93-473: Bangzi (梆子), also known as Bangzi opera and Clapper opera , may refer to several closely related Chinese opera genres: Henan opera , from Henan Hebei bangzi , from Hebei Qinqiang , from Shaanxi Shanxi opera , from Shanxi See also [ edit ] Four Great Characteristic Melodies Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
186-476: A Chinese lifestyle like sinicized Jurchens, Mongols, and Koreans, and not as a racial term for ethnic Han Chinese. A person only had to be originally a Ming subject and not ethnic Chinese to get categorized as a Han bannerman so people of Jurchen origin ended up in Mongol and Chinese Banners. Nurhaci used culture to categorize people and allowed Han transfrontiersmen to identify as Manchu after assimilating, and ethnicity
279-619: A Han to a Manchu Banner and the assimilation of Han Chinese. The geographical, political, and cultural division was between the Ming Liaodong and the Jurchen-dominated Nurgan, which traded and interacted with Liaodong through Fushun. Nurhaci and Hongtaiji both viewed ethnic identity as determined by culture, language, and attitude but not by ancestry (genealogy.) People could change their identities and be transferred from one ethnic banner to another. The Qing associated Mongols with
372-522: A daughter of the Xiongnu Chanyu and acculturated to Xiongnu customs. People of mixed ancestry or desinicized Han Chinese who adopted steppe people 's culture and way of life existed in the sixth and seventh centuries A.D., and some even served in the Sui and Tang dynasties' military. Xianbei last names were adopted by Han Chinese as was Xianbei culture, militarism and clothing. The Xianbei language
465-601: A fight. Later in the film, the interaction between various multiverse versions of Evelyn result in the Chinese opera version botching and then salvaging a performance. De-Sinicization De-Sinicization is a process of eliminating or reducing Han Chinese cultural elements, identity, or consciousness from a society or nation. In modern contexts, it is often contrasted with the assimilation process of Sinicization . The term has its roots in attempts by ethnic Han to acculturate themselves and adopt non-Han customs, although it
558-560: A revival and continued to be a very popular form of entertainment, both on stage and television. In the 21st century, Chinese opera is seldom publicly staged except in formal Chinese opera houses. It may also be presented during the lunar seventh month Chinese Ghost Festival in Asia as a form of entertainment to the spirits and audience. More than thirty famous pieces of Kunqu opera continue to be performed today, including The Peony Pavilion , The Peach Blossom Fan , and adaptions of Journey to
651-524: A tiger that killed his father. In The Dancing Singing Woman (踏謡娘), which relates the story of a wife battered by her drunken husband, the song and dance drama was initially performed by a man dressed as a woman. The stories told of in these song-and-dance dramas are simple, but they are thought to be the earliest pieces of musical theatre in China, and the precursors to the more sophisticated later forms of Chinese opera. These forms of early drama were popular in
744-548: A woman performer under the alias Song Liling and enters a 20-year relationship with French civil servant René Gallimard. The latter is unaware that female roles in Peking opera are actually played by men due to women being barred from the stage. An update in January 2022 for the game Genshin Impact includes a story quest that features a musical number from the character Yun Jin that is in
837-670: Is a form of musical theatre in China with roots going back to the early periods in China. It is an amalgamation of various art forms that existed in ancient China, and evolved gradually over more than a thousand years, reaching its mature form in the 13th century, during the Song dynasty (960–1279 AD). Early forms of Chinese theater are simple; however, over time, various art forms such as music, song and dance, martial arts, acrobatics, costume and make-up art, as well as literary art forms were incorporated to form traditional Chinese opera. Performers had to practice for many years to gain an understanding of
930-410: Is divided into recitative and Beijing colloquial speech, the former employed by serious characters and the latter by young females and clowns. Character roles are strictly defined, and each character have their own elaborate make-up design. The traditional repertoire of Beijing opera includes more than 1,000 works, mostly taken from historical novels about political and military struggles. At the turn of
1023-561: Is hard for historians to tell whether a Manchu was originally a Han transfrontiersman since they no longer used Chinese names or regarded themselves as Han Chinese, Frederic Wakeman suggested that is evidence that the Manchu Dahai's ancestors were Han Chinese transfrontiersman. The Jurchen headman of Turun-hoton and arch-enemy of Nurhaci, Nikan Wailan, was also suggested to be a Han transfrontiersman by Wakeman, since his name literally meant "Chinese official". The Manchu word for Han, "Nikan"
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#17330849209471116-578: Is now most frequently used to describe attempts by foreign countries to resist or undo over-reaching Chinese influence. In Taiwan , since 1987, de-Sinicization has been a political movement to reverse the Sinicization policies of the Chinese Nationalist Party after 1947, which many proponents allege created an environment of prejudice and racism against the local Taiwanese Hokkien and indigenous Taiwanese population, as well as acknowledge
1209-675: Is the Canjun Opera (參軍戲, or Adjutant Play) which originated from the Later Zhao Dynasty (319–351 AD). In its early form, it was a simple comic drama involving only two performers, where a corrupt officer, Canjun or the adjutant , was ridiculed by a jester named Grey Hawk (蒼鶻). The characters in Canjun Opera are thought to be the forerunners of the fixed role categories of later Chinese opera, particularly of its comic chou (丑) characters. Various song and dance dramas developed during
1302-647: The Six Dynasties period. During the Northern Qi Dynasty, a masked dance called the Big Face (大面, which can mean "mask", alternatively daimian 代面, and it was also called The King of Lanling, 蘭陵王), was created in honour of Gao Changgong who went into battle wearing a mask. Another was called Botou (撥頭, also 缽頭), a masked dance drama from the Western Regions that tells the story of a grieving son who sought
1395-531: The Song dynasty (960–1279) and Yuan dynasty (1279–1368). Acts based on rhyming schemes and innovations such as specialized roles like Dan (旦, dàn, female), Sheng (生, shēng, male), Hua (花, huā, painted-face) and Chou (丑, chŏu, clown) were introduced into the opera. Although actors in theatrical performances of the Song Dynasty strictly adhered to speaking in Classical Chinese onstage, during
1488-606: The Tang dynasty where they further developed. For example, by the end of the Tang Dynasty the Canjun Opera had evolved into a performance with more complex plot and dramatic twists, and it involved at least four performers. The early form of Chinese theatre became more organized in the Tang dynasty with Emperor Xuanzong (712–755), who founded the " Pear Garden " (梨园/梨園; líyuán), the first academy of music to train musicians, dancers and actors. The performers formed what may be considered
1581-536: The 1940s, theater was well established in the Communist-controlled areas. In the early years of the People's Republic of China, development of Peking opera was encouraged; many new operas on historical and modern themes were written, and earlier operas continued to be performed. As a popular art form, opera has usually been the first of the arts to reflect changes in Chinese policy. In the mid-1950s, for example, it
1674-534: The 20th century, Chinese students returning from abroad began to experiment with Western plays. Following the May Fourth Movement of 1919, a number of Western plays were staged in China, and Chinese playwrights began to imitate this form. The most notable of the new-style playwrights was Cao Yu (b. 1910). His major works— Thunderstorm , Sunrise , Wilderness , and Peking Man —written between 1934 and 1940, have been widely read in China. The Republican Era saw
1767-517: The Banners as a result of these intermarriages following Han civilian customs in clothing and jewelry when they ended up being drafted for palace service. The Qing formulated policies to remove and shut out daughters of common Chinese Bannermen (Hanjun, or Han Bannermen) from serving in the Imperial palace as maids and consorts, exempting them from the draft, asserting that it was doing it out of concern due to
1860-566: The Banners that they soon outnumbered Jurchens. Attempts by Hung Taiji were made to separate Han Chinese and Jurchen banners. In Liaodong, Chinese culture mixed with Jurchen culture. Many bannermen forged genealogies of their origin since they did not have any, and then these decided whether or not they were in a Chinese or a Jurchen banner. The Eight Banners were then created from the old black Han Chinese banners and Jurchen banners. From then on, Han and Jurchen banners were equal. The Mongol Eight banners were also created at this time, and anyone who
1953-593: The Chinese Plain White Banner, (Hanjun, or Han Banner) and the marriage of one of Kangxi's daughters to his son. At the beginning of the Qing, originally the sharpest distinction was drawn by Qing policy to emphasize difference between Han civilians and all Bannermen, and not between Chinese Bannermen (Hanjun, or Han Bannermen) and Manchu Bannermen. The Manchus used Nikan to describe Ming subjects in Liaodong who lived
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#17330849209472046-830: The Chinese diaspora. Its popularity declined sharply in the second half of the 20th century as a result of both political and market factors. Language policies discouraging topolects in Taiwan and Singapore, official hostility against rural religious festivals in China, and de-Sinicization in Taiwan have all been blamed for the decline of various forms in different times, but overall the two major culprits were Cultural Revolution — which saw traditional culture systematically erased, innumerable theatre professionals viciously persecuted, and younger generation raised with far lesser exposure to Chinese opera – and modernization, with its immense social impact and imported values that Chinese opera has largely failed to counter. The total number of regional genres
2139-628: The Chinese style of governing. After defeats inflicted by the Chinese General Yuan Chonghuan upon the Manchus with artillery such as at the Battle of Ningyuan , the Manchu then decided to absorb Han Chinese prisoners who knew how to use guns into their army to supplement their forces. The Manchus also lured Han Chinese Generals into defecting and joining the Banners by marrying them to women from
2232-626: The Eight Banners after the conquest of Liaodong from the Ming from 1618 to 1643 were placed into the separate Chinese Banners (Chinese: Hanjun , Manchu: Nikan cooha or Ujen cooha ), and many of these Chinese Bannermen ( Hanjun , or Han Bannermen) from Liaodong had Jurchen ancestry and were not classified as Manchu by the Qing. Nurhaci's Jianzhou Jurchen Khanate used geography, culture, language, occupation and, lifestyle to classify people as Jurchen or Nikan. Jurchen were those who lived Jurchen lifestyle, used
2325-861: The Eight Banners part of the Chinese Banners (Hanjun, or Han Banners), nor was the Chinese Banners (Hanjun, or Han Banners) made out of only Han Chinese, Han Banner membership did not automatically mean they were actual Han Chinese. The Jurchens under Nurhaci had classified people as Han Chinese (Nikan) according to whether they were former Ming subjects, behaved like Han Chinese, had a Chinese lifestyle, spoke Chinese language, dressed like Han Chinese, and had Han Chinese names, and all Jurchens who had moved to Ming China adopted Chinese surnames. Chinese Bannermen (Hanjun, or Han Bannermen) rose to many powerful positions and prominence under Shunzhi, these Chinese Bannermen (Hanjun, or Han Bannermen) were descendants of Han defectors in Liaodong who joined Nurhaci and Hong Taiji, in
2418-598: The Han ( 韓 ) clan provided two of their women as wives to Geng Yanyi and the second one was the mother of Geng Zhixin. Empress Rende's sister, a member of the Xiao clan, was the mother of Han Chinese General Geng Yanyi. Han Durang (Yelu Longyun) was the father of Queen dowager of State Chen, who was the wife of General Geng Yanyi and buried with him in his tomb in Zhaoyang in Liaoning. His wife
2511-507: The Han captured in Liaodong and Liaoxi became either bondservants to Manchu Banners or Han Bannermen, and then finally the Han who deserted the Ming during Hong Taiji's rule to join the Manchu, and these were first placed into separate all Han companies (Niru) attached to Manchu Banners, and then when in 1642 the Manchu Banners ejected all their Han companies they were placed into separate Chinese Banners (Hanjun, or Han Banners) since they were
2604-559: The Imperial Aisin Gioro family. One Han Chinese General, Li Yongfang (Li Yung-fang) was bribed by the Manchus into defecting by being married to an Aisin Gioro wife, and being given a position in the banners. Many more Han Chinese abandoned their posts and joined the Manchus. A mass marriage of Han Chinese to Manchu women numbering 1,000 took place in 1632 after Prince Yoto came up with the idea. They were either generals or officials. It
2697-627: The Jurchen language, and inhabited the original territory. Nurhaci considered those who did the opposite as Nikan (Han Chinese.) Some of these Nikan were of Korean or Jurchen ancestry but spoke Chinese and inhabited in the villages and towns of the newly conquered territory. People from both sides often moved over the cultural and territorial division between the Ming Liaodong and Jurchen Nurgan; Han Chinese soldiers and peasants moved into Nurgan while Jurchen mercenaries and merchants moved to Liaodong, with some lineages ended up being dispersed on both sides, and
2790-639: The Jurchen viewed people as Nikan depending on whether they acted like Han Chinese or Jurchens. People from the same lineage, like the Sinicized Jurchen Tong lineage of Fushun in Liaodong, served both Ming and the Qing. Some, like Tong Bunian, stayed as diehard Ming loyalists, while others faithfully served the Qing after Qing's conquest of Liaodong. Qing enrolled the Tongs in the Han Plain Blue Banner. Eventually, Emperor Kangxi transferred some members of
2883-563: The Manchu Plain White Banner. Since the Manchus were willing to accept assimilated strangers, Han Chinese who defected to the Jurchens or were captured by them had integrated well into Manchu society. These Han Chinese transfrontiersman from Liaodong embraced Manchu customs and changed their names into Manchu to the point where they identified as Manchu rather than Chinese and resembles Manchus in their speech, behavior, and looks. It
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2976-525: The Ming and early Qing dynasties was Kunqu , which originated in the Wu cultural area . A famous work in Kunqu is The Peony Pavilion by Tang Xianzu . Kunqu later evolved into a longer form of play called chuanqi , which became one of the five melodies that made up Sichuan opera . Currently Chinese operas continue to exist in 368 different forms, the best known being Beijing opera , which assumed its present form in
3069-601: The Ming army. Han Chinese were also lured by the Manchus into defecting and entering their employ in civil service by granting them privileges such as calling themselves "ministers", while Manchus in the same position were regarded as "slaves". The Han who classified in different ways had come under Manchu rule in three different eras, before 1618 the Han "transfrontiersmen" who threw in their lot with Nurhaci were effectively only Han Chinese by ancestry and blood since they practiced Jurchen culture and became part of Manchu companies (Niru) within Manchu Banners, while from 1618 to 1622
3162-780: The Ming developed new methods of archery. Jinling Tuyong showed archery in Nanjing during the Ming. Contests in archery were held in the capital for handpicked soldiers of the Guard, who garrisoned the capital. Equestrianism and archery were favored activities of Zhu Di (the Yongle Emperor ). Archery and equestrianism were frequent pastimes by the Zhengde Emperor. He practiced archery and horseriding with eunuchs. Tibetan Buddhist monks, Muslim women and musicians were obtained and provided to Zhengde by his guard Ch'ien Ning, who acquainted him with
3255-425: The Ming military, patronizing Tibetan Buddhism , with the early Ming emperors seeking to project themselves as "universal rulers" to various peoples such as Central Asian Muslims , Tibetans , and Mongols . However, this history of Ming universalism has been obscured and denied by historians who covered it up and presented the Ming as xenophobes seeking to expunge Mongol influence and presenting while they presented
3348-417: The Ming to the Qing as traitors and compiled an unfavorable biography of the prominent Chinese Bannermen (Hanjun, or Han Bannermen) who had defected to the Qing, while at the same time Qianlong had compiled a biography to glorify Ming loyalists who were martyred in battle against the Qing called "Record of Those Martyred for Their Dynasty and Sacrificed for Purity". Some of Qianlong's inclusions and omissions on
3441-579: The Ming, while some ethnic Manchu Bannermen (Baqi Manzhou) were of ethnic Han origins who had defected to the Jurchens, assimilated into Jurchen language and culture and lived among them in Jilin before 1618. The Qing regarded Chinese Bannermen (Hanjun, or Han Bannermen) and the non Bannerman Han civilian general population (Han min, Han ren, minren) as separate. People were grouped into Manchu Banners and Chinese Banners (Hanjun, or Han Bannermen) not based on their ancestry, race or blood, but based on their culture and
3534-490: The Mongolian language, nomadism, and horse related activities, Manchus with the Manchu language and foremost being part of the Banners, and Han Chinese with their residence in Liaodong, the Chinese language, agriculture, and commerce. When determining Manchu and Han identities, the Qing disregarded biological determinants and ancestry. Indeed, culture was the primary factor in differentiating between Manchu and Han, and occasionally
3627-622: The Mongols under Dayan Khan. Central Asian women were favored by Zhengde like how Korean women were favored by Xuande . In 1517 the Mongols were defeated by Zhengde. Mongol clothing was worn by the military enthusiastic Zhengde emperor. A Uighur concubine was kept by Zhengde like the later Qing emperor Qianlong. Foreign origin Uighur and Mongol women were favored by the Zhengde emperor. Zhengde bedded Tatar (Mongol) and Central Asian women, wore Mongol clothing,
3720-591: The Pipa which became highly popular, and became a model for Ming dynasty drama as it was the favorite opera of the first Ming emperor Zhu Yuanzhang . The presentation at this point resembled the Chinese opera of today, except that the librettos were then very long. The operatic artists were required to be skilled in many fields; according to Recollections of Tao An (陶庵夢憶) by Zhang Dai , performers had to learn how to play various musical instruments, singing and dancing before they were taught acting. The dominant form of
3813-574: The Qing and Yuan as "universal" rulers in contrast to the Ming. A cavalry based army modeled on the Yuan military was implemented by the Hongwu and Yongle Emperors. Hongwu's army and officialdom incorporated Mongols . Mongols were retained by the Ming within its territory. in Guangxi Mongol archers participated in a war against Miao minorities. The Zhengde Emperor used Muslim eunuchs who commissioned
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3906-486: The Qing blurred or altered people's identities. Classification of peoples was not the motive behind the creation of separate Manchu, Mongol, and Han Banners. People's membership in the different banners primarily depended on whether they spoke Manchu, Mongolian, or Chinese. It has been suggested that the Chinese Bannermen (Hanjun, or Han Bannermen) themselves were not very familiar with the exact meaning of "Hanjun", as
3999-451: The Qing changed the definition of what it meant to be a Manchu or a Han Bannerman. The Manchu official Duanfang had Han Chinese ancestors originating from Zhejiang- towards the end of the Ming, they had defected to the Qing and moved to southern Manchuria from their original home in Zhejiang province, they changed their surname to Tohoro from Tao to make it sound Manchu and registered it in
4092-564: The Qing ruled China. The pre-1644 Chinese Bannermen were known as "old men" 旧人 . A mass transfer into the Manchu banners of every single Fushun Nikan, and specifically chosen tai nikan, Koreans, and Mongols was enacted by the Qianlong Emperor in 1740. Manchu Bannermen in Beijing were driven into poverty just decades after the conquest, living in slums and falling into debt, with signs of their plight appearing as soon as 1655. They were driven to
4185-476: The Tai Nikan. The Tai Nikan were distinguished from the later Han Chinese who joined the banners between 1629-1643 and originated from western Liaodong, Shanxi, Shandong, and Zhili, and were known as "fu xi baitangga". Both groups were part of the Chinese Banners before the Qing crossed over Shanhai pass in 1644, and as such were both distinguished from Han who were incorporated into the Chinese Banners after 1644 when
4278-532: The Tong lineage, like Tong Guogang and a few of his close relatives, to the Manchu Bordered Yellow Banner because the Tongs requested the transfer. Tong Guogang said in his application of transferring to a Manchu Banner that the Tongs were of Jurchen origin. However, the authority only transferred Tong Guogang's immediate family and company to the Manchu while leaving other Tong companies as Chinese. It
4371-585: The West , Romance of the Three Kingdoms . In 2001, Kunqu was recognized as Masterpiece of Oral and Intangible Heritage of Humanity by United Nations Educational, Cultural and Scientific Organization (UNESCO) Face paint plays a significant role in portraying the internal complexities of the performer's character with hundreds of combinations of colours and patterns. Below are some general meanings which may be further focused on extremely specific details depending on
4464-506: The Yuan Dynasty actors speaking or performing lyrics in the vernacular tongue became popular on stage. In the Yuan poetic drama, only one person sang for all of the four acts, but in the poetic dramas that developed from Nanxi during the Ming dynasty (1368–1644), all the characters were able to sing and perform. Playwright Gao Ming late in the Yuan dynasty wrote an opera called Tale of
4557-572: The actors with sound, often waiting for vocal cues or physical signals such as the stomp of a foot. Traditionally, musicians often performed from memory – a feat made even more impressive considering pieces or sections of compositions were subject to infinite variations and often repeated. The orchestra utilized a pentatonic scale until a 7-note scale was introduced by Mongolia during the Yuan Dynasty . The two extra notes functioned similarly to accidentals within western notation . The instruments in
4650-466: The aforementioned Chinese banners. Before 1618, some Han actively defected to the Jurchen in Nurgan by crossing the frontier into Jurchens' territory, and scholars called these people "trans-frontiersmen." These Han then adopted Jurchen identity and later became part of Manchu Banners. In comparison, some Han in Liaodong only defected after Qing's conquest, and scholars called these people "frontiersmen." This
4743-569: The ambidextrous archer and military officer Chiang Pin . Some Han Chinese during the Ming dynasty also joined the Manchu Eight banners and became "Manchufied". The Manchu people founded the Qing dynasty . The Han Chinese banners were known as the "Nikan" Banners, made out of a massive number of Chinese POWs and defectors. Jurchen women married most of these Chinese since they came with no family of their own. There were so many Han Chinese entering
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#17330849209474836-505: The aristocracy expand to include Han families in order to get Han to defect to Nurhaci's side. Some Han Bannermen and their lineages became successful members of the Qing nobility and their descendants continued to be awarded noble titles, like that of Li Yongfang who was ennobled by Nurhaci as third class viscount and enrolled in the Plain Blue Chinese Banner (Hanjun, or Han Banner), and his descendants continued to be nobles to
4929-613: The beginning of the Cultural Revolution . During the Cultural Revolution, most opera troupes were disbanded, performers and scriptwriters were persecuted, and all operas were banned except the eight "model operas" that had been sanctioned by Jiang Qing and her associates. Western-style plays were condemned as "dead drama" and "poisonous weeds", and were not performed. After the fall of the Gang of Four in 1976, Beijing Opera enjoyed
5022-620: The draft where they would be selected to serve in the Imperial palace as maids or potential consorts. Daughters of Han Bannermen were exempt from having to submit themselves to palace service. It was not permitted for daughters of Chinese Banner (Hanjun, or Han Banner) to enter the selection as concubines to the emperor. The Manchu bannermen typically used their first/personal name to address themselves and not their last name, while Han bannermen used their last name and first in normal Chinese style. A lot of Han Chinese bannermen adopted Manchu names, which may have been motivated by associating with
5115-428: The economic plight of Chinese Bannermen (Hanjun, or Han Bannermen), however, it may have been doing this after the Qing court was alarmed to find girls from Chinese Banners (Hanjun, or Han Banners) following Han Chinese civilian customs like wearing robes with wide sleeves, feet binding, and wearing a single earring, all of which were contrary to Manchu custom, daughters of Manchu and Mongol bannerman still had to submit to
5208-432: The facial location of the colour. The musical components of Chinese opera are created as an inseparable entity from voice and dance/movement. Both the musicians and the actors contribute to composing musical accompaniment. This collaborative process is reflected within the production by the immaculate synchronicity between the actors' movements and the sounds of the orchestra. The musicians are required to flawlessly support
5301-532: The fact that they were actually a "cultural group" since a person could be a Chinese Bannermen (Hanjun, or Han Bannermen) without having to be an actual Han Chinese. It was Qianlong who redefined the identity of Han Bannermen by saying that they were to be regarded as of having the same culture and being of the same ancestral extraction as Han civilians, this replaced the earlier opposing ideology and stance used by Nurhaci and Hong Taiji who classified identity according to culture and politics only and not ancestry, but it
5394-467: The final years of Qianlong's rule and were ennobled with even greater titles. The Manchus gave extensive titles and honors and marriage to Aisin Gioro women to pre-1644 Han defectors, like the marriage of Nurhaci's granddaughter to Li Yongfang and his sons registered in the Chinese Plain Blue banner (Hanjun, or Han Banner), and the title granted to the son of a Ming defector, Sun Sike (Sun Ssu-k'o) in
5487-528: The first known opera troupe in China, and they performed mostly for the emperors' personal pleasure. To this day operatic professionals are still referred to as "Disciples of the Pear Garden" (梨园弟子 / 梨園弟子, líyuán dìzi). By the Song Dynasty, Canjun Opera had become a performance that involved singing and dancing, and led to the development of Zaju (雜劇). Forms such as the Zaju and Nanxi (南戏) further matured in
5580-519: The indigenous and multicultural character of the island of Taiwan. In Hong Kong, the term is generally associated with movements that resist centralized control of Hong Kong by the Chinese Communist Party . In North Korea and South Korea , de-Sinicization manifests itself as an opposition to Hanja or words of Chinese origin. Han dynasty General Li Ling defected to the Xiongnu and married
5673-463: The language they spoke. Ethic Manchu banners included Han who deserted the Ming, had moved to Nurgan (Jilin) as transfrontiersmen before 1618, assimilated with the Jurchen, practiced Jurchen culture, and spoke Jurchen, while Chinese banners (Hanjun, or Han Bannermen) included descendants of sinicized Jurchen who had moved to Liaodong, adopted Han culture and surname, swore loyalty to the Ming, and spoke Chinese. Nurhaci conquered Liaodong in 1618 and created
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#17330849209475766-458: The list were political in nature, like including Li Yongfang out of Qianlong's dislike for his descendant Li Shiyao and excluding Ma Mingpei out of concern for his son Ma Xiongzhen's image. From 1618 to 1629, the Han Chinese from eastern Liaodong who joined the Eight Banners were known as "tai nikan", the Han who defected to the Qing at Fushun were known as Fushan Nikan and were considered part of
5859-399: The mid-19th century and was extremely popular in the latter part of the Qing dynasty (1644–1911). In Beijing opera, traditional Chinese string and percussion instruments provide a strong rhythmic accompaniment to the acting. The acting is based on allusion: gestures, footwork, and other body movements express such actions as riding a horse, rowing a boat, or opening a door. Spoken dialogue
5952-408: The mostly not assimilated to Jurchen culture. At Guangning, Shi Tingzhu, a Ming soldier of Jurchen descent but who practiced Chinese culture, had surrendered to Nurhaci's Later Jin in 1622 along with Bao Chengxian and they were eventually placed into Chinese Banners (Hanjun, or Han Banners), after Bao suggested creating separate Chinese Banners (Hanjun, or Han Banners). Neither were all Han Chinese in
6045-436: The music and topolect ; the stories are often shared and borrowed. With few exceptions (such as revolutionary operas and to some extent Shanghai operas ) the vast majority of Chinese operas (including Taiwanese operas ) are set in China before the 17th century, whether they are traditional or newly written. For centuries, Chinese opera was the main form of entertainment for both urban and rural residents in China as well as
6138-478: The orchestra were divided into two categories: Traditional Chinese string instruments used in Chinese Opera include: Traditional Chinese percussion instruments used in Chinese Opera include: Traditional Chinese woodwind instruments used in Chinese Opera include: The Peking opera subgenre is the focal point of the 1988 play M. Butterfly , in which a spy for the Chinese government disguises himself as
6231-515: The point where they had to sell their property to Han Chinese, in violation of the law. Originally in the early Qing the Qing emperors both took some Han Chinese as concubines and a 1648 decree from Shunzhi allowed Han Chinese men to marry Manchu women from the Banners with the permission of the Board of Revenue if they were registered daughters of officials or commoners or the permission of their banner company captain if they were unregistered commoners, it
6324-459: The production of porcelain with Persian and Arabic inscriptions in white and blue color. Muslim eunuchs contributed money in 1496 to repairing Niujie Mosque. Central Asian women were provided to the Zhengde Emperor by a Muslim guard and Sayyid Hussein from Hami. The guard was Yu Yung and the women were Uighur . The emperor is remembered alongside his excessive and debauched behavior along with his concubines of foreign origin. Zhengde defeated
6417-616: The pure blood Chinese aristocratic families. The Khitan Liao dynasty arranged for women from the Khitan royal consort Xiao clan to marry members of the Han Chinese Han ( 韓 ) clan, which originated in Jizhou ( 冀州 ) before being abducted by the Khitan and becoming part of the Han Chinese elite of the Liao and adopting Khitan culture. The Han Chinese Geng family intermarried with the Khitan and
6510-409: The revolutionary energy of the current sociopolitical climate. This operatic style built its foundation from the folk traditions of the rural community while also becoming influenced by European music. Opera may be used as commentaries on political affairs, and in November 1965, the attack on Beijing deputy mayor Wu Han and his historical play Hai Rui Dismissed from Office as anti- Mao , signaled
6603-464: The rise of Yue opera and all female Yue Opera troupes in Shanghai and Zhejiang. A woman-centric form, with all female casts and majority female audience members, plots were often love stories. Its rise was related to the changing place of women in society. In the 1930s, theatrical productions performed by traveling Red Army cultural troupes in Communist-controlled areas were consciously used to promote party goals and political philosophy. By
6696-592: The roles. Exaggerated features and colors made it easier for the audience to identify the roles portrayed. There are over a hundred regional branches of traditional Chinese opera today. In the 20th century, the Peking opera emerged in popularity and has come to known as the "national theatre" of China, but other genres like Yue opera , Cantonese opera , Yu opera , kunqu , qinqiang , Huangmei opera , pingju , and Sichuan opera are also performed regularly before dedicated fans. Their differences are mainly found in
6789-503: The same time also promising them rewards, with important positions. A massive revolt against the Jurchens by the Liaodong Chinese broke out in 1623, due to the Jurchens squeezing the Chinese for labor and stationing Jurchen in Chinese households. Acts of sabotage and slaughter of the Jurchen were carried out by the Chinese rebels in retaliation. Hong Taiji , who succeeded Nurhaci, began to include many Chinese in his government and copy
6882-661: The same time declaring Han Chinese ancestry was done by Gao Huan and the Han family. There was Xianbeification of Han. Xianbeification happened to some sections of the Liu and Sima Han Chinese families. The language of the Xianbei was taught to a Han by his father who was an official. Tujue culture and language was practiced and spoken by Tang Prince Li Chengqian . Meanwhile, several other acts of Li Chengqian, especially homosexuality, were also drawing Emperor Taizong's ire. The mixed blood northwestern families were looked down upon by
6975-518: The style of Chinese opera The Divine Damsel of Devastation , which went viral as it was the first time many people around the world have heard Chinese opera. Even Yang Yang, the Chinese voice of Yun Jin , was surprised about it. In the 2022 film Everything Everywhere All at Once , one of Evelyn's multiverse counterparts became a prodigious Chinese opera singer after being blinded in a childhood accident. Evelyn assimilates this version's abilities to improve her self-confidence and breath control during
7068-558: The third or second generation. They "were barely distinguishable from Manchu nobility." Geng Zhongming, a Han bannerman, was awarded the title of Prince Jingnan, and his son Geng Jingmao managed to have both his sons Geng Jingzhong and Geng Zhaozhong become court attendants under Shunzhi and married Aisin Gioro women, with Haoge's (a son of Hong Taiji) daughter marrying Geng Jingzhong and Prince Abatai's granddaughter marrying Geng Zhaozhong. The mistaken views applied to Chinese Bannermen (Hanjun, or Han Bannermen) about race and ethnicity missed
7161-609: The title Bangzi . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Bangzi&oldid=881953249 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Chinese opera Traditional Chinese opera ( traditional Chinese : 戲曲 ; simplified Chinese : 戏曲 ; pinyin : xìqǔ ; Jyutping : hei3 kuk1 ), or Xiqu ,
7254-482: Was Qianlong's view on Chinese Bannermen (Hanjun, or Han Bannermen) identity which influenced the later historians and expunged the earlier Qing stance. Qianlong also promulgated an entirely new view of the Han Bannermen different from his grandfather Kangxi, coming up with the abstract theory that loyalty in itself was what was regarded as the most important, so Qianlong viewed those Han Bannermen who had defected from
7347-435: Was Qing's policy to transfer every closely related in-law of the emperor into a Manchu Banner, even if they were from another ethnicity. This was the most probable reason why Kangxi accepted Tong's application, despite Tong's insistence of his Jurchen origin. At the beginning of its reign, the Qing was flexible and did whatever was political expedient at the time to determine people's ethnicity. Examples were Tong's transfer from
7440-466: Was abducted in the 1580s by the Jurchens from Liaodong with tens of thousands of others, originally came from Shaoxing in Zhejiang became a close confidant of Nurhaci and tutoring his sons, adopting the Manchu name Onoi, and being showered with wives, slaves, and a house by Nurhaci. The Manchu leader Nurhaci embarked on the conquest of Liaodong from the Ming dynasty, luring Han Chinese to his side to defect by threatening them with destruction and at
7533-581: Was also known as "Madame Han". The Geng's tomb is located in Liaoning at Guyingzi in Chaoying. Han clothing and Han culture was practiced by Han women who were seen as Han culture guardians in contrast to Han men who wore Khitan clothing and practiced Khitan culture. The early Ming dynasty emperors from Hongwu to Zhengde continued Yuan practices such as hereditary military institutions, demanding Korean and Muslim concubines and eunuchs , engaging in archery and horseback riding , having Mongols serve in
7626-408: Was because Liaodong was the frontier of Ming's territory, and these people never actively tried to cross the border. After the conquest, Qing put them into Chinese Banners (Hanjun, or Han Bannermen.) Han Chinese defectors who fled from the Ming joined the Jurchens in Nurgan before 1618 were placed into Manchu Banners and regarded as Manchu, but the Ming residents of Liaodong who were incorporated into
7719-464: Was determined to be more than 350 in 1957, but in the 21st century the Chinese government could only identify 162 forms for its intangible cultural heritage list, with many of them in immediate danger of disappearing. For young people, Chinese opera is no longer part of the everyday popular music culture, but it remains an attraction for many older people who find in it, among other things, a national or regional identity. An early form of Chinese drama
7812-477: Was different from how Nurhaci handled both the Han transfrontiersmen who assimilated into Manchu identity and captured Han bondservants. The Chinese frontiersman were inducted into the Han Banners. Nurhaci offered to reward Li Yongfang with promotion and special treatment if he surrendered Fushun reminding him of the grim fate that would await him and Fushun's residents if they continued to resist. Freeholder status
7905-406: Was fluent in Mongolian, and adopted Persian, Buddhist, and Mongol names and titles: 威武 大將軍 太師 鎮 國公 沙 吉 敖 爛 大寶 法王 忽 必 列 . It is speculated that he probably studied Persian and Tibetan as well. The Imperial exam included archery. Archery on horseback was practiced by Chinese living near the frontier. Wang Ju 's writings on archery were followed during the Ming and Yuan and
7998-514: Was given to Li Yongfang's 1,000 troops after his surrender, and the later Chinese Bannermen (Hanjun, or Han Bannermen) Bao Chengxian and Shi Tingzhu also experience good fortune in Qing service after their surrenders in 1622 at Guangning. Nurhaci used semi-literate interlocutors of Han (Nikan) origin to translate between different languages and trusted them a lot, developing close and friendly personal relations with some of them like Kanggūri and Fanggina. The Han Chinese Gong Zhenglu (Gong Zhengliu) who
8091-557: Was learned by several Han in the northern dynasties. Xianbei surnames were assigned to Han troops and officers in the Northern Zhou. Gao Huan and Feng Ba were Han rulers who adopted Xianbei culture. Feng Ba adopted a Xianbei name, Qizhifa 乞直伐 . All ethnicities who were of the literati were possibly called Haner because ethnic Xianbei were referred to as "damned Chinese" by the Northern Qi. Appearing as culturally Xianbei and at
8184-424: Was not classified into a Chinese or a Mongol banner became a Manchu, an ethnic group which Hung Taiji created. Manchu bannermen and Han bannermen were not categorized according to blood or ancestry or genealogy; they were categorized by their language, culture, behavior, identification and way of life. Many Chinese bannermen (Hanjun, or Han Bannermen) were descended from Sinicized Jurchen who spoke Chinese and served
8277-461: Was only later in the dynasty that these policies were done away with and the Qing enacted new policies in their xiunu system of drafting Banner girls for the Imperial Harem by excluding daughters of Han commoners. Chinese Bannermen (Hanjun, or Han Bannermen) frequently married Han civilian women and this was permitted by the Qing emperors, however the Qing emperors were distressed to find girls in
8370-462: Was regarded as flexible when Han Chinese and Mongols families were moved by Kangxi to Manchu Banners from their original Mongol and Chinese Banners (Hanjun, or Han Banners). Li Yongfang's rewards for surrendering Fushun to the Jurchens and defecting included promotion in rank, Nurhaci's granddaughter as a wife, battling along with Nurhaci and induction into the Jin aristocracy as a Chinese frontiersman, which
8463-502: Was said by the Manchu leader that "since the Chinese generals and Manchu women lived together and ate together, it would help these surrendered generals to forget their motherland." Women from the Imperial family were also married to other Han Chinese officials like the Three Feudatories' sons, who defected to the Qing after their conquest of China. The Manchus also created an artillery unit out of Han Chinese, which they used against
8556-573: Was the first to benefit under the Hundred Flowers Campaign , such as the birth of Jilin opera . In 1954 there were approximately 2000 government-sponsored opera troupes working throughout China each consisting of 50–100 professional performers. Despite its popularity, Peking opera made up a small percentage of these troupes. After the Chinese Communist Revolution a new genre emerged known as Schinggo opera which encompassed
8649-518: Was used to describe people who lived like Han Chinese and not their actual ethnic origin, the Han Bannermen (Hanjun) was not an ethnic category and the Han Banners included people of non-Han Chinese blood. When Liaodong was invaded in 1619 by Nurhaci, it became imperative for the Jurchens to secure the loyalty of the Han (Nikan) in Liaodong to their cause, by treating them equally as Jurchens were treated and even seizing Jurchen properties, grains, wealth, possessions and homes to grant them to Han, and having
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