Chinese Kungfu (Martial Arts)
Chinese martial arts were first mentioned in literature dating back to the Chou Dynasty from 1122-255BC and but the Shaolin Kung Fu history begins with the building of the Shaoling Monastery in 495AD. This monastery which was built on the Sung Mountain in the Honen Province housed up to 2000 monks at one time and is noted as China's most famous monastery. Due to the fact that Shaolin Kung Fu was taught and passed down orally much of the story of its beginnings are a mixture of historical fact intermingled with legend.
Considered to be the father of Shaolin Kung Fu and to Buddhists the founder of Zen, a lively monk named Tamo left his home in India in the 6th century AD and trekked eastward then north until he reached the Shaolin Monastery where he stopped and taught Zen meditation. Tamo realized that most of the monks were unable to handle the rigorous regime of the Zen mediation discipline so he created a series of exercises to build up their health and increase their stamina. Being very much like yoga in that these exercises were both psychological and physical, they are believed to have formed the beginnings of Shaolin Kung Fu.
It was during holy pilgrimages that martial arts really developed basically out of necessity as the monks were often robbed of their religious treasures by the many "pirates" or "bandits" of the time. Using the exercises and postures taught to them by Tamo and refining them into fighting movements, combined with the influence of Zen, a deadly form of martial art was born and they were well equipped to protect themselves and their treasures. Over the centuries this form of self-defense and spiritual lifestyle became legendary.
In 1736, the monastery was attacked by Manchu's battled troops and the monks were all but annihilated by the huge number of troops and the monastery was burnt to the ground. Thankfully, there were survivors who fled and this ensured that Shaolin Kung Fu history would be taught and indeed flourish. The monastery has been rebuilt several times and is always remembered as the birth place of Shaolin Kung Fu.
Although remnant writings have been found, one of the earliest extant references to Shaolin Fung Fu History was published in 1784 in the Boxing Classic: Essential Boxing Methods. The reference gives the first written documentation of the Monastery of Shaolin and the monks being the originators of Shaolin Kung Fu. Today, Kung Fu has a worldwide appeal and there are many forms practiced, one such style being Hung, which is named after Hung Hei Guen who was one of the Ten Tigers of Shaolin. He was taught by Gee Sin who was the abbot of Shaolin who escaped the fire and went on to teach and pass on the Shaolin Kung Fu History and methods throughout China, as it has been passed down to the famous art we still use today all around the world.
Interested to see the show? Check the price here.
Considered to be the father of Shaolin Kung Fu and to Buddhists the founder of Zen, a lively monk named Tamo left his home in India in the 6th century AD and trekked eastward then north until he reached the Shaolin Monastery where he stopped and taught Zen meditation. Tamo realized that most of the monks were unable to handle the rigorous regime of the Zen mediation discipline so he created a series of exercises to build up their health and increase their stamina. Being very much like yoga in that these exercises were both psychological and physical, they are believed to have formed the beginnings of Shaolin Kung Fu.
It was during holy pilgrimages that martial arts really developed basically out of necessity as the monks were often robbed of their religious treasures by the many "pirates" or "bandits" of the time. Using the exercises and postures taught to them by Tamo and refining them into fighting movements, combined with the influence of Zen, a deadly form of martial art was born and they were well equipped to protect themselves and their treasures. Over the centuries this form of self-defense and spiritual lifestyle became legendary.
In 1736, the monastery was attacked by Manchu's battled troops and the monks were all but annihilated by the huge number of troops and the monastery was burnt to the ground. Thankfully, there were survivors who fled and this ensured that Shaolin Kung Fu history would be taught and indeed flourish. The monastery has been rebuilt several times and is always remembered as the birth place of Shaolin Kung Fu.
Although remnant writings have been found, one of the earliest extant references to Shaolin Fung Fu History was published in 1784 in the Boxing Classic: Essential Boxing Methods. The reference gives the first written documentation of the Monastery of Shaolin and the monks being the originators of Shaolin Kung Fu. Today, Kung Fu has a worldwide appeal and there are many forms practiced, one such style being Hung, which is named after Hung Hei Guen who was one of the Ten Tigers of Shaolin. He was taught by Gee Sin who was the abbot of Shaolin who escaped the fire and went on to teach and pass on the Shaolin Kung Fu History and methods throughout China, as it has been passed down to the famous art we still use today all around the world.
Interested to see the show? Check the price here.
Chinese Acrobatics
Acrobatics is a pearl in the treasure house of the traditional Chinese performing arts. Chinese acrobatics has a long and rich heritage. The acrobatic art has been existent in China for more than two thousand years. As early as the Warring States Period (475-221 BC), the rudiments of acrobatics existed. By the time of the Han Dynasty (221 BC-220 AD), the acrobatic art or "Hundred Plays" further developed both in content and variety. In the Tang Dynasty, the number of acrobats greatly increased and their performing skills improved a great deal.
the Lion DanceIn the long course of development, the Chinese acrobatic art has formed its own style. The ancient acrobatics stemmed from the people's life and had a close link with their life and productive labor. Instruments of labor like tridents, wicker rings, tables, chairs, jars, plates, and bowls were used in their performances of "Flying Trident", "Balance on Chairs", "Jar Tricks", and "Hoop Diving". Wushu and Lion Dance originated from folk sports and games. All of these acts became commonplace in acrobatic performances throughout China. Though having a long history of development and enjoying great popularity among the people, acrobatics in old China was never performed in theaters because it was looked down upon by the upper class.
Interested to see the show? Check the price here.
the Lion DanceIn the long course of development, the Chinese acrobatic art has formed its own style. The ancient acrobatics stemmed from the people's life and had a close link with their life and productive labor. Instruments of labor like tridents, wicker rings, tables, chairs, jars, plates, and bowls were used in their performances of "Flying Trident", "Balance on Chairs", "Jar Tricks", and "Hoop Diving". Wushu and Lion Dance originated from folk sports and games. All of these acts became commonplace in acrobatic performances throughout China. Though having a long history of development and enjoying great popularity among the people, acrobatics in old China was never performed in theaters because it was looked down upon by the upper class.
Interested to see the show? Check the price here.
Beijing Opera
Beijing opera has a history of over 200 years. The main melodies originated from Xipi and Erhuang, in Anhui and Hubei, respectively, and over time techniques from many other local operas were incorporated.
It is generally accepted that Beijing opera gradually came into being after 1790, when the famous four Anhui opera troupes came to Beijing. Beijing opera underwent fast development during the reign of Emperor Qianlong and the notorious Empress Dowager Cixi under the imperial patron, and eventually became more accessible to the common people.
Interested to see the show? Check the price here.
It is generally accepted that Beijing opera gradually came into being after 1790, when the famous four Anhui opera troupes came to Beijing. Beijing opera underwent fast development during the reign of Emperor Qianlong and the notorious Empress Dowager Cixi under the imperial patron, and eventually became more accessible to the common people.
Interested to see the show? Check the price here.
Shadow Play
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images.
Mainland China: Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey.The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Taiwan: The origins of Taiwan's shadow puppetry can be traced to the Chaochow school of shadow puppet theatre. Commonly known as leather monkey shows or leather shows, the shadow plays were popular in Tainan, Kaohsiung, and Pingtung as early as the Qing dynasty (1644-1911 A.D.). Older puppeteers estimate that there were at least a hundred shadow puppet troupes in southern Taiwan in the closing years of the Qing. Traditionally, the eight to 12-inch puppet figures, and the stage scenery and props such as furniture, natural scenery, pagodas, halls, and plants are all cut from leather. As shadow puppetry is based on light penetrating through a translucent sheet of cloth, the "shadows" are actually silhouettes seen by the audience in profile or face on. Taiwan's shadow plays are accompanied by Chaochow melodies which are often called "priest's melodies" owing to their similarity with the music used by Taoist priests at funerals. A large repertoire of some 300 scripts of the southern school of drama used in shadow puppetry and dating back to the fourteenth and fifteenth centuries has been preserved in Taiwan and is considered to be a priceless cultural asset. NEW! See the Shadow Play in Beijing Shichahai Shadow Art Performance Hotel !
Shadow puppets were first made of paper sculpture, later from the hides of donkeys or oxen. That's why the Chinese name for shadow puppet is pi ying, which means shadows of hides. Shadow puppetry was very popular during the Tang and Song Dynasties in many parts of China. Shadow puppetry was related to politics. In Beijing, for example, during the reign of Emperor Kangxi, this folk art was so popular that there were eight generously paid puppeteers in one prince's mansion. When the Manchu rulers spread their rule to various parts of China, they brought the puppet show with them to make up for the fact that they could not appreciate local entertainment due to language barriers. From 1796 to 1800, the government forbade the public showing of puppet shows to prevent the spreading of peasant uprising at the time. It was not until 1821 that shadow puppet shows gained some vigor.
Nicknamed the business of the five, a shadow puppet troupe is made up of five people. One operates the puppets, one plays a horn, a suo-na horn, and a yu-kin, one plays banhu fiddle, one is in charge of percussion instruments, and one sings. This singer assumes all the roles in the puppet show, which of course is very difficult. That is not all; the singer also plays several of the over 20 kinds of musical instruments in a puppet show. These ancient musical instruments enhance this ancient folk art. The stage for shadow puppet is a white cloth screen on which the shadows of flat puppets are projected. The scene is simple and primitive; it is the consummate performance that attracts the audience. For example, a puppet can smoke and breathe out a smoke ring C with operator help. In one drama, as a maid sits in front of a mirror, her reflection matches her actions. The operator plays five puppets at the same time, each of which has three threads. Ten fingers handle 15 threads. To overcome the limit imposed when only the profile of puppets can be seen, shadow puppets use exaggeration and heavy dramatization. The audience can tell a figure's character by seeing his mask, a red mask represents uprightness, a black mask, fidelity, and a white one, treachery. Source(s): The positive figure has long narrow eyes, a small mouth and a straight bridge of nose, while the negative one has small eyes, a protruding forehead and sagging mouth. The clown has a circle around his eyes, projecting a humorous and frivolous air even before he performs any act. The shadow puppets include heroes from folklore and history, such as the four ancient beauties, Xi Shi, Wang Zhaojun, Diao Chan, and Yang Guifei ; or the Monkey King, Emperor Qin Shi Huang .
Mainland China: Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey.The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Taiwan: The origins of Taiwan's shadow puppetry can be traced to the Chaochow school of shadow puppet theatre. Commonly known as leather monkey shows or leather shows, the shadow plays were popular in Tainan, Kaohsiung, and Pingtung as early as the Qing dynasty (1644-1911 A.D.). Older puppeteers estimate that there were at least a hundred shadow puppet troupes in southern Taiwan in the closing years of the Qing. Traditionally, the eight to 12-inch puppet figures, and the stage scenery and props such as furniture, natural scenery, pagodas, halls, and plants are all cut from leather. As shadow puppetry is based on light penetrating through a translucent sheet of cloth, the "shadows" are actually silhouettes seen by the audience in profile or face on. Taiwan's shadow plays are accompanied by Chaochow melodies which are often called "priest's melodies" owing to their similarity with the music used by Taoist priests at funerals. A large repertoire of some 300 scripts of the southern school of drama used in shadow puppetry and dating back to the fourteenth and fifteenth centuries has been preserved in Taiwan and is considered to be a priceless cultural asset. NEW! See the Shadow Play in Beijing Shichahai Shadow Art Performance Hotel !
Shadow puppets were first made of paper sculpture, later from the hides of donkeys or oxen. That's why the Chinese name for shadow puppet is pi ying, which means shadows of hides. Shadow puppetry was very popular during the Tang and Song Dynasties in many parts of China. Shadow puppetry was related to politics. In Beijing, for example, during the reign of Emperor Kangxi, this folk art was so popular that there were eight generously paid puppeteers in one prince's mansion. When the Manchu rulers spread their rule to various parts of China, they brought the puppet show with them to make up for the fact that they could not appreciate local entertainment due to language barriers. From 1796 to 1800, the government forbade the public showing of puppet shows to prevent the spreading of peasant uprising at the time. It was not until 1821 that shadow puppet shows gained some vigor.
Nicknamed the business of the five, a shadow puppet troupe is made up of five people. One operates the puppets, one plays a horn, a suo-na horn, and a yu-kin, one plays banhu fiddle, one is in charge of percussion instruments, and one sings. This singer assumes all the roles in the puppet show, which of course is very difficult. That is not all; the singer also plays several of the over 20 kinds of musical instruments in a puppet show. These ancient musical instruments enhance this ancient folk art. The stage for shadow puppet is a white cloth screen on which the shadows of flat puppets are projected. The scene is simple and primitive; it is the consummate performance that attracts the audience. For example, a puppet can smoke and breathe out a smoke ring C with operator help. In one drama, as a maid sits in front of a mirror, her reflection matches her actions. The operator plays five puppets at the same time, each of which has three threads. Ten fingers handle 15 threads. To overcome the limit imposed when only the profile of puppets can be seen, shadow puppets use exaggeration and heavy dramatization. The audience can tell a figure's character by seeing his mask, a red mask represents uprightness, a black mask, fidelity, and a white one, treachery. Source(s): The positive figure has long narrow eyes, a small mouth and a straight bridge of nose, while the negative one has small eyes, a protruding forehead and sagging mouth. The clown has a circle around his eyes, projecting a humorous and frivolous air even before he performs any act. The shadow puppets include heroes from folklore and history, such as the four ancient beauties, Xi Shi, Wang Zhaojun, Diao Chan, and Yang Guifei ; or the Monkey King, Emperor Qin Shi Huang .
