Colors in Traditional Chinese Culture

For more than 2000 years, the Chinese people have used brilliant colors. Today in modern China, red is a very popular color. However, contrary to popular belief, ancient peoples did not pay special attention to the color red.

Traditional Chinese physics taught that the five elements are water, fire, wood, metal and earth, in that order. They correspond to black, red, blue-green, white and yellow, respectively. Ancient Chinese people believed that the five elements made everything in nature. Five thousand years ago during the reign of Huang Di (known as the Yellow Emperor) people actually worshiped the color yellow. From that period forward, through the Shang, Tang, Zhou and Qin dynasties, China's emperors used the Theory of the Five Elements to select colors. Because people understood that "colors come naturally while black and white are first," they gradually established a relationship between colors and the principle of the five elements, which guided the natural movement of heaven and the heavenly Tao. People chose clothing, food, transportation and housing according to natural changes in the seasons--from spring to summer and autumn, and then to winter. Traditional Chinese views regard black, red, blue-green, white and yellow as standard colors

The I-Ching, or Book of Changes, regards black as Heaven's color. The saying "heaven and earth of mysterious black" was rooted in the observation that the northern sky was black for a long time. White represented gold and symbolized brightness, purity, and fulfillment. White also is the color of mourning.

The Chinese people, both ancient and modern, cherish the color red. Red is everywhere during Chinese New Year and other holidays and family gatherings for it symbolizes good fortune and joy.

Blue-green indicates spring when everything overflows with vigor and vitality. Yellow symbolizes the earth. The old saying, "Yellow generates Yin and Yang," meant that yellow is the center of everything. Color embodies an even richer culture in Chinese folk traditions. Yellow is the color for emperors. Yellow often decorates royal palaces, altars and temples. Yellow also represents being free from worldly cares. Therefore it is also a color respected in Buddhism. Chinese culture created a close and binding relationship between color and ceramics, murals, paintings, and poetry...even city planning. Many of the silk goods unearthed from ancient tombs have maintained their original colors of brown, red, black, purple, and yellow. Chinese pottery and lacquer ware uses rich color even more extensively. The formulation of richly colored glazes infuses these pieces with a brilliant and lustrous appearance. For ancient Chinese people, color feeds the spirit and expresses the depth of human experience.

Source:chinatownconnection.com

Du Fu poem- Overflowing

漫成

江月去人只数尺
风灯照夜欲三更
沙头宿鹭联拳静
船尾跳鱼拨剌鸣

màn chéng

jiāng yuè qù rén zhī shù chǐ
fēng dēng zhào yè yù sān gēng
shā tóu sù lù lián quán jìng
chuán wěi tiào yú bō là míng


The moon's reflected on the river a few feet away,
A lantern shines in the night near the third watch.
On the sand, egrets sleep, peacefully curled together,
Behind the boat I hear the splash of jumping fish.

Sources:www.chinese-poems.com,www.artnet.com

Chinese Chopsticks

(Kuaizi)

Chopsticks play an important role in Chinese food culture. Chopsticks are called "Kuaizi" in Chinese and were called "Zhu" in ancient times. Chinese people have been using kuaizi as one of the main tableware for more than 3,000 years.

It was recorded in Liji (The Book of Rites) that chopsticks were used in the Shang Dynasty (1600 BC - 1100 BC). It was mentioned in Shiji (the Chinese history book) by Sima Qian (about 145 BC) that Zhou, the last king of the Shang Dynasty (around 1100 BC), used ivory chopsticks. Experts believe the history of wood or bamboo chopsticks can be dated to about 1,000 years earlier than ivory chopsticks. Bronze chopsticks were invented in the Western Zhou Dynasty (1100 BC - 771 BC). Lacquer chopsticks from the Western Han (206 BC - 24 AD) were discovered in Mawangdui, China. Gold and silver chopsticks became popular in the Tang Dynasty (618 - 907). It was believed that silver chopsticks could detect poisons in food.



Chopsticks can be classified into five groups based on the materials used to make them, i.e., wood, metal, bone, stone and compound chopsticks. Bamboo and wood chopsticks are the most popular ones used in Chinese homes.

There are a few things to avoid when using chopsticks. Chinese people usually don't beat their bowls while eating, since the behavior used to be practiced by beggars. Also don't insert chopsticks in a bowl upright because it is a custom exclusively used in sacrifice.

If you are really interested in chopsticks, you may want to visit the Kuaizi Museum in Shanghai. The museum collected over 1,000 pairs of chopsticks. The oldest one was from the Tang Dynasty.

Source:www.chineseculture.about.com

Qipao / Cheongsam is an elegant type of Chinese dress

This close－fitting dress with a high neck and the slits on the sides, comes from China's Manchu Nationality.

Legend:

There is a legend that a young fisherwoman lived by the Jingbo Lake. She was not only beautiful, but also clever and skillful. But when fishing, she often felt hindered by her long and loose fitting dress. Then an idea struck her: why not make a more practical dress for work？ She got down to sewing and produced a long multi－looped－button gown with slits, which enabled her to tuck in the front piece of her dress, thus making her job much easier. As a fisherwoman, she never dreamed that a fortune would befall on her.

The young emperor who ruled China at that time had a dream one night. In the dream, his dead father told him that a lovely fisherwoman in Qipao by the Jingbo Lake would become his queen. After awakening from his deep sleep, the emperor sent his men to look for her. Sure enough, there she was！ So she became the queen, bringing her Cheongsam with her. Manchu women all followed suit and soon the Qipao became popular.




We do not know whether the story is true or not. But one thing is certain. The Cheongsam came from the Manchus who grew out of ancient Nuzhen tribes. In the early 17th century, Nurhachi, a great political and military strategist, unified the various Nuzhen tribes and set up the Eight Banners System. Over the years, a collarless, tube－shaped gown was developed, which was worn by both men and women. That is the embryo of the Qipao. The dress is called Qipao in Chinese or translated as "banner gown", for it came from the people who lived under the Banner System.

The Qipao became popular among ladies of the royal family in the Qing Dynasty. At that time, Qipaos were fitted loosely and were so long that they would reach the insteps. Usually, they were made of silk and the whole dress was embroidered, with broad lace trimmed at the collar, sleeves and edges.

In the 1920s, Qipao / Cheongsam became popular throughout China. With the influence of Western dress styles, the Cheongsam underwent a change. The cuffs grew narrower and were usually trimmed with thin lace. The length of the dress was shortened as well. This new adaptation allowed the beauty of female body to be fully displayed.



In the 1930s, wearing a Qipao / Cheongsam became a fashion among women in the whole of China. Various styles existed during this period. Some were short, some were long, with low, high or even no collars at all.

Starting from the 1940s, Cheongsams became closer-fitting and more practical. In summer, women wore sleeveless dresses. Qipaos of this period were seldom adorned with patterns.

The Qipao became standard female attire until the 1960s. Following Western fashion, the tailors raised the hem, even to above the knee, so that the "long" was long no longer. In the West, during the sexual revolution of the 1960s the style was deemed something oppressive, like the Victorian bodice.

In Western popular culture, the qipao became synonymous with the 1960 movie character Suzie Wong and the sexual objectification of women.

Today, with its variety of styles, the Qipao / Cheongsam shows its charm at many markets. More and more women in China appreciate its beauty. For instance, when wives of China's diplomats attend important social gatherings, the Qipao is their first choice among dresses. In fact, quite a number of influential people have suggested that Qipao / Cheongsam should become the national dress for women in China. This shows that the Cheongsam remains a vibrant part of Chinese culture.

Wearing a Qipao nowadays has turned into something of a vogue, both at home and abroad. Due to its elegance and classical looks the Qipao becomes a source of inspiration for fashion designers. World-renowned brands like CD, Versace, and Ralph Lauren have all cited some Qipao elements in their designs. Many foreign women are eager to get themselves a Qipao should they visit China. Qipao is no longer a garment particular to Chinese women, but is adding to the vocabulary of beauty for women the world over.

Source:www.my-qipao.com

Beijing's hutongs

A hutong is an ancient city alley or lane typical in Beijing, where hutongs run into the several thousand. Surrounding the Forbidden City, many were built during the Yuan (1206-1341), Ming(1368-1628) and Qing(1644-1908) dynasties. In the prime of these dynasties the emperors, in order to establish supreme power for themselves, planned the city and arranged the residential areas according to the etiquette systems of the Zhou Dynasty. The center of the city of Beijing was the royal palace -- the Forbidden City.

One kind of hutongs, usually referred to as the regular hutong, was near the palace to the east and west and arranged in orderly fashion along the streets. Most of the residents of these hutongs were imperial kinsmen and aristocrats. Another kind, the simple and crude hutong, was mostly located far to the north and south of the palace. The residents were merchants and other ordinary people.



The main buildings in the hutong were almost all quadrangles--a building complex formed by four houses around a quadrangular courtyard . The quadrangles varied in size and design according to the social status of the residents. The big quadrangles of high- ranking officials and wealthy merchants were specially built with roof beams and pillars all beautifully carved and painted, each with a front yard and back yard. However, the ordinary people's quadrangles were simply built with small gates and low houses. hutongs, in fact, are passageways formed by many closely arranged quadrangles of different sizes. The specially built quadrangles all face the south for better lighting; as a result, a lot of hutongs run from east to west. Between the big hutongs many small ones went north and south for convenient passage.
At the end of the Qing Dynasty unified and closed China came under influence from abroad, having experienced change of dynasties and the vicissitudes of life. The stereotyped arrangement of the hutong was also affected. Many newly formed hutongs with irregular houses appeared outside the city, while many old ones lost their former neat arrangement. The social status of the residents also changed, reflecting the collapse of the feudal system. During the period of the Republic of China (1911-1948), Chinese society was unstable, with frequent civil wars and repeated foreign invasions.

The city of Beijing deteriorated, and the conditions of the hutong worsened. Quadrangles previously owned by one family became a compound occupied by many households.

After the founding of the people's Republic of China in 1949, hutong conditions improved. In recent years, the houses in many hutongs have been pulled down and replaced by modern buildings. Many hutong dwellers have moved to new housing.

The hutong today is fading into the shade for both tourists and inhabitants.

However, in the urban district of Beijing houses along hutongs still occupy one third of the total area, providing housing for half the population, so many hutongs have survived. In this respect, we see the old in the new in Beijing as an ancient yet modern city.

Sources:www.chinavista.com,www.chinahiglights.com

The chinese pantheon (popular deities of chinese buddhism)

Jade Maiden Golden Youth
Acolytes of Kuan Shih Yin P'usa - Avalokitesvara Bodhisattva



Kuan Shih Yin P'usa - Avalokiteshvara Bodhisattva
The Bodhisattva of Great Compassion

The Sanskrit name "Avalokiteshvara" means "the lord who looks upon the world with compassion".

Translated into Chinese, the name is "Kuan Shih Yin"or Quan Yin.

Kuan: observe
Shih: the world / the region of sufferers
Yin: all the sounds of the world, in particular, the crying sounds of beings, verbal or mental, seeking help

Avalokiteshvara Bodhisattva is the embodiment of great compassion. He has vowed to free all sentient beings from suffering.

Avalokiteshvara Bodhisattva is has great powers and can help all sentient beings. His skilful means are limitless and he can appear in any form in all the six realms of existence to relieve the suffering of the sentient beings who live there. He vowed to rescue those who call on him when they are in suffering, for example, when caught in a fire, shipwrecked or facing an attack.

In the Lotus Sutra, Shakyamuni Buddha said that if a suffering being hears the name of Avalokiteshvara Bodhisattva and earnestly calls out to the bodhisattva, Avalokiteshvara will hear the call and relieve that being from his suffering.

According to the Huayen Sutra, Avalokiteshvara Bodhisattva transforms himself into forms that suit the nature of those to be helped. His manifestations or transformation bodies are countless.


e.g. if a boy or girl is about to gain some enlightenment, Avalokiteshvara Bodhisattva transforms himself into a boy or a girl to teach the child.

e.g. If a monk is about to attain some enlightenment, Avalokiteshvara Bodhisattva transforms himself into a monk.

In short, he can appear as a monk, a nun, or a normal person like you and me. The purpose of such transformations is to make people feel close to him and willing to listen to his words.

In China, Avalokiteshvara Bodhisattva is represented in female form and is known as Kuan Yin. Probably because of Kuan Yin's great compassion, a quality which is traditionally considered feminine, most of the bodhisattva's statues in China since the Tang Dynasty (A.D. 618 - 907) have appeared as female figures. In India, however, the bodhisattva is generally represented as a male figure.

In her hands, Kuan Yin may hold a willow branch, a vase with water or occasionally, a lotus flower.

The willow branch is used to heal people's illnesses or bring fulfillment to their requests.

The water ( the dew of compassion) has the quality of removing suffering, purifying the defilements of our body, speech and mind, and lengthening life.


In Buddhist art, Avalokiteshvara Bodhisattva is sometimes shown with eleven heads, 1000 hands and eyes on the palms of each hand (Thousand-Armed Avalokiteshvara Bodhisattva). The thousand eyes allow the bodhisattva to see the sufferings of sentient beings, and the thousand hands allow her to reach out to help them.


Sometimes, he is represented with one head and 4 arms. This is the Four-Armed Avalokiteshvara, worshipped by all Tibetans as "Chenrezig", the Holder of the White Lotus. It is in the male form which has two hands in the praying gesture while the other two hands hold his symbols, the Crystal Rosary and the Lotus Flower.

There is a sacred place for the worship of Kuan Yin in China - the Putuo Mountain. It is actually an island located near the city of Ningpo, in Zhejiang Province. There are many stories of Kuan Yin's miraculous appearances at Putuo Mountain.

Actually, anyone can be like Kuan Yin. You may say that you don't have a thousand eyes or a thousand arms or that you lack skilful means, but it is your compassion that can transform you into a Kuan Yin. With your eyes and hands, you can help others. With your compassion, you can bring peace and tranquility to this world.

The Mani Mantra (The Mantra of Universal Protection) : OM MANI PADME HUM



Golden Youth
Acolytes of Kuan Shih Yin P'usa - Avalokitesvara Bodhisattva

Source:www.buddhanet.net

The "four treasures of the study - 文房四宝 wén fáng sì bǎo

Four stationery items indispensable to any Chinese scholar and calligraphy practitioner are brush pen, inkstick, paper and inkstone. They are main tools with which one carries out ones scholarly work, calligraphy and/or traditional Chinese painting. For this reason, they are called the "four treasures of the study" - Wen Fang Si Bao. It is only through these tools that the beauty of Chinese art receives concrete expression.


Brush pen (máo bî) 毛笔
The brush pen was invented very early in Chinese history. According to a few recent archaeological researches, the ancient oracle characters inscribed into the tortoise shells were first written with brush and ink, then carved with a knife. If this is proven, the use of brush pen can be dated as early as 11th century B.C. which is about 3,000 years ago.

Unlike fountain pens, ball-point pens, and other writing instruments with a hard tip, a brush pen is made from fine, soft animal hair. Hairs from goat, rabbit, wolf, horse, mouse and weasel are commonly used to produce various kinds of brush pens. Goat hair brushes are soft, flexible, and absorbent. Rabbit hair brushes produce bold, vigorous lines and are best suited to calligraphy. Sometimes, a mixture of two or three different kinds of animal hairs is used to satisfy a particular style or taste.

Some famous calligraphers even produced their own brush pens according to their own requirements.

The resulting flexibility of the point of the brush pen is perhaps its most outstanding and unique characteristic. An experienced calligrapher can manipulate a brush pen not only to the left and right on a two-dimensional plane , but can also to raise it up and push it down, thus creating lines of varying thickness.

Many aspects of the unique style of Chinese calligraphy evolved due to the special characteristics of the brush pen and how the brush pen is manipulated.


Ink (mò)墨
Ink is made from a mixture of soot and resin, molded into stick form. The most commonly used to make ink are pine soot, oil soot, and lacquer soot. A good ink stick is finely grained and has an even and smooth texture. It is firm and not sticky. It is pure, solid black in color, without murkiness or roughness. The control of hue is crucial to the success of a work in ink.


Paper(zhî)纸
One of the most important Chinese inventions, paper was invented by a Chinese scholar during the Eastern Han dynasty (25 - 220 A.D.). Since the paper is the medium which a piece of calligraphy is presented and preserved, it is utterly important to use the right paper. An ideal paper must be able to absorb ink quick and hold it well. The surface of paper can not be very firm and smooth. Chinese calligraphy and traditional Chinese painting require different kinds of paper


Ink Stone (yàn)砚
To use ink in the traditional stick form, an inkstone is required. As the name suggests, most inkstones are made of stone or bricks. The stone used must be of relatively fine whetstone materials to facilitate the grinding of the ink without harming the bristles of the brush pen. Today, many students use ink bottle to replace ink stick and ink stone.

Source:web.fccj.org