![]() ![]() In 1271, Kublai Khan, Genghis Khan's grandson ascended to the throne in China and changed the country’s dynasty name from Song to Yuan. Initially known as Kaiping City, Xanadu was built in 1256, the 50th year of the Mongol Empire, 23 years before the full establishment of the Yuan Dynasty (1279–1367) in China. Suited to: anyone, especially history lovers.Popular activities: learning about the history of Kublai Khan, the Yuan Dynasty, and the Mongolian Empire Jinlianchuan grassland activities.Chinese: 元上都 Yuán Shàngdū /ywen shung-doo/ ‘Upper Capital’.You’re welcome to contact our Inner Mongolia expert for more information if you can’t find what you need. Scroll down to find key travel info and things to do at Xanadu. It rivals Pompeii of Italy in its historical value. The Venetian explorer Marco Polo praised it as “the richest city on earth” in the late 13th century. Xanadu, or Shangdu, meaning ‘Upper Capital’, reflects a combination of the farming culture of China's Central Plains and the nomadic culture of north China. Xia, Tingzhi (1990, 1368) Qinglou ji qianzhu (Green Bower Collection), Chinese Theatre Press, Beijing.As a ‘key cultural relic unit’ of China, the site of Xanadu served as the summer capital of the Yuan Dynasty during the 13th and 14th centuries. An Introduction to Chinese Opera History, Shanghai Wen Yi Publisher, Shanghai. The Secret History of The Mongols & Other Works, House of Stratus, UK. ![]() (eds) Chinese Theater: From Its Origins to the Present Day, University Hawaii Press. Hui-ling, Chou: “Striking Their Own Poses: The History of Cross-Dressing on the Chinese Stage” TDR (1988-) Vol. “Some Mysteries and Mootings about the Yuan Variety Play.” Asian Theatre Journal 11, no. Ann Arbor: Center for Chinese Studies The University of Michiganĭolby, William. Chinese Theater in the Days of Kublai Khan. “An Investigation of the Huangmei Opera Film Genre: The Audience’s Perception of Ling Po’s Male Impersonation”. (Hui-ling 1997).ĭespite foreign domination, religious suppression, political oppression and the practice of foot binding, these courageous women prevailed and made great strides towards their personal development and freedom through Chinese Opera. Because of their achievements as male impersonators on stage, these women off stage were able to access literary education which was denied to most women. ![]() Ping Yangnu, another famous Yuan actress/male impersonator, “was blind in one eye she tattooed complex patterns on her arms and legs in the style of gangsters in order to vividly portray lulin roles” (Xia 1990:154). For example, “the actress Tian Xixou was an expert in lulin, or valiant brigand roles” (Xia 1990:142). These women portrayed male military figures which demonstrated their mastery of martial arts and acrobatics (Hui-ling 1997). Xia’s accounts of these performers show us that gender as an art form made great strides in the Yuan Dynasty. In 1364 author, Xia Tingzhi, wrote his book Qinglou ji qianzhu (The Green Bower Collection,1990) which included 117 biographies of female actresses of the time. Historical records show that women proliferated in the theatre during the Yuan Dynasty not only for economic means but also to impress and please foreign dignitaries which I presume for their own political power. It wasn’t only scholars who worked to cultivate employ in Chinese Opera but elite women as well. (Dolby, W 1994) And important to note, using colloquial language led to the widespread popularity of Chinese Opera outside of the royal courts so this art form could be enjoyed among all social classes in China. Highlighting his travels in China, Marco Polo, the Italian explorer, wrote that vast entertainment in the capital city of Dadu (now Beijing) was performed for foreigners again reflecting the necessity of local vernacular. Because Khan insisted on colloquial language for entertainment, scholars worked with actors to create plays that were mostly written in local vernacular and which included many songs. In the Yuan Dynasty, Kublai Khan did away with scholars and the elite which gave way to their participation in Chinese Opera. In previous dynasty’s, Chinese scholars wrote in the classical language of China specifically for the royal courts and the elite. Naturally, this greatly affected all of China, Chinese Opera in particular. It was Kublai Khan, the grandson of Genghis Khan, who established The Yuan Dynasty (1279–1369 A. Fortunately for us, fourteenth century theatre enthusiast, Xia Tingzhi, wrote a collection of biographies to immortalize these outstanding women.įrom 1205 to 1369, China was ruled by the nomadic Mongols starting with small scale invasions in 1205. D.) was a prolific era for female performers in the Chinese Opera. Lao Sheng (old man), Xiao Sheng (young man), Wu Sheng (warrior) ![]()
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