Zhang Qian

by both of these civilizations to receive needed resources, and exchange others. During the Han dynasty under the rule of Emperor Wu in 138 B.C, their society was often under attack by the nomadic Xiongnu people. Due to this, he sent his emissary Zhang Qian to request aid from distant cultures and there he found the “Dayuan, the Great Ionians”. These people were descendants of Alexander the Great’s army. After this

Herodotus and Sima Qian: The First Great Historians of Greece and China is a book that provides historical context on both ancient Greece and ancient China written by Thomas R. Martin; Additionally the book provides primary source documents written by ancient historians Herodotus and Sima Qian, who tell the history of their nations through numerous anecdotes. Although the two historians have different motives behind their works since Sima Qian writes the history of ancient China for personal gain

The teachings of Confucius, who lived about 500 years before Christ, have probably had more influence on the world than those of Christianity. It is said that all world religions and all governments are still influenced by the philosophy taught in his school and by his books. Like Jesus, Confucius never claimed personal divinity. Yet a form of a philosophical belief system called Confucianism grew from his work. Also like Jesus, Confucius was said to have been born into poverty, became a teacher

This leads to mixed cultures, which in the globalized world today is vital so that people can understand instead of abhorring one another. These three sources: Posidonius writes about the Celts (as reported by others), Rock Edicts of Asoka, and Sima Qian- Historical Record demonstrate the importance of cross-cultural interactions with examples from approximately 269 BCE to approximately 200s CE. They show how important cross-cultural interactions were to the regions they were in, how perceptions of

Name Instructor Course Date Herodotus and Sima Qian Introduction In this accessible writing, Thomas R. Martin makes a comparison of the writings of Sima Qian in historical China and those of Herodotus of ancient Greek. Primarily, the main theme of the author is to show a glimpse of the symbols of early history writing. Martin shows the related struggles that each contended with in the preparation of the historical accounts. Furthermore, it is also indicated that the two writing legends played a

28 years have passed since the first collaboration between the awarded Chinese filmmaker, Zhang Yimou, and the renowned actress, Gong Li. That first movie was “Red Sorghum” - not really one of my favorites - and their successful association would become stronger in subsequent essential dramas, all of them from the 90’s, cases of “Ju Dou”, “Raise the Red Lantern”, “The Story of Qiu Ju”, “To Live”, and “Shanghai Triad”. Now, they reunite one more time in “Coming Home”, eight years after “The Curse

has the most trouble assimilating to the domestic life of servitude that is expected of her. The harsh traditions and expectations present in the manor are made clear through Yimou Zhang’s use of framing. The vastness of the manor is assumed however Zhang choses to show limited areas neatly framed in geometric symmetry. Characters in the shot are always framed within a structure of the manor and placed carefully in each frame so not to disturb the symmetry and order in each shot. The precision of the

To continue, we will be analysing a sequence of Zhang Yimou’s Hero all whilst considering its mise en scene, cinematography, editing, sound and performance. This sequence is approximately 50 minutes into the film. It takes place during the second recount of Sky, Flying Snow and Broken Sword’s supposed assassinations by Nameless: The King of Qin’s imagined version of the events. It takes place at a lake, where Nameless, whom had previously killed Flying Snow, fights Broken Sword over her death.

Color Emphasis in Raise the Red Lantern Chen Ning (Jenny) Yen 58935107 ASIA 355 Professor Rui Wang 23/11/2012 Scholars and film critiques have often regarded the fifth-generation film Director, Zhang Yi Mou’s films as a visually sensual feast (Zhu 26). The predominant use of the color Red in his highly stylized films: Red Sorghum (1988), Ju Dou and Raise the Red Lantern (1991) are evidence of his trademark visual style thus leading scholars to critically

Zhang Yimou directed both the critically acclaimed House of Flying Daggers and the visual masterpiece Curse of the Golden Flower, movies with wuxia influences which are not only popular locally, but overseas as well. Yimou infuses his films with several themes that reinforce the Chinese tradition of upholding social, political, and natural norms. Despite their differences and due to their similarities, House of Flying Daggers and Curse of the Golden Flower emphasize the importance of obeying authority