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dramaclover · 4 years

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Ending & Thoughts: Legal Mavericks 2020

Initial Thoughts

When the first drama came out, I was one of the few people that wasn’t obsessed with it. I mean it was good and I like the message but I wasn’t as into it as everyone else. The bromance between Vincent & Owen wasn’t that great of a watch. And the cases weren’t as interesting. So when I went into watching the sequel, I didn’t have much expectations. Also cause sequels tend to not be as good, example Line Walker 3 wasn’t the best sequel. But this sequel proved me wrong. It was waaay more enjoyable then the first one.

Plot & Characters

Hope Man (Vincent Wong) is a blind barrister that works together with Gogo Kuk (Owen Cheung) a former police turned private detective & Deen Jie (Sisley Choi) who is Hopes legal executive. Together they solve various cases and uncover the justice behind it. New cast members included Eva Shaw (Kelly Cheung) a rival barrister, Kan Siu Wang (Pail Chun) Hopes former Master that mentored him. Kwok Lam (Jessica Kan) Hopes new apprentice & Kong Bo Chai (Lesley Chiang) an inspector police were both fun new additions to the cast.

For most direct sequels there are very rare instances where I would like the new cast additions. For example The Exorcists Meter 2.0 I hated all the new additions to the cast. But for this sequel, I like all of them - well most. For some people they believe Bo Chai & Kwok Lam were unnecessary but I find that they were a nice comic relief (with the bickering) and Bo Chai was needed since she was a police they were able to solve more cases with her help. Kwok Lam though she was born rich, she has a strong sense of justice & she would even go against her Father to pursue it. Kan Siu Wang shocked me with how he’s not as evil as you’d think. You would think he would be the ultimate boss that Hope needs to defeat but that’s not it. He likes power and money but he also knows there’s fine line between black & white.

Now, here comes my least favourite character which is Eva Shaw. And I’m sure anyone can guess why. Cause she is a Never Wong (Ali Lee) replacement. When I say replacement, I don’t mean she just takes over the empty spot & becomes the mandatory new love interest. No I mean. She is the new Never Wong. She dresses sexily, basically the same attitude & personality, strong sense of justice, falls deeply in love with Hope only to end up with Gogo. Like really? She’s literally a carbon copy. And I’m so disappointed that they decided to go down this route. They even had her dance in the rain with Hope too. Like can’t you be anymore original? Only difference is she doesn’t die. She’s also more annoying cause she’s always changing her mind. One moment she’s on her masters side but then the next moment she’s on Hopes side. Like can you just give a stable standing and stay loyal? Cause I’m exhausted with you going back & forth. She becomes more likeable as the series goes on but it was hard for me to warm up as she was just too similar to Never.

The Cases

The cases were very fun & interesting to watch. The director also has said that these cases are based on real circumstances and brings in the human side. Which rings true. The case of the “Heart Stealer” & “Fast Food Restaurant Refugee Murder” were both cases that brought a tear to my eye. For the former, it was touching to see how a mother would give up her heart just to ensure her son could live the rest of his life with no worries. The helplessness she felt and also knowing how in real life, cases like that could happen. At times like this the rich would win as they have the time & money. A lot of people think that those that always hang around 24 hours food places are gross & homeless. This case shows to not judge someone by their cover. Everyone has a backstory. The bond these group of people had for each other was eye opening. I was so sad when it showed the flashback of them singing & just enjoying each other’s company. You just feel so bad for them. I don’t want to say too much cause I don’t want to spoil to much of this case. The case of the “Silent Witness” & “Beyond Man and Woman” had good plot twists that I did not see coming. On the cover it sounded like boring cases but the background story to it ended up being surprising to watch.

The Romance

A lot of people didn’t like how in the sequel Hope & Yanice Tai (Tracy Chu) relationship became a central storyline despite Yanice passing away in the first. I personally actually liked it & didn’t find it draggy. It could be because I love Tracy as an actress. It could be because I find Hope & Yanice to be an amazing couple with a tragic love story. In this case I just find their story unfinished. As in, I never truly understood why Hope would give up Yanice. He could’ve went with Yanice instead of staying behind in Hong Kong. They’ve been through so much only for him to give it up, it always left a sour taste in my mouth. In this sequel we see him deal with the guilt & anguish to finally letting go and moving on. It also intercepted with another case so it was not random. I thought it was a nice touch for the writers to write in about her developing a tumour in her brain. Because from that she decided to pre- record a message to Hope. So we get to hear her last words & get a final wrap up in the story.

Hope & Deen Jie is odd to me. Like I’m aware that Deen Jie has a crush on him. But in this sequel she was possessive that it was uncomfortable in some parts. Hope has shown over & over again that he has no interest. Yet she’s still stuck on him. Towards the end they have a fall out because she thought Hope had heartlessly kicked her out of his firm & withheld her Fathers illness from her. She finds out later on it was cause of her Fathers order that he did that but she was still bitter. In the end she admits she was angry not cause of her Father but because she had believed he had fallen for Eva. So she was bitter out of jealousy. This part bothered me to no end. They are not dating. She knows he doesn’t like her. He never led her on, from day one he has said he only has Yanice & that he couldn’t move on. So I guess the idea that he has fallen in love again but not with her triggered her pettiness. It got to the point where she battled him in court with her helping a scumbag rapist just to spite him. Like girl, what happened to helping the helpless & doing what’s right? You threw that away for a guy? Like in the end she does the right thing but that was annoying. I would’ve enjoyed the development of Hope & Deen Jie’s love story if they hadn’t made her so petty and possessive. So for me, no I don’t like them together as a couple but enjoyed them more as friends. If anything I thought if Hope couldn’t end up with Yanice, Eva would’ve been nice. But they did a bait & switch. In the beginning they heavily made it seem that Hope would end up with Eva while Deen Jie would end up with Gogo. That was a weird but interesting twist though. I haven’t seen another drama where they would change up the love interest like that.

Gogo has always been a very casual guy so for him to end up with Eva was also odd to me. Eva has a glamorous, mature feel so I don’t find them a matching couple. But opposites attract in this case. I also thought they had no chemistry whatsoever. Eva was never interested in Gogo dispite him always flirting. She only liked Hope, it just looks like she settled for him out of the blue. I actually prefer Gogo with Bo Chai instead. They had better chemistry and he abruptly ended the relationship with Bo Chai that made her never get over him. I hated how he used her love for him to do things as a cop she shouldn’t be doing. They were engaged and he dumped her over the phone while she was trying on wedding dresses. He never ever sincerely apologized for that & he got over her so quickly. So I guess it’s good they didn’t end up together, he doesn’t deserve a good person like her. Bo Chai also never got real closure from it & her character sorta disappears towards the last episode. Gogo was also in a relationship with Never until it ended with her dying. So for him to end up with Eva whose a replica of Never just irks me.

The Good

I throughly loved Paul’s betrayal. And I also liked how instead of making him a full out villain they made him a man that knows a line that should not be crossed. He has helped bad people but in the end he was able to see the difference between good & bad. He sent one of the innocent accused to jail but he was also the one that ultimately set him free. He stole Deen Jie away from Hope but only cause he saw potential in her & knew she had way it takes to be a good barrister. He set up Deen Jie to battle with Hope not to spite him but because he knew doing this would help Deen Jie. So it’s like ultimately he’s not as bad as they portrayed him. In the end Hope even calls him Master again. I thought in the end there would be a huge showdown between Hope and him with the latter ending up in jail or something. So it was great spin to have him coming out as a semi- hero (for helping them patch things up between Hope & Deen Jie). It was unpredictable and enjoyable to see this instead.

The sequel is more case driven and I’m glad cause that’s what it made it more interesting. The first one focused more on Hopes journey to finding himself & rebuilding his relationship with his Father that left him when he turned blind (which I understand). Also talked more about friendship and focused solely on one evil villain. So the first one fell flat for me.

The Bad

I didn’t like how Hope was always in court battling the same people it’s either Eva, his Master and then Walter Wah (Hugo Wong) who is the same character from the first drama. I guess that’s TVBs way of staying in a budget instead of hiring new people to play different barristers.

It was disappointing to see Deen Jie fix her buck tooth & change her appearance so drastically. What I liked about her is how she didn’t care about the way she looked and that the heart is what matters. In the first drama Never had asked her why she doesn’t fix her teeth since she has the money. And she said she didn’t find it necessary & the inside is more important than her appearance. So for her to change the way she looked for Hope was just sighhh. But I guess the writers want the main couple to “look good”. I wonder if they always had Deen Jie become the main love interest in mind when they wrote the first one.

I also did not like how they had a cliffhanger ending. It ends with Deen Jie getting stabbed in the neck & in a coma. And of course Hope slowly coming into terms that he has fallen for Deen Jie. They did it cause they are potentially writing another sequel in collaboration with China. But with Vincent leaving TVB & the lacklustre ratings, I don’t know if it’s gonna happen anymore. But seeing how things turn out Deen Jie will probably end up with amnesia or something cause their love line will not run so smoothly. But if a sequel doesn’t happen, I can just pretend that ending did not happen and that Deen Jie is back working at his firm together solving crimes.

Final Thoughts

Everyone was great but I didn’t find any standouts. Vincent reprisal as a blind barrister is still amazing but I don’t see TVB awarding him Best Actor for the same role twice. Also he didn’t show up to the TVB Anniversary Gala which sorta shows his standing with TVB. Sisley improved for sure but I wouldn’t say she’s Best Actress material yet, it was nice to see her become the antagonist though. Kelly was nice & stable as usual. And Owen Cheung just stayed the same, nothing new was brought to the table at all. And weird enough the bromance between Hope & Gogo wasn’t as fun to watch compared to Al Cappucinos Cheung Sai Lung & Ko Ban. Here they just seemed like good friends instead of “brothers”.

I see a lot of comments about Sisley being a huge standout. And I agree with how much she has improved but I still think she still has a lot to learn. I admit her turn as the antagonist was interesting to watch but it wasn’t as great as they say. She isn’t loud acting anymore that’s for sure. But at the same time TVB is running out of actresses so I wouldn’t mind her winning so quickly.

It was lovely to see Tracy come back in a voice role. The directors had invited her back to film but she rejected the role. I wished she had accepted as it could’ve been her goodbye role since it seems she has no interest in continuing acting. She’s only doing ads & photo shoots as she slowly transitions to becoming a full time lawyer. I wouldn’t say a pity as though she’s a talented actress, becoming a lawyer is more stable. And she got married with her childhood sweetheart. I’m so happy for her but also sad as I will miss her acting. But I can always re-watch Over Run Over.

This was a better sequel then I have seen in years. Line Walker 3: Bull Fight just wasn’t as great compared to this. The Exorcists Meter 2.0 was also a downer. The plot twists in the cases and heartfelt stories made the drama all the more memorable. It’s turning out to be a great year for TVB drama watchers like me. Death by Zero, Brutally Young, Al Cappucino were standouts this year. While this drama, Line Walker 3 & The Witness do not fall far behind.

Side note: but what’s with the characters name? They’re all so strange. Man San Hap full English name Hope Man. I know it’s a play on for justice hero but dang it’s cringy. Then theres Santiago Kuk nicknamed Gogo. Like for real whyyyy. I hate that so much. “Hey Gogo hows it going”. “Gogo, I love you” blergh. Then Never Wong. Are you kidding me? She’s a court judge who chose Never as her nickname? Cherry was fine!! I guess it’s play on for “never wrong” well in this case you were wrong for thinking Never was a good name choice! And they don’t even pronounce the “r” in Never. They say it like “Neva” and it bothers me for no reason. TVB English names tend to always be questionable and I don’t care if they try to play it off as a nickname (Flashbacks to Laughing Gor, Muse, Bingo, Saving, Cash, Fever that’s only to name a few) but this is the first drama where it has this many.

#tvb #tvb drama

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andthepetalsfall · 5 years

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disappointment, a lump swallowed with each bite

Summary: Syaoran’s relationship with Yelan is complicated.

A/N: I had a friend post this a while back on AO3 as an orphaned fic (she came up with the title), mostly because I felt I might have revealed too much about myself. But I feel there’s so much about Syaoran’s Cantonese heritage left unexplored, both by fandom and CLAMP, that I want to tap into it myself. Writing this felt a little raw, but it meant a lot that this resonated so much with Canto readers I thought I’d share it here. I hope you enjoy.

[AO3]

Syaoran’s life has been a series of disappointments, one after the other.

Disappointment is the first memory his mother shares with him over dinner. “When I married, I moved to Hong Kong to be with your father’s family,” she explains.

He nods as he ravenously shovels roast pork into his mouth and his eldest sister reminds him to chew slowly.

“But I was originally from Shanghai. I tried to teach you Shanghainese when you were very small, but you never used it.”

“You used to cry, ‘I want to talk to Mama!’ because she doesn’t understand Shanghainese,” the second eldest suddenly remembers with a bright smile.

“Yes, and she would tell me, ‘You married into a Cantonese family, let the boy speak what he wants. You have to teach him Mandarin and Japanese later on anyway.’ You were so resistant, your Mama asked what the point was of teaching you Shanghainese when your sisters spoke it but never used it.”

His mother reaches for more gailan. Although his mother and grandmother had shown nothing but respect for each other, he’d always noticed a cold air between them. “I remember I was very...”

She doesn’t need to finish the sentence. Syaoran doesn’t say anything and picks up the pork more delicately.

…

It’s the third Qing Ming Jie since his father’s death and he can’t relate to any of the stories his sisters and mother laugh over as they lay out the food and incense.

“Didi, you remember?” his Ga Jeh asks. “All our cousins were playing with each other, but you stayed in the corner practicing your magic by yourself. You were two.”

“You always wanted to be alone, even back then,” the second sister adds.

“Baba was laughing at you and called you his little lone wolf,” the fourth sister says.

“Oh, is that where ‘Syaoran’ comes from?” His family never used his real name, it was baobei to his mother and didi to his sisters. On occasion they called him Syaoran or Siu Long, dialect chosen on a whim.

But when he frowns, they see he doesn’t remember any of it, so they silently reach for the incense and pray. He looks at the red name etched on the tombstone and the emptiness he feels hits him like a train. How must Baba feel knowing his only son doesn’t remember him?

He already knows the answer and as he takes the incense, all he can think is, I’m sorry.

…

“Again.”

For the thirty-fourth time in a row (he’s been keeping track in his head), he strikes his sword into the ground and in a split second the faintest trace of a magic circle glows beneath him. Then, just as suddenly, it fades.

His mother rubs her temples and Syaoran braces himself for the lecture coming to him.

“How many times have we tried this and you still don’t understand it?”

He doesn’t protest that he’s trying, because she’ll only counter that he’s not trying hard enough.

“Your mind is off somewhere else and you’re not focusing properly. Do you not understand how vital it is that you get this right? Don’t you know what it means to be a descendant of Clow Reed? The only magic child of this family, no less!”

He doesn’t say that technically, they’re descendants of his mother’s family, and that Syaoran’s own mother wasn’t related to him either, just married in.

Still, his mother somehow senses what’s on his mind and says, “I know it is not my bloodline. But when I married your father, his family became my family. You think your Mama just let any random outsider marry her only son? No, it didn’t matter that I had magic in my veins. It took me ten years to perfect my magic and even be considered worthy of the prestige of the Lei clan! And now you have a chance to be Master of the Clow because it is your birthright! What did I work so hard for if all you want to do is throw it away?”

Syaoran bites his lip and feels hot shame welling up inside him. He fixes his stare at the ground so his mother doesn’t see his wet eyes.

“Don’t look at the floor. Look at me.”

He complies and sniffles.

“Do you want to be Master or not? Answer me.”

“I do,” he whispers, unable to control the shakiness in his voice. All he wants is to be like any other second-grader and go play at the park or something.

“Masters of the Clow don’t cry. Go again.”

The thirty-fifth time isn’t much better than the last, and he can slowly feel his mother giving up.

…

As he holds the results of his Japanese exam, his hands tremble. He’s not worried about his other scores, but he’ll need to work twice as hard in this area if he wants to keep up with his Japanese classmates next year.

That semester had been a flurry of sleepless nights, cramming and studying over and over to perfect his language skills. It had been one of the few times in his life when his mother relaxed her strict exterior, quietly bringing a bowl of sweet pears to his room and placing it on his desk.

“Study hard, baobei.”

He sharply inhales as he opens up his results, and exhales when he sees the red 100 on his kanji scores. His eyes scale down to keigo.

96.

Four points. He was only four points away.

He’s far, far from the bottom of his class, but it’s not enough. The endless complaints from his classmates, none of whom he’s ever played with or been friends with, saying, “My mom always asks why you can’t be like your classmate Lei!” or praise from his teachers, “Let’s all follow Lei tung hok’s example,” are never enough for the Lei clan.

He neatly folds the exam and slides it into his backpack.

…

When he submits his papers to Tomoeda elementary he gives them his real name. It sounds foreign even to him.

“Rei—” the office lady frowns. “Sorry, how do you pronounce that?”

Maybe he shouldn’t have started off with Cantonese. And then he has the craziest idea. “Ah—never mind,” he says, furiously scribbling out his name. “Use this one.”

She purses her lips into a tight line. “Ookami?”

“It’s, ah, a traditional name,” he lies through his teeth, hoping his accent isn’t too heavy. “Li Syaoran.”

“The Chinese use such interesting kanji,” she murmurs, scribbling down some notes. He doesn’t remind her that kanji came from China first.

“Well, you’ll be in Terada-sensei’s room, Li-san. It’s down that way.”

It all fits, in a way. When has he ever been worthy of his own name?

…

“He speaks kinda funny.”

“Chiharu-chan, he’s from Hong Kong. You can’t expect him to speak perfectly on his first day,” the quiet girl with chestnut colored hair reminds her.

“I heard Terada-sensei saying if he needed help he could talk to Tomoyo-chan,” the one with glasses interjects. “The way he repeated her name was sooooo cute. Daaai-daaau-jiii.”

It’s not malicious, the way they’re giggling. But he keeps his expression stony and vows not to say any other name.

...

His face is burning as he runs. He’s failed to retrieve the cards on his first day, and the boy…

The boy was beautiful.

He thinks of his mother’s warning. “Don’t play around with girls.” She’d wrinkled her nose. “Especially Japanese girls. You remember what they did to our country?”

She’d never thought to warn him about boys. It would never cross her mind he would tell her something like that.

He prays, prays, prays he’ll never need to.

...

The ocean wind is icy and pinches at his skin, but he’ll never show weakness like the girl beside him. How was this whimpering thing, who was never raised with a quarter of the discipline he has, deemed more worthy to be Master than he was?

But the more she talks, the more he realizes he has never known a night like this. A night of no training, no studying. Just the crashing of ocean waves and a light conversation under the moonlight.

He’s not thinking when he says, “Well, I feel that way about him too, but…”

He freezes as he realizes and holds his gaze at her, anxiously waiting for her response. What will she say? Will she tell people? What if, Heaven forbid, it gets back to his family?

But she carries on like it’s nothing. He’s brave enough to press her further about her infatuation, and she asks him the same.

“Both you and I are so much younger than Yukito-san, but we can’t help it,” she says. “We just… like him.”

When she smiles, it’s genuine. It’s serene. There is no judgment in her jade eyes.

When his form reappears in the cave, she doesn’t reprimand him for not having the strength to fight off the card. She thanks him.

It’s a foreign feeling.

…

“They call me a different name, Ma.”

Even though she’s only on the phone, he knows she’s frowning. “Oh? And what’s wrong with the name we gave you?”

“They can’t pronounce it. It has nothing to do with you.” With the safety of distance, he can be a little bolder.

“And this new girl? How does she have the cards?”

“Cerberus chose her. There’s really nothing I can do about it, especially a Guardian made by Clow himself.”

“Hm. Are they treating you well?”

He thinks of those jade green eyes. “The people in Japan are very nice, Ma.”

“I see.”

An awkward silence hangs between them.

“Baobei?”

“Mm?”

“Have you eaten yet?”

“Yes,” he lies, eyeing the sword he’s been practicing with all night.

“Never forget to eat, Baobei. You need your strength.”

“I’ll keep that in mind, Ma.”

...

She’s shocked when he tells her he lives alone.

“Then you have to do all the laundry and cleaning and cooking all on your own?”

Okay, maybe it’s a little odd for a ten-year-old to live alone in an apartment, but it’s not like she doesn’t do housework either.

“Well… yeah.”

“That’s so cool!”

There’s not an ounce of sarcasm in her voice, which flusters him.

“But… don’t you get lonely?”

Lonely?

He’s never been asked that before. He thinks of the phone call with his mother the night previously, where she instructed him to keep an eye on “the new girl” and reminded him to dress warmly.

“Not really.”

“So cool!” the girl gushes.

It’s such a trivial thing, housework. Maybe she’ll praise anything, but she’s never commented on his shortcomings.

Before he can say anything, her stomach grumbles. It makes the corner of his lips twitch.

…

His hands are trembling as he tells his mother the news. No, he won’t be Master of the Clow.

Sakura is.

He has a million counterarguments backed up in his head—no, he didn’t just give up. (Okay, maybe he did.) Yue deigned it. He was not about to go against two Guardians of Clow’s own creation. Clow predicted this would happen, anyway.

But she doesn’t yell. She doesn’t scold.

“Good,” she sighs. “I’m glad you were able to help this Kinomoto girl achieve her birthright.”

“Her birthright?” Syaoran asks, half surprised and half amused.

“Aiyooh, if Clow wanted it, who are we to go against him? He ought to have left some hints, though!”

He almost laughs.

“You did your best, baobei. And you helped the new Master. For that I’m grateful.”

Syaoran doesn’t know what to say, but maybe no words need to be said.

“Now, this Kinomoto—you certainly talk about her a lot.”

“What are you saying, Ma?”

“Is she your girlfriend?”

“MA!”

“Aiyah, don’t be like that, I’m your mother! You have to tell me everything!”

#cardcaptor sakura #syaosaku #syaoran li #sakura kinomoto #syaoyuki #fanfic #yeah i have diaspora pain #and what the fuck are you gonna do about it

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writinggeisha · 5 years

Link

Really helpful website to find nickames for characters.

Cute Chinese Nicknames for Guys

Calling a guy by a cute nickname is a great way to express love and praise his attributes. So, if you need cute Chinese nicknames for a guy, try any of the following popular names:

萌宝 (Meng Bao) – A Chinese phrase meaning “Cute baby,” which makes it a great nickname for a cute guy.

乐乐 (Le Le) – It literally means “Happy-Happy.”

喜洋洋 (Xi Yang Yang) – Originated from a Chinese popular animated series Pleasant Goat and Big Big Wolf, a great nickname for an outgoing and righteous guy.

大宝 (Da Bao) – A Chinese phrase meaning “Big treasure.”

二宝 (Er Bao) – A Chinese phrase meaning “Second treasure.”

来福 (Lai Fu) – A Chinese phrase meaning “Luck comes.”

牛牛 (Niu Niu) – “牛” means “Bull,” for a cute, strong and energetic guy.

小汤圆 (Xiao Tang Yuan) – A Chinese phrase meaning “Little Dumpling.”

麦兜 (Mai Dou) – Originated from a Hong Kong cartoon character who is a cute little piggy.

呆头 (Dai Tou) – For a guy who is clumsy in a cute way.

球球 (Qiu Qiu) – It literally means “Ball-Ball,” an intimate nickname for a cute guy who is a little fatty.

肉肉 (RouRou) – It literally means “Meat-Meat,” an intimate nickname for a cute guy who is a little fatty.

正太 (Zheng Tai) – Originated from Japanese manga, for a guy who looks like 12 years old.

小鲜肉 (Xiao XianRou) – A Chinese phrase meaning “Little Fresh Meat.” Boy, you are delicious!

男神 (Nan Shen) – For a God-like guy.

笨笨 (Ben Ben) – It literally means “Clumsy-Clumsy.”

绵绵 (Mian Mian) – For a boy who is docile like a sheep.

暖男 (Nuan Nan) – For a boy who can melt your heart.

尖头闷 (Jian TouMen) – It is homophonic to “gentleman” and is used to nickname a guy who is a gentleman.

校草 (Xiao Cao) – It literally means “Grass Of School” and is awarded to the cutest guy in a school.

音痴 (Yin Chi) – For a cute guy who has a bad sense of lyrics and tones in songs.

小胖 (Xiao Pang) – A Chinese phrase meaning “Little Fatty.”

大胖 (Da Pang) – A Chinese phrase meaning “Big Fatty.”

高富帅 (Gao FuShuai) – Tall, rich and cute.

佛系男 (Fo XiNan) – A Chinese phrase meaning “A Buddhist Guy,” for a cute guy who is ok with everything.

Chinese Nicknames for Boyfriend

One of the cutest ways to show your boyfriend you love him is to call him nickname that tells him just how much he means to you. The following are popular Chinese nicknames for boyfriends.

老公 (Lao Gong) – It literally means “Old Husband.” Chinese couples tend to call each other husband and wife before marriage. They call their partner’s name directly after marriage.

老头 (Lao Tou)/老头儿(Lao Tou’Er) – It literally means “Old Head.”

亲爱的 (Qin AiDe) – A Chinese phrase meaning “My Darling.”

相公 (Xiang Gong) – An ancient term for “Husband” in Chinese, which makes it a high-profile and romantic nickname for boyfriend.

当家的 (Dang JiaDe) – It literally means “Master of this home”.

小美男 (Xiao MeiNan) – A Chinese phrase meaning “Little Beauty Boy.”

小亲亲 (Xiao QingQing) – It literally means “Little Kiss-Kiss.”

小可爱 (Xiao KeAi) – A Chinese phrase meaning “Little Cute Thing.”

夫君 (Fu Jun) – A Chinese phrase meaning “Gentle Husband.”

小绵羊 (Xiao MianYang) – A Chinese phrase meaning “Little Sheep.”

嫩宝宝 (Nen BaoBao) – A Chinese phrase meaning “Young baby.”

小嫩肉 (Xiao NenRou) – It literally means “Little Fresh Meat.”

傻瓜 (Sha Gua) – A Chinese phrase meaning “Silly Pumpkin.”

笨蛋 (Ben Dan) – A Chinese phrase meaning “Clumsy egg.”

小弱智 (Xuai Ruozhi) – Little silly head!

宠儿 – The guy you cherish.

大郎 – A Chinese phrase meaning “ Big Guy.”

君仔 – A Chinese phrase meaning “ Gentle Puppy.”

囝囝 (Jian Jian) – “Kiddy-Kiddy”, usually used by Cantonese and Wu Chinese. A similar term for girlfriend will be “囡囡 (Nan Nan).”

官人 (Guan Ren) – An ancient Chinese that meant bureaucrats, now becomes a seductive nickname for girlfriend calling her boyfriend.

外子 (Wai Zi) – The person who is responsible for work outside the home.

宝爸 (Bao Ba) – It literally means “Dad of future babies.”

良人 (Liang Ren) – It literally means “Good Person.”

老流氓 (Lao LiuMang) – You old hentai!

蓝票(Lan Piao) – A homophone to 男朋友(Nan PengYou, meaning boyfriend). Its literal translation means “Blue Ticket.”

傻帽 (Sha Mao) – A Chinese phrase meaning “My silly hat.”

死鬼 (Si Gui) – A Chinese phrase meaning “My little ghost.”

总裁 (Zong Cai) – The chief executive officer.

魔王 (Mo Wang) – A Chinese phrase meaning “My Demon King.”

皇上/陛下 (Huang Shang/Bi Xia) – A Chinese phrase meaning “My emperor”

小东西 (Xiao DongXi) – My little east and west.

哥哥 (Ge Ge) – It means “Brother”. Calling your boyfriend “brother” is to treat him like a family member.

爸爸 (Ba Ba) – Yes… You can also call your boyfriend “爸爸 (daddy)”.

大爷 (Da Ye) – It literally means “Old Grandpa.”

蜀黍 (Shu Xi) – A cute way of saying “叔叔(uncle)”. Also, a common nickname for boyfriend…

小心肝 (Xiao XinGan) – It means “Little Heart and Liver”, and makes a great pair with “小宝贝(Xiao BaoBei, meaning my little precious stone)”.

皇阿玛 (Huang Amma) – It means “Royal Amma”, a royal title when emperor’s kids called their dad in Qing Dynasty. It makes an exact pair with “太后 (Tai Hou, meaning queen)”. It’s a great nickname if you and your girlfriend want to try some royal family fantasy.

土匪/土贼 (Tu Fei/Tu Zei) – It literally means “Bandit”. A great nickname if your boyfriend is hungry for sex.

莫须有 (Mao XuYou) – It came from one of the most known ancient poets. Usually for a sweet-talking boyfriend.

笑傲江湖 (XiaoAo JiangHu) – It came from the most popular Martial arts novel of all time “The Legend of The Condor Heroes”. The boyfriend will be called “笑傲江湖”, who is the main male character, and the girlfriend will be called “东方不败 (DongFang BuBai)”, who is the main female character.

Funny Chinese Nicknames for Guys

The following are funny Chinese nicknames for a guy:

(Bei Ye) – A man who is as strong as Bear Grylls (a Northern Irish adventurer).

左撇子 (Zuo PieZi) – For a guy who is left-handed.

小平头 (Xiao PingTou) – For a guy who has a buzzcut hair.

独眼龙 (Du YanLong) – It literally means “Single-Eye Dragon,” for a pirate-looking guy.

极客 (Ji Ke) – A tech geek.

大侠 (Da Xia) – For a guy who loves to help people. An example of “大侠(DaXia)” will be Robin Hood.

低头族 (Di TouZu) – For a guy who always plays on his phone.

肌肉男 (Ji RouNan) – For a well-fitted and masculine guy.

和尚 (He Shang) – “和尚” means monk in Chinese. For a guy with a bald hair.

书呆 (Shu Dai) – Does he spend all of his free time reading?

金针菇 (Jin ZhenGu) – He is so slim, like a tiger lily bud!

老铁 (Lao Tie) – Our friendship/relationship is as strong as iron!

化肥 (Hua Fei) – A chemistry nerd.

老王 (Lao Wang) – The guy who lives in your next door. Although he is not Mr.Wang, we call him Mr.Wang.

纯爷们 (Chun YeMen) – A Chinese phrase meaning “A Pure Man,” for a brave and righteous guy.

唐僧 (Tang Seng) – We all have a friend who always talks.

老大 (Lao Da) – A Chinese phrase meaning “Old Big,” for the guy who leads your team.

牙擦苏 (Ya CaSu) – For a guy with big buck teeth.

眼镜 (Yan Jing) – It is granted to the first glass-wearing guy in a class.

宅男 (Zhai Nan) – Same as otaku, for a guy who barely participates in social activities.

技术宅 (Ji ShuZhai) – Not only an otaku but also a tech geek!

叶良辰 (Ye LiangChen) – Originated from a screenshot of WeChat dialog. The guy called “叶良辰” behaved arrogantly to a girl. Since then, it to refers to a guy is behaving overbearingly.

龙傲天 (Long AoTian) – For a guy who is perfect in any sense.

老好人 (LaoHaoRen) – Chinese girls usually say “You are a good guy” when rejecting a guy’s proposal. The guy who always gets rejected is called “老好人.”

绅士 (Shen Shi) – It literally means “gentleman” but is now used to nickname a guy who is a hentai.

特困生 (Te KunSheng) – We always have one guy in class who falls asleep immediately when class starts.

妻管严 (Qi GuanYan) – For a guy takes a subordinate role in a relationship.

Cute Chinese Nicknames for Girls

If you need nicknames that express affection for a lady, try the following cute Chinese nicknames for girls:

倾国 (Qing Guo) – It literally means “Flip a country.” For a girl who is world-changing cute.

倾城 (Qing Cheng) – It literally means “Flip a city.” For a girl who is world-changing cute.

萌妹 (Meng Mei) – A Chinese phrase meaning “Cute Sister.”

郡主 (Jun Zhu) – Originated from the title of a royal-born girl in ancient China, we now nickname it to a girl who is cute and precious.

咩咩 (Mie Mie) – An onomatopoeia of sheep bleating, for a girl who is docile like sheep.

教主 (Jiao Zhu) – It literally means “hierarchy,” for an outstanding girl who leads people

丫头 (Ya Tou) – Very commonly used by Cantonese and Wu Chinese, for a cute and naughty girl

小仙女 (Xiao XianNv) – A Chinese phrase meaning “Little Fairy Girl.”

美眉 (Mei Mei) – Ms. Beautiful.

MM (Mei Mei) – An acronym of “美眉,” same meaning.

点点 (Dian Dian) – It literally means “Dot-Dot.”

豆豆 (Dou Dou) – It literally means “Bean-Bean.”

双马尾 (Shuang MaWei) – For a girl who has a beautiful double-tail hair

呆毛 (Dai Mao) – For a girl who has a protruding branch of hair (a symbol of cuteness).

电波女 (Dian BoNv) – For a girl who is nerdy in a cute way.

女青年 (Nv QingNian) – For a teenager girl who is very literal.

大小姐 (Da XiaoJie) – For a girl from a well-known family.

千金 (Qian Jin) – It literally means “A thousand golds,” for a girl from a wealthy family.

女王 (Nv Wang) – It literally means “Queen,” we nickname it to a dominant girl.

媚娘 (Mei Niang) – For a grown woman, who is charismatic.

麻花 (Ma Hua) – For a girl with a braided pigtail hair.

校花 (Xiao Hua) – It literally means “Flower of School” and is awarded to the cutest girl in a school.

女神 (Nv Shen) – For a Goddess-like girl.

御姐 (Yu Jie) – For a grown but young woman who is protective, confident, and knowledgeable.

萝莉 (Luo Li) – Originated from a Russian book published in 1955, for a girl who is mature but looks like 12 years old.

贝贝 (BeiBei) – A Reduplication of 贝 (“宝贝(baby)”), it is a great nickname for a precious girl.

宝宝 (BaoBao) – A Reduplication of 宝 (“宝贝(baby)”), it is an excellent nickname for a precious girl

Chinese Nicknames for Girlfriend

A cute way to show your girlfriend you love her is to call her a cute name. The following are cute names you can call your girlfriend in Chinese.

囡囡 (Nan Nan) – “Kiddy-Kiddy”, usually used by Cantonese and Wu Chinese. A similar term for boyfriend will be “囝囝 (Jian Jian).”

可可 (Ke Ke)/可儿 (Ke Er) – “可” in Chinese represents cute (“可爱(cute)”).

雪儿 (Xue Er) – For a girl who is as pure as snow.

灵儿 (Ling Er) – For a girl who is spiritual.

多多 (Duo Duo) – It literally means “More-More”, with a wish of having more luck and fortune in life

天天 (TianTian) – A Chinese phrase meaning “Day-Day.”, with a good wish of having a good mood every single day.

鱼儿 (Yu Er)/小鱼(Xiao Yu) – A Chinese phrase meaning “Little Fish.”

小金鱼 (Xiao JinYu) – A Chinese phrase meaning “Little Golden Fish.”

静儿 (Jing Er)/小静(Xiao Jing) – A Chinese phrase meaning “Little Patience” In China, patience is viewed as a good character for girls.

猪猪 (Zhu Zhu) – It literally means “Piggy-Piggy.”

糖糖 (Tang Tang) – It literally means “Sugar-Sugar.”

小琴 (Xiao Qin) – A Chinese phrase meaning “Little Piano”, we nickname a girl “小琴” to grant our wish that she would be skillful.

小凤 (Xiao Feng) – A Chinese phrase meaning “Little Phoenix”, we nickname a girl “小凤” to grant our wish that she would be strong and independent.

婷婷 (Ting Ting)/小婷 (Xiao Ting) – “婷(Ting)” is a very common first name in China. A great nickname if your friends’ names are Christine, Christina, Tina, or Tiffany.

宜宜 (Yi Yi)/小宜 (Xiao Yi) – “宜(Yi)” is a very common first name in China. A great nickname if your friends’ names are Joey, Zoey, or Yvonne.

娜娜 (Na Na)/小娜 (Xiao Na) – “娜(Na)” is a very common first name in China. A great nickname if your friends’ names are Anna, Nina, Joanna, or Hannah.

妮妮 (Ni Ni)/小妮(Xiao Ni) – “妮(Ni)” is a very common first name in China. A great nickname if your friends’ names are Cindy, Nina, Jenny or Wenny.

丽丽 (Li Li) – It literally means “Beauty-Beauty.”

蓉蓉 (Rong Rong) – Hibiscus, viewed as a beautiful flower in China.

小花 (Xiao Hua) – A Chinese phrase meaning “Little Flower.”

甜甜 (Tian Tian) – A Chinese phrase meaning “Sweet-Sweet.”

太后(Tai Hou) – It literally means “Queen”.

爱妃(Ai Fei) – My beloved consort.

领导(Ling Dao) – My supervisor.

妞妞(Niu Niu) – It literally means “girl-girl”. The reduplication adds an extra cuteness to this nickname.

老婆 (Lao Po) – It literally means “Old Wife.” Chinese couples tend to call each other husband and wife before marriage. They call their partner’s name directly after marriage.

媳妇 (Xi Fu) – Same as the last one.

爱人 (Ai Ren) – An Chinese phrase meaning “My beloved one.”

夫人(Fu Ren) – It means “A person of the husband”.

内子 (Nei Zi) – The person who is responsible for work in the home.

妹妹 (Mei Mei) – It means “Sister”. Calling your girlfriend “sister” is to treat her like a family member.

娘子 (Niang Zi) – An ancient saying of “Wife”, which now is a romantic nickname for a girlfriend.

小跟班 (Xiao GenBan) – A Chinese nickname meaning “My Little Follower”.

小甜心 (Xiao TianXin) – A Chinese nickname meaning “My Sweetheart”.

小妖精 (Xiao YaoJing) – A Chinese phrase meaning “My Little Ghost”.

小美人 (Xiao MeiRen) – A Chinese phrase meaning “My Little Beauty”.

小祖宗 (Xiao ZuZong) – A Chinese phrase meaning “My Little Ancestor” (P.S. Chinese people respect their ancestors and think they will bless them from above).

小天使 (Xiao TianShi) – A Chinese phrase meaning “My Little Angel.”

小崽子 (Xiao ZaiZi) – A Chinese phrase meaning “My Little Puppy.”

小考拉 (Xiao KaoLa) – A Chinese phrase meaning “My Little Koala.”

小阿狸 (Xiao ALi) – A Chinese phrase meaning “My Little ALi (A popular animated fox).”

小娇妻 (Xiao JiaoQi) – A Chinese phrase meaning “My Little Wife.”

小瓜皮 (Xiao GuaPi) – A Chinese phrase meaning “My Little Melon Rind.”

小淘气 (Xiao TaoQi) – A Chinese phrase meaning “My Little Naughty.”

小捣蛋 (Xiao DaoDan) – A Chinese phrase meaning “My Little Naughty.”

小笨蛋 (Xiao BenDan) – It literally means “My Little Clumsy Egg.”

小坏蛋 (Xiao HuaiDan) – It literally means “My Little Bad Egg.”

小呆萌 (Xiao DaiMeng) – Clumsy as well as cute.

宝宝(Bao Bao)/贝贝(Bei Bei) – Both words come from “宝贝 (baby)” and make a perfect matching pair for a couple. You can take one for your own and call your girlfriend the other!

小宝贝 (Xiao BaoBei) – It means “My little precious stone”, and makes a great pair with “小心肝(Xiao XinGan, meaning my little heart and liver)”.

太后(Tai Hou) – It means “Queen”. It makes an exact pair with “皇阿玛 (Huang Amma, meaning queen)”. It’s a great nickname if you and your boyfriend want to try some royal family fantasy.

东方不败(DongFang BuBai) – It came from the most popular Martial arts novel of all time “The Legend of The Condor Heroes”. The girlfriend will be called “东方不败”, who is the main female character, and the boyfriend will be called “笑傲江湖 (XiaoAo JiangHu)”, who is the main male character.

Funny Chinese Nicknames for Girls

The following are among the most popular funniest nicknames for girls in Chinese:

白富美 (Bai FuMei) – It literally means “White, rich and Beautiful.”

辣妹 (La Mei) – Girl, you are hot!

毛毛虫 (Mao MaoChong) – A Chinese phrase meaning “Fury & Fury Worm.”

大嘴 (Da Zui) – For a girl who always talks.

某爷 (Mou Ye) – For a manly girl, “爷” means “lord” in Chinese.

巾帼 (Jin Guo) – For a legendary girl, usually referred as a national heroine (e.g., Hua Mulan).

红娘 (Hong Niang) – For a girl who loves to help matchmaking couples, although she herself doesn’t involve in any relationship.

姬友 (Ji You) – For an intimate and trustworthy female friend, who you can share all those secrets that you won’t even tell your mom. Usually between boy and girl.

闺蜜 (Gui Mi) – For an intimate and trustworthy female friend, who you can share all those secrets that you won’t even tell your mom. Usually between girl and girl.

学姐 (Xue Jie) – A general Chinese nickname for a girl in your school who is older than you.

学妹 (Xue Mei) – A general nickname for a girl in your school who is younger than you.

女汉子 (Nv HanZi) – For a girl who is strong and masculine.

毛妹 (Mao Mei) – For a girl comes from Russia, commonly viewed as independent and powerful (e.g., Zarya in Overwatch)

拜金女 (Bai JinNv) – For a gold digger.

迷妹 (Mi Mei) – A mysterious girl whose ways are difficult to comprehend.

玛丽苏 (Ma LiSu) – Came from a female character called “Mary Sue” in a Star Trek fan fiction and is used to nickname a girl who is so perfect as to be annoying.

青梅竹马 (QingMei ZhuMa) – A guy’s best childhood friend who is female.

花痴 (Hua Chi) – A funny Chinese nickname for a girl who is boy crazy.

路痴 (Lu Chi) – For a girl who has a bad sense of direction.

家里蹲 (Jia LiDun) – For an otaku who always stays at home.

傲娇 (Ao Jiao) – For a girl who is initially cold and sometimes even hostile, but gradually showing a warmer, friendlier side over time.

元气 (Yuan Qi) – For a girl who is full of 气(Chi), always brings happiness to friends around her.

戏精 (Xi Jing) – A dramatic girl.

冰美人 (Bing MeiRen) – For a cold-looking girl who is beautiful inside.

暴力女 (Bao LiNv) – The girl who fights better than any men in your neighborhood.

猫奴 (Mao Nu) – It literally means “Cat Servant,” for a passionate cat lover, usually referred to as female.

玻璃心 (Bo LiXin) – For a girl who is easy to get heartbreaking.

醋缸 (Cu Gang) – It literally means “Vinegar Gallon Bucket,” for a girl who is easy to get envy on someone or something.

爸宝 (Ba Bao) – For a girl who is intimate with her dad. Vice versa, “妈宝” means a boy who is intimate with his mom.

小姐姐 (Xiao JieJie) – A Chinese nickname meaning “Little sister,” to phrase a girl’s everlasting youth.

河东狮 (HeDongShi) – We nickname a girl “河东狮(East River Lion)” who screams really loud as if she masters the legendary Kungfu technique “河东狮吼.”

#chinese names #nicknames #names #tools #links #lists #word lists

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juliekjohnsonwrites · 6 years

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Mystical Mondays: The Mid-Autumn Festival

After what seems like an eternity, I’m back! This week’s segment falls on a very auspicious day: today is the Mid-Autumn Festival! Called Zhongqiu Jie in Mainland China, Jungchau Jit in Hong Kong, Tiong Chiu Jiet in Taiwan, Chuseok in Korea, and Tet Trung Tu in Vietnam, this holiday is probably the most important aside from the lunar new year. On this day, people gather to celebrate the harvest, family, and lunar deities. Break out your mooncakes, and let’s dive into the mythical elements of one of my favorite festivals!

The Mid-Autumn Festival began as early as the Shang Dynasty in China as a celebration of a successful harvest. In The Four Gods, Gen would only have known this holiday as a festival celebrating mountain gods, rain dragons, ancestors, and the autumn equinox. It wasn’t until the Tang Dynasty, over 500 years after the end of the first book of The Four Gods, that the Mid-Autumn Festival became known more as a lunar celebration in relation to ancient myths. The reason for this is due to the goddess Chang’e.

The legend goes that in ancient times, cultural hero Houyi and his wife, Chang’e, lived on earth. At this time, instead of one sun, there were ten, and each sun was a three-legged crow that were the sons of a powerful god. Usually, only one sun rose and set at a time, but one day, all ten of them decided to rise in the sky at once to play together. The heat scorched crops and people died in droves, so the gods sought a solution, since no one could manage to get the suns to cooperate. Houyi was a renowned archer, so Xi-Wangmu asked him to shoot down nine of the suns. As a reward, she would give him an elixir of immortality. Half would be for him and half would be for his wife. Agreeing to save his people and the gods alike, Houyi successfully shot down nine of the suns, and received the elixir from the gods.

However, not all was good. Houyi’s apprentice, Peng Meng, knew of Houyi’s secret elixir. One day while Houyi was out hunting, Peng Meng broke into his master’s house and demanded that Chang’e hand him the elxiri so that he could achieve immortality. Rather than give it over to her husband’s greedy student, Chang’e quickly drank all of it, and the magic of the drink caused her to float skyward, never to touch the ground again. When Houyi returned and discovered what happened, he was overcome with sadness and every year on that day, offered fruits and cakes to his wife, who had to watch her husband from her new home on the moon.

Another version of the myth describes Houyi becoming king of the people, but soon becomes greedy with conceit and power. Not wanting her husband to gain the power of immortality on top of this, Chang’e steals the elixir and drinks it, saving the people from having to be ruled by a tyrannical, immortal king. In both myths, Chang’e is commemorated for her actions of saving the elixir from falling into the wrong hands.

The myth of Chang’e continues. After ascending to the moon, she finds herself isolated and lonely. Today, she is known to be accompanied by a white rabbit called the Jade Rabbit. This bun can be seen in the full moon, grinding down ingredients to make medicine in his mortar and pestle, similar to the Man in the Moon we see in the West. But how did he get on the moon? This short video from Off The Great Wall explains.

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The Mid-Autumn Festival is a holiday of thanksgiving, family, and moon worship today and is also accompanied by the lighting of lanterns. Across East Asia, gardens full of elaborate lanterns is a favorite outing during the festival. Most families that can, get together and feast under the full moon. Those that cannot be together go moon gazing with friends or alone, knowing that their loved ones see the same moon wherever in the world that they are. An abundance of fruit, wine, and mooncakes flow in the days leading up to and following the day of the festival. Mooncakes are mainly given or made as gifts for family members and friends, as this is a time of gratitude and giving to celebrate the sacrifice Chang’e made.

That’s all for this week! See you next Monday with another addition to Mystical Mondays! 中秋節快樂！

#mystical monday #the four gods #chinese mythology #mid autumn festival #writerblr

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the-monkey-ruler · 1 year

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The Westward Movie (2020) 西行纪之再见悟空

Director: Zhong Mulong

Starring: Fan Junhang / KIYO / Liu Beichen / Xia Lei / Zhang Jie / more...

Genre: Action / Animation / Fantasy

Country/Region of Production: Mainland China

Language: Mandarin Chinese

Date: 2020-05-04 (Mainland China)

Duration: 65 minutes

Also known as: Journey to the West: Goodbye Wukong (Hong Kong) / 西游之再见悟空(港) / Journey to the West Movie Version / 西行纪剧场版 / 西行纪电影版

Type: Reimagining / Retelling

Summary:

Adapted from the anime IP "Journey to the West", Su Yi, the princess of the heavenly realm, befriends Sun Wukong in the mortal world, and they fall in love with each other. But Wukong was violently treated as a mortal monster by other gods, and was suppressed under Wuzhi Mountain. For three hundred years, Tathagata used actions to influence Wukong and taught Wukong how to stick to the justice in his heart. Sun Wukong protects Tang Sanzang and goes to the other side of the world to retrieve the fire of creation for the benefit of the world. After going through twists and turns, he finally returns, only to find that a huge conspiracy has surfaced, and the fate of the master and apprentice has been rewritten.

Source: http://chinesemov.com/2020/The-Westward.html

Link: https://www.bilibili.tv/en/video/2042099336

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bookofjin · 6 years

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Biography of Shi Le (Weishu)

A brief history of Later Zhao. I feel like this post should have some kind of content warning. From Weishu 095.

The Jie Hu Shi Le, courtesy name Shilong, had the child name Fule. His ancestors were a separate section of the Xiongnu which divided off to live among the Jie families in Wuxiang in Shangdang [?]. For that reason he is titled a Jie Hu. [Jie羯 also means “castrated ram”.]

His grandfather Xieyiyu and his father Zhouhezhu, also written Qiyijia, were both minor leaders of section groups. Zhouhezhu was by nature brutal and course, and was not adhered to by the crowd of Hu. Le was large and strong, had brave schemes, and excelled at riding and shooting. Zhouhezhu always made him replace himself in supervising and administering the section Hu. The section Hu were fond of and trusted him.

The Inspector of Bing province, Sima Teng, seized various Hu, and sold them East of the Mountains to fill army supplies. A pair of Hu [shared] a single cangue. Le likewise was among [them]. Arriving in Pingyuan, he was originally sold to Mr. Shi as a slave. In the neighbourhood of the Shi family there were horse shepherd. Le and the shepherd leader Ji Sang came and went supporting each other. He thereupon summoned ans assembled Wang Yang, Kui An, Zhi Xiong, Ji Bao, Wu Yu, Liu Ying, Tao Bao, Lu Ming, Guo Ao, Liu Bao, Zhang Yi, Huyan Mo, Guo Heilüe, Zhang Yue, Kong Tun, Zhao Lu, Zhi Quliu and others. They went east to the Red Dragon and Thoroughbred Pastures, drove the pasture horses and turned around to plunder silk and treasures to accordingly present to Ji Sang.

At the deposing of the King of Chengdu, Ying, Ying's former general, Dong Shi Fan of Yangping and others called himself General, and rose with troops in Zhao and Wei. The multitudes reached several ten thousands. Le and Ji Sang led the shepherds, driving the pasture horses, several hundred cavalry, to accordingly go to him. And so Sang first instructed Le to use Shi as his family, and use Le as his personal name. Fan designated him as Controller of the Van Unit.

Fan was defeated in battle and himself died. Le and Ji Sang absconded to hide within the pastures. Ying's generals went north of the He. Ji Sang used Le to crouch at night at the Serrated Gates. He led the shepherds to coerce and plunder the commanderies and counties' bound convicts. He gathered an army to respond to him, garrisoning at Pingshi.

Sang called himself Great General and advanced the army to attack Ye. He used Le as Chief Commandant of the Vanguard. He attacked Ye and overcame it. A short while after he was defeated by the Jin general Gou Xi.

Le went to follow Liu Yuan, He designated him General who Assists Han and King who Pacifies Jin. Liu Cong was established. He used Le as Great General who Conquers the East, Inspector of Bing province and Duke of Ji commandery.

Liu Can attacked Luoyang. Le detained the Senior Clerk Diao Ying to control 90 000 footsoldiers, moved the supply wagons to Zhongmen, led 20 000 light cavalry to meet with Can at Taiyang, and greatly defeated Jin's Army Overseer Pei Miao at Mianche. Thereupon he arrived in the Luo river lands.

Le set out for Chengdao, and besieged Jin's Chief Commandant of Chenliu, Wang Zan, at Cangyuan. He was defeated by Zan.

He garrisoned Wenshi ford, wanting to attack northward against Jin's Inspector of You province, Wang Jun. It happened that Jun's general Wang Jia just then led more than 10 000 cavalry of the Liaoxi Xianbei to defeat Liu Cong's Great General who Calms the North, Zhao Gu to the north of the ford. Le therefore burnt the ships and abandoned the encampment, and pulled the army towards Baimen. He greeted the supply wagons from Zhongmen, joined [with them] at Shimen and crossed.

He attacked southward against Jin's Inspector of Yu province, Feng Song, in Chen commandery, but did not overcome. He advanced to attack the Chief Commandant of Xiangcheng, Cui Guang, at Fanchang, and beheaded him.

Before this, drifting people from Yong province, Wang Ru, Hou Tuo, Yan Yi and others, rose with troops between the Jiang and Huai, and received office and rank from Liu Yuan. They heard of Le's coming, and were afraid. They dispatched a multitude of 100 000 to resist at Xiangcheng. Le strike and defeated them, and fully captured their multitudes.

Le arrived in Nanyang, and garrisoned the mountains north of Wan. Wang Ru dispatched envoys to discuss peace. Le advanced to attack Wan, took it, beheaded Hou Tuo, took the surrender of Yan Yi, fully [capturing] both their multitudes.

He moved south to Xiangyang, attacking and taking more than 30 ramparts, and had ambitions of occupying [the land between] Jiang and Han. Le's Senior Clerk of the Right, Zang Bin considered it to be impossible, so he withdrew the army and went north.

Jin's Grand Tutor, the King of Donghai, Yue, led the multitudes of Luoyang, more than 200 000, to punish Le. Yue passed away in the field. The people of the army pushed forward the Grand Commandant Wang Yan as master, to lead the army and go east.

Le pursued and struck, routing them in Ku county. Le distributed cavalry to surround and shoot the,, [the dead?] piled up on each other like a mountain. He killed Wang Yan, Jin's King of Xiangyang, Fan, and others, 100 000 people. Yue's Heir Pi heard Yue had passed away, and set out from Luoyang, the followers poured out of the city [?]. Le confronted Pi at Weicang, and routed him. He seized Pi and 16 kings of the Jin imperial house and also the various ministers and gentlemen, and killed them all.

He together with Wang Mi and Liu Yao attacked and captured Luoyang, turning the merit over [?] to Mi and Yao. Thereupon he set out for Huanyuan. He captured Jin's Great General Gou Xi, and used him as Marshal of the Left. Liu Cong conferred on Le Great General who Garrisons the Army and Inspector of You province, acting as Inspector of Bing province.

He employed Zhang Bin's plan, and undertook himself from Ge Slope [?] to move his seat north to Xiangguo. He invaded You province, caught Wang Jun, and killed him. Liu Cong added to Le Earl of Xiadong, to manage on his own conquests and attacks, and to enfeoff and designate Inspectors, Generals, Wardens and steward, and arrangement of marquises, annually to comprehensively compile and send up [?].

When Liu Can was killed by Jin Zhun, Le led the multitudes to hurry to Pingyang. Yao claimed the venerated title. He conferred on Le Great Marshal, Great General, and additionally the Nine Bestowments. He added to his fief 10 commandiers, together with the preceding, 13 commanderies, and advanced him to be Duke of Zhao.

Le arrived at Pingyang. Jin Lang set out to battle with Le, Le greatly routed him. He dispatched Combined Senior Clerks of the Left, Wang Xiu, and the Master of Accounts, Liu Mao, to present the victory to Yao. Lang led the multitudes of Pingyang in flight to Yao. Yao proceeded west to Suyi. Le burnt Pingyang's palaces houses, set up border guards and returned. He moved the whole ritual and musical receptacles to Xiangguo.

Yao dispatched envoys to confer on Le Grand Steward, acting as Great General, and advanced his noble rank to King of Zhao, adding to his fief 7 commanderies, together with the preceding, 20 commanderies, when setting out and entering the guards to clear way, his crown to have 12 strings, to drive the Gold Root chariot, the carriage to have six horses, like in the old affairs when Wu of Wei assisted Han.

Wang Xiu's retainer, Cao Pingle stayed to serve at Yao's court. He talked to Yao, saying:

[When] the Great Marshal dispatched Xiu and others to come, he on the outside showed extreme reverence but on the inside [wanted to] spy out strength or weakness.

Yao truly was withered and wasted, and feared Xiu would make public about him [?]. Greatly angered, he dispatched to turn back the recorded instructions, and beheaded Wang Xiu.

Liu Mao escaped and returned, and told the circumstances of Xiu's death. Le was greatly angered, and executed Cao Pingle's father and elder brother, and eradicated his three kindred. He also made known to retroactively put stop to the conferrals of Grand Steward and King of Zhao, angrily saying:

The rise of Emperors and Kings, again how are they regular? King of Zhao, Emperor of Zhao, Your Orphan himself will take it. Fame and titles great and small, why are they measured by you?

Le therefore declared himself Great Commander-in-Chief, Great General, Great Shanyu and King of Zhao, using 24 commanderies as the state of Zhao, and declared it to be the Inaugural Year of the King of Zhao. It was the 3rd Year of Pingwen [319 AD].

Le dispatched envoys to seek peace, requesting to be brothers. Beheaded his envoys to thereby terminate it. From then at court assemblies, he regularly pretended to the rites and music of the Son of Heaven, accordingly hosting the crowd of subjects.

1st Year of Emperor Lie [329 AD], Le again dispatched envoys to request peace. The Emperor accepted it.

2nd Year [330 AD], Le usurped to declare [himself] August Emperor and set up the hundred officials., the era titled Jiangping [“Establishing Peace”, 330 – 333]. Even though the seat was at Xiangguo, he also constructed palaces at Ye. The builders were several hundred thousand followers, combining accordingly day and night.

5th Year [333 AD], Le died. His son Daya was falsely established.

Daya's name violates the temple taboo of Xianzu [I.e Emperor Xianwen of Wei, Tuoba Hong.] Daya was established, titling the era Yanxi [“Extended Radiance”, 334 AD]. Shi Hu deposed Daya to be King of Haiyang and falsely established [himself]. Soon after he killed him.

Hu, courtesy name Jilong, was Le's nephew. His grandfather was named Fuxie and his father was named Koumi. Koumi had seven sons, Hu was the fourth. Le's father. Le's father from he was an infant treated him as a son. For that reason some speaks of him as Le's younger brother.

In the middle of Jin's Yongxing [304 – 306], he and Le lost each other.

5th Year of Yongjia [311 AD], Liu Kun sent off Le's mother, Ms. Wang, and Hu to Ge slope. At the time he was 17 years old.

He was by nature ruthless and cruel, wandering and hunting without measure, able to shoot left and right. He excelled at using the pellet crossbow to shoot people. Within the army they were considerably vexed by him. Le made clear to his mother, saying:

This boy is brutal, violent and unreliable. [If I] make people in the army kill him, [my] fame and renown might decline. [I] ought to eliminate him myself.

Wang said:

A fast ox when he is a calf, is often able to destroy the chariot. Have after all a little endurance and do not let go of him.

When he became 18 years old, he was 7 chi, 5 cun tall, with bows and horses he was quick and nimble, in bravery he was at the head of the time period. Generals, subordinates, relatives and friends could not but respect in dread, Le deeply praised him.

Yet his brutal murdering was beyond proportions. Within the army there were those whose were large and strong, and because of that when [they during] hunting amused [themselves] with jokes [?], he immediately killed them. Arriving at the surrenders of cities and captures of ramparts, he did not then judge and separate good and evil, but buried and beheaded gentlemen and women, and rarely omitting anyone [?].

He managed the multitudes strict and orderly, [so they] did not dare commit crimes. When he directed and conferred attacks and punishments [of the enemy], in that direction there were nobody in front [of him]. For that reason Le's favour and trust were extensive and abundant, relying upon him accordingly sole for appointments for conquests.

Liu Cong used Hu as Grand Warden of Wei commandery, headquartered at Ye's Three Terraces. He was also enfeoffed Marquis of Fanyang, with a revenue estate of 3 000 households. Le became King of Zhao. He used Hu as General of Chariots and Cavalry, concurrently Palace Attendant and Opening Office, and advanced his fief to Duke of Zhongshan. Le claimed the venerated title. He became Grand Commandant and Warden Prefect of the Masters of Writing, enfeoffed King of Zhongshan, with a revenue estate of 10 000 households.

Le died. Hu on his own executed the Brilliantly Blessed Grandee of the Right, Chang Xia, and the Prefect of the Palace Writers, Xu Guang. He dispatched his son Sui to led troops and enter Daya's palace. The duty guard and civil and martial officials all ran and scattered. Daya was greatly afraid, affirmed himself to be inexperienced and inferior, and yielded the throne to Hu. Hu said:

Suppose [you] are incapable, Under Heaven must itself have great righteousness. How is it sufficient to comfortably discuss [?].

Thereupon he compelled to establish him.

Hu [used] himself as Imperial Chancellor and King of Wei. Hu, due to Le's civil and military officials [being] old subjects, always filled vacancies with appointments from Imperial Chancellor's pen [?]. His office companions were old intimates, and everyone stayed at the Terraces scrutinizing restrictions and demands [?].

He changed Le's Heir Apparent Palace to be named the Chongxun [“Esteemed Teachings”] Palace, and moved Le's wife Ms. Liu and below to live there. He chose their beautiful and gentle, and the control of [?] chariots, horses and clothes, everything reverted to Hu's mansion. Ms. Liu spoke to her King of Pengcheng, Shi Kan, saying:

The Imperial Chancellor readily assents to transgress and step on, [I] fear the extermination of the state's blessings will not again wait for long. It can truly be said to be raising a tiger [hu] to harm yourself. King, might [I] ask [your] designs for it?

Kan said:

The Former Emperor's old subjects are all outside due to dismissals. The multitudes' journeys do not again make use of [our] people]. Inside of the palace halls is a burial plan for destruction [?].

Your Subject requests to set out and flee for Yan province, occupy Linqiu, support the King of Nanyang, Hui, as Master of the Covenant, proclaim the Empress Dowager's decree to the various shepherds and wardens, [Generals who] Conquers and Garrisons, order each to lead righteous troops to just now punish the evil rebel. They will not but aid.

Ms. Liu made it so. But then Kan's plan did not come to fruit. Hu roasted [?] and killed him, and also killed Ms. Liu. Shi Sheng was formerly headquartered at Chang'an, Shi Lang was headquartered at Luoyang. Both rose with troops to punish Hu, and were wiped out by Hu.

Hu thereupon established himself as King of Great Zhao, titled the year Jianwu [“Establishing the Martial”, 335 – 348 AD], and moved from Xiangguo to reside at Ye. He therefore killed Daya and his mother Ms. Cheng, and all of Daya's various younger brothers.

Earlier, Hu was wearing ceremonial dress and crown and was about to sacrifice at the southern suburbs, when his reflection in the mirror had no head. He was greatly afraid and terrified, and did not dare to make claim to August Emperor. Therefore he lowered himself to be King.

He made his Heir-Apparent Sui scrutinize and admit the memorials and affairs of the Masters of Writing. Only [if the topic was] the selection for the shepherds and wardens, sacrifices at the suburbs and temples, conquests and attacks, punishments and dismissals, he then personally inspected them. Hu again changed to claim [himself] Heavenly King of Great Zhao. [When] Sui used affairs to submit to him, he indignantly said:

These are minor matters, how are they sufficient to submit!

At times when he had questions, he also angrily said:

Why did you not submit!

He criticized and called him to account, and struck him with a cane, for a length of two or three months. Sui was considerably resentful and vengeful, and privately spoke to the Palace Cadet Li Yan and others, saying:

The public house is difficult to esteem. I desire to act on the affairs of Moudun. Sirs, do you follow me?

Yan and others in the circumstances did not dare to reply. Hu heard and was greatly angered. He killed Sui and his 26 sons and daughters, and buried them only in a coffin. He executed his palace subjects and supporting faction, more than 200 people. He established his second son Xuan as Heir-Apparent.

Hu erected at Ye more than forty towers, and constructed palaces at Chang'an and Luoyang. The builders were more than 400 000 people. He also desired to erect a gallery way from Ye reaching until Xiangguo.

He commanded the four provinces south of the He to draw up preparations of the host; Bing, Shuo, Qin, Yong and Yan嚴 in the west to provide supplies for a punishment [campaign]; Qing, Ji and You to send out three of five as troops. The various provinces prepared 500 000 armoured soldiers. He disturbed and laboured the common people, people numerously lost their patrimony. He obtained from the mulberry farmers from ten houses he had three [?]. Of sailors there were 17 000 people. Those drowned in the water or murdered by Hu [or “tigers”] were one out of three.

When examining or calling into account summoned soldiers five people [were to bring] one chariot, two oxen, 15 hu rice each and 10 bolts of tabby silk [?]. In the various service movements [if] there were those who did not get ready, he always used beheading as sentence. Destitute people for the most part often sold children to accordingly fill army regulations [?]. And if still insufficient, they hanged themselves on the roads and paths. The dead looked at each other, as if seeking to send out without end.

The Grand Martial Hall was completed, with illustrations picturing loyal subjects, filial sons, zealous gentlemen and chaste women, all altered to be in the shape of the Hu, the heads receding into the shoulders. Hu greatly detested them.

He dispatched the Minister of Gamekeeping [?] and Commander of the Palace Gentlemen, Jia Ba, to lead 4 000 labourers and artisans to build in the hills and mountains of Dongping 1 000 hunting chariots. [With?] the shafts they were 3 zhang long, the height was 1 zhang 8 chi, the nets were 1 zhang 7 chi tall. They laid out forty of Hu's chariots, erecting moving two storey buildings on top of them [?]. To the south they reached Xingyang, to the east Jiyang commandery, he made the Imperial Clerks oversee and direct.

Within them there were birds and beasts, those of the people who trespassed were punished as great criminals. The Imperial Clerks because of it arrogating making power and fortune [?]. [If] people had pretty women or excellent oxen and horses, and they demanded but did not get them, they readily made false accusations using the sentencing for trespassing on the beasts. Those of the people who died succeeded each other, between the sea and Mount Dai, the He and the Ji, people had no aspirations for tranquility.

He also sent out the people's oxen, more than 20 000 animals, allotted to the Shepherd of Shuo province's officials. He added to the interior officials 24 grades, to the Eastern Palace 12 grades. The various dukes and marquises, more than 70 sets, all were to set up women officials in 9 grades.

Before this, he greatly sent out the people's women, [those] twenty and below, and thirteen and above, more than 30 000 people, to be ranking in three grades, and accordingly divided and allotted them. Commanderies and counties having hopes and aims applied themselves to the beautiful and gentle, the snatched wives were more than 9 000 people. Wives of the people with a beautiful appearance, and the prominent and powerful because of that then threatening them, led many to kill themselves. The Heir-Apparent and the various Dukes privately ordered to gather those sent out, likewise close to 10 000.

9th Year of Jianguo [346 AD], Hu dispatched envoys to court with tribute.

He made his Heir-Apparent Xuan and Xuan's younger brother, the Duke of Qin, Tao on alternative days scrutinize and admit the memorials and affairs of the Masters of Writing. Xuan detested that Tao was equal to himself and spoke to his favourites, Yang Ke, Mou Cheng and others, saying:

[If] you all kill Tao, and I enter the Western Palace, [I] will use the estates of Tao's state to divide the fief [among] you all. When Tao is dead, the Sovereign will surely personally preside. Following that [I will] act out the great affair, it will not but succeed.

Ke and others promised and assented. Therefore at night they entered Tao's mansion and killed him. Hu wanted to set out and preside over Tao's mourning, his Minister of Works, Li Nong, remonstrated, and he therefore desisted.

Next day, there was a person who told about it. Hu was greatly angered. He used iron rings to pierce Xuan's jaw and shackled him. He made a wooden trough of several dou, blending accordingly stews as meals, using the methods of pigs and dogs to feed him. He took the blades and weapons that murdered Tao [for Xuan] to lick the blood on top of them, the sound of the cries and shouts shook and moved the palace halls.

He stored up firewood north of the city, planting a guidepost on top of it. At the end of the guidepost he set up a lifting pulley, boring through it using a rope. He sent off Xuan to the place of the guidepost, and made Tao's personal eunuchs, Hao Ya and Liu Ling, pull out his hair, take out his tongue, and use ropes through his jaws for the pulley to winch him up with. Liu Ling chopped off his hands and feet, cleaved the eyes and scattered the stomach, like Tao's wounds. They let loose the fire on four sides, the smoke and flames reaching the sky. Hu, accompanied by the Bright and Decorous [a concubine rank] and below, several thousand people, climbed the Middle Terrace to accordingly observe it. The fire extinguished, he took the ashes to distribute and set up at the various gates and road junctions.

He killed his wives and children, 29 people, executed his four Leaders [of the guard] and below, 300 people, and eunuchs, 50 people. All were torn apart by chariots until the joins loosened, and dumped into the Zhang river. He defiled his Eastern Palace, using it to rear pigs and oxen.

12th Year [349 AD], Hu declared himself August Emperor, titling the year Taining [“Grand Tranquility”, 349 AD].

Hu died, his youngest son Shi was falsely established. Hu's foster grandson Min killed Shi, and used Shi's elder brother Zun as the ruler. Zun used Min as Great General Assisting the Government.

When Zun had been established for seven days there was a great storm, with thunderclaps, day became night [?]. Flames and water came down together, causing calamity at the Grand Martial Hall, extending to reach inside of the palace, offices and storehouses, reaching until the Main [changhe] Gate. It burned for the remainder of the month and then was extinguished.

Zun's elder brother Jian also killed Zun and established himself, titling the year Qinglong [“Blue-green Dragon”. Jian's younger brother Bao together with the Hu Zhang Cai, Sun Fudu and others planned to kill Min, did not overcome and died. From the Fengyang Gate to the Kunhua Hall, the piled up corpses were like hills, the flowing blood complete ponds.

Min understood the Hu people could not be employed by himself, and therefore closed the four gates of Ye City, completely killing the various Hu. Of those the Jin people who resembled the Hu many likewise excessively died. Min then killed Jian and established himself, and completely exterminated the Shi clan.

[Interestingly 晉人 here seems to be used in an ethnic sense.]

Min's original family name was Ran, he therefore restored it as his family name. He declared himself Great Wei, titling the year Yongxing [“Eternal Fostering”, 350 – 352] Soon after he was caught by Murong Jun.

#ws095

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fayewonglibrary · 4 years

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THE ICE QUEEN OF CANTO (2002)

Faye Wong was known for her scalding temper as much as her singing but now she’s cool, collected and very much in control. Don’t believe the hype, she tells Vivienne Chow.

“The truth doesn’t matter any more,” intones a calm and collected Faye Wong, when she is asked whether her relationship with Cantopop star Nicholas Tse Ting-fung is on the rocks. She leans purposefully back in her comfy chair, snaps a bite out of a square of French toast and summons her assistant for another packet of Mild Seven cigarettes. It isn’t so easy to rile Faye Wong any more.

Three years ago, it would scarcely have been noteworthy had the pop diva launched herself at me across the table and jammed the toast into my eye. At a press conference at Hong Kong Convention and Exhibition Centre in 1999, Wong lost her temper when an inquisitive journalist from Singapore submitted a question about her divorce from Beijing rock star Dou Wei. She screamed at the reporter, told her it was no one’s business but her own and stormed out in the kind of dramatic huff only stars seem able to carry off.

All I get is a cheerful, perhaps defiant smile and a puff of cigarette smoke. Wong appears only too happy to consider the question, despite the over-anxious butt-in from another assistant, who says: “Would you please cancel that question!” - intent on smothering the 32-year-old singer. Quite obviously, however, she can take care of herself.

“I’ve already answered it,” Wong cuts in. Well, actually, she hasn’t. What she has said is this: “The main function of the entertainment press is to get stories that are entertaining but sometimes the truth may not be as juicy as you imagine. Even if I answer the questions honestly, they still make up stories. They have their own ideas on how my private life should be. I have no desire to change that image so I choose not to answer. In this way they can continue to write whatever they want to.”

So she’s answered by questioning the question’s validity - that old celebrity trick - but at least that toast is staying on her side of the table. “Sometimes the entertainment news about me covers details I have never heard before,” she says. “I quite enjoy reading the stories myself. I’m just so fascinated by this. But I’m not keen to tell people who I am or explain to people what I have or haven’t done. Now I don’t really mind what has been written about me.”

That’s about as close an answer as anyone’s likely to get from Wong on the state of her relationship with Tse, who is 11 years her junior. Not that you can really blame her. Since the couple walked out of a private function, hand in hand, two years ago, they have been pursued relentlessly by the paparazzi.

And that’s hardly surprising, given Wong is the undisputed queen of Cantopop and Tse, a Cantopop star himself, is also the son of 1960s heart-throb actor Patrick Tse Yin and actress Deborah Lai. That was more than enough star quality to send even the most haggard entertainment hack into a frenzy when the couple’s romance was first revealed. Now there are rumours of a parting of ways, the gossip machine is again moving into overdrive.

But Wong has learned to be philosophical following the often fanatical media interest surrounding her marriage to Dou in 1996 and divorce three years later. “I’m more open-minded now,” she says. “At the beginning, I got upset quite often by the way I was portrayed in the newspapers and how people saw me. But since I can’t ask the entire world to change for me, I now look at these matters in a positive way.”

Until, that is, her five-year-old daughter by Dou, Ching-tung, is added to the mix. Ching-tung has been the subject of cut-throat press clamour since even before she was born. The battle to publish the first photograph of Wong pregnant resulted in a court case between rival newspapers Oriental Sunday and Apple Daily. The Oriental Sunday snapped the slightly swelling singer in the baggage lounge of Beijing Airport in October 1996 - the first confirmation that the star was expecting - and took Apple to court after it printed a spoiler story on the front page, including the picture, on the same day.

Since then, even the little girl has had to run the press gauntlet. On February 1, Chinese-language entertainment magazine Sudden Weekly published photographs of Ching-tung at the Hong Kong International School and ran an interview allegedly conducted with her on her way to the school in Repulse Bay. The interview claimed the youngster said Tse hadn’t visited her mother for some time. Wong was understandably furious. And for a moment, as she recounts the episode to me, the expression that darkens her face would, I know, have been terrifyingly familiar to the unfortunate reporter at the press conference three years ago. Wong leans forward. She’s more serious now. The interview never took place, she says. “I checked with my maid and spoke to my daughter. She has never done this kind of interview before. Sure, she might have said hello to someone but there couldn’t have been enough time for her to tell a reporter so many details.

"I understand people want to read about her and she cannot escape from being harassed because she is my daughter. It is not harmful if they make up stories about me but she is only a five-year-old child. Can’t the public sacrifice a little bit of their curiosity so the child can grow up in a healthy environment? Can’t they at least just wait till she’s older?”

Up close, it’s easy to see why Wong’s face graces so many magazine covers. She has beautiful, big round eyes. She says her tall and slender figure requires little maintenance, even after she gave birth to Ching-tung. And Wong is a trend-setter. What she wears will often become the hottest fahsion items of the season - even though she seems to be the only person able to carry off what are often quirky designs.

Born in 1969, Wong moved to Hong Kong with her family from Beijing at the end of 1987 when she was 18. Her enthusiasm for singing led her to the respected voice coach Tai Sze-chung and , at just 20, she was recommended by Tai to Cinepoly, with which she secured a record deal.

In 1989, Wong released her debut album, Shirley Wong Ching-man, a stage name she then used, which won her Commercial Radio’s Ultimate Female Newcomer(Bronze) award. In 1991, she left for the United States to study music. When she returned the next year, she released the album Coming Home, which became her first platinum record. She retrieved her real name, Wong Fei - Faye Wong - in 1994 and has so far made 22 studio albums.

In 1997, Wong announced she would make no more Cantonese albums when she left Cinepoly for global giant EMI. But she does sing the occcasional Cantonese song in addition to the records in Putonghua. “It is a marketing decision,” she says. “To sing well, one has to master the language in order to deliver the best sound. Putonghua is my native tongue so naturally I’m more confident with this language. But records are considered a commodity and we must take sales into account.”

Wong’s singing and songwriting talents, if widely recognised, are often tagged under the “alternative” label, although she has been voted best female singer on numerous occasions in Hong Kong, the mainland and Southeast Asia, and took the best alternative song composition trophy last year at the CASH Golden Sail Awards in the SAR with Han Wu Jie.

This kind of success usually brings a measure of satisfaction, so how does Wong still find herself singing songs she deosn’t particularly like? “I enjoy performing my own compositions but my taste in music is too off-mainstream and only a few people appreciate that,” says Wong, who has covered songs by Tori Amos and collaborated with Cocteau Twins. “I know what the masses like and I know they skip my compositions and listen to the commercial tracks. Hong Kong is not like Japan, where it accomodates various musical styles. I have too many business partners and I must consider their interests as well. I’m more mature now and I strike a balance between my personal interests and commercial value.”

Thus, she is promoting her new film. It is the Lunar New Year crowd-drawer Chinese Odyssey 2002, her fourth film, in which she plays opposite Tony Leung Chiu-wai. It is also a testament to her new, more-mellow attitude. When she last played opposite Leung in Chungking Express in 1994, Wong barely spoke to her co-star. This time, in a hectic two-month shoot over Christmas, she says the pair got on well. Leung told the South China Morning Post she “seemed like a different person this time. She is very cheerful and friendly.”

Wong plays the role of Princess Wu Shuang, who escapes from her palace for fun, often disguising herself as a man, only for both a man and a woman to fall for her. “Filming Chungking Express was painful for me because I had no idea what I was doing at all,” she says. “But Chinese Odyssey 2002 was an enjoyable experience - though I didn’t have time to sleep. The team spirit was fantastic.”

But it’s not just her character that changed between the two movies, she insists. Wong Kar-wai, the director of Chungking Express, and Jeff Lau Chun-wai, who wrote and directed Chinese Odyssey 2002, were two extremes. “As I am not confident and experienced with acting, I need demonstrations on how to act,” she says. “Jeff gave me very clear direction: he is willing to teach, whereas Wong Kar-wai did not want me to understand what was on his mind. I just had to perform what he told me to and some of the situations were quite embarrassing. Sometimes I didn’t have a clue what I was doing. It was good for me because there was no need for me to analyse the character. But now I want to know more about acting.”

In Wong’s 1994 song Exit, she describes herself as having a lack of patience. That’s one thing that has not changed. After 30 minutes, a clutch of cigarettes and a snack attack of toast, she gets up with an “Is that OK?” and has exited left before even her hovering assistants can pretend it was their idea.

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SOURCE: THE SOUTH CHINA MORNING POST

#2002

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writetoremember · 7 years

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鄭德華教授

香港大學博士，主修歷史，研究領域包括中國近代史、嶺南地區歷史文化、廣東僑鄉和海外華人。從八十年代開始，對港澳歷史文化研究逐步加強，曾參與多項有關這方面的研究、出版活動。主要著作有《台山僑鄉與新寧鐵路》（合作）、《歷史追索與方法探求》、〈清初遷海時澳門考略〉、〈廣東中路土客械鬥〉〈嶺南歷史文化的開拓和保護〉、〈香港上水廖族的歷史與現代轉變〉等。曾在廣東中山大學、美國加州大學任教學和研究，亦曾任三聯書店（香港）有限公司高級策劃編輯，現任澳門大學社會及人文科學學院中文系副教授、中國文化研究中心主任。

ZHENG DEHUA 鄭德華 Invited Full Professor

Other Roles

· Director of Research Centre for Chinese Culture

Academic Qualifications

· Doctor of Philosophy, University of Hong Kong, Hong Kong (1990)

· Master of Arts, Zhongshan Univeristy, China (1978)

· Bachelor of Arts, Zhongshan Universty, China (1968)

Teaching Area

· Chinese History and Culture

· Research Method in History

· Art of Editing

Research Area

· Recent and Modern Chinese History

· History and Culture of South China

· Overseas Chinese and Qiaoxiang History

· Hong Kong and Macau History

· Hakka People History

Current Research

· A Study on the Relations between Modern Qiaoxiang of Guangdong Province and Guangzhou, Hong Kong and Macau

· The Network and Culture on Guangdong Qiaoxiang

· Hong Kong and Macau History

Professional Affiliations

· Academic Advisor of the Department of Chinese Culture and Member of the Steering Group on the Establishment of the Department of Chinese Culture, The Hong Kong Polytechnic University

· Adjunct Professor, Asian American Studies, School of Ethnic Studies, San Francisco State University

· Supervisor, “The Stories Behind the old Diaolou”— a Permanent Exhibition of Overseas Chinese History in Kaiping, Guangdong Province

· Gust Research Fellow, The History & Sun Yat-sen Institute, Guangdong Academy of Social Sciences

· Supervisor, Association of Overseas Chinese History Guangdong Provence

· Vice-chairman, The Association of Chinese Traditional Culture of Macau

Selected Publications

(1) Books:

· A Hong Kong History with Cartoon, J P C Ltd. (H K), June 2005 (republication, Co-author: Yuan Zi). «歲月留情 – 漫畫香港史»，三聯書店(香港)有��公司，1992年9月初版，2005年6月重版(與炎子合作)。

· The Chinese and Western Style Architecture in Guangdong Qiaoxiang, Joint Publishing (H. K.) Co.Ltd., Jun 2003. 《廣東僑鄉建築文化》香港﹕三聯書店（香港）有限公司，2003年6月初版。

· Search for History and Research Method, Hong Kong: Joint Publishing（H.K.）Co. Ltd., June 1999. 《歷史方法與方法探求》，三聯書店（香港）有限公司， 1999年6月版。

· The Historical Maps of Macau (Co-author: Zhou Ailian, K.C. Hok), Beijing: Huawen Publishing Co., Jan. 2000. 《澳門歷史地圖精選》，北京﹕華文出版社， 2000年1月（合作者：鄒愛蓮、霍啓昌）。

· Sunning Railway and the Taishan County. Guangzhou: Zhongshan University Press,1991 (Co-author: Lucie Cheng).《臺山僑鄉與新寧鐵路》，廣州：中山大學出版社，1991年（合作者：成露西）。

· Index to Articles on Ming-Ch'ing History in Hong Kong Periodicals, 1980-1987, Hong Kong: Horizon Publishing Company, 1989. (Co-editor: Clara Lau Wing Chung). 《香港地區明清史期刊論文索引》，地平線出版社，1989年（合編者：劉詠聰）。

(2) Papers:

· 〈澳門盧氏家族與辛亥革命〉，載中央文史研究館編：《紀念辛亥革命一百周年學術論文集》，廣州：廣東人民出版社，2011 年10月，453-462頁。。“The Lu Family of Macau and 1911 Revolution” in National Institute of Literature and History Edit, Collected Works of Commemorates the 1911 Revolution 100th Anniversary Academic Seminar, Guangzhou, Guangdong Renmin Press, Oct. 2011, pp.453-462.(ISBN 978-7-218-07323-1)

· 〈地域視野下的澳門歷史文化研究〉，載《南國人文學刊》（澳門大學），，2011 第1期，161-174頁。。“Cultural History of Macau: A Regional Perspective”, in South China Journal of Humanities （University of Macau）, 2011, No.1, pp.161-174.(ISSN 2078-6549)

· “A Review on the Concept ‘Qiaoxiang’ and Qiaoxiang Studies”, Academic Research (No. 2, 2009), pp.95-100. 〈關於‘僑鄉’概念及其研究的再探討〉，《學術研究》 2009年第2期。

· “A Study on Qiangxiang Culture of Lingnan and the Diversification Cultures in One System of China ”, in Huaqiao and Huaren, November, 2008, No. 2, pp. 58-64. 〈近現代嶺南橋鄉文化與中華文化的一體多元〉,《華僑與華人》，2008年2期，2008年12 月。

· “A Comment on the ‘Free Trade Port’Police to Macau in 19th Century”, in The Hisory & Sun Yat-sen Institute Guangdong academy of Social Sciences (ed.), Commemorative Collection of the 50th Anniversary of the Founding of the History & Sun Yat-sen Institute Guangdong Academy of Social Sciences 1958-2008, Hong Kong, The Milky Way Publishing Co .Ltd. , November, 2008, pp. 904-919. <十九世紀澳門 “自由貿易港”政策的歷史評議> ，廣東省社會科學院歷史與孫中山研究所編: 《廣東省社會科學院歷史與孫中山研究所建所五十周年紀念文集》, 2008。

· “Canton, Hong Kong, Macau: The Centre of Lingnan Culture and the Culture Interflow between These Area and Western Countries in Modern History Age”in Rao Zongyi (ed.), Hua Xue, No. 9,10 (二)，Shanghai Century Publishing Co. Ltd. and Shanghai Classical Book Publishing Co. Ltd., 2008年8月，pp.622-634. 〈粵、港、澳：近代嶺南文化核心及其對外文化交流〉，饒宗頤主編：《華學》，第九、十輯（二），上海世紀出版有限公司、上海古籍出版社，2008年。

· “A Macroscopic Study on the Qiaoxiang History of Xiangshan County”, Journal of Ethnic Chinese, No.2, 2007, pp. 47-50. <大香山僑鄉歷史的宏觀考察>，《華僑與華人》，2007年12月（2007年第二期），47-50頁。

· “A Study on a Hakka Village of Brink of the Sea: Ka Ho, Coloane, Macau”, RC, No. 62, pp. 1-12, 2007, Spring. <澳門路環九澳村：一條濱海客家村的歷史考察>，澳門«文化雜誌»62期， 1-12頁， 2007年春。

· “Armed Conflicts between Hakkas and puntis from the Xianfeng Reign to the Tongzhi Reign : A Review of the Field ”, Chinese Culture Quarterly, 2005, Summer, pp. 246-268. <關於咸同年間土客大械鬥的歷史回顧> ，«九州學林»，2005年夏季，三卷二期。

· “The Method of Cultural Transmit on Hakka People History: A Analysis on ‘Hakka Came from Central China’”, Academic Research (March. 2005), pp111－116. 〈客家歷史文化的承傳方式—客家人來自中原說試析〉，《學術研究》 2005年3月。

· “A Historical Enlightenment from Huang Zunxian’s Outlook”, UM Chinese Scholarly Serial (1), Nov. 2004, pp..203-214. <黃遵憲文化觀的歷史啟示>，«中文集刊» (1)，2004年11月。

· “A study on Huang Zun-xian’s View of Affairs Concerning Chinese Nationals Living Abroad (1882-1885)”, Overseas Chinese History Studies, Summer 2004, pp.53-61. 〈黃遵憲的僑務思想活動（1882-1885）〉《華僑華人歷史研究》2004年2期，53-61頁。

· “A Study on Chinese and Western Style Architecture in Wuyi Qiaoxiang, Guangdong”in Li Wei: Research on Culture of Qiaoxiang, Guangdong Renmichubanshe, Aug.2004, pp. 28-51. 〈五邑僑鄉中西合璧建築研究〉載李威主編﹕《僑鄉文化探討》，廣州﹕廣東人民出版社，2004年8月。

· “Zheng Guanying and the Coolie Trade”, in Wang Jie and Deng Kaisong(ed.): Proceedings of the 160th Celebrating the Birthday of Zheng Guanying, Association of Concerning about the Heritage of Macao and Association of Macao History, Sept. 2003, pp. 346─350. 〈鄭觀應與豬仔貿易〉，載王傑、鄧開頌主編﹕《紀念鄭觀應誕辰一百六十周年學術研討會文集》，澳門歷史文物關注協會、澳門歷史學會出版，2003年9月。

· “Maritime Silk Road and Overseas Chinese History-With a Study on Chinese and Western Style Architecture in Guangdong Qiaoxiang ”, Lingnan Culture and History ( “The Academic Discussion on the Maritime Silk Road and Chinese Southern Ports” Collected Papers, 2002), pp. .280-284. 〈從華僑史看海上絲綢之路—兼談廣東僑鄉中西建築〉，《嶺南文史》2002年增刊（“海上絲綢之路與南方港”學術研討會論文集）。

· “Photographs on Cultural Diversity in Macau: A City of Immigrants”, in D.Y. Yuan: Chinese Immigration and Emigration, Macau: University of Macau, 2000, pp.115-121 ）.

· “A Study on China and Western Countries Culture interflow on Macau”, in Wu Zhiliang and Yang Yunzhong (ed.), Macau 2000, Macau: Macau Foundation, 2000, pp. 336-347. 〈澳門中西文化交流初探〉，吳志良、楊允中編﹕《澳門2000》，澳門﹕澳門基金會，2000年。

· “Photographs on Cultural Diversity in Macau: A City of Immigrants”, in D.Y. Yuan: Chinese Immigration and Emigration, Macau: University of Macau, 2000, pp.115-121

· “A Study on the Utilization and Protection of Lingnan Historical Culture Resource” in Academic Research (Sept. 2000), pp.93-97. 〈試論嶺南歷史文化的開拓和保護〉，《學術研究》，2000年9月。

· “One Trading Port System and Macau Channel” in Academic Research ( Dec. 1999), pp. 35-42. 〈“一口通商”與“澳門航道”〉，《學術研究》，1999年12月。

· “A Study of Armed Conflicts between the Punti and the Hakka in Central Kwangtung”, Xiandai Yu Chuantong 4 (1994), pp. 81-87.〈廣東中路土客械鬥研究〉，《現代與傳統》, 1994年

· “On the Historic Graphical Significance of Chixi Xianzhi”, Jiann Hsieh and Chang Chak Yan (eds.), The Proceedings of the International Conference on Hakkaology, The Chinese University of Hong Kong, 1994, pp.665-674. ＜《赤溪縣志》之史料價值＞，《國際客家研討會論文集》，1994年。

· “A Study on Clan of Guangdung”, The Journal of Chinese Social and Economic History, 4 (1991), pp.71-82.〈清代廣東宗族問題研究〉，《中國社會經濟史研究》，1991年。

· “On Hakka History Studies since the Late Qing Dynasty”. Bulletin of Ming-Qing Studies 2 (1989), pp.96-123. ＜晚清以來客家史研究述評＞，《明清史集刊》1989年。

· “‘Tables’Tentative Annotated Bibliography of Reference Tools for Ming-Qing Studies”, Orient (Special Issue on the 60th Anniversary Celebration of the Chinese Department, University of Hong Kong) (1988), pp.17-30. (Co-author: Clara Lau Wing Chung).,＜明清史研究工具書敘錄初編之一:"表"＞，《東方》，1988年。

· “A Study of Macao During the Removal of the Coastal Population in the Early Qing Dynasty”. Xueshu Yanjiu 4 (1988), pp.63-67. ＜清初遷海時澳門考略＞，《學術研究》，1988年。

· “A Biography of Chin Gee Hee”. Guangdong Huaqiao Mingren Zhuan. Wen Guangyi. (ed.) Guangzhou: Guangdong Renmin Chubanshe, 1988, pp. 71-91.＜陳宜禧＞，《廣東華僑名人傳》，廣東人民出版社，1988年。

· “The Removal of the Coastal Population and Its Social Consequences in Guangdong During the Early Qing Dynasty”. Chinese Culture Quarterly, 1:4 (1988), pp.47-71.. ＜清初廣東沿海遷徒及其社會影響＞，《九州學刊》，1988年。

· “Review of Studies on Lineage Law During the Qing Dynasty”, Journal of Oriental Studies, 25:2 (1987), pp.295-298. ＜評《清代宗族法研究》＞，《東方文化》，1987年。

· “Studies on Taishan: A Shaping of an Overseas Chinese Hometown at the End of the 19th Century”. Huaqiaoshi yanjiu 1986:4 (1986), pp.63-71.＜十九世紀臺山僑鄉的形成及其剖析＞，《華僑史研究》，1986。

· “The Parian: An Overseas Chinese Community in Manila”. Huaqiao Lishi Xuehui Tongxun, 1983:3 (1983), pp.8-18..＜馬尼拉的巴利昂華人社區＞，《華僑歷史學會通訊》1983年。

· “The Debate Between the Revolutionary Party and the Loyalist Party in Southeast Asia before the Revolution of 1911”. Xueshu Yanjiu 1983:12 (Domestic Edition, 1983), pp.54-62.＜辛亥革命前革命黨與保皇黨在南洋的論戰＞，《學術研究》，1983年。

· “Chinese Emigration: The Sunning Railway and the Development of Taishan. ”Zhongshan Daxue Xuebao 1980:4 (1980), pp.24-47. Also published in English in Amerasia Journal, 9:1(1982), pp.59-74. (Co-authors: Lucie Cheng and Liu Yuzun),＜華僑，新寧鐵路與臺山＞，《中山大學學報》，1982年（合作：成路西、劉玉遵）。

· “Some Valuable Materials on Overseas Chinese in Taishan County”. Huaqiao Lun Wenji 1, Guangzhou: Guangdong Huaqiao Lishi Xuehui, 1982; pp.454-489. (Co-author: Wu Xingci).＜一批有價值的華僑史資料＞《華僑論文集》(一)，1982年（合作者：吳行賜）

Selected Conference paper

· 〈澳門盧氏家族與辛亥革命〉“Macao Lu Family and 1911 Revolution” （論文、特邀嘉賓發言）(Paper and keynote speaker ) 紀念辛亥革命100周年學術研討會(Commemorates the 1911 Revolution 100th Anniversary Academic Seminar ) 中央文史研究館主辦( Host by the National Institute of Literature and History.) 廣東廣州，2011年4月7-8日。

· 〈辛亥革命與海外華僑再探討〉（研討會論文） “辛亥革命百年回眸與反思專題研討會”（第八屆國情國學教學研討會）（北京師範大學、香港浸會大學）聯合國際學院中國語言文化中心主辦，珠海國際學院，2011年10月21-22日。

· “The Culture of Clan and Modern Qiaoxiang: A Study on the Pearl Deter”, International Conference on History and Culture of Guangdong, Hong Kong, Macau and the Pearl River Delta Region, University of Macau, Nov. 25-26, 2008. <宗族文化與近現代僑鄉：以珠江三角洲為例>,“省港澳與珠江三角洲地域歷史文化國際研討會”, 澳門大學社會科學及人文學院中文系中國文化研究中心主辦主辦，廣東省文史研究舘、廣東社會科學院歷史研究所、香港嶺南大學香港與華南歷史研究部、中山市華僑歷史學會協辦, 澳門，2008年11月25-26日。

· “Hong Kong and Qiaoxiang of Guangdong Province”, “Hong Kong History and Society”, International Academic Conference , 6-8. June, 2007, Lingnan University, H.K. , <香港與近代廣東僑鄉>，“香港歷史與社會”國際學術研討會，2007年6月7－8日，香港，嶺南大學。

Current Courses

1. Art of Editing (ACCH404)

2. General Chinese History II (CHIN231)

3. History and Culture of South China (CHIN310)

Previous Courses

1. Bibliography I (ACCH310)

2. Chinese Advertisements and Promotional Writing (ACCH401)

3. Chinese and Chinese Culture II (CHIN128)

4. General Chinese History I (CHIN230)

5. Art Of Editing (CHIN233)

6. Chinese Social and Economic History (CHIN311)

7. Quantitative Methods for Chinese History I (CHIN332)

8. Quantitative Methods for Chinese History II (CHIN333)

9. Research Method For History (CPHM101)

10. Special Topics in Recent & Modern Chinese History (EDCH410)

Contact Details

Faculty of Arts & Humanities (FAH) University of Macau Av. Padre Tomás Pereira S.J., Taipa, Macao Room:E21-2092 Telephone: (853) 8822 8267 Fax: (853) 8822 2323 E-mail address: [email protected]

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dweemeister · 7 years

Photo

A Touch of Zen (1971, Taiwan)

When Chinese director King Hu was writing the screenplay to his upcoming martial arts epic, he found himself disgusted with the mindless violence pervasive in the wuxia genre. Wuxia, for those unfamiliar with the term, is a genre of Chinese fiction involving martial arts during the times of Imperial China. Wuxia can also include elements of masculine chivalry, sometimes sorcery (though not in this film). King Hu’s A Touch of Zen is an unusual wuxia film – it is over three hours long, and no swords are drawn nor do fists fly until more than an hour has passed. Those facts about A Touch of Zen might alienate wuxia fans and frighten those who have never delved into Asian martial arts cinema. But what if I told you that A Touch of Zen is one of the greatest martial arts films of all time, with its first-hour nonviolent intrigue, enormous scope, heavily Buddhist themes, and among the most astonishing action choreography that movie audiences have ever witnessed?

For the first two hours, A Touch of Zen centers its plot on the oafish painter, Gu Sheng-tsai (Shih Chun). It is set sometime during the Ming dynasty (1368-1644). Gu lives with his mother (Zhang Bing-yu) – who hounds her son into taking the civil service exam and finding a wife to continue the family line – in the charred remains of an abandoned imperial fort. It plays like a domestic comedy, if only briefly. A behatted stranger, who will later be identified as Ouyang Nian (Tien Peng) and is introduced in shadow as if this was an American Western, comes to town one day to have his portrait painted by Gu, but his unspoken objective is to capture a woman named Yang Hui-zhen (Hsu Feng) – a fugitive of the law and adroit in combat. Unbeknownst to Gu, Yang has moved into the house across from his mother’s and the two will become friends – although Gu’s mother would like her son to seal the deal already. Also in hiding and allied with Yang are generals Shi and Lu (Bai Ying and Xue Han, respectively).

As motivations are gradually revealed and as the corrupted eunuch’s forces converge upon the town and the fortress, our protagonists flee to the countryside and, in the final hour, the narrative focus shifts from Gu to Yang and General Shi. We are also introduced to a number of characters – most notably, the eunuch’s commander Xu Xian-chun (Han Ying-jie; who also serves as the film’s martial arts choreographer) and Buddhist Abbot Hui-yuan (Roy Chiao).

The opening shot of A Touch of Zen sees a spider moving towards its entangled prey. Spiderwebs are typically a thoughtless hallmark of horror films, but here they appear – mostly in scenes at the abandoned fortress – on occasion to suggest entrapment, the proximity of bloodshed. This applies not just to the protagonists, but those pursuing them. Despite the spectacular wide shots that appear after Gu, Yang, and General Shi find themselves in the wilderness, many of the interior shots in the opening half of A Touch of Zen feel cramped – even moreso at night and during the moments when Gu, Yang, and their allies attempt to trick the enemy reconnaissance into believing that the abandoned fortress is haunted. Notice how quickly the predators can become prey. Such is the confusion that imminent violence might cause.

If the violence found in A Touch of Zen is a result of Yang’s familial duties and sense of honor clashing with the rigid laws governing the eunuch’s lands, it is something that several characters – including Yang herself – are considering an escape from. Here enters Abbot Hui, who first appears in the town’s market with his fellow monks, walking past Gu’s establishment without talking to anyone. Only after the stranger, Ouyang Nian, has confronted Gu for the first time does Abbot Hui break from his wandering stroll. Abbot Hui will not appear again until much later after a violent battle, to help clean and tend to the deceased. In general, the Buddhist monks only make appearances in the film when violence is imminent or has just completed – serving as a sort of punctuation for the film. Unbounded by the earthly desires and allegiances that dictate the actions of all the other characters, Abbot Hui extols nonviolence, showing quarter to even those who threaten exceptional violence.

Does nonviolence work against those who do not respond to soothing, reasonable words? Current sociopolitical thinking might reject these notions outright In Buddhism – a religion dominated by principles, rather than rules – self-defense is, depending on who you ask, an ambiguous topic. But self-defense is largely believed to be permissible (excluding to-the-letter pacifists, but not to the extent of how certain Burmese Buddhist radicals have condoned violence against the Rohingya minority there), as long as it is not borne from hatred towards the attacker, but compassion for the defendant/s and the attacker. From the words of Vietnamese monk and peace activist Thích Nhất Hạnh, when asked about a hypothetical question in which he faced an attacker after a genocide in which he would be the last Buddhist on the planet:

It would be better to let him kill me. If there is any truth to Buddhism and the Dharma it will not disappear from the face of the earth, but will reappear when seekers of truth are ready to rediscover it. In killing I would be betraying and abandoning the very teachings I would be seeking to preserve. So it would be better to let him kill me and remain true to the spirit of the Dharma.

Though no such genocide appears in A Touch of Zen, Thích Nhất Hạnh’s illustration of Buddhism’s incompatibility towards much of the violence contained in A Touch of Zen. Separation from worldly matters and displaying trust and forgiveness for those who might wish one harm is key, and Abbot Hui abides by these principles. For many Westerners – especially those who have not studied or at least have a superficial understanding of Eastern religions – this might cause befuddlement and consternation in the closing third of the film when King Hu begins to feature the Buddhist monks more often. The final, open-ended scenes draw from Buddhist metaphysics and mysticism – capturing ascendance through selflessness.

Through the actions and words of Abbot Hui, we are better able to comprehend the suffering of Gu, to use one of a few possible examples. Unambitious and uninteresting though his life might have been prior to meeting Yang, Gu’s involvement with Yang and her allies sees him evolve from bumbling straggler to cold-blooded tactician when planning an ambush against the eunuch’s troops – as an aside, undesirable events occur any time after he sleeps with Yang. There, the idea of planning violence is shown as less mentally consequential than committing those acts. Committing violence – whether in self-defense, for “altruistic” purposes (is such a concept inherently contradictory?), or for other reasons – aligned with one’s compassion is a perilous predicament, as this behavior can all too easily transform into malevolence.

The protagonists depicted in A Touch of Zen are well-meaning, imperfect beings unable to release themselves from the shackles of chivalry, familial honor. That is what leads to their suffering from the hands of others, and from within.

For those without much experience in Asian martial arts films, let alone wuxia, A Touch of Zen starts roughly for its opening minutes. Cinematographer Hua hui-ying and editors King Hu (who had a history of performing many tasks other than directing in his movies) and Wing Chin-chen utilizing various swooping movements that do not appear to serve much purpose other than to make the motion-sensitive slightly queasy. After that inexplicable introduction, Hua, Hu, and Wing piece together an excellent collaborative effort. For cinematographer Hua – working with Eastmancolor and a glorious widescreen lens – his cameras are typically flat or glancing upward, utilizing swathes of open space to suggest danger, a higher consciousness/power, all to unsettle the viewer and keep our attention not just on the foreground. Shot partially at Taroko National Park in eastern Taiwan, there are nature shots in A Touch of Zen stupendous to behold; fans of Crouching Tiger, Hidden Dragon (2000, Taiwan) will be awed by the scenery, and perhaps wondering if A Touch of Zen inspired the later film in any way (it certainly did, but more shortly). Hua’s camera can also barely capture combatants when running or jumping from ground to rooftops – because wuxia, kung fu, and other Chinese martial arts logic is like that, so just accept it – at full speed. The editing by Hu and Wing, sometimes only including a shot for the shortest of split-seconds, forces the viewer to pay the fullest attention, in fear of missing on a crucial detail of geometry, body positioning, or location during a furious swordfight.

The action would have been less exhilarating if choreographer and actor Han Ying-jie did not work on this film. Two extended set pieces are standouts: the final battle at the abandoned fortress in the dark of night and a free-flying bamboo forest battle that would later be recalled and reworked in Ang Lee’s Crouching Tiger, Hidden Dragon. For those who have never seen A Touch of Zen – it is recommended that you have seen some other wuxia, kung fu, and other assorted martial arts films before this one – this movie contains some of the most arresting action imagery and gobsmackingly tense battles one can ever experience in this genre. Han’s choreography has stamped his unquestionable legacy into modern martial arts films from China, Hong Kong, and Taiwan.

A Touch of Zen became a sensation of world cinema when released – winning a technical prize at the Cannes Film Festival – but was half-forgotten until Crouching Tiger, Hidden Dragon came along at the turn of the century. Releases of the most recent restoration by the Masters of Cinema releases in the United Kingdom and the Criterion Collection in North America have allowed A Touch of Zen a global reach like never before.

Asian martial arts cinema – of the distant past, less distant past, and the present – has never been a specialty of mine (my father and many in my extended Vietnamese-American family have consumed much more). What separates A Touch of Zen from the dizzyingly large number of Asian martial arts films lies in something not often found in this genre. It has mastered matters elemental and physical, while commanding a dialogue with the spiritual.

My rating: 10/10

^ Based on my personal imdb rating. A Touch of Zen is the one hundred and forty-first film I have rated a ten on imdb.

#A Touch of Zen #King Hu #wuxia #Hsu Feng #Shih Chun #Bai Ying #Xue Han #Roy Chiao #Tien Peng #Cao Jian #Miao Tien #Zhang Bing yu #Han Ying jie #Wang Rui #Hua Hui ying #Wing Chin chen #TCM #My Movie Odyssey

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gomacau · 7 years

Text

Macau Chinese Temples around the islands are more then 40

Macau Chinese Temples

Around the islands are more then 40 Macau Chinese Temples which are classified as suburban temples rather than distinctive in style. This system of temples is hardly seen in the Mainland China, and neither in Hong Kong nor Taiwan.

Macau Chinese Temples in Western Paintings and Photography

Besides the records of Matteu Ricci, a number of western painters also came to China and included the A-Ma Temple into their works. The A-Ma Temple was also photographed by French photographers and become one of three earliest photographic scenes of China after the invention of photography.

Among the western painters who come to China were Auguste Borget (1808-1877), William Princep (1794-1874), George Chinnery (1744-1852), Edward Hildebrandt (1818-1869) and etc. .

In the summer of 1844, five years after the invention of photography, Frenchman Jules Itier (1802-1877) came to Macau as one of the entourage of the delegation of Mr. Lagrene. Itier participated in the negotiation of the Treaty of Huang Pu Between China and France. One of his photos was the door of A-Ma Temple. When the film of silver version was developed at that time, its reverse side was put on the front.

A-Ma Temple became one of the earliest scenes that were photographed in China after the invention of photography.

Temple Gods and Worship

The nearly forty temples in Macao are typically mixed in terms of worship. To some extend, these temples belong to suburban temples. For example, the ancient temple of Buddha called “Chan Yuan”, have images other than the Buddha.

In the Lotus Temple, beside the images of Buddha such as Kun lam, God of Earth and Waits, there also are images of Taoism such as Tin Hau and Kwan Tai; the images of folk gods such as God of Land, Lord of Door, Personages and Eminent Horses, Empress of Kam Fa (Golden Flowers) and Lord of Dou Mu; even the images of ancient times of China such as Emperor of Shen Nong, Cang Jie and Zu Song.

Usually the Macau Chinese Temples get the gods of Buddhism, gods of Taoism and the folk gods all together.

Taking the temple of Kun lam for another example, besides the Buddha of Three Generations, Kun lam, God of Earth, Buddha of Maitreya, Eighteen Arhats, Weito and King of Hell, it is also dedicated to Empress and Kwan tai. On its back mountain, there is an image of folk god called “Immortal of Bones” which is hard to find in any books.

The worshippers’ behaviours in the Macau Chinese Temples are also peculiar. Most people offer incenses and recite Buddhist sutras. Others offer sacrifices and fire paper candles.

There is some suburban temple music collected in the Chinese Ancient Music Office. They were performed for the occasion when the ancient emperors offered sacrifices to Heaven, Earth or ancestors. In fact, during ancient times there were various sacrificial activities circulated among the people in honour of Heaven, Earth, Gods, Ghosts or even men.

Later, along with the development of the history, the emergence of religions and the differences among various conventions, the sacrificial activities in honour of Heaven, Earth, Gods, Ghost or ancestors took on multiple looks.

The sacrificial activity in honour of men has gradually changed to be part of social activity, by offering sacrifices to eminent figures of Chinese nations instead of ancestors of a clan or a family, though this social activity has developed continuously until today.

The so-called suburban culture refers to all the cultures associated with sacrificial activities. It is a spiritual belief.

The places where people offer sacrifices, process religious services, worship and commemorate are material conditions of suburban cultures, namely the relative Buddhist temples, Taoist abbeys, ancestral temples, former residences, precipices, grottos, sacrificial houses, mausoleums and tombs. (Buddhist Temples of China, Tian Jin People’s Publishing House, 1994 edition by Wu Yingcai and Guo Junjie)

The nearly forty existent temples o Macao have formed a system accumulated over a long period since the middle age of the Ming Dynasty. The number of the temples has never been reduced and the cultural relics from the Ming Dynasty are well kept in the temples.

The system of suburban Macau Chinese Temples originated mainly from Lingnan and central plains, and was influenced a great deal by central plains.

It is said in the Annals of Zhongyi Village of Foshang: “The people of Yue respect ghosts.” This custom has a deep influence in Macao.

The gods worshipped in the Macau temples have two origins: one refers to the gods from central plains such as the Buddhist gods, Taoist gods and gods of ancient times; the other refers to the folk gods from Lingnan.

The worship of Kam Fa (Golden Flowers) which can be seen everywhere in Macao came from Lingnan. The worship of Empress of Golden Flowers originated from Guangzhou. It is said that the Empress, regarded as protective god of children, can protect the normal childbirth, but also bless their peaceful growth.

In the late Qing Dynasty, the temple of Golden Flower had a large number of worshippers and more than eighty images of Empress of Golden Flower were worshipped in the temple. The phenomenon aroused the interest of the folklorist and historian Gu Jiagang and other persons, and then they made a special visit to the temple to study more about it.

At the present there are more than ten temple where Empress of golden flowers are worshipped, including temple of Lin Fung, Temple of Tai Soi, Temple of Yi Ling, Temple of immortal Lu Zu, Temple of Lin Kai, Ancient Temple of Kun Lam, Ancestral Temple of Fok Tak in Horta e Mitra, Temple of Golden Flowers of Coloane (also called Temple of Three Divinities) and etc. Among these temples, the temple of Lin Kai and the Temple of Tai Soi are the largest scale.

There are 15 images of Kam Fa (Empress of Golden Flowers) respectively worshipped in the Temple of Lin Kai and the Temple of Tai Soi. These images are in different poses: some take babies in their arms, some wave fans and some feed babies at the breast, showing their secular aspects. Though the temple is not as large as the Temple of Golden Flowers of Henan Village of Guangzhou in scale, it keeps the folk customs.

The worshipped of the God of water Tam Kung in the Temple of Tam Kung of Coloane and the Temple of San Seng (Three Divinities) of Ka Ho came from the folk worship of the Mountain of Nine Dragons of Huizhou of Guangdong; the Dragon Mother of Yuecheng worshipped in the Temple of Nu Wa of the Ruins of church of Sao Paul, originated from the main Goddess-Dragon Mother of Yuecheng of the Temple of Dragon Mother located I Deqing of Guangdong, which has a wide influence in the region of Delta of Pearl River.

The images worshipped in some Macau temples come from Lingnan, which shows deep influences of Lingnan culture in Macao. Macao lies to Lingnan and most residents of Macao have origins of Guangdong, so it is convenient for Lingnan to spread its beliefs since it has got the advantages of favourable climatic, geographical and human conditions.

The culture of central plains is deeply planted in Macao. Through the Macau temples are heavily influenced by the folk customs of Lingnan, they originated from central plains. The cultural system of central plains is deeply rooted and firmly planted. It has a distant origin and long development. Its great and profound influences can be seen in the Macau Chinese Temples.

The main strain of the system of folk worship of Macao mainly inherits from central plains. As we know, all the images that own a large number of worshippers of Macao such as Kun lam, Tin Hau, Kwan Tai, Pak Tai, Buddha, Lord of Earth, Tai Soi and Lu Zu, originated from central plains. At the same time, the gods of ancient times of central plains such as Nu Wa, Yan Di, Ju Song, Cong Jie, Yi Ling, Mother of Earth and the folk immortals such as Lord in charge of wealth, Hua Guang, Ancestral Master Lu Ban and others, have also exerted great influences on the beliefs of the Chinese of Macao.

Today, worshippers will gather in the temples on every anniversary of Buddha, Kun lam or relative gods. Traditional cultural worship in Macao has deep-roots.

The city of Macao was set up in the Ming Dynasty and more than half of the Macau Chinese Temples were built during the Qing Dynasty. The inflow of the beliefs of central plains and of Lingnan, their settlement and prosperity were associated more or less with the policies of the Ming and Qing Dynasties. For example, the government of the Ming and Qing Dynasties deliberately popularized and advocated images by administrative means and conferred titles to the images, which were favourable to the moralities among the people.

(Excertps from: Macau Temples by Chan, Lei and Chendra published by IACM SAR 2002)

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anandasumisu · 7 years

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The Inconsistencies of Pig

Hey there readers! This is the 2nd part of my Kera Sakti rant. If you haven’t seen the first one, I heavily recommended you to read it here: http://smithanandari.tumblr.com/post/155676317158/my-kera-sakti-phase-is-back-again-no-surprise

So as I said in the previous part, this part will be talking much about The Pig’s character’s inconsistencies through the entire series of Kera Sakti (I and II. I refuse to acknowledge the existence of Kera Sakti III because it is not a sequel to TVB’s Journey to The West series. It’s Taiwanese production titled Monkey King: Quest for Sutra, for God’s sake). If you’ve seen the series, I believe you found it too! As fan of The Pig, I noticed a lot of character changes. Some might due to character building but some of them are just… off. It kinda started from the episodes of Spider Demon arc, and gets worse in the sequel (Kera Sakti II). Here’s my breakdown.

As for the start, I must be talking about episodes of The Pig’s early life. Here, the series creator makes a crazy (but damn good) move by altering what the original book provides (An officer who harass a heavenly deities then banished from heaven). They added this superb story: He was Heavenly Commander Tian Peng who has fallen deeply in love towards a beautiful celestial lady, called Chang Er, who has mutual love with other officer named Wu Kang instead. These episodes show Tian Peng as a much powerful man with lower-ranked rival having the love from his sunshine. It’s just like Count di Luna from opera Il Trovatore who has fiery love inside his body for beloved Leonora, who loves rebel Manrico instead. But interestingly, unlike di Luna, Commander Tian Peng doesn’t fight for his love openly to his rival Wu Kang. He tries backdoor ways to get her. The most notable one is where he turns back time several times to save her first but fails every time. Here’s this character’s comedic root shows up. I enjoy these awkward yet funny scenes so much. Knowing these acts, the heavenly emperor got furious and punish Tian Peng because heavenly deities are forbidden to love (and because basically he’s about to make a fucking Flashpoint). His punishment? The ultimate thousand of love tragedies!

From low-ranked officer, to heavenly commander in charge of 80,000 navy soldiers, to a mere human who keeps getting trouble from love. That is the next part of the series about. The series shows audience some of >500 life he has lived during the punishment, for example a story where he’s a high commander who falls deeply in love with princess from enemy’s country he’s been fighting in war. He then sentenced to death for treason, just like Captain Radamès in Aida (wait, is this series’ script writer a fan of Giuseppe Verdi?) At a point he accidentally reincarnated to the wrong realm and ended up being unsightly humanoid pig who somehow still having heartbreak stories (Goddamnit Yue Lau). My personal favourite is the day he parted ways with his wife back in Gao Village before starting the journey with Tan San Zang. He has a poem (I’ve read from another source that this poem belongs to Chinese poet Li Bai) that he likes to recite at the end of each tragedies:

“多情自古空餘恨 (Duōqíng zìgǔ kòngyú hèn)

此恨綿綿無絕期 (cǐ hèn miánmián wú jué qī) ”

Or in English (from JTTW’s English Hardsub):

“I am overwhelmed by love in emptiness and resentment condition.

I only resend all these years that goes on without end.”

Or more famously known by Indonesian as “Sejak dulu beginilah cinta. Deritanya tiada akhir.”

(Thank you, Google Translate)

These scenes, despite being relatively small in running time in comparison to Wu Kong’s intro story, is powerful enough to show the audience the quality of Tian Peng/Ba Jie worth adored. Us, the audience, are served with dramatic ugly tears and painful feelings. From these, we see him as a hopeless romantic who lost everything he had just because he is too deep in love with someone! He might look funny at times (mind you, this is a comedy series) but the pain, God, the audience can feel the pain! Maybe this is why I found some of these scenes disturbing when I was a kid. I was expecting fun stuff from comedy series, but is served with a man showing his agony. But as a young adult, damn, I find it as some of the best moments from the series.

Then the scriptwriter(s) goes confused. In the Red Boy-Dream Demon duo arc, they made The Pig as a major pervert! He does some sexual harassment (for sake of comedy) instead of just looking at ladies in gently manner (and flapping ears, hahahaha). Maybe it’s because the borderline between ladies man and pervert is kind of hazy. In this arc he puts himself as a coward, but would sacrifice himself for his master. He has a small fighting scene (which will be never seen again, sigh…), is cunning (even though not all of his ideas work in solving the problems), and at times, helpful. He also in good terms with Wu Kong, even though Wu Kong plays him a little.

In the White Skeleton Spirit arc, he kind of had enough with Wu Kong and San Zang and then decided to be a dick towards them. He fights poorly (Ow come on! He was a commander back in the day, ffs!) but here, we can see him again becoming a gentle hopeless romantic lad, who in the end gets another agonizing heartbreak. There’s this inconsistency worth mentioned: In the earlier episodes, Ba Jie tends to use a disguise when interacting with ordinary people, so we can conclude that he’s not really confident with his physical appearance. (A bold move from the series creator since Book Ba Jie is SO DAMN CONFIDENT with his ugly-ass face). But in some scenes he doesn’t really mind facing the public without disguise, then back again being shy by insisting to his master to let him show himself as a well-dressed scholar (which the master refuses). There are lots of scenes in this arc showing Ba Jie uses veil to cover himself. But after the resolution of the arc, it is shown that he throws away his veil, accepting the fact about his looks. This scene tries its best to justify this particular inconsistency.

The small arc of Three Taoist doesn’t say much. Just showing him as a show-off and his dynamic with fellow disciples. Fun episodes, though. The Spider Demon arc is not really my favorite. It’s draggy and doesn’t do much with the pilgrim’s dynamic. It focuses on the Spider Demons’ own problem instead. There’s some development of The Pig, though. He still is looking at beauties but tries his best to look away. But really, there’s nothing in this arc. The Women Country arc is kind of a bummer to the Pig’s character too. He’s shown as a one dimensional character. Egotistical, that’s it. These episodes supposed to be able to show the dynamics of four characters but I just saw it as a random mess caused by babies. It ended the series with confusion.

Now where it goes far down, The Kera Sakti II series. BY GOD it has the funniest moments, but has none of the character complexity of its predecessor. I laughed my ass off watching some scenes but really, I feel empty watching it. Despite its fun dynamics between the four pilgrims, almost all of the arc is draggy (especially you, yes, I’m looking at you, Tung Bei Monkey arc). I don’t know whether or not the production changed the entire writer and/or director because The Pig character is just shown as a mere clown of the series. He’s not cunning, he’s plain stupid! He’s obscene, dim-witted, a poorly-skilled fighter, and whiny baby. It’s REALLY different from the previous rendition, even though it’s played by same actor (well, this concludes that Wayne Lai is a volatile actor *clapping hands confusedly*) Hell, even there’s a scene where he says “Well, how do I supposed to know, I’m just a pig.” WHAT IN THE HELL WAS THAT? I hate this character. I know he’s funny af (so many funny scenes of him!) but that is not how The Pig is presented in the previous series. The presentation that made me fell for him (Sighs…) I think what happened in Kera Sakti II is, the series creator tried to adjust Ba Jie’s character towards its original (book) because the love tragedies never really happened again on him in this sequel and the famous poem becomes a mere tagline.

So that’s about it. From this post you kinda get the inconsistencies of the most humane character in Kera Sakti throughout the series. Maybe it’s just me being picky on things but it’s just my two cents (with this long-ass writing I should say four dollars). Has any of you thought the same? Or maybe you found other kinds of inconsistencies throughout the series? I would like to know and believe me, I like reading long-ass article!

Nevertheless, this Kera Sakti series is timeless. I’m about to re-watch some of it right now!

#kera sakti #indonesia #tv serials #tvb #journey to the west #zhu bajie #wayne lai #review #love triangle #midnight thoughts

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