He was the most powerful Divine General of his generation, yet he was condemned as a God. The God of Slaughter, Samsara, the man who died with grievances, annihilated the three kingdoms, won ten thousand academies, trespassed into the Demon Area, conquered the human world, conquered the Spirit Realm, fought the Beast World, and entered the Six Daos. How could the mighty God of Slaughter fear the heavens?
Once she crossed over to another world, her transformed body was bought as a gift. Before she had even kowtowed, she was pushed into the water by her superior relatives.Then, the little ugly man actually 'despised' her for having to eat for free and wanted to chase her away?Chen Mu was enraged, and vowed to make him look at him in a new light!Digging herbs, catching pheasants, fighting relatives, practicing medicine and farming, getting rich.The ugly husband Chen Du was completely cured, is actually a beautiful man, loyal dog 24 filial piety stick not left.Chen Mu Mu: "Beg me, beg me, but I won't stay either!
The Spirit House was an antique shop that had transformed into a dead person for their wedding. The arrival of a dangerous stranger had inadvertently brought the owner of the Spirit Hall, Shuo Qianxue, with him into a marriage and his future troubles.
Neither Runner Yang wrongly became the Yao Jun's master's concubine, opening the door to a new world from then on ...Song Sanyue was fearless, and relied on his hemi-demon's body to mix in well at Spiritual Realm."Lord Yao Jun, your Concubinage stole another family's treasure!""Buy it and give it to her.""Lord Yao Jun, your Concubinage is beating him up in the street!""You guys go over and help her.""Lord Yao Jun, your Concubinage is snatching the groom in broad daylight!""She dares?!"Just as Yao Jun was about to raise his sword up, he saw a slip of paper pressed down by the sword.Lu Jiuxiao, if you don't turn around, I will bring the man and go far away from Gao Fei! Bye bye, you ~
She was the proudest assassinator of the twenty-first century while she was killed by her senior brother unintentionally, and run across the time to the Jiu You Continent.The first thing she did upon opening eyes was climbing out of the pit. Because of her cowardice, cunning and foolishness, she had been bullied when she was little. Falling into the pit this time was because the Emperor granted her to marry Prince Xiang, which aroused the hostility from her fourth sister.However, at this moment, an aloof and arrogant man looked at her with disdain ...Unexpectedly, not long after, this aloof man said, "Once we have our own child, I will take up the world for you!"☆About the Author☆Er Ye is an online novelist. He started writing from 2017. Currently, there are two novels of his The Cold Prince Dotes On His Wild Wife and One Inch Affection with One Inch Ash.
Motion pictures were introduced to China in 1896, and today China is a major player in the global film industry. However, the story of how Chinese cinema became what it is today is exceptionally turbulent, encompassing incursions by foreign powers, warfare among contending rulers, the collapse of the Chinese empire, and the massive setback of the Cultural Revolution. This book coversthe cinematic history of mainland China spanning across over one hundred and twenty years since its inception. Historical Dictionary of Chinese Cinema, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 200 cross-referenced entries on the major filmmakers, actors, and historical figures, representative cinematic productions, genre evolution, significant events and institutions, and market changes. This book is an excellent resource for students, researchers, and anyone wanting to know more about Chinese Cinema.
Emperor Hegemony, Emperor Might, Saint Sage, Supreme Realm cultivators too! A youth who was determined to become a peerless powerhouse had his dantian destroyed due to an accident. Was that a disappointment, or a desire to become stronger? The youth, Ling Xiao, had unintentionally obtained a cauldron, a sword, and watched as Ling Xiao completed the legends that no one had broken since ancient times. He had done everything he could to surpass the heavens and reach the supreme peak! Holy Emperor's fans 423840230! Close]
There is a sense of timelessness in the Chinese theater: ever since its maturation, its format has not changed in any significant way. Chinese Theater matured into its final format in the 13th century and flourished during the Yuan, Ming, and Qing Dynasties. It is a unique, exclusive, and self-sufficient system, whose evolution has received little influence from the West and whose influence on Western theaters has been minimal and often misinterpreted. It is essentially a performer's theater; the actors attract the audience with splendid performances perfected through many years of rigorous training. This second edition of Historical Dictionary of Chinese Theater contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 1,500 cross-referenced entries on performers, directors, producers, designers, actors, theaters, dynasties, and emperors. This book is an excellent resource for students, researchers, and anyone wanting to know more about Chinese theater.
When the original owner was ten years old, he was pushed into the lake. The original owner was brought to his room by the third lady and beaten to death. The female owner crossed over to his room to accept his memories, adapt to his fate, and meet the male owner.
Drawing on the sun, moon, dragon, phoenix, Nuwa, Yandi, Huangdi and other widely circulated cultural elements as examples, this book addresses the development and evolution of the most representative Chinese creation myths regarding nature, totems, ancestors and saints. The book not only interprets key creation myths, but also elaborates on the connection between the myths and some of the core values and concepts in Chinese civilization. For example, the long and jade culture is rooted in the Yellow Emperor’s revered jade weapon. Further, the book reveals the kernels of truth in the myths by presenting new research findings and research methods.
This book focuses on pulverized coal particle devolatilization, ignition, alkali metal release behavior, and burnout temperature using several novel optic diagnostic methods on a Hencken multi-flat flame burner. Firstly, it presents a novel multi-filter technique to detect the CH* signal during coal ignition, which can be used to characterize the volatile release and reaction process. It then offers observations on the prevalent transition from heterogeneous ignition to hetero-homogeneous ignition due to ambient temperature based on visible light signal diagnostics. By utilizing the gap between the excitation energies of the gas and particle phases, a new low-intensity laser-induced breakdown spectroscopy (PS-LIBS) is developed to identify the presence of sodium in the particle or gas phase along the combustion process. For the first time, the in-situ verification of the gas phase Na release accompanying coal devolatilization is fulfilled when the ambient temperature is high enough. In fact, particle temperature plays a vital role in the coal burnout process and ash particle formation. The last part of the book uses RGB color pyrometry and the CBK model to study the char particle temperature on a Hencken burner. It offers readers valuable information on the technique of coal ignition and combustion diagnostics as well as coal combustion characteristics.
Feng Ling Jue was a devil lord of the Devil Sect, a legend who could control the clouds and turn the rain. Yet, he had coincidentally met Shen Qingchen, the proud and aloof Shen Qingchen of the Kunlun Mountains. From then on, this matter became unmanageable. This evil fate ... should be broken, then break. This article is a little masochistic, the perfect outcome, mind careful (since ancient Kunlun out of sleeve).
The human left the human and the ghost left the ghost. No matter if it's a person or a ghost, if you take the wrong path, I, Li Xiangyang, will come and take you in. After a class reunion, Li Xiangyang's business was in full swing. All sorts of demons and monsters, come to my bowl!
The cultivation had never reached the standard, but all along, there had been a Girl who had helped her and paid attention to her. Even if he knew that Yang Chong had entered the Sect, he had never given up on her and never looked down on her.When the last chance came, Yang Chong had a fortuitous encounter with Sect. Yang Chong's cultivation had met the standard of Sect and returned to Sect, Yang Chong proved himself in front of Sect. Seeing the smile on Girl's face, Yang Chong felt incomparably satisfied.After that, he met his sister and obtained his ancestry, and Yang Chong started to cultivate for his parents ..."For that love, for kinship, see how Yang Chong continues to dominate the world.
Is the lion the symbol of China? Or should it be the dragon or the phoenix? This book makes a provocative interpretation of the Chinese ancient totems such as the bear and the owl. Taking a mythological approach, it explores the origin of Chinese civilization using the quadruple evidence method, which integrates ancient and unearthed literature, oral transmission, and archeological objects and graphs. It testifies to the authenticity of unresolved ancient myths and legends from the origins of Chinese Jade Ware (6200BC-5400 BC) to the names of the Yellow Emperor (2698–2598 BC) and the legends from the Xia (2010BC-1600BC), Shang (1600BC-046BC), Zhou (1046BC-771BC), and Qin (221BC-206BC) Dynasties. The book lays the foundation for a reconstruction of Chinese Mythistory. With well over 200 photographs of historic artifacts, the book appeals to both researchers and general readers.
While twentieth-century Shanghai has received extensive scholarly treatment, the nineteenth century has remained understudied, even though it encompasses the first half-century of Shanghai's growth as a treaty port and the early years of Chinese-foreign contact. Published in the last quarter of the nineteenth century, the Dianshizhai Pictorial provides a record of the new urban popular culture that emerged in Shanghai's foreign settlements during this period. In this study, Ye Xiaoqing provides a comprehensive view into the Dianshizhai's detailed illustrations of everyday life at home, in commercial establishments, and in Shanghai's public areas. Her introduction to more than one hundred drawings points to the social background, lifestyle, and intellectual outlook of the Dianshizhai's literati writers and artists, the weakness of gentry control in the foreign settlements, and the commercialization and “modern” material culture that made Shanghai distinctive. The drawings and commentaries of the Dianshizhai contrast the settlements with “traditional” culture and urban life in the adjacent Chinese city and vividly convey items of interest—from the quotidian to the bizarre—highlighting local fascination with and anxiety at the rapid changes in Shanghai's increasingly cosmopolitan society.
On an autumn morning in 1793, Lord Macartney waited to be ushered into the imperial summer retreat to take part in the celebration of the Qianlong Emperor's 82nd birthday. It was a long day; the celebration drama, Ascendant Peace in the Four Seas, lasted five hours. There were many scenes of fish, turtles and other sea creatures, and Macartney guessed it must have had something to do with the marriage between the ocean and land. He could not have been more wrong…" For the Qing court, entertaining foreign visitors was only one of the numerous ritual and political purposes dramas served. Delving into a rich collection of firsthand materials, the author meticulously excavates and combs historical data including court records, eunuchs' memoirs, pictorial archives of opera costumes, and period news. She investigates the development of imperial drama and its influence on the Peking Opera, as well as the function and system of imperial organizations responsible for drama. Also discussed are the complex roles of the actors on and off stage, and the broader issues of cultural and political influence intertwined with the performances themselves. The book thus presents us not only an art history of Peking Opera, but also a vivid scrollpainting of the socialcultural life both in and beyond the Forbidden City.
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