Over twentyseven meters long, the Ordination Scroll of Empress Zhang (1493) is an important Ming Dynasty Daoist artifact from the San Diego Museum of Art's collection that records the imperial ordination of Empress Zhang (1470–1541), consort of the Ming Dynasty Hongzhi emperor (r. 1488–1505), by Zhang Xuanqing (d. 1509), the fortyseventh Heavenly Master of the Zhengyi institution. This book uncovers the history of imperial ordinations through a detailed examination of the scroll's transcriptions and the meticulouslypainted images of celestial beings, as well as the influences of the Daoist leaders known as the Zhengyi Heavenly Masters.

Shen Xin, the direct descendent of the Grand Preceptor; Qin Ao, the current emperor. When the Grand Emperor's cry rang out, Qin Ao had no choice but to hang himself. With a wave of his hand, an imperial decree was made, fulfilling the Grand Emperor's' beautiful intentions'. According to the blessing of the heavens, the emperor decreed that the direct daughter of the Shen family was a pure orchid with a pure heart. She was the epitome of a woman in the world and had entered the Eastern Palace. This is it! " The Supreme Emperor laughed. A certain emperor continued to feel helpless, and the chicken leg in a certain woman's hand fell to the ground. From then on, entering the main East Palace, watching the battles between the tigers, eating and drinking, became Shen Xin's goal. But of course, this person, Shen Xin, was also a peerless glutton. Even entering the palace wouldn't change the nature of a foodie. I would never have thought that the biggest rival in my life was none other than all kinds of delicious food. PS: Boys, this is an aerial script, please do not enter the collection with history

Drunk with a prostitute luckily fell into the palace through wow the palace of the best taste of the men are originally acerbic wolf ah look at her water tender just want to eat her down muddle-headed did empress abdomen black emperor again dead entwine with her to do the ceremony that combine meritorious service looking at the big face of the smelly emperor her mind rumbled forgot to breathe forgot to resist

This groundbreaking work provides an original and deeply knowledgeable overview of Chinese women and gender relations during the Ming Dynasty (1368–1644). Bret Hinsch explores in detail the central aspects of female life in this era, including family and marriage, motherhood, political power, work, inheritance, education, religious roles, and virtues. He considers not only the lived world of women, but also delves into their emotional life and the ideals they pursued. Drawing on a wide range of Western and Chinese primary and secondary sources—including standard histories, poetry, prose literature, and epitaphs—Hinsch makes an important period of Chinese women’s history accessible to Western readers.

Women, Gender and Art in Asia, c. 1500?1900 brings women's engagements with art into a pan-Asian dialogue with essays that examine women as artists, commissioners, collectors, and subjects from India, Southeast Asia, Tibet, China, Korea, and Japan, from the sixteenth to the early twentieth century. The artistic media includes painting, sculpture, architecture, textiles, and photography. The book is broadly concerned with four salient questions: How unusual was it for women to engage directly with art? What factors precluded more women from doing so? In what ways did women's artwork or commissions differ from those of men? And, what were the range of meanings for woman as subject matter? The chapters deal with historic individuals about whom there is considerable biographical information. Beyond locating these uncommon women within their socio-cultural milieux, contributors consider the multiple strands that twined to comprise their complex identities, and how these impacted their works of art. In many cases, the woman's status-as wife, mother, widow, ruler, or concubine (and multiple combinations thereof), as well as her religion and lineage-determined the media, style, and content of her art. Women, Gender and Art in Asia, c. 1500?1900 adds to our understanding of works of art, their meanings, and functions.

"Woman, you are my woman in my palace." Xi Men Yi's overbearing and arrogant tone made Jiang Mei Qi frown in displeasure."Arrogant man, I've seen many of them. You're not the first one, but This Miss isn't afraid to tell you. The more arrogant a man is, the less interested This Miss will be in him." Jiang Mei Qi sneered.All the male creatures in this world were arrogant. She had already experienced that Xi Men Yi was not special. "

At the intersection of art and religious history, Susan Naquin’s richly illustrated history presents a fresh method for studying Chinese gods and sacred places as it tells the full story of Mount Tai and the premier female deity of North China.

History and legend are interwoven in this classic folk novel that both entertains and explores the philosophy and practices of Taoism Written by an unknown author, Seven Taoist Masters is the story of six men and one woman who overcome tremendous hardships on the journey to self-mastery. These characters and their teacher, Wang Ch'ung-yang, are all historical figures who lived in the Southern Sung (1127–1279) and Yuan (1271–1368) dynasties. Wang is regarded as the greatest patriarch of the Complete Reality school, a highly purified branch of Taoism having a strong affinity with Zen Buddhism. At once an entertaining novel and a Taoist training manual, Seven Taoist Masters brings to life the essentials of Taoist philosophy and practice, both through the instructions offered by Wang—on topics such as the cultivation of mind and body, meditation techniques, and overcoming the obstacles to enlightenment—and through the experiences of its unforgettable characters.

Eight studies examine key features of Chinese visual and material cultures, ranging from tomb design, metalware, ceramic pillows, and bronze mirrors, to printed illustrations, calligraphic rubbings, colophons, and paintings on Buddhist, landscape, and narrative themes. Questions addressed include how artists and artisans made their works, the ways both popular literature and market forces could shape ways of looking, and how practices and imagery spread across regions. The authors connect visual materials to funeral and religious practices, drama, poetry, literati life, travel, and trade, showing ways visual images and practices reflected, adapted to, and reproduced the culture and society around them. Readers will gain a stronger appreciation of the richness of the visual and material cultures of Middle Period China.

p p master steal door female disciple ling xiaoyi a strange combination of circumstances to become the princess this thought can inherit the teacher but i do not know that he fell deeply in love with chu mu han is it the succession or to be the princess of the three kingdoms ling light clothing on the fate of what to do