The Kingdom of Women by Singaporean author Choo Waihong is a first-person account of the author’s experiences living with the Mosuo, an ethnic minority community resident in South-West China and one of the world’s last surviving matrilineal and matriarchal societies.
Between September and Christmas 1964, the Dutch sinologist Erik Zürcher undertook a three month visit to China organized by the state travel agency Luxingshe. It was official and exceptional. China was closed for business, isolated and angry at history. Barely more than a decade previously, Dutch troops in UN Command had been fighting the Chinese People’s Volunteers on the Korean Peninsula.
The term “Chinese opera” usually refers to the traditional Chinese art form, but there are an increasing number of examples of modern attempts—such as the recent Dream of the Red Chamber—at a sort of cultural fusion of Chinese themes and traditions with Western operatic style and format. It is probably fair to say that none of these yet rises to the level of a Rigoletto or Carmen in the minds of either the public or critics, but the potential cultural rewards of a Chinese operatic repertoire successfully existing alongside and complementing the European ones are so obvious that is commendable and hardly surprising that the efforts are accelerating.
Most of us in our 20s or above remember where we were on 1 January 2000, when the planet welcomed the new year, decade, century and millennium. (Pedants however never tire of pointing out that the correct date should have been one year later.) Lijia Zhang’s Lotus begins with the title character facing a rather grim start to the year—on that January day, Lotus is arrested for suspicion of prostitution as she’s sitting shore side in Shenzhen, contemplating the turns of her 23 years of life.
A couple of thousand years ago, or even longer depending on which book you read, the Mosuos, originally known as the Na people, walked from the high mountains in the north-west to where they are today, in search of a kinder climate. They must have trekked for years and years, passing over countless harsh mountain ranges before coming across a great plateau situated in a lower altitude, much more hospitable than their previous homeland.
Back in the 1980s, books about Japan became bestsellers worldwide, with the ascent of Japan from the ignominy and abject destruction of 1945 to the position of the #2 economy on the planet, with the #1 spot not far off in the breathless predictions of some at the time.
Here at last a book to unearth the untold story of Chinese porcelain in Spain at the time when both countries first started trading. Early relations between China and Spain remains an understudied subject, and the glaring absence of a monograph on Chinese porcelain in Spain has finally been redressed with the magisterial Chinese Porcelain in Habsburg Spain by Cinta Krahe. Habsburg Spain (1516-1700) coincides with the late Ming (1368-1644) and early Qing (1644-1911), a period of great accomplishment in Chinese ceramics.