Female Exorcist In Ming Dynasty

Six years.A bizarre murder case had occurred in Zhenjiang City. People had been killed one after another. The manner in which they died was extremely horrifying. The Embroidered Uniform Guard knew of Lu Zhannan, so they led their subordinate, the Embroidered Uniform Commandant, to investigate.On the way back to Jinling City, Lu Zhinan ran into a monster, and was saved by the female Heavenly Master Fang Miao, and the two of them got to know each other.In the Great Ming Dynasty, where prosperity and vicissitudes coexisted, many bizarre things happened. While it seemed like a coincidence, it was actually inextricably linked.Fang Miaomiao and Lu Zhennan again and again in the long journey of beheading demons and demons, life and death and mutual love.

Six years.A bizarre murder case had occurred in Zhenjiang City. People had been killed one after another. The manner in which they died was extremely horrifying. The Embroidered Uniform Guard knew of Lu Zhannan, so they led their subordinate, the Embroidered Uniform Commandant, to investigate.On the way back to Jinling City, Lu Zhinan ran into a monster, and was saved by the female Heavenly Master Fang Miao, and the two of them got to know each other.In the Great Ming Dynasty, where prosperity and vicissitudes coexisted, many bizarre things happened. While it seemed like a coincidence, it was actually inextricably linked.Fang Miaomiao and Lu Zhennan again and again in the long journey of beheading demons and demons, life and death and mutual love.

Six years.A bizarre murder case had occurred in Zhenjiang City. People had been killed one after another. The manner in which they died was extremely horrifying. The Embroidered Uniform Guard knew of Lu Zhannan, so they led their subordinate, the Embroidered Uniform Commandant, to investigate.On the way back to Jinling City, Lu Zhinan ran into a monster, and was saved by the female Heavenly Master Fang Miao, and the two of them got to know each other.In the Great Ming Dynasty, where prosperity and vicissitudes coexisted, many bizarre things happened. While it seemed like a coincidence, it was actually inextricably linked.Fang Miaomiao and Lu Zhennan again and again in the long journey of beheading demons and demons, life and death and mutual love.

History and art come together in this definitive discussion of the Chinese woodblock print form of nianhua, literally "New Year pictures." James Flath analyzes the role of nianhua in the home and later in the theatre and relates these artworks to the social, cultural, and political milieu of North China as it was between the late Qing dynasty and the early 1950s. Among the first studies in any field to treat folk art as historical text, this extraordinary account offers original insight into popular conceptions of domesticity, morality, gender, society, modernity, and the transformation of the genre as a propaganda tool under communism.

In Mandarins and Heretics, Wu Junqing explores the denunciation and persecution of lay religious groups in late imperial (14th to 20th century) China.

The Lady of Linshui—the goddess of women, childbirth, and childhood—is still venerated in south China, Taiwan, and Southeast Asia. Her story evolved from the life of Chen Jinggu in the eighth century and blossomed in the Ming dynasty (1368–1644) into vernacular short fiction, legends, plays, sutras, and stele inscriptions at temples where she is worshipped. The full-length novel The Lady of Linshui Pacifies Demons narrates Chen Jinggu’s lifelong struggle with and eventual triumph over her spirit double and rival, the White Snake demon. Among accounts of goddesses in late imperial China, this work is unique in its focus on the physical aspects of womanhood, especially the dangers of childbirth, and in its dramatization of the contradictory nature of Chinese divinities. This unabridged, annotated translation provides insights into late imperial Chinese religion, the lives of women, and the structure of families and local society.

In her study of Chinese shadow theatre Fan Pen Li Chen documents and corrects misconceptions about this once-popular art form. Drawing on extensive research and fieldwork, she argues that these plays served a mainly religious function during the Qing dynasty and that the appeal of women warrior characters reflected the lower classes' high tolerance for the unorthodox and subversive. Chinese Shadow Theatre includes several rare transcriptions of oral performances, including a didactic play on the eighteen levels of Hell, and Investiture of the Gods, a sacred saga, and translations of three rare, hand-copied shadow plays featuring religious themes and women warrior characters. Chen examines the relationship between historical and fictional women warriors and those in military romances and shadow plays to demonstrate the significance of both printed works and oral transmission in the diffusion of popular culture. She also shows that traditional folk theatre is a subject for serious academic study by linking it to recent scholarship on drama, popular religion, and popular culture.