Portal:China

St. Michael's Cathedral (German: Kathedrale St. Michael; simplified Chinese: 圣弥额尔主教座堂; traditional Chinese: 聖彌額爾主教座堂; pinyin: Shèng Mí'ài'ěr Dàjiàotáng), also called the Zhejiang Road Catholic Church (Chinese: 浙江路天主教���), is a Catholic church in Qingdao (Tsingtao), Shandong Province, China, and is the seat of the bishop of the Diocese of Qingdao (Tsingtao). It is located in the oldest part of Qingdao, at 15 Zhejiang Road (formerly Bremen Straße), on the east side of Zhongshan Road (formerly Friedrich Straße) in Shinan District. Built by German missionaries, the cathedral stands at the top of a hill in the center of the old German-built part of the city. It is the largest example of Romanesque Revival architecture in the province, resembling a German cathedral of the 12th century.

St. Michael's Cathedral is the product of a strong German presence in Shandong Province in the 19th and early 20th centuries. In the mid-19th century the European powers forcibly opened China to foreign trade. The Divine Word Missionaries built a church in the Jiaozhou Bay concession in Shandong in 1902, and in 1934 erected the cathedral, which remained nominally under their administration until 1964. In 1942 it came under the control of the Japanese Army, returning to Chinese control when the Japanese left Qingdao in 1945. In the early 1950s, all foreign missionaries, including the Bishop of Qingdao, were either imprisoned or expelled from China, and during the Cultural Revolution (1966–1976) the cathedral was defaced and abandoned. In 1981, it was repaired by the government and reopened for services, and in 1992 it was listed as a Provincial Historic Building by the government of Shandong Province. (Full article...)

The Jin–Song Wars were a series of conflicts between the Jurchen-led Jin dynasty (1115–1234) and the Han-led Song dynasty (960–1279). In 1115, Jurchen tribes rebelled against their overlords, the Khitan-led Liao dynasty (916–1125), and declared the formation of the Jin. Allying with the Song against their common enemy the Liao dynasty, the Jin promised to cede to the Song the Sixteen Prefectures that had fallen under Liao control since 938. The Song agreed but the Jin's quick defeat of the Liao combined with Song military failures made the Jin reluctant to cede territory. After a series of negotiations that embittered both sides, the Jurchens attacked the Song in 1125, dispatching one army to Taiyuan and the other to Bianjing (modern Kaifeng), the Song capital.

Surprised by news of an invasion, Song general Tong Guan retreated from Taiyuan, which was besieged and later captured. As the second Jin army approached the capital, Song emperor Huizong abdicated and fled south. Qinzong, his eldest son, was enthroned. The Jin dynasty laid siege to Kaifeng in 1126, but Qinzong negotiated their retreat from the capital by agreeing to a large annual indemnity. Qinzong reneged on the deal and ordered Song forces to defend the prefectures instead of fortifying the capital. The Jin resumed war and again besieged Kaifeng in 1127. They captured Qinzong, many members of the imperial family and high officials of the Song imperial court in an event known as the Jingkang Incident. This separated north and south China between Jin and Song. Remnants of the Song imperial family retreated to southern China and, after brief stays in several temporary capitals, eventually relocated to Lin'an (modern Hangzhou). The retreat divided the dynasty into two distinct periods, Northern Song and Southern Song. (Full article...)

Xixiasaurus (/ˌʃiːʃiəˈsɔːrəs/) is a genus of troodontid dinosaur that lived during the Late Cretaceous period in what is now China. The only known specimen was discovered in Xixia County, Henan Province, in central China, and became the holotype of the new genus and species Xixiasaurus henanensis in 2010. The names refer to the areas of discovery, and can be translated as "Henan Xixia lizard". The specimen consists of an almost complete skull (except for the hindmost portion), part of the lower jaw, and teeth, as well as a partial right forelimb.

Xixiasaurus is estimated to have been 1.5 metres (5 ft) long and to have weighed 8 kilograms (18 lb). As a troodontid, it would have been bird-like and lightly built, with grasping hands and an enlarged sickle-shaped claw on the second toe. Its skull was long, with a long, low snout that formed a tapering U-shape when seen from below. The frontal bone of the forehead was dome-like in side view, which indicates it had an enlarged braincase. It differed from other troodontids in that the front of the dentary bone of the lower jaw was down-turned. Unlike in most troodontids, the teeth of Xixiasaurus did not have serrations; instead, their carinae (front and back edges) were smooth and sharp. It was distinct among troodontids in having 22 teeth in each maxilla (in other genera the maxillary tooth count was either higher or lower). (Full article...)

Not One Less is a 1999 drama film by Chinese director Zhang Yimou, adapted from Shi Xiangsheng's 1997 story A Sun in the Sky (Chinese: 天上有个太阳; pinyin: tiān shàng yǒu ge tàiyáng). It was produced by Guangxi Film Studio and released by China Film Group Corporation in mainland China, and distributed by Sony Pictures Classics in North America and Columbia TriStar Film Distributors internationally.

Set in the People's Republic of China during the 1990s, the film centers on a 13-year-old substitute teacher, Wei Minzhi, in the Chinese countryside. Called in to substitute for a village teacher for one month, Wei is told not to lose any students. When one of the boys takes off in search of work in the big city, she goes looking for him. The film addresses education reform in China, the economic gap between urban and rural populations, and the prevalence of bureaucracy and authority figures in everyday life. It is filmed in a neorealist/documentary style with a troupe of non-professional actors who play characters with the same names and occupations as the actors have in real life, blurring the boundaries between drama and reality. (Full article...)

The Battle of Red Cliffs, also known as the Battle of Chibi, was a decisive naval battle in China that took place during the winter of 208–209 AD. It was fought on the Yangtze River between the forces of warlords controlling different parts of the country during the end of the Han dynasty. The allied forces of Sun Quan, Liu Bei, and Liu Qi based south of the Yangtze defeated the numerically superior forces of the northern warlord Cao Cao. By doing so, Liu Bei and Sun Quan prevented Cao Cao from conquering any lands south of the Yangtze, frustrating Cao Cao's efforts to reunify the territories formerly held by the Eastern Han dynasty.

The allied victory at Red Cliffs ensured the survival of Liu Bei and Sun Quan and left them in control of the Yangtze, establishing defensible frontiers that would later serve as the basis for the states of Shu Han and Eastern Wu during the Three Kingdoms period (220–280 AD). Historians have arrived at different conclusions in their attempts to reconstruct the timeline of events at Red Cliffs. The location of the battlefield itself remains a subject of debate: most scholars consider either a location southwest of present-day Wuhan, or a location northeast of Baqiu in present-day Yueyang, Hunan as plausible candidate sites for the battle. The battle has been the subject of or influenced numerous poems, dramas, movies and games. (Full article...)

The Tang dynasty was an imperial dynasty of China that ruled from 618 to 907, with an interregnum between 690 and 705. It was preceded by the Sui dynasty and followed by the Five Dynasties and Ten Kingdoms period. Historians generally regard the Tang as a high point of Chinese civilisation, and a golden age of cosmopolitan culture. Tang territory, acquired through the military campaigns of its early rulers, surpassed that of the Han dynasty.

The Li family founded the dynasty after taking advantage of a period of Sui decline and precipitating their final collapse, in turn inaugurating a period of progress and stability in the first half of the dynasty's rule. The dynasty was formally interrupted from 690 to 705 when Empress Wu Zetian seized the throne, proclaiming the Wu Zhou dynasty and becoming the only legitimate Chinese female emperor. The An Lushan rebellion (755–763) led to devastation and the decline of central authority during the latter half of the dynasty. The Tang maintained a civil-service system by recruiting scholar-officials through standardised examinations and recommendations to office. The rise of regional military governors known as jiedushi during the 9th century undermined this civil order. The dynasty and central government went into decline by the latter half of the 9th century; agrarian rebellions resulted in mass population loss and displacement, widespread poverty, and further government dysfunction that ultimately ended the dynasty in 907. (Full article...)

The economy of the Han dynasty (206 BC – 220 AD) of ancient China experienced upward and downward movements in its economic cycle, periods of economic prosperity and decline. It is normally divided into three periods: Western Han (206 BC – 9 AD), the Xin dynasty (9–23 AD), and Eastern Han (25–220 AD). The Xin regime, established by the former regent Wang Mang, formed a brief interregnum between lengthy periods of Han rule. Following the fall of Wang Mang, the Han capital was moved eastward from Chang'an to Luoyang. In consequence, historians have named the succeeding eras Western Han and Eastern Han respectively.

The Han economy was defined by significant population growth, increasing urbanization, unprecedented growth of industry and trade, and government experimentation with nationalization. Another large component of the government is that it was run by influential families who had the most money. In this era, the levels of minting and circulation of coin currency grew significantly, forming the foundation of a stable monetary system. The Silk Road facilitated the establishment of trade and tributary exchanges with foreign countries across Eurasia, many of which were previously unknown to the people of ancient China. The imperial capitals of both Western Han (Chang'an) and Eastern Han (Luoyang) were among the largest cities in the world at the time, in both population and area. Here, government workshops manufactured furnishings for the palaces of the emperor and produced goods for the common people. The government oversaw the construction of roads and bridges, which facilitated official government business and encouraged commercial growth. Under Han rule, industrialists, wholesalers, and merchants—from minor shopkeepers to wealthy businessmen—could engage in a wide range of enterprises and trade in the domestic, public, and even military spheres. (Full article...)

The women's road race was one of the cycling events at the 2008 Summer Olympics in Beijing, China. It took place on 10 August 2008, featuring 66 women from 33 countries. It was the seventh appearance of an Olympic women's road race event and featured a longer course than any of the previous six races. The race was run on the Urban Road Cycling Course (one of Beijing's nine temporary venues), which is 102.6 kilometres (63.8 mi) total. Including a second lap around the 23.8 km (14.8 mi) final circuit, the total distance of the women's race was 126.4 km (78.5 mi), less than half the length of the men's race.

Heavy rain during most of the race made conditions difficult for the competitors. A group of five broke away during the final lap and worked together until the final sprint, where Nicole Cooke won the race. Cooke earned Great Britain's first medal at these Games and 200th Olympic gold medal overall. Emma Johansson of Sweden and Tatiana Guderzo of Italy, finishing second and third place with the same time as Cooke, received silver and bronze medals respectively. (Full article...)

Felice Beato (c. 1832 – 29 January 1909), also known as Felix Beato, was an Italian–British photographer. He was one of the first people to take photographs in East Asia and one of the first war photographers as well as a pioneer of travel photography. He is noted for his genre works, portraits, and views and panoramas of the architecture and landscapes of Asia and the Mediterranean region. Beato's travels gave him opportunities to create images of countries, people, and events unfamiliar and remote to most people in Europe and North America. His works provide images of such events as the Indian Rebellion of 1857 and the Second Opium War, and represent the first substantial body of photojournalism. He influenced other photographers; and his impact in Japan, where he taught and worked with numerous other photographers and artists, was particularly deep and lasting. (Full article...)

Tintin in Tibet (French: Tintin au Tibet) is the twentieth volume of The Adventures of Tintin, the comics series by Belgian cartoonist Hergé. It was serialised weekly from September 1958 to November 1959 in Tintin magazine and published as a book in 1960. Hergé considered it his favourite Tintin adventure and an emotional effort, as he created it while suffering from traumatic nightmares and a personal conflict while deciding to leave his wife of three decades for a younger woman. The story tells of the young reporter Tintin in search of his friend Chang Chong-Chen, who the authorities claim has died in a plane crash in the Himalayas. Convinced that Chang has survived and accompanied only by Snowy, Captain Haddock and the Sherpa guide Tharkey, Tintin crosses the Himalayas to the plateau of Tibet, along the way encountering the mysterious Yeti.

Following The Red Sea Sharks (1958) and its large number of characters, Tintin in Tibet differs from other stories in the series in that it features only a few familiar characters and is also Hergé's only adventure not to pit Tintin against an antagonist. Themes in Hergé's story include extrasensory perception, the mysticism of Tibetan Buddhism, and friendship. Translated into 32 languages, Tintin in Tibet was widely acclaimed by critics and is generally considered to be Hergé's finest work; it has also been praised by the Dalai Lama, who awarded it the Light of Truth Award. The story was a commercial success and was published in book form by Casterman shortly after its conclusion; the series itself became a defining part of the Franco-Belgian comics tradition. Tintin in Tibet was adapted for the 1991 Ellipse/Nelvana animated series The Adventures of Tintin, the 1992–93 BBC Radio 5 dramatisation of the Adventures, the 1996 video game of the same name, and the 2005–06 Young Vic musical Hergé's Adventures of Tintin; it was also prominently featured in the 2003 documentary Tintin and I and has been the subject of a museum exhibition. (Full article...)

The Founding Ceremony of the Nation (or The Founding of the Nation) is a 1953 oil painting by Chinese artist Dong Xiwen. It depicts Mao Zedong and other Chinese Communist Party (CCP) officials proclaiming the People's Republic of China at Tiananmen Square on October 1, 1949. A prominent example of socialist realism, it is one of the most celebrated works of official Chinese art. The painting was repeatedly revised, and a replica painting made to accommodate further changes, as some of the leaders it depicted fell from power and later were rehabilitated.

After the Chinese Communist Revolution, the Party sought to memorialize their achievements through artworks. Dong was commissioned to create a visual representation of the October 1 ceremony, which he had attended. He viewed it as essential that the painting show both the people and their leaders. After working for three months, he completed an oil painting in a folk art style, drawing upon Chinese art history for the contemporary subject. The success of the painting was assured when Mao viewed it and liked it, and it was reproduced in large numbers for display in the home. (Full article...)

Zhou Tong (Chinese: 周同 and 周侗; pinyin: Zhōu Tóng; died late 1121) was the archery teacher and second military arts tutor of famous Song dynasty general Yue Fei. Originally a local hero from Henan, he was hired to continue Yue Fei's military training in archery after the boy had rapidly mastered spearplay under his first teacher. In addition to the future general, Zhou accepted other children as archery pupils. During his tutelage, Zhou taught the children all of his skills and even rewarded Yue with his two favorite bows because he was his best pupil. After Zhou's death, Yue would regularly visit his tomb twice a month and perform unorthodox sacrifices that far surpassed that done for even beloved tutors. Yue later taught what he had learned from Zhou to his soldiers and they were successful in battle.

With the publishing of Yue Fei's 17th folklore biography, The Story of Yue Fei (1684), a new, fictional Zhou Tong emerged, who differed greatly from his historical persona. Not only was he now from Shaanxi, but he was Yue's adopted father, a learned scholar with knowledge of the eighteen weapons of war, and his personal name was spelled with a different, yet related, Chinese character. The novel's author portrayed him as an elderly widower and military arts tutor who counted Lin Chong and Lu Junyi, two of the fictional 108 outlaws on which the Water Margin is based, among his former pupils. A later republican era folktale by noted Yangzhou storyteller Wang Shaotang not only adds Wu Song to this list, but represents Zhou as a knight-errant with supreme swordsmanship. The tale also gives him the nickname "Iron Arm", which he shares with the executioner-turned-outlaw Cai Fu, and makes the outlaw Lu Zhishen his sworn brother. Because of his association with the outlaws, he is often confused with the similarly named outlaw Zhou Tong. (Full article...)

Peking opera, or Beijing opera (simplified Chinese: 京剧; traditional Chinese: 京劇; pinyin: Jīngjù), is the dominant form of Chinese opera, which combines instrumental music, vocal performance, mime, martial arts, dance and acrobatics. It arose in Beijing in the mid-Qing dynasty (1644–1912) and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing, Tianjin and Shanghai. The art form is also preserved in Taiwan, where it is also known as Guójù (Chinese: 國劇; lit. 'National opera'). It has also spread to other regions such as the United States and Japan.

Peking opera features four main role types: shēng (生; 'gentlemen'), dàn (旦; 'women'), jìng (淨/净; 'rough men'), and chǒu (丑; 'clowns'). Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal points on Peking opera's characteristically sparse stage. They use the skills of speech, song, dance and combat in movements that are symbolic and suggestive, rather than realistic. Above all else, the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. The music of Peking opera can be divided into the xīpí (西皮) and èrhuáng (二黃/二黄) styles. Melodies include arias, fixed-tune melodies and percussion patterns. The repertoire of Peking opera includes over 1,400 works, which are based on Chinese history, folklore and, increasingly, contemporary life. (Full article...)

Chinese society during the Song dynasty (AD 960–1279) was marked by political and legal reforms, a philosophical revival of Confucianism, and the development of cities beyond administrative purposes into centers of trade, industry, and maritime commerce. The inhabitants of rural areas were mostly farmers, although some were also hunters, fishers, or government employees working in mines or the salt marshes. Conversely, shopkeepers, artisans, city guards, entertainers, laborers, and wealthy merchants lived in the county and provincial centers along with the Chinese gentry—a small, elite community of educated scholars and scholar-officials. As landholders and drafted government officials, the gentry considered themselves the leading members of society; gaining their cooperation and employment was essential for the county or provincial bureaucrat overburdened with official duties. In many ways, scholar-officials of the Song period differed from the more aristocratic scholar-officials of the Tang dynasty (618–907). Civil service examinations became the primary means of appointment to an official post as competitors vying for official degrees dramatically increased. Frequent disagreements amongst ministers of state on ideological and policy issues led to political strife and the rise of political factions. This undermined the marriage strategies of the professional elite, which broke apart as a social group and gave way to a multitude of families that provided sons for civil service.

Confucian or Legalist scholars in ancient China—perhaps as far back as the late Zhou dynasty (c. 1046–256 BC)—categorized all socioeconomic groups into four broad and hierarchical occupations (in descending order): the shi (scholars, or gentry), the nong (peasant farmers), the gong (artisans and craftsmen), and the shang (merchants). Wealthy landholders and officials possessed the resources to better prepare their sons for the civil service examinations, yet they were often rivaled in their power and wealth by merchants of the Song period. Merchants frequently colluded commercially and politically with officials, despite the fact that scholar-officials looked down on mercantile vocations as less respectable pursuits than farming or craftsmanship. The military also provided a means for advancement in Song society for those who became officers, even though soldiers were not highly respected members of society. Although certain domestic and familial duties were expected of women in Song society, they nonetheless enjoyed a wide range of social and legal rights in an otherwise patriarchal society. Women's improved rights to property came gradually with the increasing value of dowries offered by brides' families. (Full article...)

Rob-B-Hood (traditional Chinese: 寶貝計劃; simplified Chinese: 宝贝计划, also known as Robin-B-Hood, literally: Baby Project) is a 2006 Hong Kong action comedy drama film written, produced and directed by Benny Chan, feature an ensemble cast include Jackie Chan, Louis Koo, Yuen Biao, Michael Hui, Gao Yuanyuan, Charlene Choi, Chen Baoguo and Matthew Medvedev. It tells the story of a kidnapping gone wrong in Hong Kong; a trio of burglars consisting of Thongs (Chan), Octopus (Koo) and the Landlord (Hui) kidnap a baby from a wealthy family on behalf of triads. With the Landlord arrested, Thongs and Octopus take care of the baby for a short time, developing strong bonds with him. Reluctant to hand the baby over, the two are forced to protect him from the triads who hired them in the first place.

Originally announced in 2005, the film marked Benny Chan's third collaboration with Jackie Chan, following Who Am I? and New Police Story. It was produced with a budget of HK$16.8 million and filming took place in Hong Kong between December 2005 and January 2006. Rob-B-Hood is the first film in over 30 years in which Jackie Chan plays as a thief. (Full article...)

The study of the impact of globalization on women in China examines the role and status of Chinese women relative to the political and cultural changes that have taken place in the 20th century as a consequence of globalization. Globalization refers to the interaction and integration of people, products, cultures and governments between various nations around the globe; this is fostered by trade, investment, and information technology. Globalization affected women's rights and the gender hierarchy in China, in aspects of domestic life such as marriage and primogeniture, as well as in the workplace. These changes altered the quality of life and the availability of opportunities to women at different junctures throughout the modern globalization process.

The dynamics of gender inequity are related with the ideological principles held by the ruling political regime. The imperial era was dominated by the social paradigm of Confucianism, which was a pervasive philosophy throughout the Orient. Confucian ideals emphasized morality, character, social relationship, and the status quo. Confucius preached ren (humanity) and the equality and educability of all people; Neo-Confucianists and Imperial leaders used his beliefs in social hierarchy, particularly in the family setting, for the physical and social oppression of women. As the Chinese government began to re-assimilate themselves into the global community in the late 19th to early 20th century, it shifted away from conventional Confucian ideals and women's role in society changed as well. After Mao Zedong established the People's Republic of China in 1949, a change in traditional gender roles came about. Mao's death marked the beginning of the current communist administration, and an influx of international communications in the areas of commerce, politics and social ideals. Since the 1980s, under the new communist party, the women's rights movement has gained momentum and has become a national issue as well as a sign of modernization. Some reporters state that increased globalization and the Belt and Road Initiative have led to an increase in sex trafficking of women in China. (Full article...)

Sera Monastery (Tibetan: སེ་ར་དགོན་པ, Wylie: se ra dgon pa "Wild Roses Monastery"; Chinese: 色拉寺; pinyin: Sèlā Sì) is one of the "great three" Gelug university monasteries of Tibet, located 1.25 miles (2.01 km) north of Lhasa and about 5 km (3.1 mi) north of the Jokhang. (The other two are Ganden Monastery and Drepung Monastery.) The original Sera Monastery is responsible for some 19 hermitages, including four nunneries, which are all located in the foothills north of Lhasa.

The Sera Monastery, as a complex of structures with the Great Assembly Hall and three colleges, was founded in 1419 by Jamchen Chojey of Sakya Yeshe of Zel Gungtang (1355–1435), a disciple of Je Tsongkhapa.
During the 1959 revolt in Lhasa, Sera monastery suffered severe damage, with its colleges destroyed and hundreds of monks killed. The origin of its name is attributed to a fact that during construction, the hill behind the monastery was covered with blooming wild roses (or "sera" in Tibetan). (An alternate etymology holds that the location that was surrounded by raspberry shrubs called 'Sewa' in Tibetan, that formed like a 'Rawa' in Tibetan, meaning "Fence".) (Full article...)

The 2010 Shanghai fire was a fire on 15 November 2010 that destroyed a 28-story high-rise apartment building in the heart of Shanghai, China, killing at least 58 people and injuring more than 70 others (with at least one source reporting more than 120 others injured). Most of the residents were retired state school senior educators. It is remembered as an iconic high-rise fire in China in the 2010s.

An investigation under the PRC State Council was announced on 16 November, the day after the fire, to determine the cause of the blaze. A preliminary finding by investigators concluded that sparks from welding work being done on the building, undertaken by unlicensed welders, ignited scaffolding around the structure, which led to the apartments' destruction. The municipal government also placed the blame on illegal multi-layered subcontracting, and detained four managers from several construction companies. In all, sixteen individuals have been arrested in connection to the fire, as well as four others accused of being unlicensed welders. (Full article...)

The total death toll of the Nanjing Massacre is a highly contentious subject in Chinese and Japanese historiography. Following the outbreak of the Second Sino-Japanese War, the Japanese Imperial Army marched from Shanghai to the Chinese capital city of Nanjing, and though a large number of Chinese POWs and civilians were slaughtered by the Japanese following their entrance into Nanjing on December 13, 1937, the precise number remains unknown. Since the late-1960s when the first academic works on the Nanjing Massacre were produced, estimating the approximate death toll of the massacre has been a major topic of scholarly debate.

Currently, the most reliable and widely agreed upon figures place the massacre victims within Nanjing City Walls to be around 50,000, mostly massacred in the first five days from December 13, 1937; while the total victims massacred as of the end of March 1938 in both Nanjing and its surrounding six rural counties far exceed 100,000 but fall short of 200,000. Hence, depending on the timeframe and the geographic scope, an empirically verifiable, scholarly valid victimization range is from over 40,000 to under 200,000. (Full article...)

Wu Zhonghua (Chinese: 吴仲华; 27 July 1917 – 19 September 1992), also known as Chung-Hua Wu, was a Chinese physicist. He was a National Advisory Committee for Aeronautics (NACA) researcher, Tsinghua University professor, and Founding Director of the Institute of Engineering Thermophysics of the Chinese Academy of Sciences (CAS). He pioneered the general theory of three-dimensional flow for turbomachinery, which has been widely used in aircraft engine designs. Wu and his wife Li Minhua were both academicians of the CAS.

Born in Shanghai, Wu's college education at Tsinghua University was interrupted by the Second Sino-Japanese War. He graduated from the temporary National Southwestern Associated University and was awarded a Boxer Indemnity Scholarship to study at the Massachusetts Institute of Technology in the United States. After earning his Ph.D., he joined the NACA, the predecessor of NASA, where he developed the theory of three-dimensional flow. (Full article...)

"The Raksha Country and the Sea Market" (simplified Chinese: 罗刹海市; traditional Chinese: 羅剎海市; pinyin: Luōchà Hǎishì) is a short story by Pu Songling first published in Strange Tales from a Chinese Studio. Told in two parts, the story follows the adventures of scholar-merchant Ma Ji, and is one of the first Strange Tales entries to be translated into English. Some critics have argued that "The Raksha Country" serves as social commentary on topics including hypocrisy, conventional standards of beauty, and nationalism. The story was likely inspired by both ancient Hindu mythology and early Chinese literature; it has been adapted for the stage. (Full article...)

Gui Minhai (Chinese: 桂民海; pinyin: Guì Mínhǎi; Jyutping: gwai3 man4 hoi2; born 5 May 1964), also known as Michael Gui, is a Hong Kong-Swedish book publisher and writer. He is an author of many books related to Chinese politics and Chinese political figures; Gui authored around 200 books during his ten-year career under the pen-name Ah Hai (阿海) and was one of three shareholders of Causeway Bay Books in Hong Kong.

Gui went missing in Thailand in late 2015, one of five men who vanished in a string of incidents known as the Causeway Bay Books disappearances. The case ignited fears locally and in Britain over the collapse of "one country, two systems", over the possibility that people could be subject to rendition from Hong Kong and from other countries by Chinese law enforcement. The Chinese government had been silent about holding him in custody for three months, at which point a controversial video confession was broadcast on mainland media. In it, Gui said that he had returned to mainland China and surrendered to the authorities of his own volition; he appeared to indicate that he was prepared to follow the course of justice in China, while waiving protection as a Swedish citizen. Gui's case has severely strained the relations between Sweden and China. (Full article...)

Fu (Chinese: 賦), often translated "rhapsody" or "poetic exposition", is a form of Chinese rhymed prose that was the dominant literary form in China during the Han dynasty (206 BC – AD 220). Fu are intermediary pieces between poetry and prose in which a place, object, feeling, or other subject is described and rhapsodized in exhaustive detail and from as many angles as possible. They were not sung like songs, but were recited or chanted. The distinguishing characteristics of fu include alternating rhyme and prose, varying line lengths, close alliteration, onomatopoeia, loose parallelism, and extensive cataloging of their topics. Classical fu composers tended to use as wide a vocabulary as possible in their compositions, and therefore fu often contain rare and archaic Chinese words and characters.

The fu genre came into being around the 3rd to 2nd centuries BC and continued to be regularly used into the Song dynasty (960–1279). fu were used as grand praises for the imperial courts, palaces, and cities, but were also used to write "fu on things", in which any place, object, or feeling was rhapsodized in exhaustive detail. The largest collections of historical fu are the Selections of Refined Literature (Wen Xuan), the Book of Han, New Songs from the Jade Terrace, and official dynastic histories. (Full article...)

Xue Susu (Chinese: 薛素素; also known as Xue Wu (薛五), Xuesu (薛素), Sujun, among other pen names) (c.1564–1650? C.E.) was a Chinese courtesan during the Ming Dynasty. She was an accomplished painter and poet who was particularly noted for her figure paintings, which included many Buddhist subjects. Her works are held in a number of museums both in China and elsewhere. Her skill at mounted archery was commented upon by a number of contemporary writers, as were her masculine, martial tendencies; these were regarded as an attractive feature by the literati of the period.

She lived in Eastern China, residing for most of her life in the Zhejiang and Jiangsu districts. After a career as a celebrated courtesan in Nanjing, Xue Susu was married four times. During her later life, she eventually opted for the life of a Buddhist recluse. (Full article...)

Xin Fengxia (Chinese: 新凤霞; pinyin: Xīn Fèngxiá; Wade–Giles: Hsin Feng-hsia; 1927 – 12 April 1998) was a Chinese pingju opera performer, known as the "Queen of Pingju". She was also a film actress, writer, and painter. She starred in the highly popular films Liu Qiao'er (1956) and Flowers as Matchmakers (1964), both adapted from her operas.

Xin was married to Wu Zuguang, a prominent playwright and an outspoken critic of government policies. When Wu was denounced as a "rightist" in Mao Zedong's Anti-Rightist Campaign, Xin refused to divorce him and was herself denounced as a result. She was later severely persecuted during the Cultural Revolution, becoming disabled after a beating and was later paralyzed due to a stroke. No longer able to perform, she dedicated the remainder of her life to teaching, writing, and painting. She studied painting with her godfather Qi Baishi, a master of Chinese painting, and studied writing with her husband. She published a two-million-word memoir, which has been translated into English and Urdu. (Full article...)

Chun Afong (Chinese: 陳芳; pinyin: Chén Fāng; Zhuhai, c. 1825 – September 25, 1906) was a Chinese businessman and philanthropist who settled in the Hawaiian Kingdom during the 19th century and built a business empire in Hawaii, Macau and Hong Kong. He immigrated to Hawaii from Guangdong in 1849 and adopted the surname Afong after the diminutive form of his Cantonese given name, Ah Fong.

Afong started off working for his uncle's retail store in Honolulu and later became the co-owner of a chain of stores selling Oriental novelties. In due time, he made a fortune investing in retail, shipping, opium, sugar and coffee plantations, eventually becoming the first Chinese millionaire in Hawaii. In 1856, Afong helped organize a ball in honor of the wedding of King Kamehameha IV and Queen Emma that helped to solidify the Chinese community's position in Honolulu. He briefly served as the commercial agent and diplomatic consul to the Hawaiian Kingdom and was a member of King Kalākaua's Privy Council. (Full article...)

John Van Antwerp MacMurray (October 6, 1881 – September 25, 1960) was an American attorney, author and diplomat best known as one of the leading China experts in the U.S. government. He served as Assistant Secretary of State from November 1924 to May 1925, and was subsequently appointed Minister to the Republic of China in 1925. Although MacMurray had coveted the China post, he soon fell into disagreement with the State Department over U.S. policy towards the ruling the Nationalist government. He resigned the position in 1929 and briefly left the foreign service. Following several years in academia, MacMurray returned to the State Department to become Minister to Estonia, Latvia and Lithuania from 1933 to 1936. He later served as ambassador to Turkey from 1936 to 1941, and then was made a special assistant to the Secretary of State until his retirement in 1944.

In 1935, MacMurray was commissioned to write a memorandum on the conflict between China and Japan. In it, he suggested that the United States, China, and Great Britain were partly to blame for Japan's invasion of China, and argued that unless the United States stopped opposing Japanese domination of China, a war between the two powers was likely. Japan later attacked the United States at Pearl Harbor in December 1941, drawing the US into World War II. (Full article...)

The West Triangle Economic Zone is an economic zone designated by the Chinese government comprising Chengdu, Chongqing and Xi'an. Created as part of China's Western Development strategy, the West Triangle Economic Zone contributes nearly 40% of Western China's GDP. Furthermore, Chongqing is one of China's five National Central Cities, while both Chengdu and Xi'an are Regional Central Cities.

The economies of all three cities are highly developed and serve as attractive investment locations within China. Many major international companies have factories or branches in the region, including Microsoft, Ford Motors, Citigroup, and over 200 other Fortune 500 companies. (Full article...)

Kowloon Walled City (Chinese: 九龍城寨) was an ungoverned and densely populated de jure Chinese enclave within the boundaries of British Hong Kong. Originally a Chinese military fort, it became an enclave after the New Territories were leased to Britain in 1898. The Walled City's population increased dramatically following World War II, and by 1987 it had an estimated 33,000 residents within its 2.6-hectare (6+1⁄2-acre) borders, making it one of the most densely populated places on Earth at approximately 1.2 million inhabitants per square kilometre (3 million per square mile). The city was demolished between 1993 and 1994; the Kowloon Walled City Park was built in its place and opened in December 1995.

The site originated as a military outpost during the Song dynasty, and was converted into a coastal fort in 1847 to reinforce Chinese authority in the area after the cession of Hong Kong Island to Britain. The 1898 Convention that leased the New Territories to Britain excluded the Walled City, and after the fall of the Qing dynasty in 1912, the succeeding Republic of China inherited this claim. After World War II, with both Britain and China reluctant to assert control, the city's population swelled with refugees fleeing the Chinese Civil War. This near-ungoverned state allowed it to grow into a massive squatter settlement, with unregulated construction from the 1960s onward creating a labyrinth of interconnected high-rise buildings built without architectural or engineering oversight. (Full article...)

After powdered tobacco (snuff) became popular in China around the 17th century, snuff bottles (Chinese: 鼻煙壺; pinyin: bíyānhú) became a common means of storing and transporting the substance for use in lieu of European snuff-boxes. Although pipe smoking (either through long bamboo pipes or brass water pipes) remained the predominant method of consuming tobacco following its introduction to China in the mid-1500s, snuff entered use by the mid-to-late 1600s, with the earliest written mentions and surviving examples of snuff bottles dating to the reign of the Kangxi Emperor of the Qing dynasty. Use was at first limited to Beijing, although gradually spread to other parts of the country by the 1800s; however, it was still firmly associated with the rich and powerful. Snuff bottles were constructed in a variety of shapes, designs, and materials, but all included a stopper and ivory-handled spoon. Usually small enough to be held in the hand, they could be fashioned from glass, porcelain, minerals (such as quartz crystal, jade, and gemstones), or organic materials such as amber, lacquer, coral, ivory (including the particularly valuable hornbill ivory), and tortoiseshell. Many bottles were fashioned into shapes scarcely resembling traditional bottles, including representational figures of humans and animals.

Snuff bottles were often richly decorated. Porcelain, glass, and enamel bottles were painted, either through overglaze and underglaze methods, while bottles made from natural materials were usually carved or engraved. Porcelain bottles were traditionally painted in blue and white, although European influence led to a large number of other colorful glazes and painting styles. During the late 1800s, inside-painted bottles emerged as a particularly intricate form of snuff bottle not intended for use; these were made with treated glass or crystal and feature elaborate scenes and designs painted along their inside through the neck of the bottle via special pens. By the early 1900s, snuff (alongside pipe smoking) fell out of fashion in China in favor of the newly-introduced cigarette. (Full article...)