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Medicinal pillows were long traditional Chinese medicine. Modem medical science as proved that the ficacious ingredients of the edicinal herbs stuffed into much pillows can volatilise, pnetrate the acupuncture pints and be absorbed by skin or mucous membrane to cure a disease.

Natural herbal or animal medicines are mixes ng to a formula designed for treatment of a certain disease beforethey are stuffed into a medicinal pillow. A pillow filled with the mixture of buckwheathusk and silkworm increment has a good cooling effect; a pea-filled pillow helps curesunstroke and dizziness; and a pillow stuffed with white chrysanthemum, pea skin, buckwheat husk, mulberry leaves and cassia seeds is used for the treatment of eye diseases.

The medicinal pillow comes handyas a medical aid. When one falls asleep with his head on such a pillow, his nose, tongue, skin and acupuncture points canabsorb the essence of what is stuffed init to prevent or cure disease or protect his health.

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Ginseng, reputedly the "king of a hundred herbs", has been regarded as the idealtonic since ancient times. A ginseng looksvery much like the human body as it iscomplete with a head andlimbs.

Ginseng today is eithercollected from the wilder-ness or cultivated.

The Changbai Moun-tains in northeast Chinaproduces the best wild ginseng in this country. Itgrows rather slowly, and itgenerally takes several decades or more than a century for it to grow up. TheChangbai mountains inFusong County, JilinProvince,made the headlinein 1981 when a rare mountain ginseng, 287.5 gram inweight and 54 cm in length,was dug up from a local forestbelieved to have been there for more than acentury, it is regarded as amost precious treasure.

Wild ginseng is difficultto come by today, and it istoo expensive to meet the market demand.That is why the Chinese were already cultivating ginseng some 300 years ago.

The medicinal value ofginseng was not lost on ourancestors. Sheng Nongerbal Classic, the earliestmedicinal book in China, hasthis to say: Ginseng is effica-cious for strengthening theheart, stabilizing the nervesystem and the mind, stop-ping shock, improve the levelof intelligence, and extend thelife span. In his Compendiumof Materia Medica, the celebrated Ming-dynasty herbalist Li Shizhen pointed outthat ginseng is highly effective in replenishing the human body's vitality, makingthe old look young, and saving life from the brink ofdeath. All in all, ginseng is anideal tonic.

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As the most prestigious of all the operas in China, Peking Opera is venerated as the "Opera of China". The predecessor of it was the huidiao opera of Anhui some 200 years ago. In 1790, an imperial edict was issued to summon the four major huidiao opera troupes-Sanqing, Sixi, Chuntai and Hechun - to go to Beijing to perform and celebrate the 80th birthday of Emperor Qianlong of the Qing. The lyrics of the huidiao opera were so easy to understand that the opera soon captivated the audience of the capital city. In the 50 years that ensued, the huidiao opera incorporated the strengths of the jingqiang opera of Beijing, the kunqiang opera of Jiangsu's Kunshan which late spread to Beijing, the qinqiang opera of Shaanxi, and other local operas, and gradually evolved into what is today's Peking Opera.

The stage settings of Peking Opera are succinct and symbolic. 

Character roles are finely differentiated. Female roles are called dan, male roles are sheng; clowns are chou, and there are also role characters using different patterns of makeup which are known as jing. Among the sheng roles are old, young and military characters. Female roles are defined as qingyi, huadan, laodan, daomadan, wudan. Jing roles feature such patterns of makeup as tongchui, jiazi and wu. Clowns are either scholarly or militant. These four role models form the basis for the emergence of different schools of Peking Opera. Mei Lanfang, Cheng Yanqiu, Xun Huisheng and Shang Xiaoyun were the celebrated "Four Major Dan Roles" in Peking Opera.

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A plastic art peculiar to the Chinese stage, the facial makeups are various designs of lines and coloured patches painted on the faces of certain operatic characters They follow traditionally fixed patterns for specific types to highlight the disposition and quality in the personages so that the audience may immediately know whether they are heroes or villains, whether they are kind or treacherous and wicked. The following describes briefly the major categories of facial makeups:

The red face shows bravery, uprightness and loyalty. A typical "red face" is Guan Yu, general of the period of the Three Kingdoms (220-280), famed for his faithfulness to his Emperor, Liu Bei.

The reddish purple face likewise shows a just and noble character, for instance, Lian Po in the well-known play Jiang Xiang He (The General Reconciled with the Chief Minister ), in which General Lian was proud and impetuous and quarrelled with the chief minister to whom he was ultimately reconciled.

The black face indicates either a rough and bold character or an impartial and selfless personality. Typical of the former are General Zhang Fei (of the Romance of the Three Kingdoms) and Li Kui (of Water Margin), and of the latter is Bao Gong (alias Bao Zheng), the semi-legendary fearless and impartial judge of the Song Dynasty.

A green face depicts surly stubbomess, impetuosity and a total lack of self-restraint.

Commonly seen on the stage is the white face for the powerful vilain. It high-lights all that is bad in human nature: cunning, craftiness, treachery. Typical characters are Cao Cao*, powerful and cruel prime minister in the time of the Three Kingdoms, and Qin Hui, treacherous Song Dynasty prime minister who put the national hero Yue Fei to death.

All the above facial makeups belong to a category of characters collectively calledjing--all males with pronounced personal traits.

For the clowns of traditional drama, there is a special makeup called xiaohualian (the petty painted face), i.e., a small patch of chalk on and around the nose to show a mean and secretive character, such as Jiang Gan of the Three Kingdoms who fawned upon Cao Cao. It is also occasionally painted on a young page or an ordinary workingman, often to enhance his wit, humour or jesting and to enliven up the performance.

Another type of players, called "acrobatic clowns" (wuchou), are also touched up with a tiny patch of white on the tip of the nose to show an astute mind, a keen and quick wit. Several of the stage heroes from the novel Water Margin are made up in this way.

The facial makeups date a long time back to the Song (960-1279) and Yuan (1206-1368) dynasties at least. Simple patterns of painted faces are found in tomb murals of that age. During the Ming Dynasty (1368-1644), improvements were made in the skills of drawing and in preparing the paints, leading to the whole set of colourful facial patterns that we see in today's Jingju (Peking Opera).

As to the origin of the facial makeup, it is still largely a matter for conjecture. And there are different theories:

 1) It is believed that primitive hunters painted their faces to frighten off the wild beasts, and highwaymen in the old days did the same to hide their identity and also to overawe the wayfarers they were to rob. Either practice may have led to the emergence of dramatic facial makeups.

2) It is thought that the facial makeup owes its origin to the mask. Prince Lanling of the Northern Qi Dynasty (479-507) was a good fighter but, because of his handsome features, aroused no fear in his enemy. So he had a ferocious-looking mask made and began to wear it into battles. Sure enough, he proved much more formidable and therefore ever-victorious. His followers composed a song to sing of his successes, which developed into a masked dance, showing him storming into the enemy formation. Subsequently, the mask became painted patterns for stage characters.

3) It is held that facial makeups were used for traditional operas simply because they were often presented on open-air stages to large gatherings of noisy crowds, and the characters were made to wear painted facial patterns in order to bring the drama home to the audience.

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The exorcisers' masks are a unique handicraft in Guizhou Province. Fashioned out of wood and tree roots, they range in imagery from the grotesque to the good and genuine. Such masks can be as small as several centimetres and as large as two metres. The exorcising culture of the Miao villages in Guizhou is regarded as a gem in folk Chinese culture.

The exorcising culture first rise in central China. After it had found its way into Guizhou it was merged with the local shamanism and gave rise to a male exorciser and a female exorciser. The male was the legendary Fu Xi, a Chinese ruler who taught people how to fish, hunt and raise livestock: and the female was Nu Wa, the goddess who created human beings and patched up the sky. As the ancients believed that all the diseases and pains were caused by the onslaught of demons on the human body, so during exorcising rituals they preferred to wear masks that looked as grotesque as possible so as to dispel the ghosts and ward off the evil. The exorcising dance was invented on the basis of shamanist dance for the same purpose. With the passing of time, such dances have taken on an entertaining function. And the exorcising opera is no longer limited to Buddhist or Taoist temples; it could be performed wherever there is an audience. It has become a traditional culture beloved by the people of different ethnic backgrounds in Guizhou.

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Masks in Chinese culture are part and parcel of the world culture of masks. Masks first appeared in China during the Shang and Zhou some 3,500 years ago as major element in Chinese shamanism. The worshipping of the god which drives away pestilence, the exorcising dances and operas, and many of the Shamanist rituals, cannot do without masks. Even today, masks are still being worn during religious rituals, weddings and funerals among nearly 40 ethnic peoples who inhabit some 20 provinces and autonomous regions. Masks are, indeed, vehicles of a wealth of historical and cultural information.

Chinese masks are generally made of wood, and worn either on one's face or head. Through colourfully painted images of people, ghosts, demons and celestial animals, they are purported to convey certain meanings. The Chinese masks fall into the following categories: Exorcising Dancers' Masks. These masks, used at religious sacrificial ceremonies among certain minority peoples, are designed to dispel ghosts and pestilence and ask gods for blessings.

Masks for Festive Occasions. Such masks are worn by people when they join exorcising dancers during festivals or memorial services. The purpose of such masks is to pray for long life and rich harvests and keep evil spirits at bay. In many places such gatherings have become a marry-making activity. Masks for New Born Babies These masks are used when members of society attend ceremonies marking the birth of a baby.

Masks for Keeping Houses Safe: These masks are developed on the basis of those worn by exorcising dancers and hung on important positions of a house to scare away evil spirits.

Masks for Theatrical Performances: In the theatre of many ethnic minorities, masks are an important means to portray the images and personality of the characters. Because of this they are of high cultural and artistic value.

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Long white sleeves are used in performances of classical Chinese operas and dances. They are 0.5 metre long but the longest of them can reach more than one metre. When being swung on stage, the long white silk sleeves look like ripples in a river.

It goes without saying that our ancients were wearing loose-fitting sleeves which had no pieces of white silk attached. The long white silk sleeves on stage are a means of exaggeration to enhance the aesthetic effects on stage. 

The movement of swinging such sleeves helps making up for the shortage of language, giving expression to the identity, personality and feelings of the character portrayed, and enhancing the appeals of the dancing movements.

Tossing the sleeves outward means that the character is in anger; shaking them incessantly means that the character is shivering with fear; failing them skyward indicates that certain disaster or injustice has just befallen on the character; waving the sleeves to tidy up one's costume means that the character is about to see an elderly whom he or she holds in high esteem.

The use of the long white silk sleeves changes according to the changes in the character's inner world. Playing such sleeves is one of the basic skills of traditional Chinese opera.

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Historical records indicate that there used to be 1,000 or so musical instruments in use in ancient times. Today, some 500 of them are extant. The earliest of them date back to more than 8,000 years ago.

Traditional Chinese musical instruments were closely associated with the rise of music in China. They are symbols of Chinese culture. In old times, they were also indicators of the level of productivity.

Our ancients divided Chinese musical instruments into eight categories or "eight sounds": metal, stone, string, bamboo, gourd, clay, leather, and wood.

Metal: referring to instruments fashioned out of metals, such as gongs, and bronze drums.

Stone: stone instruments such as chimes and carillons.

String: instruments having strings played with the fingers or with a plectrum or a bow, such as Chinese violin, 25-stringed horizontal harp and zither-like instruments with many strings.

Bamboo: instruments made from bamboo stalk, including vertical bamboo flutes and 8-holed bamboo flutes.

Gourd: wind instruments using a gourd as the resonator, such as sheng and yu.

Clay: earthen instruments, including xun, an egg-shaped wind instrument with one to six holes in it, and fou, a clay percussion instrument.

Leather: instruments using animal skins as vibration membranes, such as drums and waist drums.

Wood: instruments made mainly from wood. Common ones include wooden fish (hollow wooden block used to beat rhythm) and xylophone.

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Historical records indicate that there used to be 1,000 or so musical instruments in use in ancient times. Today, some 500 of them are extant. The earliest of them date back to more than 8,000 years ago.

Traditional Chinese musical instruments were closely associated with the rise of music in China. They are symbols of Chinese culture. In old times, they were also indicators of the level of productivity.

Our ancients divided Chinese musical instruments into eight categories or "eight sounds": metal, stone, string, bamboo, gourd, clay, leather, and wood.

Metal: referring to instruments fashioned out of metals, such as gongs, and bronze drums.

Stone: stone instruments such as chimes and carillons.

String: instruments having strings played with the fingers or with a plectrum or a bow, such as Chinese violin, 25-stringed horizontal harp and zither-like instruments with many strings.

Bamboo: instruments made from bamboo stalk, including vertical bamboo flutes and 8-holed bamboo flutes.

Gourd: wind instruments using a gourd as the resonator, such as sheng and yu.

Clay: earthen instruments, including xun, an egg-shaped wind instrument with one to six holes in it, and fou, a clay percussion instrument.

Leather: instruments using animal skins as vibration membranes, such as drums and waist drums.

Wood: instruments made mainly from wood. Common ones include wooden fish (hollow wooden block used to beat rhythm) and xylophone.

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Popularly know as horn, the suona is another ancient wind instrument most widely used in folk performing art. It first became fashionable in central China around the 16th century. As a folk wind and percussion concert or opera band, the suona is often used as the leading instrument in a concert. Loud in a distinct boldness, it is an ideal instrument for the playing of vivacious and magnificent numbers, and capable of the cadenza of a number and imitating the chirping of birds and insects. The suona is an indispensable instrument to folk celebrations and festivals.

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Both xiao, the vertical bamboo flute, and di, the horizontal bamboo flute, are traditional wind instruments in China.

The xiao enjoys an older history than the di because it has been around for 3,000 years, whereas the di found its way into China during the 2nd century B.C. from central Asia. In its early days, the xiao was something of a panpipe consisting of 16 bamboo pipes.

Today, the xiao appear mostly in the form of a single flute, and, easy to be made, it is rather popular among the Chinese. The two earliest panpipes found in the tomb of Marquis of Zeng at Suixian County in Hubei Province in 1978, dating back to the Warring States Period (475-221 B.C.) consist of 13 fine bamboo pipes each, arrayed in progressively reducing lengths. The xiao's soft and graceful tones are ideal for solo and ensemble playing to express profound feelings in long-drawn, soft and sentimental melody.

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The sheng is another ancient Chinese musical instrument that emits sound by the vibration of reed. It became very fashionable during the Zhou, as it played accompaniment for court singers and dancers. Then it found its way among commoners, and became a common instrument in singing concerts, temple fair celbrations and other events.

The sheng consists of three parts: reed, pipes and what is known as "douzi", and it can be used for accompaniment, solo performance and ensembles. Highly expressive and convenient for changing the tones, with clear and distinct high pitched and graceful middle and low pitches, the sheng is an indispensable instrument in a folk concerto of wind and percussion instruments.

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The pipa, known in ancient times as "pipa with a curving neck", is a major plucked instrument introduced from Mesopotamia in west Asia to China towards the end of the Eastern Han (25-220), and from Xinjiang and Gansu to the hinterland during the 4th century. After the Sui and Tang (581-907), the pipa had become a major instrument. The preludes to virtually all the major pieces of music of the Tang (618-907) were played with the pipa. A versatile instrument for solo, ensembles (with two or more instruments) and accompaniment, the pipa is known for its high expressiveness and its capacity for both the impassioned and heroic and the graceful and subtle.

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The Chinese chess is a traditional game very popular among the Chinese. It is played wherever there are people--factories, schools, villages, streets, you name it.

Games of the Chinese chess are often played in parks and by roadsides. A crowd appears whenever such a game is going on.

The Chinese chess is composed of chesses and the chessboard. The chess board features nine vertical lines and ten horizontal lines to form 90 crosses to govern the movement of the chesses.

The middle line is known as "Chu River and Han Boundary". The section of the chess-board with oblique lines is known as "Nine Palaces", which is the domain of the command and "his" guards.

The chesses are mostly made of wood, and they are round in shape. There are 32 chesses, divided into black and red groups of 16 members each. Every group of chesses is composed of one command, two guards, two prime ministers, two canons, two horses, two chariots and five soldiers.

During the game each side manoeuvres his or her chesses to eliminate the chesses of the other side so as to seize a position in the opposite field. If one chess is in a vulnerable position, it should be with- drawn as soon as possible; if withdrawal is impossible, other chesses may be dispatched to its rescue.

The ultimate ail of a chess game is to hold the command of the opponent. The side which succeeded in a checkmate is the winner.

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As well as Yangshuo China Travel Guide information: the world fairyland; Chinese culture, with a long history. Yangshuo Attraction, Guilin Attraction guide, China Attraction guide, Chinese history and culture exhibition, all beautiful China hills and water, and Yangshuo China Hotels.

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