfied. Another time, Gu painted a man named Xie Kun standing in the midst of mountains and rocks. When asked the reason for the setting, Gu explained that Xie loved to travel and see beautiful mountains and rivers. Such stories demonstrate Gu's skill of creating atmospheres that enhanced the characteristics of his subjects.The theme of the Luoshen Appraisal Painting (luo shen fu) was drawn from the article, Luoshen Appraisal, written by Cao Zhi, son of the Wei Emperor Cao Cao. The painting depicts the meeting between Cao Zhi and the Goddess Luoshen at Luoshui River, vividly capturing the mood of their first meeting and eventual separation. Gu emphasized his subjects' expressions, with the stones, mountains and trees having an ornamental purpose. Gu's paintings, which greatly influenced later traditional Chinese paintings, are similar in style to the Dunhuang murals.Gu also made great advances in summarizing painting theories. His theoretical works included Painting Thesis and Notes on Painting Yuntai Mountain. Gu paid considerable attention to the vivid expressions of his subjects to expose their spirit. His Graphic Theory later became a basic theory for traditional Chinese painting. According to historical records, Gu created more than 70 paintings based on historical stories, Buddha, human figures, birds, animals, mountains and rivers. His three existing scroll paintings include the Nvshi Zhen Painting, Luoshen Appraisal Painting and Lienv Renzhi Painting -- the earliest examples of scroll paintings.
Wu Daozi, Sage in Chinese PaintingIn Chinese history, three people are revered as sages: the calligrapher Wang Xizhi of the West Jin Dynasty (265-316), the poet Du Fu of the Tang Dynasty (618-907) and the painter Wu Daozi, also of the Tang Dynasty.Wu's most prolific period was during the Kaiyuan and Tianbao eras (713-755) in the Tang Dynasty. Born in Yangzhai (Yu County in Henan Province), Wu lost both his parents at a young age and lived a hard life in his early years. He learned how to make a living from folk artists and sculptors. Because Wu studied hard and was talented in art, he earned himself a good reputation as a painter by the time he was 20 years old. Emperor Xuanzong invited Wu as an imperial painter in the court, naming him Daoxuan. As an imperial painter, Wu only painted at the emperor's request, which was a big restriction for a civilian painter. On the other hand, the court provided the best living conditions and was an outlet for artistic creativity.Wu's character was unrestrained, direct and indifferent to trivial matters, and it is known he always drank while painting. It is also said that when Wu drew the halo around Buddha's head in a mural, he only used his brushes without drafting th when he painted at Longxing Temple, the temple was always packed with observers. Wu moved his brush quickly, and most of his works were accomplished in a single session. Chang'an (present day Xi'an), capital of the Tang Dynasty, was the cultural center of the time where many famous men of letters and artists lived. Wu had many opportunities to stay with them, which helped improve his painting skills.Wu mainly created religious murals all his life and his abundant works had a wide range of subjects. According to records, Wu painted over 300 murals and more than 100 scrolls. While many of them involved Buddhism and Taoism, Wu also drew mountains, rivers, flowers and birds. The Presentation of Buddha is his most representative work. Unlike his predecessor Gu Kaizhi, whose line strokes were slender and forceful but lacked variety, Wu's strokes were full of change and vigor, expressing the internal world of his subjects. Wu was always in great ferment when he was painting, and his works exhibit an expressionist style.
Art Historian: Zhang YanyuanZhang Yanyuan, styling himself Aibin, was the art historian of the Tang Dynasty (618-907). Born into a chancellor family in Yishi of Puzhou (Linqi County of Shanxi Province), Zhang took office as zuopushe buque, ministry counselor of the Ci department and chief minister of Dali. He was a learned scholar and excellent painter and calligrapher. Zhang's works include Fashu Yaolu, Collection of Poems on Color Paper and the first general history of art -- Records of Historical Famous Paintings.Records of Historical Famous Paintings gave a summation of ancients' achievements in painting history. Following the tradition of combining historical facts and painting critics, Zhang initiated the style of general art history. By using abundant materials, Zhang's research focused on the development and internal relations of art history, using systematic historical painting materials to support his theories. The book extensively covered the development and significant theories of the history of painting. The biography section consisted of comprehensive records of painters' lives, thoughts and works. Zhang passed equitable judgments on painters by quoting predecessors, yet still developed his own ideas. From the point of view of the whole process of art creation and appreciation, Zhang brought recording, appraising, collecting, circulating and even mounting to the list of indispensable components, which gave rise to the integral research system of Chinese painting history. For a long time, the book was regarded as China's first publication on the general painting history and bibliography of painting of the period. It had a unique position in the development of Chinese painting as a link between the past and future.In general, there are several features to Zhang's artistic theory. Apart from confirming Xie He's theory that painting had moral and political functions, Zhang put more emphasis on the meaning of painting itself. Opposing dull and stereotyped painting styles, Zhang stressed that painting needs ingenious creation and that the basic skill of painting lay in conception and stroke. A painter's cultural taste and personality were also very important to painting. Zhang was the first to forward the theory that painting was a career of moral scholars who had knowledge and unique personalities. As one of the earliest art theorists and critics, Zhang contributed many achievements to the theory of ancient painting history.
Chinese painting国画简史Chinese traditional painting dates back to the Neolithic Age about 6,000 years ago. The excavated colored pottery with painted human faces, fish, deer and frogs indicates that the Chinese began painting as far back as the Neolithic Age. Over the centuries, the growth of Chinese painting inevitably reflected the change of time and social conditions. From Primitive to Modern
A painted pottery basin In its earliest stage, Chinese prehistoric paintings were closely related to other primitive crafts, such as pottery, bronzeware, carved jade and lacquer. The line patterns on unearthed pottery and bronzeware resemble ripples, fishing nets, teeth or frogs. The animal and human figures, succinct and vivid, are proofs to the innate sensitivity of the ancient artists and nature.
A rock painting Paintings or engravings found on precipitous cliffs in Sichuan, Yunnan and Guizhou in Southwest C Fujian in East China and Mount Yinshan in Inner M Altai in China's extreme west and Heihe in the far north, are even more ancient. Strong visual effects characterize the bright red cliff paintings in southern China that depict scenes of sacrificial rites, production activities and daily life. In comparison, hunting, animal grazing, wars and dancing are the main themes of cliff paintings in northern China.Before paper was invented, the art of silk painting had been developing. The earliest silk painting was excavated from the Mawangdui Tomb in central China of the Warring States Period (476-221 BC). Silk painting reached its artistic peak in the Western Han Dynasty (206 BC-AD25).Following the introduction of Buddhism to China during the first century from India, and the carvings on grottoes and temple building that ensued, the art of painting religious murals gradually gained prominence.
Grotto mural in Dunhuang China plunged into a situation of divided states from the third to the sixth century, where incessant wars and successions of dynasties sharpened the thinking of Chinese artists which, in turn, promoted the development of art. Grotto murals, wall murals in tomb chambers, stone carvings, brick carvings and lacquer paintings flourished in a period deemed very important to the development of traditional Chinese painting The Tang Dynasty (618-907) witnessed the prosperity of figure painting, where the most outstanding painters were Zhang Xuan and Zhou Fang. Their paintings, depicting the life of noble women and court ladies, exerted an eternal influence on the development of shi nu hua (painting of beauties), which comprise an important branch of traditional Chinese painting today.
Painting of beautiesBeginning in the Five Dynasties (907-960), each dynasty set up an art academy that gathered together the best painters throughout China. Academy members, who were on the government payroll and wore official uniforms, drew portraits of emperors, nobles and aristocrats that depicted their daily lives. The system proved conducive to the development of painting. The succeeding Song Dynasty (960-1127) developed such academies into the Imperial Art Academy.
Landscape painting During the Yuan Dynasty () the "Four Great Painters" -- Huang Gongwang, Ni Zan, Wei Zhen and Wang Meng -- represented the highest level of landscape painting. Their works immensely influenced landscape painting of the Ming () and Qing () dynasties.The Ming Dynasty saw the rise of the Wumen Painting School, which emerged in Suzhou on the lower reaches of the Yangtze River. Keen to carry on the traditions of Chinese painting, the four Wumen masters blazed new trails and developed their own unique styles.When the Manchus came to power in 1644, the then-best painters showed their resentment to the Qing () court in many ways. The "Four Monk Masters" -- Zhu Da, Shi Tao, Kun Can and Hong Ren -- had their heads shaved to demonstrate their determination not to serve the new dynasty, and they soothed their sadness by painting tranquil nature scenes and traditional art. Yangzhou, which faces Suzhou across the Yangtze River, was home to the "Eight Eccentrics" - the eight painters all with strong characters, proud and aloof, who refused to follow orthodoxy. They used freehand brushwork and broadened the horizon of flower-and-bird painting. By the end of the Qing Dynasty and the beginning of the Republic of China, Shanghai, which gave birth to the Shanghai Painting School, had become the most prosperous commercial city and a gathering place for numerous painters. Following the spirit of the Eight Eccentrics of Yangzhou, the Shanghai School played a vital role in the transition of Chinese traditional painting from a classical art form to a modern one. The May 4th Movement of 1919, or the New Culture Movement, inspired the Chinese to learn from western art and introduce it to China. Many outstanding painters, led by Xu Beihong, emerged, whose paintings recognized a perfect merging of the merits of both Chinese and Western styles, absorbing western classicism, romanticism and impressionism. Other great painters of this period include Qi Baishi, Huang Binhong and Zhang Daqian. Oil painting, a western art, was introduced to China in the 17th century and gained popularity in the early 20th century. In the 1980s Chinese oil painting boomed.
New Year Painting Then came popular folk painting -- Chinese New Year pictures pinned up on doors, room walls and windows on the Chinese New Year to invite heavenly blessings and ward off disasters and evil spirits - which dates back to the Qin and Han dynasties. Thanks to the invention of block printing, folk painting became popular in the Song Dynasty and reached its zenith of sophistication in the Qing. Woodcuts have become increasingly diverse in style, variety, theme and artistic form since the early 1980s. Classification of Chinese Traditional Painting
Four treasures of the study Traditional Chinese painting has its special materials and tools, consisting of brushes, ink and pigments, xuan paper, silk and various kinds of ink slabs. Based on different classification standards, Chinese traditional painting can be divided into several groups, as follows: 1. TechniquesAccording to painting techniques, Chinese painting can be divided into two styles: xieyi style and gongbi style. Xieyi, or freehand, is marked by exaggerated forms and freehand brushwork. Gongbi, or meticulous, is characterized by close attention to detail and fine brushwork. Freehand painting generalizes shapes and displays rich brushwork and ink techniques. 2. Forms The principal forms of traditional Chinese painting are the hanging scroll, album of paintings, fan surface and long horizontal scroll. Hanging scrolls are both horizontal and vertical, usually mounted and hung on the wall. In an album of paintings the artist paints on a certain size of xuan paper and then binds a number of paintings into an album, which is convenient for storage. Folding fans and round fans made of bamboo strips with painted paper or silk pasted on the frame. The long, horizontal scroll is also called a hand scroll and is usually less than 50 centimeters high but maybe up to 100 meters long. 3. Subjects Traditional Chinese paintings can be classified as figure paintings, landscapes and flower-and-bird paintings. Landscapes represent a major category in traditional Chinese painting, mainly depicting the natural scenery of mountains and rivers. The range of subject matter in figure painting was extended far beyond religious themes during the Song Dynasty (960-1127). Landscape painting had already established itself as an independent form of expression by the fourth century and gradually branched out into the two separate styles: blue-and-green landscapes using bright blue, gr and ink-and-wash landscapes relied on vivid brushwork and inks. Flower-and-bird painting deviated from decorative art to form its own independent genre around the ninth century. Traditional Chinese painting, poetry, calligraphy, painting and seal engraving are necessary components that supplement and enrich one another. "Painting in poetry and poetry in painting" has been a criterion for excellent works. Inscriptions and seal impressions help explain the painter's ideas and sentiments and also add beauty to the painting.
Calligraphy History书法简史 As the art of writing Chinese characters, Chinese calligraphy, or shufa, is closely related to the latter in its formation and development, boasting as long a history as that of China itself. It is one of the highest forms of Chinese art, serving the purpose of conveying thoughts while also showcasing abstract beauty of lines. Calligraphy is one of the four basic skills and disciplines of the Chinese literati, together with painting (hua), stringed music instruments(qin) and board games (qi). However, rhythm, lines, and structure are more perfectly embodied in calligraphy than in the other three skills. According to historical records, it was during about the later half of the 2nd and 4th centuries that Chinese calligraphy came into being in the real sense. However, this does not mean ignoring, weakening or denying the artistic value of previously existing calligraphic forms. Chinese calligraphy of each period in Chinese history had its particular forms and styles. Jiaguwen (scripts on tortoise shells and animal bones), and pictographic characters (known as xiangxing zi in Chinese), though with differences in the number of strokes or the degrees of complexity in like characters, showed the laws of symmetry and balance. Besides, changes in the organization of lines and landing of strokes had taken on signs of calligraphy that was to come into existence. Therefore, the pre-Qin calligraphic art not only falls within the scope of Chinese calligraphy, but also represents a good example for later generations as a reference. The course of Chinese civilization is one influenced by a periodical and linear process, and it is against such a background that Chinese calligraphy has been staging its development. During its burgeoning period, namely, from the Shang Dynasty to the Three Kingdoms Period, Chinese characters evolved from Jiaguwen，Jinwen to Kaishu（regular hand）and Xingshu（running hand）. In the next period, namely from the Jin Dynasty to the Tang Dynasty, the art entered a phase, with Caoshu(cursive hand), Xingshu (running hand) and Kaishu (regular script) taking the place of Zhuanshu (seal script) and Lishu(offical script) to become the mainstream. The appearance of Wang Xizhi, the greatest calligrapher of all time, was a phenomenon of that period, whose artistic achievements were highly appreciated even until the Tang Dynasty. Meanwhile, a great many calligraphers were rising at that time, such as Ouyang Xun, Yan Zhenqing, Liu Gongquan, each with different a style. The Tang Dynasty also witnessed improvement of calligraphic theories, with the publishing of some theoretical books, such as Shu Pu (Manual of Calligraphy) and Shu Yi (Etiquettes in Calligraphy), which cast significant influence on later books. Due to the chaos caused by wars and the unstable political situation in following dynasties from the Five Dynasties to the Yuan Dynasty, the development of calligraphy also took on complications. Calligraphers of that period chose to express their inner feelings and interests through calligraphy. More theoretical books came out, providing theoretical guidance for the later generations. The calligraphy in the Ming Dynasty was basically an inheritance and development of that of the Song and Yuan dynasties, and that of the Qing Dynasty was generally divided into two periods. The two dynasties also witnessed the rising of many famous calligraphers who left behind a great many excellent calligraphic works. Chinese calligraphy is an Oriental art. Like the use of chopsticks, calligraphy was once entirely Chinese, but as Chinese culture spread to Korea, Japan, and Singapore, calligraphy became a unique feature of Oriental art. Calligraphy is even wildly accepted by the W as once Picasso said, "Had I been born Chinese, I would have been a calligrapher, not a painter." Many calligraphic elements are being adopted by modern Western art.
Tour Tips of Travelling in Huangshan and across China:Be careful of your life and property safety during your holidays, Be better for you to bring& medicines by yourself according to your own necessary, in order to guard against carsickness,shipsickness and some other kinds of disease. Be remember protecting the environment and developing the group spirit!For more details for your studying,hiking,Photographying and Biking tour,&&please connect us -CTS of Huangshan TEL:& FAX:6789&& E-Mail:hs-
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Religion in ChinaSpirituality, Mythology and Philosophy IntertwinedReligion in China has often been a matter not of which, but of how many. The great eighteenth century Chinese novel, The Dream of the Red Chamber, describes a wealthy family that studies and quotes Confucian texts, calls Taoist monks for herbal remedies, houses a Buddhist nun, and gathers en masse once a year to make offerings to their ancestors.
Trying to categorize Chinese religions is challenging for several reasons. Many Chinese belief systems conceive of a spiritual world, but do not explicitly name a god. Nevertheless, they are not philosophies like pragmatism or modernism. Another problem with describing religions in China is that most Chinese belief systems allow for syncretism, or the adherence to multiple religions at one time. The major belief systems in China include traditional Chinese religion, Confucianism, Taoism, and Buddhism.&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
Lacking central authority and consistent beliefs, traditional Chinese religion is most notable for its diverse mythology and its reverence for ancestors. In traditional Chinese religion, the Chinese Emperor was viewed as the Son of Heaven. Heaven in this sense is not equivalent to paradise, but rather the spiritual realm that is beyond the human one. The Emperor himself was not actually a deity, but rather chosen by Heaven to mediate between the forces of Heaven and Earth. If he was corrupt or unjust, he could lose the Mandate of Heaven, which would then choose a new emperor.
Emphasis on Ancestral WorshipThe largest part of traditional Chinese religious practice is ancestor worship. Families in traditional China had shrines to ancestors and presented sacrifices and offerings on prescribed days. They believed that their ancestors had the power to affect the human world, so they offered prized foods and paper money to appease their ancestors' spirits. Today, these rituals echo in Chinese society. Much stronger in the rural areas, where modernization has had the least effect, traditional Chinese beliefs and practices still influence customs. Confucianism, Pervasive Social Philosophy from Ancient to Present Day
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Confucianism is another major belief system in China that has at taken on characteristics of both a religion and a philosophy. Founded by Confucius during the Warring States Period, Confucianism became the state philosophy of Imperial China in the Han Dynasty, and was the basis of the education system in China until the twentieth century. Confucianism promoted social stability, hierarchies, and the power of the family. Its complicated texts defined Chinese relationships for millennia, a sort of manual for a virtue-based, traditional Chinese society. One virtue that is still particularly striking in Chinese society today is that of filial piety. The Confucian ideal instilled in children an overwhelming respect, love and sense of debt owed to parents. Today, many children still send money to their parents, invite their parents to live in their homes as they grow older, and, in general, carry a deep respect for older people.
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Taoism, Philosophical Belief Transcending to ReligionAnother Chinese tradition that has served as both a philosophy and religion is Taoism, which emerged during the Warring States Period and recognizes Laozi, a contemporary of Confucius, as its founder. In Chinese, the character Tao (道) literally means "the way" or "the path," and Taoist beliefs are based on continuous energies in the universe that, when in balance, lead to peace and happiness. The most well known visual representation of this is the black and white, circular yin yang symbol. Traditional Taoist practices are based on meditation and contemplation, and the influences of Taoism can be seen in other aspects of Chinese culture. Cooking, literature, art, martial arts, and medicine are a few examples.
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Buddhism, Powerful Religion Localized and Evolved Over CenturiesBuddhism is another religion that has been influential in China. First entering China in the first century AD via the Silk Road from Central Asia and India, it struggled to grow until after the fall of the Han Dynasty, when social upheaval in northern China broke down established Confucian and Taoist hierarchies. Buddhism was flexible enough to incorporate traditional Chinese practices into the doctrine, but also identified its main goal as ending the suffering of a cyclic existence. Buddhism offered an individual spirituality not found in Confucianism or Taoism through the institution of the temple and monks, who were regarded as worldly examples of holy men.
Another sect of Buddhism developed in Tibet that has had important implications for modern history and politics. Tibetan Buddhism incorporated many local religious practices into its doctrines, including Tantric practices and some black magic, and also drew from Indian Buddhist and yogic practices. There are several schools of Tibetan Buddhism, one of which is headed by the Dalai Lama, a figure who has served as the religious and political leader of Tibet for the last 400 years and is believed to be an incarnation of the Bodhisattva of Compassion. Other Minority Religions, Islam and Christianity
In addition to the belief systems mentioned above, religions from other parts of the world have influenced China. Contact with Islam began on the Silk Road in the early Tang Dynasty. Today, Muslims exist across China and are estimated to constitute about 3% of China's population. Xi'an, often considered the beginning of the Silk Road on the Chinese side, has a historical Muslim quarter. Xinjiang Province, home to the Uighur minority in the far northwest, has the largest population of Chinese Muslims. Kashgar, a central Asian trading crossroads, is home to the largest mosque in China.
Christianity also has a long history in China. A stone from Xi'an dates Nestorian Christianity's entry into China to 635 AD. Nestorianism persisted long enough that Marco Polo witnessed it in his thirteenth century Chinese travels. Later, Franciscan friars initiated a mission that was well received by the Ming Emperor, but dissolved with the changing of dynasties. Jesuits returned in the sixteenth century, but were accepted more for the novelties they brought, such as mechanical clocks and eyeglasses, than for their religious teachings. In the nineteenth century, Christianity appeared in several forms. The leader of the Taiping rebellion claimed to be the brother of Jesus Christ, a decidedly non-standard version of the religion. Also, protestant missionaries from the United States came to China in increasing numbers, viewing China as the next great frontier in Christianity. This, along with other religious practices, came to a grinding halt during the Mao years. Central Government Attitude Towards Religion Today
Today the government is still officially atheist, but citizens are guaranteed freedom of worship, as long as the government approves each priest and house of worship, in the name of social stability.
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Tour Tips of Travelling in Huangshan and across China:Be careful of your life and property safety during your holidays, Be better for you to bring& medicines by yourself according to your own necessary, in order to guard against carsickness,shipsickness and some other kinds of disease. Be remember protecting the environment and developing the group spirit!For more details for your studying,hiking,Photographying and Biking tour,&&please connect us -CTS of Huangshan TEL:& FAX:6789&& E-Mail:hs-
*****July. 01, 2011.China Travel Service Huangshan Branch*****
Wushu and Qigong Wushu and Qigong 中国武术与气功
Chinese Wushu&& 武术概述Wushu, or Martial Art, is an important component of the cultural heritage of China, with a rich content over the centuries. Literally, "Wu" means military, and "Shu" means art. Wushu therefore means the art of fighting, or martial arts. Martial training includes Ti (kicking), Da (punching), Shuai (throwing), Na (controlling), Ji (hitting), Ci (thrusting), etc. Related to each style are basic forms, or sequences, which may involve defense strategies, offense, retreat, mobility and immobility, speed and slowness, hard or soft postures, emptiness and fullness, with or without weapons.
Wushu was born and has steadily grown and attained perfection as an integral part of Chinese culture. As such it is bound to be influenced and conditioned by other forms of culture, first and foremost by philosophy, art and literature, and religion. Wushu reigns as one of the most traditional and popular national sport in China, practiced by the young and old alike.Wushu was originally a military training method, bearing a close relationship with ancient combats. Practical skills, such as strength training, fencing, staff sparring, spear training, etc., are still used now by policemen and soldiers. Today Wushu has been organized and systematized into a formal branch of study in the performance arts and has become an athletic and aesthetic performance and competitive sport. Every movement must exhibit sensible combat application and aestheticism.Chinese Wushu is classified into various styles according to different regions, different schools and families, as well as different fighting techniques. Routines are performed solo, paired or in groups, either barehanded or armed with traditional Chinese weaponry. Wushu can be viewed in terms of two categories, including Taolu (Forms with or without weapons) and Sanshou (Free Sparring).Taolu is a performance of set offensive and defensive Wushu movements based on Chinese Wushu principles. It includes the following four main categories: Bare-Handed Forms, Weapon Forms, Duilian, and Group Forms.Duilian form consists of sets of offensive and defensive movements for two or more practitioners in mock combat routines. They usually include three groups -- Bare-handed vs. Bare-handed, Weapon(s) vs. Weapon(s), and Bare-handed vs. Weapon(s). Group Forms are usually for demonstrations only and performed with or without weapons by a group of six or more persons.Wushu's emphasis has shifted from combat to performance, and it is practiced for its method of achieving health, self-defense skills, mental discipline, recreational pursuit and competition. In 1990, Wushu was adopted as an official medal event in the Asian Games, and since then World Championships have been held with 56 nations participating. Now Wushu is vying for the Olympic Games in the 21st century.
Shaolin Wushu& 少林武术Shaolin Wushu (Shaolin Martial Art) is one of the most influential genres of Chinese martial art, and it's named after the Shaolin Temple located in Dengfeng County, Henan Province. The monks in the Shaolin Temple began to study martial art during the Southern and Northern Dynasties and this tradition prevailed during the Sui and the Tang dynasties (581-907). Shaolin Wushu is famous both at home and abroad as a highly effective method of self-defense and health-building. Combining both external and internal, and "hard" and "soft" exercises, Shaolin Wushu involves various methods of fighting techniques, consisting of barehanded boxing and weaponry combat. The Shaolin boxing has compactly designed routines. Its movements are quick, p both practical for defense and attack.The most outstanding characteristic of Shaolin boxing is that the practitioner works on one straight line. It means that his movements of advancing, retreating, turning around, sideways, or jumping are restrained on one line. His arms are kept slightly bent so that he can stretch out to attack or withdraw freely for self defense. Another characteristic of Shaolin Wushu is to maintain the body in perfect balance, as stable as a mountain. The practitioners should keep a tranquil mind but strike with great force and speed. He should be good at "borrowing" force from the opponent. That is, he should not meet the opponent's strikes head-on, but take advantage of the striker's force and go along with it to bring him to ward off a force of a thousand weights. The practitioner should know how to make feigned strikes and when striking, hit the vital parts of the opponent. The movements should be as dextrous as a cat, the shaking as a tiger, the moving as a dragon, the advancing as lightning and the yelling as thunder.Shaolin Wushu is a very convenient sport, for the practice does not need a large space and is not affected by weather or the kind of weapons used.There are many routines. External exercises include Minor Hong Boxing, Greater Hong Boxing, Old Hong Boxing, Chaoyang Boxing, Chang Boxing, Plum Blossom Boxing, Cannon Boxing, Luohan Buddha Boxing, Tongbei Boxing, Seven-star Boxing, Dragon-out-of-the-sea Boxing and Shooting-star B for internal exercises there are Xingyi Boxing and Juji Boxing. Shaolin boxing can be practiced singly or in pairs. The dual routines include: Banshou Liuhe Boxing, Yaoshou Liuhe Boxing and Kick and Strike Liuhe Boxing.
Tai Ji Quan太极拳Tai Ji Quan is a major division of Chinese martial art. Tai Ji Quan means "supreme ultimate fist". Tai means "Supreme", Ji means "Ultimate", and Quan means "Fist". There have been different sayings about the origin of Tai Ji Quan. The traditional legend goes that the wise man Zhang Sanfeng of the Song Dynasty (960-1279) created Tai Ji Quan after he had witnessed a fight between a while most people agreed that the modern Tai Ji Quan originated from Chen style Tai Ji Quan, which first appeared during the 19th century in the Daoguang Reign of the Qing Dynasty ().Tai Ji Quan has its philosophical roots in Taoism and is considered as an internal martial art, utilizing the internal energy, or Qi, and following the simple principle of "subduing the vigorous by the soft". Taoism is the oldest philosophy of China which is represented by the famous symbol of the Yin and Yang which expresses the continuous flow of Qi in a circular motion that generates two opposite forces, plus and minus, which interact and balance with each others to bring existence to the physical and metaphysical world.The most famous forms of Tai Ji Quan practiced today are the Chen, Yang, Wu, Wu and Sun styles. All the five styles can be traced back to Chen style Tai Ji Quan. According to historical records, Tai Ji Quan was founded by Chen Wangting (), who lived in Chen Village, in today's Henan Province in China. Based on the Chen style and created by Yang Luchan, a Hebei native of the Qing Dynasty, the Yang style is now the most popular style worldwide. The Woo Style is based on the Chen and Yang styles and created by Woo Yuxing.The Sun style is derived from Chen and Woo styles and created by Sun Lutang. The Sun style is a combination of the more famous internal Chinese martial art forms of Ba Gua, Xing Yi and Tai Ji. The Wu style is based on Chen and Yang styles, and it was created by Wu Jianquan.Nowadays, when most people talk about Tai Ji Quan, they are usually referring to the Yang style, which has already spread throughout the world and is practiced by millions of people.
Chinese Kung Fu中国功夫As man became more skillful in hunting and warfare, he also gradually developed dance for entertainment and relaxation. Early records suggest that dance was often the imitation of various animal movements, hence the Monkey Dance, the Bear Dance, the Bird Dance, and so on. The Book of History refers to them as 'the dances of hundred animals'. In addition, rudimentary sports appeared, such as Dance with Shield and Battle-Axe and Butting with Horns, both military exercises. The Dance with Shield and Axe, which was a martial dance depicting battle and training troops, demonstrate the early relationship between dance and fighting skill. Butting with Horns was competitive wrestling practiced by the soldiers. This sport was said to have been a training method before battle by the armies of the legendary Chiyou tribe of eastern China. The soldiers wore horns on their heads as a symbol of courage, and then butted each other during the contest. It was tradition that every feast should have a dance performance, which by the Han time would often take the form of a sword dance. Unarmed combat contest were also popular during the Han Dynasty. The rapid development in cavalry warfare of this period led to further improvements in skill using bladed weapons. According to the Book of Zhuang Zi, unarmed combat was a highly developed skill by the end of this period, with many methods of attack, defense, counter-attack and feints. Fencing was also fairly common at that time. It was especially popular among the people of the states of Wu, Yue and Zhao. Competitions were frequent, but because contestants wore inadequate protection, injuries were common during the bouts. In one fencing competition in the state of Zhao, more than 60 people were killed or wounded over a period of 7 days. In the state of Wu, scars on the body of face were common sight among the people. Nevertheless, the love of fencing went unabated among women as well as men. By the Qin Dynasty (221 - 207BC), competitions had developed stricter rules with referees, arenas and protective clothing. During the Han Dynasty (206BC - AD220), Kung Fu was developed further, the element of sport and dance now becoming more apparent. Many martial dances appeared, such as the Rapier Dance, the Broadsword Dance, the Twin-Halberd Dance and the Battle-Axe Dance. While these dances contained elements of attack and defense, other postures and techniques evolved which were designed clearly for callisthenic purposes. An historic record in 108 B.C. tells how people came from as far as 300 li (150km) around the capital to see a contest. Kung Fu could be defined as any of the various Chinese martial arts. Chinese Kung Fu was studied, organized and systematized by the Shaolin monks. Shaolin Kung Fu is known for their many animal styles such as Tiger, Crane, Dragon, Monkey, Praying Mantis and Snake. The word Kung Fu was originally used by the West. It means "skill" or "ability". It literally does not have anything to do with martial arts such as the word Tae Kwon Do, which means The Way of the Hand and Feet. In China today, Wushu is the preferred word to describe Chinese Martial Arts. The word Kung Fu was first used by a western Jesuit Missionary named Pere Amoit after witnessing exercises and training regimen in China. He called it "Cong Fou" in his personal journals. The term "Kuo-Shu" was popular in China until about 1930. This term has since been popularized by the Taiwanese Government to describe Chinese Martial Arts.
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*****July. 01, 2011.China Travel Service Huangshan Branch*****
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