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The Ni gave birth to all life. Ni is another name for the Yi people. It is sometimes translated as black because black is a revered color in Yi culture. [7] Yi tradition tells us that their common ancestor was named Apu Dumu ꀉꁌꅋꃅ or ꀉꁌꐧꃅ (Axpu Ddutmu or Axpu Jjutmu). Apu Dumu had three wives, each of whom had two sons.
Timeline of Chinese history. This is a timeline of Chinese history, comprising important legal and territorial changes and political events in China and its dynasties. To read about the background to these events, see History of China. See also the list of Chinese monarchs, Chinese emperors family tree, dynasties of China and years in China.
The Investiture of the Gods, also known by its Chinese names Fengshen Yanyi (Chinese: 封神演義; pinyin: Fēngshén Yǎnyì; Wade–Giles: Fêng 1-shên 2 Yan 3-yi 4; Jyutping: Fung 1 San 4 Jin 2 Ji 6) and Fengshen Bang (封神榜), [note 1] is a 16th-century Chinese novel and one of the major vernacular Chinese works in the gods and demons (shenmo) genre written during the Ming dynasty ...
The following is a list of supernatural beings in Chinese folklore and fiction originating from traditional folk culture and contemporary literature.. The list includes creatures from ancient classics (such as the Discourses of the States, Classic of Mountains and Seas, and In Search of the Supernatural) literature from the Gods and Demons genre of fiction, (for example, the Journey to the ...
Taiyi Shengshui (Chinese: 太一生水; pinyin: Tàiyī Shēngshuǐ; lit. 'The Great One Gave Birth to Water') is an ancient Chinese text from around 300 BC during the Warring States period. It was discovered as part of the Guodian Chu Slips. It is a Taoist creation myth.
The classic Chinese novel Investiture of the Gods (also commonly known as Fengshen Yanyi) contains a register of deities (Chinese: 封神榜). According to Fengshen Yanyi, Yuanshi Tianzun ("Primeval Lord of Heaven") bestows upon Jiang Ziya the Fengshen bang (Register of Deities), a list that empowers him to invest in the gods of heaven. Through ...
During this period, auspicious symbols and narrative scenery were especially made into embroidered roundels and borders and became fashionable in Han Chinese women's clothing; this new trend was an influence of the late imperial secularization of arts and culture on textiles. [27]
Peace charms, which were privately cast with the desire to wish for peace, were used on a daily basis throughout China's turbulent and often violent history. Under the Qing dynasty Chinese charms with the inscription tiān xià tài píng (天下太平) became a common sight. This phrase could be translated as "peace under heaven", "peace and ...